Wood carving - what it is, its history, features of different types of this art. Sculptures made of wood: features of execution, advice from professionals Additional educational program “Decorative and applied creativity and the basics of carving”

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

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

Quite a number of carved items - furniture, wooden utensils, boards for printing, molds for honey gingerbread, yokes, parts of carts and sleighs of the 17th - 19th centuries. Kiev region, Chernihiv region, Poltava region, Carpathian region, Transcarpathia.

In the 19th and early 20th centuries. A major role in the development of folk carving was played by the famous Hutsul carvers Yuriy Shkriblyak (1822 - 1884) and his followers - sons Vasily Shkriblyak (1856 - 1928) and Nikolai Shkriblyak (1858 - 1920).

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

In our time, great changes have occurred in the art of folk carving. Folk craftsmen, along with traditional ornamental carvings, create thematic works dedicated to important events in the life of the people, themes of their historical past, outstanding figures, and images of heroes in 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 carvings and inlays.

The carved works of Vasily Garbuz are a continuation of the wonderful traditions of flat Poltava carving. In his miniature ashtrays and pencil cases in the shape of birds, we encounter the extreme laconicism of forms typical of folk carvings.

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

Numerous works by the carver from the Kiev region Peter Verna (1876 - 1966) are varied in theme: “I’ve already passed thirteen...”, “Perebendya”, “Blacksmith Vakula”, “Aeneid”, “The Sower”, “Let’s make the roads green”. He owns works that personify various characters from the works of classics of Ukrainian and Russian literature.

Peter 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. Other sculptures by Verna, filled with the pathos of modernity, reflected the life and creativity of people.

The life of ordinary people of Transcarpathia is depicted in the works of folk sculptor Vasyl Svyda. In the work “To the Meadow,” the author depicts the traditional spring exit into the mountains of the Hutsuls, driving their cattle to summer pastures. This day is considered a big spring holiday. The author personally participated in such holidays several times. Knowledge of life helped the carver to 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, convincingly telling about the heroics of the past. His bas-relief deserves special attention, revealing the image of the national hero of Ukraine in the 18th century. Oleksa Dovbush.

The creative growth of modern Hutsul carvers, former artisans, was facilitated by their unification into production and creative teams.

A wealth of imagination and poetry are inherent in the works of the carver from the village of Bratki, 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 material for it is the bizarre shapes of roots trees, twigs, etc.

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

History and present day of decorative and applied art - wood carving.

For a long time, Russian people, having cleaned their hut and completed field work, took up the art of carving wood on endless autumn and winter evenings.

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

There are several types of wood carving: house carving (solid, applied, slotted), volumetric (sculpture, toys, hollowed-out dishes), contour, geometric, flat relief (rolled with pads and a selected background), relief and carving on gingerbread boards-stamps.

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

External forms were processed with an ax. For many centuries, adzes have been used by craftsmen of wooden utensils to sample internal volumes. And now this tool, reminiscent of a hoe, is used in folk arts and crafts.

A spoon is a metal rod with a ring-shaped knife at the end. It levels the inside of wooden spoons, ladles, etc. The carver's arsenal included a chisel, a saw and a drill.

Motifs of your drawings craftsmen drew from the surrounding life. Household items decorated with carvings created a feeling of festivity and elegance in a peasant hut.

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

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

In 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, and the royal doors.

Rice. 1. "Bucket-groom." Tver province. Beginning of the 19th century

There are often images of fairy-tale animals, crafty mermaids with curved tails.

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

The 15th century is famous for its luxurious carved iconostases. They are a tall, several-tiered ornamental weaving, reminiscent of intertwined plant stems. The carvings in the iconostases were complemented by gilding. The name of Ambrose, the 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 jewelry care from dense, dark walnut wood, valuable rosewood, cypress and boxwood.

In the 16th century The Kremlin Armory Chamber begins its activity, which had, among others, 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 throne with a tent top is completely covered with complex carved ornamental and plot compositions.

The nature of wood carving in the 16th century. changed. “The relief of the carving of the 16th century is higher, more voluminous, rich and picturesque compared to some of the graphic nature of the flat, one-plan relief of the 14th and 15th centuries.” ( Dvoinikova E.S., Lyamin I.V. Artistic woodwork. M., 1972, p. 23.).

One of the most striking monuments in the history of Russian carving art was the Kolomna wooden palace near Moscow. Architects S. Petrov and I. Mikhailov designed it 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 convened for the construction of the Kolomna Palace. It consisted of picturesquely arranged tall log buildings, connected by steep passages and vestibules, and was decorated with rich carvings and interior paintings.

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

“All over the land in the summer, the royal governors searched for carvers, skilled craftsmen. They are now collected in the village of Kolomenskoye. The carpenter of the first articles, Klim Mikhailov, works in the service near the fortress for Prince Kurakin, and then for Patriarch Nikon, worked for eight years in the Resurrection Patriarchal Monastery Yes, his student, Klimka, Fedka Mikulaev, a peasant son, also a noble carpenter... And also a monk, the archer Arseny, a skilled carver, and Davyd the carver, also a monk... and countless more craftsmen...

They cunningly cut end-to-end combs into princely logs on the roofs, with lions, bears, horses, eagles, roosters, fish, herbs, flowers, plan and cut piers, pendants, spectacles - patterned slotted boards with animals, suns, pharaohs, even towels embroidered, cut light architraves with columns, red window frames, drawn with birds of paradise - with Sirin and Gamayun, with toothy dogs, with grape bunches among palmate leaves, carved doors with patterns in Persian and Chinese work, with jambs patterned like satin stitch embroidered... and everything is painted in scarlet, pink, azure, red, yellow, emerald colors, purely gilded" ( Ivanov V. 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 full force 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 design of I. Zarudny by carvers I. Telega and T. Ivanov and their comrades, evokes admiration.

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

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

Rice. 2. Oshevnev’s house in Kizhi. Pediment decor. XIX century

Russian spinning wheels, made with love, are diverse. Since ancient times, the spinning wheel has been one of the main objects in the peasant economy. The women whiled away the endless winter evenings around her. They didn’t part with her even when visiting. And when the peasant woman was busy with other work, the spinning wheel was hung on the wall. She decorated the hut. The villages of Russia seemed to compete with each other in choosing the shape and decoration of the 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 decorating them. We tried to make them elegant. For example, peasants of the Vologda province scattered cascades of triangular-notched carving patterns along the comb and head of the spinning wheel, leaving only the bottom smooth, complementing the carving with bright colors (Fig. 3).

The craftsmen of the Yaroslavl province left the natural color of the wood. The spinning wheel was given the shape of a tented mansion, covered with elegant contour and nail-like carvings. Genre scenes were often depicted (Fig. 4).

In the village of Kaskovo, Nizhny Novgorod province, the 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 unique: pieces of dark bluish-gray bog oak were cut into the light aspen wood.

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

Gingerbread stamp boards occupy a special place in the art of carving. They are a recessed carved form. In the 18th century Several intricate shapes were cut out on one board and a whole batch of elegant gingerbread cookies were baked at once (Fig. 5). In the 19th century Birds, fish and animals, and sometimes even human figures, were depicted on gingerbread boards. In terms of their artistic expressiveness, these boards are genuine works of decorative and applied art (Fig. 6).

Rice. 3. Spinning wheel comb. Vologda province. XIX century

Rice. 4. Detail of a spinning wheel. Yaroslavl province. XIX century

Rice. 5. Gingerbread board. XVIII century

Rice. 6. Gingerbread board. XIX century

Wanting 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, headed by the artist Elena Dmitrievna Polenova. In villages and villages she collected all the best that was created by folk craftsmen. The children of the surrounding artisans were trained on these samples.

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

Wood remains one of the popular ornamental materials today. Entire factories and creative associations work on this raw material. In the Russian Federation alone 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.).

They sharpen dishes to resemble Khokhloma painting, make carved polished vases, salt shakers, sugar bowls, cut spoons and the famous nesting dolls in the city of Semenov, Gorky Region. In the village of Lopatovsky, Kirov Region, there is a craft where world-famous artistic products are created from birch capo roots (boxes, caskets, cigarette cases, powder compacts, etc.). The works of Hutsul masters of wood carving and inlay are widely known. Behind last years new enterprises for artistic wood processing are appearing. The Kodu folk crafts enterprise in Estonia annually supplies new wood products for sale, and the Viljandi, Pärnu, and Tallinn forestry enterprises are expanding their assortment.

The Tiraspol souvenir factory produces colorful nesting dolls and various wooden vessels with carvings, inlays, and paintings. It entered service only at the beginning of 1974, but already has orders from the GDR, France, and Germany.

One of the oldest centers of wood carving is the village of Bogorodskoye near Moscow. Traditional patterns of local carvers - images of animals and birds, scenes from village life, characters folk tales and fables. From past centuries, the works of A. Ya. Pushkin, Ya. P. Boblovkin, D. V. Barashkov have been preserved here (Fig. 7). The works of Stepan Shurygin have long been famous, and 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 Bogorodsk carver. 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 motifs from folk and Pushkin fairy tales: “The Tale of the Golden Cockerel”, “Tops and Roots”, “Hunter with Black Grouse”, “Axe Soup”. I. K. Stulov created compositions on modern themes: “Collective Farm Brigade”, “Shepherd with Lamb”, the series “Women of the Great Patriotic War”. Carved works by I.K. Stulov adorn museums in Moscow, Leningrad and other cities of our country.

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

In the city of Khotkovo, Moscow region, decorative wooden products are created - dishes, damasks, ladles using a unique Kudrino technique (from the ancient Russian village of Kudrino) (color ill. 1). Here 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 famous sculptors devote their creativity to working with wood. Wood was the favorite material of S. T. Konenkov, V. A. Vatagin, Erzya.

Gave more than half a century creative activity Moscow artist L. A. Kardashev, who is called the poet of wood carving. 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 carving art has worthily represented our country at many international exhibitions. Recently, in 1973, the residents of Paris saw a unique exhibition “Great Traditions of Russian Wood”. More than four hundred exhibits were placed directly in metro stations and in store windows.

Wood carving 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, wood carving is combined with bone inlay, mother-of-pearl and colored beads.

In 1968, at the anniversary exhibition “Decorative Art of the USSR,” everyone’s attention was drawn to the carved wooden panel “Clocks and Animals” by the artist from Moldova L. Yantzen, as well as the decorative column with multi-figure compositions “Autumn Festival” by the artist Y. Baronchuk.

The art of wood carving is widely developed in the Baltic republics. Lithuanian folk wood carving was presented in April - May 1973 at the Leningrad Museum of Ethnography. Of particular interest were the sculptures of A. Mazheka, A. Zimantas, I. Vizbaras, P. Papshis, I. Uzkurnis.

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 simply in the fields. The monument to V. Lukošaitis, 3. Vaišvila and others, created in 1973 from oak trunks, is dedicated to the battle of the Lithuanians with the Swordsmen in 1236. A traditional holiday is held in Lithuania - "Day of All Crafts". In 1973, a woodcarvers festival was held in Krytinge and then in Vilnius. Later, the creative workshop of carvers was repeated in the city of Siauliai. After its completion, wooden sculptural ensembles remained on the streets and squares of the city.

The newspaper "Pravda" in one of its issues noted an ensemble of oak trunks placed by Lithuanian carvers on the Žvyaginiai mound. Here in 1941, fascist punitive forces 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 master V. Majoras, included more than 30 carved sculptures of five and eight meters in height.

The Abling ensemble organically fit into the Lithuanian landscape. He seemed to resurrect the traditions of peasant monumental wooden sculpture that had begun to fade here.

Wood carving is widespread among the peoples of the Caucasus. Georgian craftsmen 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, wood carving is used in architecture. The original drawing was preserved on the capitals of the Sevan Monastery of the 9th century. Ancient wooden Armenian talismans-amulets (dagdans), varied in outline and internal pattern, are decorated with triangular-notched carvings. A. Azatyan is considered an outstanding modern Armenian woodcarver.

Dagestan carvings are very diverse. In Kubachi wooden mortars, flour measures, wooden dishes, salt shakers, and spoons, floral patterns predominate. In other villages, the dominant pattern is geometric stars, rosettes, and all kinds of triangles. Along with carvings, burnt ornaments are used. Local and imported wood is used here: linden, pear, apricot, dogwood. Nowadays, craftsmen often make dishes, stylizing their shape as an ancient 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 a mountaineer family there are two-handled ladles for ayran, wooden dishes for baked goods and meat, various kinds of scoops and spoons. The artist's art 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 gnarled trunks of mountain trees. It is not ornamented. The only decoration on the festive bowls are wooden one-piece chains. The monolithic, plastic body of the ladles and scoops contrasts with the fractional rhythm of the slotted links of the chain, creating an unexpected effect (Fig. 8).

Rice. 8. Two-handed ladle with wooden chain

The keeper and continuer of folk traditions in wood carving is Yu. M. Geryugov from the city of Karachaevsk. Yu. M. Geryugov is known as one of the original masters of Caucasian folk carving. His carved furniture and utensils are distinguished by their amazing simplicity, clarity of ornamental decoration, and deep knowledge of the secrets of wood. Geryugov's 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 a teaching master at the art and graphic department of the Karachay-Cherkess State Pedagogical Institute. His passion for folk art and deep knowledge of traditional wood carving techniques brought many students to him. In their free time and during classes at the institute, future teachers master the ancient art.

Since ancient times, mountaineers acquired skill in the process of cutting permanent chains on large potato tubers. Now students have at their disposal polystyrene foam - a lightweight and easy-to-use material. Having mastered the techniques of working on foam plastic, they move on to soft wood. Students of Yu. M. Geryugov work in different parts of Karachay-Cherkessia, continuing the traditions of ancient Caucasian art. Nowadays, wooden products with permanent chains - ladles, spoons, desk handles - decorate 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 art and graphic department of the local pedagogical institute. Figures 10-14 show the work of young carvers N. and S. Chomoryan, R. Trebueva, V. Gnatyuk. You can expect a lot from graduates S. Salpagarov and A. Aliev. “Carving of slabs” is done by V. Zvereva. She uses the most knotty, seemingly unsuitable slabs for carpentry and carpentry operations, noticing the unexpected expressive images hidden in them (color ill. 2).

Ill. 2 V. Zvereva. "Owl". Working on unedged boards

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

Rice. 11. S. Chomoryan. Mug. Geometric carving

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

Rice. 13. V. Gnatyuk. "Moscow Kremlin". Triangular-notched carving

Rice. 14. P. Tebuev. Decorative ornamental composition

The carvings of the peoples of Central Asia have long been surprising for the accuracy and symmetry of the design. Let us recall the carved doors of Timur’s tomb, reproduced in the painting by V.V. Vereshchagin.

From the history of Eastern culture it is known 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 triangular-notched patterns called "bagdadi", the finest openwork lattice "panjara", relief with a selected background "pargori", with many varieties of plant character - "islimi" and geometric - "girikh".

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

In recent years, a unique “carved heritage” of the Mordovians has been discovered. A whole world of carved wealth was discovered in the area of ​​what is now the Gorky region. Thousands of objects covered with rich carvings were found. Of particular interest are the ornamented cylindrical wedding chests.

Yakut wooden utensils, spoons, scoops and cups made of birch burl are distinguished by their decorative freshness. The surface of the cups is covered with a contour or triangular-notched pattern. Among the modern carvers of Yakutia, P. G. Romanov from the village of Borogontsy, Ust-Aldan region, stands out. He performs the finest work from capo roots.

The Buryat jeweler and carver M. Erdyneev is famous in our country.

In the north and south, in the west and east of the endless territory of the USSR, in large cities, small villages and towns, carved art has been invariably held in high esteem for many centuries. It “warms” people’s souls with its warmth, opens up space for imagination, 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 carvings diversify the interiors of Moscow State University on Lenin Hills and the Theater. Alisher Navoi in Tashkent. It is widely and variedly represented in the design of VDNH pavilions. One of the exhibition pavilions - "Vocational Education" - attracts special attention of visitors with its annually changing exhibition of artistic wood products.

In the second quarter, students in the 7th grade of our school are engaged in artistic woodworking (carving) in technology lessons and receive satisfaction from their work and are pleasing to the eye and their crafts are liked by parents, peers, and teachers. Thus, after the class exhibition, the most interesting crafts were recognized as those made by students of grade 7 “B”:

(works by students of grade 7 “B”: Kurguzova D, Bednogo N., Chakanova E., Babaytseva E.)

Bryansk wooden sculptures carved from the trunks of dead trees in the Park of Culture and Recreation received a great response in our country and abroad. A.K. Tolstoy. A sad fate awaited the park - every year 10-12 mighty trunks were cut down here. The disease has affected the trees. In order not to saw down the hundred-year-old giants, but to give them a new life, park director V.D. Dinaburgsky decided to try cutting sculptures from trees left standing. Enthusiastic craftsmen were needed.

The first to respond were former vocational school students, modelers of the road car plant I.F. Zhdanov and V.S. Mikhailov. Subsequently, they were joined by amateur artists, lawyer by training B. A. Zubarev and instrument mechanic V. X. Orlov. The park's alleys acquired a new, previously unseen appearance (Fig. 15).

Rice. 15. Wooden sculptures in a park in Bryansk

In the winter of 1962, schoolchildren from grades VIII-IX began helping amateur artists. They were brought by K.I. Mogut, the leader 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. After retiring in 1962, he spent his entire time for 10 years before last days He devoted his life to educating schoolchildren, developing in them the desire for creativity and 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 trembling spots of light and shadow. A creative group of guys - Viktor Denisyuk, Sasha Kovalev, Yura Nechaenko and Yaroslav Stoklaska - created compositions on the themes of folk tales and legends "Emelya" and "Desnyanka".

Rice. 16. Volodya Ershov. "Lel"

For 12 years now, with a sly cunning in her slightly narrowed eyes, she has been greeting visitors to the Emelya park (Fig. 17) from the Russian fairy tale “At the Command of the Pike.” Next to him is the stately, proud heroine of the ancient legend “Desnyanka” (Fig. 18).

Rice. 17. Work of Emelya students. Carved composition

Rice. 18. Student work “Desnyanka”. Carved composition

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

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

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

Fig. 19a. Yalta glade of fairy tales. "Tsar Pea and Princess Pea." Wood carving

We can talk for a long time about clubs and studios for artistic woodworking in our country and in our school. After all, classes in various types of decorative and applied arts are, as a rule, loved by schoolchildren of all ages. I think that the information posted on the school website will help develop students’ interest in this exciting activity.

Technology teacher of Municipal Educational Institution Secondary Secondary School No. 1 N.V. Polunina.

Wood processing among the peoples of Dagestan is one of the most ancient types of handicraft production. The wide distribution of forests, the rich variety of wood species (oak, hornbeam, beech, walnut, birch, pine, poplar, etc.), the flexibility of the material itself to be processed have long contributed to the use wooden products in the life of Dagestanis and wooden structures in the architecture of their home. The art of artistic woodworking has been organically connected with the everyday life of Dagestanis for several millennia. Various properties of wood were used by folk craftsmen for both technological and decorative purposes.

The beautiful works of Dagestan woodcarvers (pillars, carved doors, windows, chests, dishes) preserved in mosques, houses and museums embody the best traditions of folk artistic craft and are evidence of the excellent taste and talent of the people. The form and ornament of some monuments reveal a clear connection with the most ancient, pre-Muslim traditions, while others - with the Christian and Muslim periods of the Middle Ages. The development of the art of wood carving is closely connected with the development of the monumental and decorative art of Dagestan in general, in particular, stone and piece carving. These three types of applied art had a noticeable mutual influence, enriching each other with technical techniques and ornamental motifs.

The earliest monument to the art of wood carving is a fragment of a casket or cradle from the Dagestan Museum of Fine Arts, found in the Kafirkumukh burial ground (Buinaksky district) and dating back to 2 thousand BC. e. The monument, which is in a state of natural charring, is decorated with a magnificent geometric grooved-notched ornament, which testifies to the well-developed traditions of wood carving in Dagestan already in the Bronze Age.

Unfortunately, wood cannot be stored for as long as stone, so the bulk of the monuments that have come down to us date back to the Middle Ages. It was during this period that carved wood became especially widespread due to the flourishing of architecture and monumental and decorative art. The art of wood carving reaches a very high level. Tools are being improved, the quality of woodworking is improving, and the range of products is expanding. Woodworking centers with highly developed traditions emerge in forest areas (in the upper reaches of the Avar and Andean Koisu, in Tabasaran, Kaitag and other places).

Dagestan wood carving is characterized by features inherent in any folk art: spontaneity and artistic integrity, practical purpose and collective creativity, anonymity (as a rule) of masters and the exceptional stability of ancient traditions, a certain range of images, the use of simple tools. At the same time, the Dagestan art of wood carving has its own characteristics, which is associated with the specifics of local conditions and the originality of the artistic thinking of the highlanders.

Wooden products with decorative decoration can be divided into three groups: architectural elements, furniture, vessels and household items. The greatest interest is caused by the details of architectural decor (support pillars, gates, doors and windows, window and door frames, pillars, railings, cornices on loggias, verandas, balconies, etc.). Carved wood was widely used in the design of religious buildings - mosques, minarets, madrassas. The doors of mosques were richly ornamented (the most famous monument is the doors of the Kalakoreish mosque, dating back to the 12th century), minbars (pulpits for the preacher), music stands (stands) for the Koran and other holy books.

The second group includes bins and chests (fixed and movable types), as well as sofas, benches, stools, chests, cradles, etc. The third group is represented by small household items that belong to every mountain house - measures, milk bowls, stands, salt shakers, mortars, dough troughs, trays on three legs, etc. All these items are usually hung in the house on certain places- on pillars and facades of stalls.

Of particular interest are the monumental Avar chest-barns for storing grain and bulk products, the so-called. “tsagura”, adjacent to the rocky wall of the house and being the most important component of the interior of a mountain house. The height of the tsagur usually reached 2.5 meters, the depth - up to one and a half meters. Its basis was a frame made of massive wooden boards.

The tsagura doors are double-leaf, rotating around an axis. The front part of the chests from the deep Avar regions is completely covered with carved ornaments, the elements of which go back to ancient times and have protective significance. These are mainly swastika-spirals, concentric circles, labyrinths, crosses, diamonds, etc.

A support pillar, called the “root pillar” by the Avars, played a major role in the mountaineer’s house. It had an important functional significance, serving as a support for the purlin-matitsa, which supported the flat earthen roof of the sakli. No less important was the spiritual significance of the pillar, which played a protective, protective role in the house. It is not without reason that during the construction of the house, the old pillar, having witnessed the life of more than one generation, was carefully transferred from the old house to the new one. Support pillars, especially their top part(the so-called support beam) were richly decorated with deep carvings. This carving had a different character among different peoples. In general, three types of ornamentation are clearly distinguished in wooden carvings. Among the Avars, a large geometric ornament of a monumental nature (Gidatl) prevailed, among the Kubachi people it was more refined, floral, similar to the traditional “markharai”, among the Tabasarans it was ribbon, the so-called. "network".

Among the Laks, the chest for grain “su” had the shape of a large chest and was also richly decorated with carvings and painting with natural dyes. Each house also contained a sofa for dignitaries, with distinctive armrests in the shape of concave horns. Carving covers the faces of the backrest and seat slats, and the posts are completed.

In Dagestan there is a unique type of decorative and applied art that combines wood carving and Jewelry Art- Untsukul notch with metal on wood. This art is relatively young - it appeared in the first half of the 19th century during the Caucasian War. From the reeds growing along the banks of the Avar Koisu, the Untsukul people began to make whips for leggings, and dogwood - pipes and canes. But since Imam Shamil prohibited smoking tobacco in the imamate, the Untsukul residents sold most of their products to officers of the Russian army, and also exported them outside Dagestan to Vladikavkaz, Tiflis, and the southern provinces of Russia.

Thus, the Untsukul craft from the very beginning was focused not on the domestic market, but on the external one, and therefore products of the 19th century. practically not preserved. The earliest items presented in the collections of Dagestan museums date back to the thirties and forties of the 20th century. Products from this period are characterized by the use, along with metal wire, of inlay with bone, horn, and turquoise colored paste.

The technological process itself of cutting with the finest silver, and later cupronickel wire, onto hard dogwood or apricot wood is quite complex and labor-intensive. Each tiny element requires four operations: notching the wood, inserting the wire, hammering it with a special hammer and cutting off the excess. The elements of the Untsukul ornament have their own names - “bird trail”, “street”, etc. The ornament is predominantly geometric, located around the circumference.

Like the Kubachi people, Untsukul craftsmen made traditional household items: flour measures, garlic mortars, salt shakers, ladles, supplies, boxes. The artistic discovery of the Untsukul craft was the production of small decorative panels, usually rectangular in shape, which depict subjects reminiscent of Kubachi stone reliefs - animals, birds, often of a fantastic nature, less often human figures. Since the 1950s, Untsukul craftsmen began to use lathe, which ensured more thorough surface treatment of products and expanded assortment, but gradually this led to the production of very large, non-functional products of purely decorative value.

The program is that classes in artistic woodworking will allow students to get involved in an interesting business that will enrich them, take them into the world of beauty, and fill them with interesting creative work. Aesthetic education begins with the creation of a certain supply of elementary aesthetic impressions and knowledge, without which inclinations and interest in aesthetically significant objects and phenomena cannot arise. Obtaining such knowledge is defined in the program “Decorative and applied arts and the basics of wood carving.”

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Municipal autonomous educational institution

“Secondary school with. Berdyuzhye"

Accepted Approved

On MO class teachers head teacher

Head of the Ministry of Defense

_____________________________ _________________

Kislova E.I. Filippova E.V.

"Arts and crafts"

And the basics of wood carving"

The program is designed for students in grades 7-9.

Program implementation period: 1 year

Direction: technical

Year of program development – ​​2017-2018

Club leader: technology teacher

Poshityy Sergey Valentinovich

With. Berdyuzhye 2017

1. Explanatory note.

Additional educational program“Decorative and applied arts and the basics of wood carving” refers to the artistic and aesthetic orientation.

Relevance and pedagogical expediencyThe program is that classes in artistic woodworking will allow students to get involved in an interesting business that will enrich them, take them into the world of beauty, and fill them with interesting creative work. Aesthetic education begins with the creation of a certain supply of elementary aesthetic impressions and knowledge, without which inclinations and interest in aesthetically significant objects and phenomena cannot arise. Obtaining such knowledge is defined in the program "Arts and crafts and the basics of wood carving" In addition, the program helps children develop craft skills. Currently, only a single number of men master household crafts; not only the crafts themselves have left the family, but the associated aesthetic and artistic side of the craft, “the art of creating joyful things,” has also disappeared. Aimed at solving this problem this program, which helps to develop in children the desire and ability to work and benefit the family and others. The knowledge and skills acquired in the classroom will be useful in later life, when choosing a profession, and when preparing students for an independent working life in a market economy.

Novelty and distinctive featuresprogram is that it is aimed at the creative development of students, at creating an integrated educational space in a creative association. Complex use general pedagogical methods, techniques and means of raising and educating children allows us to instill in them general labor, special knowledge and skills, promotes aesthetic physical development, as well as the formation of an active life position.

Goal, tasks.

The purpose of training in the program “Decorative and applied arts and basics of wood carving” is:mastering theoretical and practical skills in wood carving, processing and designing wood products, revealing and developing potential creative abilities in children, meeting their needs for practical activities.

Tasks:

1. Creative development of personality.

2. Revival of interest in Russian folk crafts.

3. Correction of schoolchildren’s health.

4. Formation in students of the skills and abilities necessary for
production of household items decorated with carvings.

5. General labor training and education of a conscious attitude towards work.

Organizational and pedagogical conditions for the implementation of the program.

The implementation of these tasks is ensured by their focus on the child’s practical activities. The originality lies in the fact that all theoretical knowledge included in the content of classes is tested in creative practice, transformed into cognitive, communicative, social experience of self-realization in various fields activities.

The program provides the opportunity to prepare students for an informed choice of the profession of “wood carver.” The content of theoretical training introduces students to folk arts and crafts, the basics of composition, materials science for artistic works, the technology of artistic wood processing and finishing of wood products. Students get acquainted with specialized literature and illustrative material on carving, with the work of famous masters.Theoretical and practical training is carried out simultaneously with some advanced study of theoretical material.

The program integrates with the "Wood Processing" section
educational field"Technology".

Interdisciplinary connections: drawing, fine art, physics, economics, historical local history.

The club program is built in accordance with the basic didactic principles:

• accessibility and gradualism in achieving goals;
• adaptability to the level of training and continuity in training;
• differentiation and individualization of tasks;
• success of students’ activities and socially useful significance
• student activities;
• cooperation between adults and children:
• creative interest and activity of children;
• consistency in acquiring knowledge, skills and abilities.

Expected results.

Students will learn:

Characteristics of the main types of wood used for artistic processing;

Tools, devices and equipment used
for execution various types threads;

Basics of composition in decorative design
products;

Technological process of manufacturing products and methods
their decorative design;

Materials used for decorative finishing of products;

Occupational safety and fire safety rules;

Basics of manual and mechanical woodworking within the educational field "Technology";

The real ratio of the consumer cost of the product,
decorated with carvings, and its cost.

Students will learn:

Design the shape of a product, make drawings or sketches;

Select a composition for a specific product, correlate
proportion of the design to the size of the product, correctly and symmetrically
place a drawing (build a composition);

Select the right material, rationally mark and process the workpiece;

Know the techniques of sanding wood;

Sharpen and straighten cutting tools;

Use the tool rationally and safely;

Master two types of carving;

Finish the product aesthetically;

Know the techniques of carpentry and turning (STD-120M) wood processing.

2. Educational and thematic plan.

Subject		Main types of educational activities of students
1. Introductory lesson (1 hour)
4. Composition in contour carving in tone (10 hours).
5. Turning product decorated with carvings (12 hours)	Rough turning.	Preparing the machine for work. Checking the incisors. Securing the workpiece.

1. Introductory lesson (1 hour)

The concept of arts and crafts (figurative version). Wood carving is a traditional type of Russian applied art. The importance of carving in patriotic and aesthetic education. Carving in modern life.

Contour carving on a tinted background, its place in arts and crafts.

Practical work:

Acquaintance with samples of products decorated with carvings and illustrative material.

Solving organizational issues.

Inner order rules.

2. Tools and materials for contour carving (1 hour)

Aesthetic possibilities of contour carving in tone.

Material used for contour carving, quality of material. Preparation of material for tinting, deep sanding, sanding techniques in stages, characteristics of sanding paper. Tinting means, tinting techniques. Priming, its purpose, priming techniques.

Tool for contour carving. Techniques manual sharpening and tool straightening, materials and devices for straightening. Cutting techniques with a corner die (contour) and a groove die (background selection). Tool storage.

Occupational safety rules when sanding wood, when working with paints and varnishes, when cutting wood with gravers.

Practical work:

Selection and preparation of the workpiece: grinding, tinting, applying a training pattern, priming. Techniques for cutting control lines. Positioning of the carver's hand. Background sampling.

3. Technique of contour carving by tone (10 hours)

Basic tone carving skills. Practicing techniques for working with gravers when cutting a contour, taking into account the direction of the grain of the workpiece and sampling the background, taking into account the relief lines of the design. Methods for correcting defects.

Basics of decorating a product with contour carvings. Tracing a drawing, tracing techniques.

Rules for contour carving based on tone. Quality control and thread correction.

Practical work:

Performing simple work, practicing carving techniques (carried out under the individual supervision of a teacher).

4. . Composition in contour carving in tone (10 hours).

The artistic significance of the design on the product (composition). Types of composition: ornamental, floral, animalistic, stylized, etc. Composition as a means of expressing the idea of ​​a work. The relationship between the shape of the product and its decorated design. Principles of placing a composition on a product. Subordination of composition elements. Combination of different types of composition. Laws of proportion, symmetry and asymmetry.

Practical work:

Constructing a composition based on samples (of the student’s choice). Transferring the composition to the product (tracing, copying) or making the drawing yourself.

Transfer quality control, correction (addition). Carrying out a complex drawing (of the student’s choice).

5. Turning product decorated with carvings (12 hours)

Wood lathe (STD-120M: device and purpose, control. Kinetic diagram.

Turning cutters (for wood). Installation and quality control of cutters.

Material for turning. Preparation and installation of the workpiece. Machine control techniques. Safety regulations.

Rough turning.

External (cylindrical and shaped) turning.

Design of an ornament for a turning product (development)

Horizontal and vertical marking of the product.

Devices for horizontal (stand) and vertical (degree grid and square) markings. Construction of an ornament on a turned product.

Lathe varnishing technique.

Practical work:

Preparing the machine for work. Checking the incisors. Securing the workpiece.

Construction of a drawing (sketch) of a turning product. Manufacturing, marking and decorating turning products (punch, rolling pin, candlestick, pencil holder, etc.).

Annual calendar training schedule.

No.		Watch	date
	Organizational lesson. Inner order rules. Work plan. Equipment for work. The concept of contour carving on a tinted background.
	Tools for contour carving by tone. Positioning the carver's hand (exercises). T.B. when working with cutters.
	Cutting “waves” (exercises).
	Cutting a closed contour.
	Background sampling techniques.
	Tone contour carving technology.
	The concept of marking a workpiece (drawing a picture).
	Floral ornament (floristic).
	Error correction methods.
	Finishing of the finished product. T.B. when varnishing the product.
	The concept of tracing.
	Techniques and order of marking for tracing paper.
	Application and role of priming (NC varnish). T.B. when working with nitro varnish.
	Practicing cutting techniques.
	Layer varnishing.
	Product design (cutting board).
	The relationship between the pattern and the shape of the product.
	Techniques for tying an ornament to a product.
	Cutting a contour.
	Background sampling.
	Correction of the drawing. Product finishing.
	STD-120M: device and purpose. Types of products.
	Material for turning. Incisors. Preparing the machine for work.
	Cylinder turning techniques. Rules T.B.
	Shaped turning. Design of a turning product.
	Requirements for the shape and quality of a turning product. Grinding.
	Elements and techniques for detailing a turned product.
	Techniques for finishing a turned product.
	Summary of the course. Review lesson. Summer assignment.
	Total:	34 hours

4. Methodological support for the additional educational program includes:

Forms of control:

Observation;

Interview;

Testing

Creative exhibitions of finished products in a circle, school-wide;

Participation in creative competitions, exhibitions at the municipal and regional levels.

Participation in school, district, regional competitions

Participation in project activities;

- participation in the subject week of aesthetic and labor education.

- Criteria for tracking program mastery:

Mastering the program is carried out taking into account the abilities and level of interest of the student. After mastering the basic level, the student can choose the direction of specialization in one of the subsequent sections or improve in the areas of the basic level.

Progress to the next section is determined not by the number of hours worked, but by achieving the appropriate level(technically and artistically correct implementation of basic carving techniques). The study of new material is consolidated through practical work.

- Conditions for the program:

To implement the program, conditions are necessary - technical equipment of the classroom, availability visual aids, provision of materials for classes. Equipment : (Wood lathes; drilling machines; electric plane; electric drill; electric jigsaw; rip saw; cross-cut saw; workbenches; electric burner.)

Tools : incisors; planers; hammers; jigsaws; chisels; calipers; feather drills; twist drills; squares; surface planers; rulers; hacksaws; mallets.

Accessories: for sawing; jigsaw; for sawing; miter box.

Didactic materials:posters on topics - sawing, drilling, marking, planing, turning and others; technological maps for the manufacture of products by hand; technological maps for turning works.

- Educational work:

When organizing the educational process, the following methods and techniques are used:

Explanatory and illustrative teaching method.

(acquaintance with ready-made knowledge and patterns of activity)

Techniques: conversation, explanation, story, message, demonstration of actions.

Reproductive teaching method.

(for the formation of knowledge, skills, abilities)

Techniques: survey, sample tasks.

Problem-search (problem presentation, partial search, research) methods:

(to develop independent thinking, research skills, creative approach to business)

Personally-oriented technology is actively used.

Personally-oriented teaching technology helps to create conditions for the disclosure and development of the subjective capabilities of each student, through the varied and complex didactic material presented to him.

5. List of references:

1. “Folk art of the Tver land” Kalmykova L.V., Tver - 1995
2. “Beasts and birds of Slavic mythology in decorative and applied arts” Tver School - College of Culture, Tver - 1998
3. “Wood carver” Afanasyev A.F., Moscow, “Moscow worker” - 1988
4. “Wood processing in school workshops” Y.V. Rivkh, Moscow, “Enlightenment” - 1984
5. “Touching wood with a chisel” M.D. Ilyaev, Moscow, “Ecology” - 1996
6. “House carving” by V.G. Burikov, V.N. Vlasov, Moscow, “Niva Rossii” - 1994
7. “The Magic World of Trees” G. Fedotov, Moscow, “Enlightenment” - 1987
8. “Mosaic and wood carving” Matveeva G.A., Moscow, “Higher School” - 1989
9. “Universal bioenergy stimulator “VITA-1” (BION-01)” V.V. Grigorchuk, E.L. Macheret.
10. “Reflexoprevention of fatigue” V.A. Zakharchenko, V.V. Grigorchuk.