MOU Khaitinskaya OOSh
Public lesson
visual arts
Theme: Folk holiday costume.
Fine art teacher:
Theme: "Folk festive costume."
Lesson type: Lesson learning new material.
Target:educational:
To uncover:
Folk festive costume as an integral artistic image;
North Russian and South Russian clothing complex;
A variety of forms and decorations of the folk festive costume in various republics and regions of Russia;
The purpose of which is the creation of a Russian festive costume.
You will now try to depict a Russian festive costume, do the work in color, not forgetting about the main colors and embroidery motifs.
Stages of work:
Choose a costume option;
Build general form suit;
Mark the places of decorations and ornaments;
Determine the color (color) of the costume;
Do the work in color.
So guys, let's get to work.
While working, you will hear recordings of the folklore group
Ladushka, who, like you, created festive costumes and sang these soulful songs.
(The melody of folklore sounds).
IV. Summary of the lesson.
Guys, today we looked at the northern and southern festive costumes of the Russian people.
What elements of the costume can be attributed to the northern Russian. nar. suit?
(Shirt, sundress, jacket, shower warmer)
List the elements of the southern costume? (Shirt, ponyova, apron)
Thus, today we touched our culture, the traditions of the Russian people, because the festive costume reflected the breadth of the soul, willpower, beauty, the integrity of the world, the indissolubility of the earthly and heavenly in the form of folk festive clothes.
V. Reflection
1. What was the most interesting thing in the lesson?
2. Continue the phrase: "The most difficult thing in the lesson was when ...".
Thank you for your work. Lesson grades.
VI. Home building: Finish work in color.
Theme: FOLK COSTUME
Goals:
1. To introduce students to the Russian folk costume, the meaning of color in clothes.
2. To form the skills and abilities of students when using various kinds technology at work.
3. To continue the development of aesthetic and artistic taste, creative activity and thinking of students.
4. To instill interest in Russian folk art.
Equipment and materials:
1. Tables depicting Russian folk costume.
2. Reproductions
3. Musical series: Russian folk songs.
4. Fabrics, braid, glue, scissors for appliqué.
5. Multimedia projector, laptop, interactive board, presentation.
LESSON PLAN
Teacher: Do you know what costume your grandmothers and great-grandmothers might have worn? What everyday and festive folk costumes looked like. How and why were they decorated?
1. Conversation about folk costume. Relationship of costume composition with
folk architecture and ornamentation in folk art. Listening to musical excerpts, folklore works.
2. Staging artistic task: choice of composition and technique.
3. Execution of a small sketch in which the student determines the color and basic character of the costume.
4. Start of work on the final version.
5. Completion of work on the sketch.
6. Exhibition and discussion of works.
During the classes
Conversation.
Peasantry - the keeper of aesthetic ideas and traditions
in folk costume
After the decrees of Peter the Great, Russian noble and urban costumes underwent Europeanization. Aesthetic ideas about human beauty have also changed. The Russian peasantry remained the guardian of the national ideal and costume.
A trapezoidal or straight monumental silhouette, the main types of cut, a picturesque decorative and color scheme, and headdresses of Ancient Russia existed in the peasant environment until the 18th - 19th centuries.
In the second half of the XIX - early XX century. peasant clothing begins to experience the influence of general fashion, expressed first in the use of factory fabrics, trim, hats, shoes, and then in a change in the forms of clothing themselves.
General character Russian folk costume, which has developed in the life of many generations, corresponded to the appearance, lifestyle and nature of the work of the people.
Conditions of historical development since the XII - XIII centuries. determined the most characteristic division of the forms of the Russian costume into northern and southern. In the XIII - XV centuries. the northern regions (Vologda, Arkhangelsk, Veliky Ustyug, Novgorod, Vladimir, etc.), unlike the southern ones, were not devastated by nomad raids. Artistic crafts intensively developed here, foreign trade flourished. Starting from the XVIII century. The North turned out to be aloof from developing industrial centers and therefore preserved the integrity of folk life and culture. That is why in the Russian costume of the North national traits find their deep reflection and do not experience foreign influences. The southern Russian costume (Ryazan, Tula, Tambov, Voronezh, Penza, Orel, Kursk, Kaluga, etc.) is much more diverse in terms of clothing. Multiple migrations of residents due to raids by nomads, and then during the formation of the Muscovite state, the influence of neighboring peoples (Ukrainians, Belarusians, peoples of the Volga region) led to a more frequent change of clothing and the diversity of its types.
Except most common features, dividing the forms of the northern and southern Russian costumes, individual features characterize the costume of each province, county and even village. Folk clothes differed in purpose (everyday, festive, wedding, mourning), age, marital status. Most often, the insignia were not the cut and type of clothing, but its color, the amount of decor (embroidered and woven patterns), the use of silk, gold and silver threads. The most elegant was clothes made of red fabric. The concepts of "red" and "beautiful" were unambiguous in the popular imagination.
Fabrics, color, ornament
The main fabrics used for folk peasant clothing were homespun canvas and wool of simple linen weave, and with mid-nineteenth in. - factory-made silk, satin, brocade with an ornament of lush flower garlands and bouquets, calico, chintz, satin, colored cashmere.
Patterned weaving, embroidery, and prints were the main ways of ornamenting home textiles. Striped and checkered patterns are varied in shape and color. The technique of folk patterned weaving, as well as embroidery by counting the threads, led to rectilinear, geometric contours, the absence of rounded outlines in the pattern. The most common elements of the ornament: rhombuses, oblique crosses, octagonal stars, rosettes, Christmas trees, bushes, stylized figures of a woman, bird, horse, deer. Patterns, woven and embroidered, were made with linen, hemp, silk and woolen threads, dyed with vegetable dyes, giving muted shades. The range of colors is multicolor: white, red, blue, black, brown, yellow, green. Multicolor was decided, most often, on the basis of white, red and blue (or black) colors.
From the middle of the XIX century. homespun fabrics are replaced by factory-made fabrics with printed floral, checkered, striped patterns.
Folk costumes with crimson roses and bright green leaves on a black or red background are found in the paintings of Malyavin, Arkhipov, Kustodiev, reflecting the bright national identity of the Russian folk life this time.
The main types and forms of the costume
Differing in individual elements, Russian folk clothing of the northern and southern regions contains common basic features, and in the men's suit there is more commonality, in the women's - differences.
Men's suit
The male costume consisted of shirts-kosovorotki with or without a low stand and narrow trousers made of canvas or dyed. A shirt made of white or colored canvas was worn over trousers and girdled with a belt or a long woolen sash. The decorative solution of the kosovorotki is embroidery on the bottom of the product, the bottom of the sleeves, the neck. Embroidery was often combined with inserts of a fabric of a different color, the location of which emphasized the design of the shirt (partial seams in the front and back, gussets, neck lining, line connecting the sleeve with the armhole).
Served as outerwear zipun or caftan from homespun cloth, wrapped on the left side, with a fastener with hooks or buttons in winter - sheepskin naked fur coats.
Men's shoes - boots or bast shoes with onuchs and frills.
Woman suit
Women's costume in the northern and southern regions differed in individual details, the location of the decoration. The main difference was the predominance in the northern costume sundress, in the southern ponevy.
The main parts of the women's folk costume were a shirt, an apron, or curtain, sundress, poneva, bib, shushpan.
The women's shirt, like the men's, was straight-cut with long sleeves. The white canvas of the shirt was decorated with a red embroidery pattern located on the chest, shoulders, at the bottom of the sleeves and along the bottom of the product. The most complex, multi-figure compositions with a large pattern (fantastic female figures, fabulous birds, trees), reaching a width of 30 cm, were located along the bottom of the item. Each part of the shirt had its own traditional ornamental solution.
In the southern regions, the straight cut of shirts was more complex, it was carried out with the help of the so-called poliks - cut details connecting the front and back along the shoulder line. Poliks could be straight and oblique. Rectangular poliki connected four panels of canvas 32-42 cm wide each. Oblique poliks (in the form of a trapezoid) were connected by a wide base with a sleeve, a narrow one - with a neck lining. Both constructive solutions were emphasized decoratively.
Compared to North Russian shirts, the bottom line in the shirts of the southern regions is ornamented more modestly. The most decorative and richly decorated part of both the northern and southern women's costume was the apron, or curtain, covering the female figure from the front. The apron was usually made of canvas and decorated with embroidery, woven patterns, colored trim inserts, and silk patterned ribbons. The edge of the apron was decorated with teeth, white or colored lace, a fringe of silk or woolen threads, and a frill of different widths.
Canvas white shirts and aprons were worn by northern peasant women with sundresses. In the XVIII century. and in the first half of the 19th century. sundresses were made of plain, unpatterned fabric: blue canvas, calico, red dye, black homespun wool. The multi-patterned and multi-colored embroidery of shirts and aprons really won against the dark smooth background of the sundress. The oblique cut of the sundress had several options. The most common was a sundress with a seam in the middle of the front, trimmed with patterned ribbons, tinsel lace and a vertical row of copper and pewter buttons. Such a sundress had a silhouette of a truncated cone with a large extension downwards (up to 6 m), giving the figure a slim figure.
Girl's costume of the Moscow province of the middle of the 19th century. consists of a colored shirt with wide sleeves narrowed down and a slanting sundress decorated with a colored stripe and tin buttons. The headdress, braid, necklace are embroidered with pearls.
In the clothes of the Russian North, from the ancient Russian costume, “epanechki” and dushegrey, quilted on wadding, with sleeves are preserved. The costume of a peasant woman in the Tver province: a sundress, a “jepanechka”, a brocade shirt and an elegant kokoshnik.
In the South Russian costume, instead of a sundress, it was more widely used poneva- belt clothes made of woolen fabric, sometimes lined with canvas. The fabric used for poneva is most often dark blue, black, red, with a checkered or striped (with a transverse stripe) pattern. Everyday ponevs got off modestly: woolen homespun patterned braid (belt) on the bottom. Festive ponevs were richly decorated with embroidery, patterned braid, inserts of calico, dyeing, tinsel lace, and sparkles. A wide horizontal stripe of the hem was combined with seams, vertical color inserts. The color scheme of the ponies was especially bright and colorful due to their dark background.
The costume of a peasant woman in the Oryol province: a homespun canvas shirt with fully embroidered patterned sleeves; richly decorated apron-curtain; blue checkered poneva with colored stripes and patterned braid along the hem; headdress - "magpie" with a scarf on top.
By design, the poneva is three to five panels of fabric sewn along the edge. The top edge is folded wide to hold the lace (gashnik) attached to the waist. Poneva could be deaf and swinging. Swing ponevs were sometimes worn "with a hem podty". In this case, the poneva was ornamented from the inside out.
In poneva, the female figure lost the majestic harmony given to it by a sundress. The waist line, revealed by the poneva, was usually masked by a shirt or apron. Often, a bib was worn over a shirt, a poneva and an apron - an overhead or loose garment made of wool or canvas (straight silhouette). The bib was trimmed with woven or woven braid along the neck, side, bottom of the product and bottom of the sleeves.
The layering of the costume, which had different lengths of simultaneously worn shirts, poneva, apron, bib, created a horizontal articulation of the silhouette, visually expanding the figure. In the Russian folk costume, ancient headdresses and the very custom for a married woman to hide her hair, for a girl - to leave it uncovered, are preserved. This custom is due to the form of a female headdress in the form of a closed cap, a girl's - in the form of a hoop or bandage. Kokoshniks "magpies", various bandages and crowns are widespread.
From jewelry used pearl, beaded, amber, coral necklaces, pendants, beads, earrings.
Women's shoes were leather half boots, cats, trimmed at the top with red cloth or morocco, as well as bast shoes with onuchs and frills.
At the end of the XIX century. in folk clothes, along with factory fabrics, the forms of urban costume, more monotonous and standardized, are gradually being established. These are skirts and sweaters of a straight or adjacent silhouette with a peplum, shoulder scarves, scarves. This garment was very bright in color. She was sewn from satin, satin, iridescent taffeta, rich orange, cornflower blue, emerald green, crimson. Trimmed with white machine-made lace, frills, buttons. The most colorful were a scarf, a blouse and a more muted color - a skirt. Great distribution in peasant clothing late XIX in. receives embroidery from printed designs specially made for the village: lush bouquets of garden flowers, wreaths and garlands of large roses.
Decorations
The second half of the 10th century is characterized by a decisive predominance of decorations on the neck, chest and shoulders. At that time, glass beads were especially popular, which were complemented by metal pendants in necklaces. Among metal ornaments, the most noticeable group is horseshoe-shaped buckles (brooches) and pins, which fastened (and decorated) clothes on the chest, neck or shoulder.
Never later did brooches or pins reach such dimensions, and among glass beads, along with necklaces of hundreds of small beads, there are giants up to three centimeters in diameter. During the 11th century, decorations worn between the neck and chest gradually lose their leading position, and by the end of the 11th century, hand decorations - bracelets and rings - begin to play a leading role. They become especially massive by the middle of the Xlll century, and the bracelets of this time themselves reach a width of five centimeters, in contrast to the usual one or two.
Mostly hand decoration is preserved until the turn of the XlV-XV centuries, although at the end of the Xlll - the middle of the XlV centuries, another zone of increased attention appears - from the chest to the hips. . Here they also wore belts with metal buckles and, especially often at that time, various pendants, the most massive of which were large one- or two-headed bronze skates with bells attached to them on chains.
At the beginning of the 15th century, there are sharp, one might even say cardinal changes -
massive metal and glass decorations almost disappear from women's costumes. The jewelry set itself is also becoming poorer. There are no or almost no bracelets, pins and brooches for connecting clothes, beads and various pendants to the costume almost disappear. Buttons that are universal in purpose are preserved, and the leading role among the remaining ones is played by head ornaments (earrings and thin pins with spherical heads, similar to modern French pins), as well as crosses, which, in the absence of other ornaments, become larger and more decorative. Clothing is clearly becoming more strict and closed. The sleeves lengthen, first covering the wrists, and then the hands, as a result of which, at first, the bracelets are replaced by rings, and then among the rings, simple bronze rings begin to play a leading role, similar to our usual wedding rings and, apparently, performing the same function.
In the second half of the 10th - the first half of the 11th centuries, the neck and chest attracted the main interest, in the 11th-15th centuries - the hands, especially the forearms and wrists, although in the second half of the 10th - first half of the 15th centuries the waist and hips played an important role (It should be noted that, unlike the ХVll-ХVlll centuries, beautiful woman should not have been very complete at the time). In the 15th century, in the context of the spread of stricter ascetic Orthodox requirements for women's clothing, women have nothing left but a face, hairstyle, headdress and, with some reservations, a neck than they could, without violating decorum, attract the attention of men.
Statement of the artistic task.
Based on the material we saw about the costume, we will perform costume sketch. Everyone chooses a technique: either a drawing with paints, or an appliqué from pieces of fabric. You can use the drawing of the human figure.
(The sundress and shirt template is offered as a handout rial. )
Held individual work, the compositional idea of each student is specified in a linear drawing, in the elaboration of the main parts of the costume composition with color; painting with a brush of pattern elements; ornamented development of jewelry fragments.
Summarizing.
Viewing and exhibition of finished sketches, discussion and evaluation.
Children's work in the lesson
Illustrative material for the design of the lesson
Lesson topic: "Russian folk costume".
Lesson type: combined
Kind of activity: individual, pair, group
Expected result:
- artistic and creative:
mini-project - creation of the album "Folk holiday costume",
creation of a collective creative composition "Russian round dance";
- meta-subject: (UUD)
cognitive actions - the ability to build an artistic image;
regulatory actions - the ability of students to determine the purpose of their work, identify the stages of work, find the appropriate means and tools, carry out phased control and evaluation of their actions;
communicative actions - the student's ability to cooperate, the ability to understand the intentions and interests of the people interacting with him.
- personal:
a sense of pride in the culture and art of the Motherland, its people;
understanding of the special role of culture and art in the life of society and each individual;
the formation of aesthetic feelings, artistic and creative thinking and fantasy;
the ability to cooperate with comrades in the process of joint activities under the guidance of a teacher;
ability to discuss and analyze artistic activity and the work of classmates from the standpoint of the creative tasks of this topic.
Targets and goals:
1. To acquaint students with the figurative structure of the Russian women's costume, its structure, the symbolism of the ornament and color; to form an understanding of the connection between people's ideas about the structure of the world and the figurative structure of clothing.
2. Educate national identity in the process of familiarization with the Russian folk culture to regional cultural values.
3. Develop educational, cognitive, informational and communicative competencies: know the history of the origin of Russian clothing, be able to distinguish different costumes, be able to find the right information and use it; to promote the development of cognitive and creative activity of children in the visual and decorative, artistic creativity, to intensify independent creative search in solving artistic problems.
Musical series: Russian folk music.
Materials for students: colored paper, glue, scissors, album, paints.
Materials and equipment for the teacher: video sequence - presentation "Folk holiday clothes", handout - patterns for paper-plastic, reference cards "The sequence of the national holiday costume"
During the classes:
I. Organizational stage. Introduction to the purpose of the lesson.II. Stage “Setting the goal and objectives of the lesson”. Motivation to study the topic. Students' choice of a task they would like to achieve by the end of the lesson. Mastering new material.
Answers on questions.
IV. Stage "Preventive". Fizminutka.
Task: to conduct warm-up exercises for the prevention of hypodynamia, as well as preventive exercises for the eyes.
V. Stage "Primary test of understanding and consolidation of skills". Statement of the artistic task.
Stage VI"Application of what has been learned in practice"
VII. Stage"Information about homework, briefing on its implementation"
VIII. Stage“Reflection (summing up the lesson). Evaluation of results.
Lesson summary
I. Organizational stage. Introduction to the purpose of the lesson.
Task: the inclusion of students in activities at a personally significant level.
II. Stage “Setting the goal and objectives of the lesson”. Motivation to study the topic. Students' choice of a task they would like to achieve by the end of the lesson. Mastering new material.
Task: to get acquainted with the traditional Russian costume, its meaning, decoration.
It used to be said about a woman:
The red girl is coming
It looks like a spider is swimming.
Can we say the same about modern woman? Why?
It turns out the appearance of a person, his costume plays an important role in everyone's life. It is no coincidence that they have long said: "They meet by their clothes, they see them off by their mind."
What are we going to talk about today? What to do in class?
The topic of today's lesson is traditional Russian costume. We learn that in the guise of a woman it was possible to say about her:
"The beautiful girl is coming,
Like a spider floats
She's wearing a blue dress
Scarlet ribbon in a braid,
Feather on the head"
And further
And she is majestic
The word pava comes out.
What image is this song talking about?
Children: This song is about a Russian girl.
Let's learn how to create a sketch image of a Russian women's clothing. What is needed for this?
Let's plan our lesson.
- get to know the history of the costume
- learn the rules of decorating
- do creative work
- evaluate your work
Teacher: With whom does the author compare the Russian girl? And why?
Children: He compares her with a “pavushka”, who is dressed in a beautiful Russian costume, on her head a crown or kokoshnik, decorated with pearls and pendants. She acted as a hostess, holding her head high, her back straight, “like a peacock”, “swam like a swan”, a young girl always put her braid on display: “a braid is a girl's beauty” they said in the old days.
Teacher: The image of a woman has long been revered in Russian folk art, folklore, and often it cannot be separated from the image of a bird - ancient symbol goodness and prosperity. “Swan”, “pava”, “duck”, “dove” are epithets that have long been called in folk poetry, emphasizing the plastic side of the image of a Russian beauty.
Today we will take a trip to the past in the lesson, get acquainted with the Russian costume.
Interest in the Russian folk costume has always existed. Folk costume is an invaluable integral property of the culture of the people, accumulated over the centuries. Folk costume is not only a bright original element of culture, but also a synthesis of various types of decorative art.
Awareness of a new topic
Students receive initial knowledge, there is an awareness of the topic through the word of the teacher, dialogue, discussion, explanatory and illustrative material, presentation “Russian folk holiday costume”
Awareness of the topic involves, together with the children, the development and setting of goals at this stage of activity, the choice of means of expression and materials and methods of work.
Russian folk costume is also evidence of a strong connection with the culture of distant ancestors. The costume carries information about the people of a bygone era, about their way of life, worldview, and aesthetics. Best Traditions Russian costumes continue to live today. Color, pattern, silhouette, sundresses, shirts, pony, caftans inspire contemporary artists– fashion designers, contribute to the development creativity in creating our own models of costumes and their elements. We see how expressive Russian costumes are in folklore, in amateur performances, in theatrical performances etc.
The teacher tells how the costume of Ancient Russia developed, changed and improved: The shirt was the basis for women's and men's costumes. The men's suit was a combination of a shirt and ports. Old Russian ports were sewn from two straight panels with a gusset between them. On the belt, they were fixed with a cord - gashnik. The ports were not wide, they were tucked into boots or onuchi. Like shirts, ports could subsequently be lower and upper. The lower ports were made of thinner material (canvas, silk), and the upper ports were made of denser material (cloth
The usual idea of a Russian women's costume is associated with a sundress.
Sundress - loose-fitting clothes - he was not supposed to emphasize the lines of the figure. A sundress is sewn with wide armholes or on straps. The cutout can be rounded or rectangular. An everyday sundress was sewn from homespun motley or a heel. For a festive sundress, they usually bought expensive material - brocade, Chinese, woolen garus.
Sundresses were decorated along the hem and along the fastening line with patterned ribbons, braid, and lace.
Buttons played a special role in decorating sundresses; they sometimes reached the size of a chicken egg.
The sundress was worn over a long shirt. She was one of the most elegant parts of the women's costume. The collar, chest, wide armhole, hem and sleeves were especially magnificently decorated.
III. Stage "Knowledge update".
Task: repetition of the studied material necessary for the "discovery of new knowledge", identification of difficulties in the individual practical activity of each student.
What is an ornament?
Why was the ornament embroidered?
What symbols were used in ornaments?
The ornament could be floral, geometric, zoomorphic or mixed. It was believed that the ornament, along with the red color, has a protective effect, and therefore it was placed in those places where the clothes ended. At the same time, surrounding the hand with symbols, the person wanted to increase its strength and dexterity.
So they dressed in the central regions and in the north of Russia.
The costume of the southern provinces differed from the northern ones in that instead of a sundress they wore a poneva. Poneva consisted of several sewn or partially sewn panels of fabric, gathered at the waist on a cord. Ponyovs were sewn from checkered fabrics or red ones with a transverse stripe. They were decorated along the hem with strips of fabric, ribbons, braid. In some areas, bells were sewn on the ponyova, according to the peasants, their strumming protected them from evil spirits.
An apron was often worn over the poneva; it not only protected clothes from contamination, but also served as an additional decoration.
- Why do you think there were such differences in cut, and especially in the color scheme of the costumes of the north and south?
And the headdress completed the costume of a Russian woman. He received special attention.
From the headdress it was possible to find out from which locality its owner, to which age group she belongs.
Girls everywhere could leave their hair uncovered, a ribbon on their heads was enough. They also wore "dressing", kokoshniks. A married woman had to hide her hair, so the hats were closed, for example, "warrior".
Headdresses were decorated not only with gold thread, but also with river pearls. And yet the most common type of headdress was the kokoshnik. In the Pskov province, they wore a kokoshnik "shishak" embroidered with pearls, pearls gathered into "bumps" - a symbol of fertility. It falls down on the forehead in the form of a grid of small pearls.
Another amazing kokoshnik, in the form of a flat-bottomed round hat. To make the fields bristle, pearls were strung on horsehair. The kokoshniks themselves were made of cardboard, covered with brocade and embroidered with pearls.
Dressed in your traditional costume the peasant woman was, as it were, a model of the Universe: the lower earthly tier of clothing is covered with symbols of earth, seeds, vegetation, at the upper edge of the clothing we see birds and the personification of rain, and at the very top all this is crowned with clear and indisputable symbols of the sky: the sun, stars, birds.
To the singing of songs, the girls spun, wove, prepared a dowry for themselves, they walked around the village singing on warm summer evenings, they intended their best outfits for round dances and festivities - this is how the inseparable connection between the costume and the song arose and made them related by the originality of rhythms and harmonic combinations.
And of course, the theme of the costume is reflected in folk crafts: a clay toy, a matryoshka. And in folk music.
IV. Fizminutka.
Task: conducting warm-up preventive exercises for the eyes.
V. Stage "Primary test of understanding and consolidation of skills." Statement of the artistic task.
Task: choosing an ornament and color solutions for creating a sketch of a sundress (paper layouts) in the material.
Stage VI "Application of what has been mastered in practice"
Task: practical implementation of the task, independent creative work students.
Independent work. Additional information will be provided as the work progresses.
More than 500 years ago, it was said about the rules for wearing and storing clothes in Domostroy: “On holidays and in good weather, and people should wear smart clothes, walk carefully in the morning, and be protected from dirt, snow, and rain , do not pour with drink, do not stain with food and fat, do not sit on blood and wet. Returning from a holiday or from guests, take off an elegant dress, take it off, look at it, dry it, stretch it, wipe off the dirt, clean it and put it well where it is stored.
Do we all take care of our clothes the same way?
The belt was an important part of the costume. Previously, walking without a belt was considered a sin. A belt was put on the newborn immediately after baptism. The width of the belt could be from 1 to 10 cm. Depending on the fashion, belts were tied either at the waist or under the bust. The girls wore removable pockets on them - "gourmet". Women attached to them small wallets for money, keys, and sometimes even a chicken bone "stuffed", which, according to legend, helped them wake up early in the morning.
To remove a belt from a person, to unbelt him, meant dishonoring him. This is where the expression "unbelted man" comes from - a man of unworthy behavior.
Students work on three tasks: differentiation in learning:
1 group performs sketches in color (weak learning);
Group 2 makes a sketch of a sundress in the technique - appliqué;
Group 3 works individually and in pairs - perform volumetric figure. Technique - paper plastic. Video visualization is used.
End result: 1 and 2 groups make out an album (mini - project) - "Russian woman suit and protect.
3 group is collective composition"Merry round dance" - Russian tunes, ditties sound.
VII. Stage "Information about homework, briefing on its implementation"
Task: search work in a visual comparison of various folk costumes.
VIII. Stage “Reflection (summing up the lesson). Evaluation of results.
Objective: to include students in activities at an analytical level.
Reflection:
it was interesting to me…
surprised me...
it was hard for me...
I wanted…
Lesson summary
Students go to the board with their work.
-Looking at the wonderful costumes, we can really say: "MIRACLE WONDERFUL, WONDERFUL WONDER".
Application
The costume of a peasant of Kievan Rus consisted of ports and a shirt. The shirt was cut out from separate parts that were sewn together. The seams were decorated with decorative red piping. Shirts were worn with a narrow belt or flower cord. The ports were sewn narrowed from below to the ankle. Tied at the waist with a drawstring. Tops were worn over silk or cloth trousers.
The South Russian pony complex included: a richly embroidered shirt, a checkered pone, a belt, an apron, a "top" shoulder clothing such as a shortened shirt, other details and decorations, a "magpie" headdress, and shoes.
A shirt is the basis of a women's folk costume. It was sewn from white linen or hemp. It was decorated with embroidery, which protected the woman from the evil eye. A sundress was worn over a shirt, decorated in front with a patterned strip, braid, silver lace, and patterned buttons.
In the Russian folk costume, ancient headdresses and the very custom for a married woman to hide her hair, and for a girl to leave it uncovered, have been preserved. This is due to the shape of the female headdress in the form of a closed cap and the girl's headdress in the form of a hoop or bandage.
Patterned weaving, embroidery, and prints were used to decorate home textiles. Patterns of stylized plants, flowers, and branches were depicted. The most common ornamental elements are: triangles, rhombuses, oblique crosses, octagonal stars, rosettes, Christmas trees, bushes, rectangles with dots, stylized figures of a woman, a bird, a horse, a deer. The range of colors is multicolored.
References 1. Efimova L. V., Belogorskaya R. M. Russian embroidery and lace.- M., Harold R. Costumes of the peoples of the world.- M .: EKSMO-Press, Rabotnova I. P. Russian folk clothes.- M .: Publishing House "Light Industry", Lebedeva A. Russian folk costume / / Young artist
MBOU "Selikhov secondary school"
Public lesson Visual arts Topic: Folk festive costume 5th grade
Art teacher: Ilyushchenko O.D.
2014
Theme: "Folk festive costume."
Target: educational : To uncover:- folk festive costume as an integral artistic image;- North Russian and South Russian clothing complex;- a variety of forms and decorations of the folk festive costume in various republics and regions of Russia;- the shape and decor of women's hats; expression of the idea of the integrity of the world, the indissolubility of the earthly and the heavenly in the figurative structure of folk festive clothes.Developing: to continue the formation of skills and abilities to perform sketches of a festive costume for different regions and peoples of Russia using various techniques and materialsEducational: to form students' aesthetic and artistic taste,cultivate respect and love for folk traditions.
Equipment (materials: paper, paints, pencils, eraser); educational presentation, video "Woman in folk costume".
During the classes.
1. Organizational moment.
Greetings.
A new lesson has come. I will smile at you and you will smile at each other. And think: how good it is that we are all here together today. We are modest and kind, friendly and affectionate. We are all healthy. - I wish us all a good lesson!- 2. Communication of the topic and purpose of the lesson
- 3. Presentation of new material.
Teacher: - Children! Do you like to wear beautiful clothes?
A student dressed in a Russian folk costume enters the class.
Teacher: - The costume of what people is represented on our assistant?
Teacher: Your great-grandmothers and great-grandfathers also flaunted in folk attire. The life of the peasants was inextricably linked with nature, the cultivation of the land and the corresponding labor cycles. The holiday either completed some stage of the difficult peasant life, or preceded the next important stage. The holidays were waiting, preparing for them.
Festive clothes were very colorful, necessarily decorated with embroidery elements, lace stripes, beads, cord, sequins and other details that, as a rule, were not in everyday clothes.A computer presentation will help us to see all the beauty of the festive Russian costume today.For many peoples, ancient festive clothes had a three-tiered structure of decorations.Headdresses and the upper part of the costume are associated with the image of the sky, so the compositions of the patterns are based on the appeal to the sun, stars, birds that connect heaven and earth. Ribbons descending from headdresses symbolize rain. Patterns and embroideries are dominated by the image of fertile land.
We wear caps, berets, hats on our heads. And in ancient times, women wore kokoshniks, magpies, covering them with scarves on top. These hats consisted of 2-5 elements and sometimes weighed several tens of kilograms.
Women have always paid special attention to headdresses, the most noticeable part of any costume. Hats were extremely diverse, but they were always clearly divided into girls' hats and hats for married women.
A married woman, according to ancient custom, had to carefully cover her hair from prying eyes. It was impossible to leave the house with an uncovered head, to do household chores.
But young girls were not forbidden to show their hair: “A girl’s braid is beauty to the whole world.” Hence the differences: girls have light air braids, korunas, crowns, kokoshniks, ribbons, hoops, and women have deaf magpies, kicks, warriors, scarves.
The clothes of a girl in the middle zone and the north of Russia consisted of a shirt, a sundress, an epanechka, and in cold weather, a warm jacket.
Folk festive clothes could tell a lot of interesting things about their owner: where he comes from, what age, for what occasion he is dressed like that. The clothes of each region (province) of Russia had their own ornaments, favorite colors, decoration, shapes and styles. In the Arkhangelsk, Vologda, Novgorod, Kostroma, Yaroslavl regions, combinations of a white base with a red pattern were common.
Over the course of several centuries, a tradition has developed to create and wear those forms of clothing that were most functional and adapted both to climatic conditions and to convey certain information about their owners. Russia as a whole is characterized by 2 types of women's costume set: northern Russian, which is based on a shirt and a long sundress, and southern Russian, the second component of which is a short and voluminous poneva.
The festive shirt was decorated with embroidery, which protected the woman from the evil eye. The collar, shoulders, chest, hem were especially decorated.
It was believed that the richer the shirt was decorated. The happier its owner. Touching the ground with the hem of a shirt, a woman received vitality, and embroideries with fertility symbols gave the earth fertile forces.
The hem of a shirt or skirt was decorated with ornaments symbolizing sown arable land. These are triangles, rhombuses, rectangles with dots. The ends of the braided belts were decorated with the heads of lizards, which symbolized the underground and underwater world.
Teacher: What forms of ornament do you know? Where are they applied?
Student responses:
Ornaments are classified into three forms: centric, ribbon and mesh.
centrican ornament is a pattern whose decorative elements are grouped in such a way that they create a closed movement. This ornament is used to decorate tablecloths, napkins, plates, windows and other frames.
Tapean ornament is a pattern whose decorative elements create a rhythmic row with an open two-way movement that fits into the ribbon. The ribbon ornament is widely used in decorating clothes in the form of an embroidered collar, sleeve edge, belt, headband.
Reticulatean ornament is a pattern in the form of cells that are filled with decorative elements. Woven things were decorated with such an ornament.
Teacher: What colors prevailed in the folk ornament and what is their meaning?
Students' answers: White, red, black, yellow, brown colors. Sometimes gentle blue and natural green.
The white color in folk representations was associated with light, purity and personified the feminine.
Red was the color of the sun, fire, life, beauty and personified the masculine principle._ And now we will watch an interesting video. In it you will see paintings by great artists who depicted the beauty of the folk costume.video film "Woman in folk costume".
- 4. Practical work.
- 5. Consolidation of knowledge.
The game "Chamomile" to recognize the element of the costume you like. The assistant holds a flower in the shape of a chamomile with detachable petals, on which the name of the elements of the Russian folk costume is written. Wishing students take turns tearing off the petals and answering the question.
- 6. Reflection
1. What was the most interesting thing in the lesson?
2. Continue the phrase: "The most difficult thing in the lesson was when ...".
Thank you for your work. Lesson grades.
- 7. Home building:
Finish in color.