Applied art. Embroidery. Embroidery as a type of decorative and applied art and its application in folk and modern costumes

Performed:
Student of secondary school №27 Grodno

1. A little from the history of Russian embroidery.
2. Ornament in embroidery
3. About color.
4. Tools and accessories for embroidery.
5. Preparation for embroidery
6. Transfer of drawing to fabric
Using carbon paper.
On the "light".
Using tissue paper.
7. Workplace of the embroiderer.
8. Counted seams.
9. Simple cross stitch
10. Used literature

The art of embroidery has a long history. The existence of embroidery in the era of Ancient Russia is evidenced by the finds of archaeologists dating back to the 9-10th centuries. These are fragments of clothing decorated with patterns made with gold threads. In ancient times, household items, clothes of noble people were decorated with gold embroidery.
The traditions of embroidery art constantly developed, in the 14-17th centuries embroidery became even more widespread in the decoration of costumes and household items. Church vestments, clothes of kings and boyars rich in silk and velvet were embroidered with gold and silver threads in combination with pearls and gems. Wedding towels, festive shirts made of fine linen fabric, and scarves were also decorated with colored silk and gold threads. Embroidery was mainly common among women of noble families and nuns.
Gradually, the art of embroidery spreads everywhere. Since the 18th century, it has entered the life of all strata of the population, becoming one of the main occupations of girls - peasants.
Embroidery was used to decorate household items - towels, valances, table tops (tablecloths), festive and everyday clothes, aprons, hats and other items, as a rule, were made of simple, inexpensive materials, but they were distinguished by high artistic skill.
Each embroidery had its own purpose. Embroidery on shirts was located at the points of contact of the human body with the outside world (i.e., along the collar, sleeves, hem) and served as a talisman. The embroidery of towels reflects the cosmological ideas of people, ideas related to the cult of fertility and the cult of ancestors. First of all, this concerns the ornament of folk sewing, in which ancient symbols are preserved up to the 2nd quarter of the 20th century.

The most common motif in folk embroidery is the "rhombus". In the embroidery of different nations, it looks different and has different meanings. A rhombus with hooks in embroidery is considered a symbol of fertility associated with the idea of \u200b\u200bthe mother - the progenitor - the immediate beginning of all births on earth. Rhombus - "burdock" in folklore is compared with an oak, a sacred tree of many nations, and is a metaphor for the heavenly "color" of lightning, which strikes demons, protects cattle. Among the favorite motives was the "rosette", consisting of 8 petals - blades, connected in the center. It acts as a symbol of the feminine principle, fertility.
Among the motifs of plant ornament, a prominent place is occupied by the "world tree" - the tree of life. A common motif of facial embroidery is a stylized female figure. She can perform in various compositions: in the center, riders or birds on the sides; holding branches or lamps; with birds in hand, etc.
All these plots differ in the nature of their interpretation. But in most of them, the Mother Goddess woman, personifying the Cheese-Earth, acts as the patroness of agriculture, the fertility of the earth. It was designed to ensure the benefits of life and the reproduction of the family.
Traditional embroidery is a source of knowledge of the ethnic history and culture of the people and their evolution over time.
Embroidery techniques, patterns, their color embodiment have been improved by their generations. Gradually, all the best was selected, and unique images of embroidery with characteristic features were created.
Artistic products of folk craftsmen, decorated with embroidery, are distinguished by the beauty of the patterns, the harmonious combination of colors, the perfection of proportions, and the perfection of professional techniques of execution. Each embroidered product meets its practical purpose.
The museums of our country have collected many samples of folk embroidery.
The most preserved and survived to this day are embroidery of the 19th century. Embroidery was divided into peasant (folk) and urban. Urban embroidery did not have a strong tradition, as it was constantly influenced by the fashion that came from the West. Folk embroidery was associated with the ancient customs and rituals of the Russian peasantry. So, peasant girls to
13-15 years old had to prepare a dowry. These were embroidered tablecloths, towels, valances, garments, hats, gifts.
At the wedding, the bride presented the groom's relatives with the products of her work. Before the wedding, an exhibition of a dowry was arranged, which was supposed to testify to the skill and hard work of the bride.
Women were engaged in needlework in a peasant family - they spun, weaved, embroidered, knitted, weaved lace. In the process of working, they honed their skills, learned from each other and from their elders, adopting the experience of many generations from them.
Women's clothing was made from homespun linen and woolen fabrics. She was decorated not only with embroidery, but also with lace, braid, inserts of colored chintz. In different provinces, clothes had their own characteristics, differences. It was different in purpose (everyday, festive, wedding), was performed for different ages (maiden, for a young, elderly woman).
By the nature of the patterns and techniques for their implementation, Russian embroidery is very diverse. Individual regions, and sometimes districts, had their own characteristic techniques, ornamental motives, and color schemes. This was largely determined by local conditions, life, customs, natural surroundings.
Russian embroidery has its own national characteristics, it differs from the embroidery of other peoples. Geometric ornament and geometrized forms of plants and animals play an important role in it: rhombuses, motifs of a female figure, bird, tree or flowering bush, as well as a leopard with a raised paw. The sun was depicted in the form of a rhombus, circle, rosette - a symbol of warmth, life, a female figure and a flowering tree personified the fertility of the earth, a bird symbolized the arrival of spring. The location of the pattern and the embroidery techniques were organically related to the form of clothing, which was sewn from straight pieces of fabric. The seams were made by counting the threads of the fabric, they were called counted. It is easy to decorate with such seams the shoulders, the ends of the sleeves, the slit on the chest, the hem of the apron, the bottom of the apron, the bottom of the clothes.
The embroidery was placed along the connecting seams.
In embroideries "free", along the drawn contour, floral patterns prevailed.
Old Russian seams include: painting or half-cross, set, cross, counted surface, goat, white small stitching. Later, there were cutouts, color intertwining, cross stitching, guipure, chain stitching, white and colored satin stitch.
Russian peasant embroidery can be divided into two main groups: northern and central Russian. The northern embroidery includes the Arkhangelsk, Novgorod, Vologda, Kalinin, Ivanovsk, Gorkovsk, Yaroslavl, Vladimir and other regions.
The most common techniques of northern embroidery are cross, painting, cutouts, white stitching, through-stitching performed on a net, white and colored satin. Most often, patterns were made with red threads on a white background or white on red. The embroiderers skillfully used the background as one of the elements of the pattern. The squares and stripes inside the large figures of a bird - a pea, a leopard or a tree - were embroidered with blue, yellow, and dark red wool.
Works of folk arts and crafts are in unlimited demand both in our country and abroad.

Ornament in embroidery

To make embroidery you need a pattern, a drawing. Is any drawing suitable for this? Many people like to embroider flowers, various plants. And often naturalistic images of plants, flowers, as well as plot pictures translated from reproductions and postcards are used as patterns for embroidery. Such "patterns" cannot be called artistic, they do not correspond to the peculiarities of decorative and applied art. And, besides, no matter how we strive to embroider the flower in all its details, so that it turns out "like living", it still will not work like that and will not decorate the product. Only in a drawing made by pictorial means, where the presence of light and shadow creates volume for it, is it possible to approximate nature, but the painter does not strive to mindlessly copy nature.
It is not the task of embroidery to achieve realistic images.
It serves to decorate household items and has no independent meaning. The main role is played by the object itself, which, thanks to the embroidery, acquires artistic value.
When creating a pattern for embroidery, the artist makes sketches from nature and then transforms them into ornament and various ornamental compositions.
The word "ornament" in translation from Latin means "to decorate".
Ornaments are used to decorate and decorate a product of applied art, therefore it is an integral part of this product and entirely depends on its shape, purpose and material from which this product is made.
When processing a drawing into an ornament, the main, characteristic features of an object (for example, a flower, a bird) are selected. The motives of animals, birds, plants are drawn with a contour, not striving for accurate transmission, highlighting only the main features. The plane image of such motifs becomes part of the pattern and is organically linked to the surface of the item being decorated.
When creating patterns for embroidery of modern products, artists often use motives of peasant embroidery of the 18th-19th centuries, in which the principles of ornamental composition are always preserved.
The interpretation of motifs of plant or animal origin in patterns depends on the nature of the ornament, the texture of the fabric, and the technique of execution. So, for example, the image of strawberry berries and leaves may be different and depends on what seams it will be made with.
Starting to make a product, you first need to think over its artistic solution as a whole, determine the location of the pattern on the plane, its individual parts, the proportions of the elements, the execution in color, that is, everything that is included in the concept of composition.
The nature of the composition is largely determined by the rhythm - the regular alternation of individual elements or a group of elements in the ornament, which contributes to the achievement of the expressiveness of the composition, the clarity of its perception. Repetition of exactly the same elements or groups of elements is called rapport.
An ornament can be used to decorate the entire surface of an object (for example, a carpet) or some part of it (the edges of a napkin or the middle of a pillowcase), individual ornamental motifs can be scattered over the surface of a product (tablecloth), etc.
To build an ornament, geometric shapes (triangles, squares, stars, circles, etc.) can be used, as well as wavy, broken lines, spirals, etc., plant motifs (leaves, flowers, branches, trees, etc.). etc.), the image of images of the animal world (insects, birds, fish, animals), as well as a human figure in a very generalized form. Sometimes in the ornament, geometric shapes are combined with motives of nature. All parts of the ornament must be proportionate.
Sometimes the motives in the pattern are not repeated. The pattern can be built on the basis of symmetry and asymmetry. This pattern will also be ornamental.
Symmetry is characteristic of Russian embroidery patterns - the regular arrangement of the main lines, shapes, colors relative to the horizontal or vertical axes of symmetry. The drawing can be built with respect to one, as well as two or more axes of symmetry.
The construction of the composition can be based on the principle of balance, when parts of the pattern balance each other and become part of the pattern.
Often the pattern is built in a closed plane, that is, in a plane bounded by some geometric shape. This can be a square or rectangular tablecloth, a panel, a triangle-shaped shawl, a round pillowcase for a sofa cushion, etc., depending on the shape of the product and the artist's intention, the shape and location of the pattern may vary. So, the corners or the middle can be embroidered on the tablecloth.
The plane of the tablecloth or napkin can be divided into squares or rectangles, and embroidery patterns are located in them.
In all the patterns below, the resemblance to the plants of the same name has been preserved, but the flowers and leaves have taken on a new, ideal form. There are no flaws in them that can be found in nature: a wrinkled or broken leaf, a turned away flower petal, a broken or thickened twig. To consider such a twig, it is necessary to push apart and straighten the leaves, remove some of them. The artist does the same when creating an embroidery pattern. The distinct shapes of flowers and leaves are grouped in a new way and fill a strip or plane, obeying the artist's intention. In these patterns, flowers, leaves and berries do not interfere with each other, do not find one another. the elements of the pattern are arranged in such a way that the background of the product is evenly distributed between them and becomes part of the pattern.
It is recommended to use samples of folk patterns and drawings created by artists for embroidery. Individual parts of the drawings can be combined in your own way, and even more interestingly, observing nature, you yourself can come up with patterns, their location on the surface of the product.

Embroidery is closely related to color. When choosing threads, it is necessary to take into account color combinations, to know how they affect each other. To do this, you need to get acquainted with the basic properties, the interaction of colors - color harmony, that is, consistency in the combination of colors.
The harmonious color selection is based on the color wheel, which consists of the colors of a closed spectral range.
If a beam of light is passed through a three-sided glass prism, then it will be decomposed into its component parts, a color band is formed - a spectrum. In nature, you can often observe this combination of colors in a rainbow, when a ray of the sun passes through a dewdrop.
The visible spectrum is a continuous series of changing colors: red, orange, yellow, green, light blue, blue, violet. These colors are separated from each other by a gamma of intermediate tones. If the colors of the spectrum are arranged in the same order in a circle, then between blue - violet and red there will be magenta. The color circle can be divided in half in diameter, so that warm colors enter one half, and cold colors enter the other.
Any color is characterized by hue, brightness and saturation.
The color tone is, in fact, the chromaticity - red, blue, yellow, etc. By the color tone, one color is distinguished from another.
Brightness is the degree of closeness to white. Of all the objects around us, the largest percentage of light is reflected by white surfaces. Therefore, the lightest will be colors close to white.
The saturation of a color is determined by the degree of its density, its limiting color. For example, blue is considered saturated if it cannot be made bluer.
All colors are divided into chromatic and achromatic. All colors of the spectrum, the whole range of countless shades of these colors are referred to chromatic. They are called tonal. Achromatic colors include white, gray and black. These are colorless, unpainted colors. They are called neutral.
Achromatic colors have no saturation. They also do not have a color tone and differ from each other only in brightness. The brightest color is white. The black color has no brightness.
Colors located on opposite sides of the spectral circle are called complementary. If you draw the diameter through the midpoints of the red color, then it will intersect the blue - green color, which in the color wheel is almost opposite to the red, and so on.
If additional colors are mixed in equal amounts, then they seem to extinguish each other, a grayish, low-saturated color is obtained. When placed side by side, complementary colors mutually reinforce color saturation. Given this property of additional colors, it is not recommended to take them in equal proportions: one of them should serve as the main one, and the other as an additional one (for decoration). Any colors when placed side by side affect each other and can give a different impression. Any color surrounded by darker colors appears lighter, and surrounded by lighter colors - darker.
Harmonious color combinations can be obtained from shades located close to each other within one fourth of the color wheel, for example, a combination of yellow with yellow - green. Combinations made up of three contrasting colors (or their shades) are beautiful and original. these colors lie at the vertices of an equilateral or isosceles triangle inscribed in the color wheel.
Achromatic colors go well with each other: white with black, black with gray, white. These colors are in harmony with any color.
At the same time, chromatic warm colors win next to dark achromatic ones, and cold ones - with light achromatic ones. Saturated colors are in harmony with black or white, and low-saturated colors - with various shades of gray. In all cases, the color combination is greatly influenced by the predominance of one color or another.
When choosing a color, one must remember about one more of its properties. He can visually alter the shape and size of an object. If you look at a surface covered with red and blue spots, the illusion arises that the red spots are located closer to the viewer than the blue ones. Light and warm colors seem closer to us than dark and cold colors. Therefore, warm colors seem to enlarge the subject, while cold colors make it smaller. This property of colors can be used in order to highlight a certain part of clothing, smooth out the sharpness of the outlines. Products that look at a great distance can be embroidered with threads in saturated contrasting colors.
The choice of color and thread for embroidery, the combination of their colors depends on the purpose of the thing, the location of the pattern, size. As a rule, the background (color of the fabric) is given additional space, and the pattern is the main thing. Therefore, the background should not stand out, be brighter than the ornament. The color scheme of the pattern also depends on the execution technique.

Tools and accessories for embroidery.

To perform hand embroidery, very simple tools are needed: needles, a thimble, scissors, a centimeter, a pointed stick, a hoop; in addition, graph paper, tracing paper, carbon paper.
It is better to take short needles for embroidery with an elongated eye. It is easier to insert a working thread into the large eyelet in several folds. Such needles are used for making counting and simplest seams, as well as for embroidery with Vladimir stitches. It is very convenient to count and separate threads with these needles.
Woolen thread is difficult to thread into the needle. You can use a needle threader to thread it. It can also be threaded in with a piece of silk or fine spool thread. A thread of silk is folded in half and the end of a woolen thread is inserted into the resulting loop. Both ends of the silk thread are threaded into the eye of the needle and pulled along with the woolen thread.
For embroidery on thick and thin fabrics, thinner needles with a smaller eye are needed. Thick needles will leave holes in the puncture sites, and a thin working thread will not hold well in the large eye.
A thimble is necessary for pushing the needle through the fabric when embroidering without a hoop, when piercing several layers of fabric, when sewing the edges of a garment, etc. It protects the finger from being pricked by the needle.
They put the thimble on the middle finger of the right hand, pick it up exactly to the size of the finger: it should not squeeze the finger and fall off it.
It is good to have three types of scissors for work: small ones with sharp ends for cutting and pulling threads from fabric, medium-sized ones with curved ends for trimming threads when embroidering, and large ones for cutting fabrics and skeins of thread.
The scissors should be well sharpened, the ends of the blades should be completely closed.
A centimeter tape is needed to determine the size of the product, mark patterns on fabric, when performing sewing work.
A sharpened stick (bone, wood or plastic) is used to pierce holes when embroidering with white satin stitch.
The hoop is necessary to keep the fabric taut and prevent it from deforming. The hoop can be rectangular or round. Round wooden hoops are very convenient for work.
The hoop can be equipped with a screw, with which it can be attached to the table.
Millimeter paper is needed for drawing up ornaments, especially geometric, counting ones.
Tracing paper is used to prepare a drawing for transfer to fabric.
The ornament from the original is first transferred to tracing paper, and from tracing paper to fabric
Copy paper is needed to transfer the pattern to fabric.
Preparing for embroidery
Before embroidering, the fabric is aligned with the warp and weft, the location of the pattern is marked on it, then the pattern is translated. After that, the fabric is hovered. In order to align the edges of the fabric, you need to pull out the extreme thread and cut off the excess fabric along its trail. The width and length of the product are outlined in the same way.
If the pattern is geometric, and the fabric has a clear interlacing of threads, then it can be done by counting the threads of the fabric. When embroidery is not related to the structure of the fabric (Vladimir stitches, colored satin stitch, etc.), a transfer of the pattern to the fabric is required.
Transfer of drawing to fabric
The pattern can be transferred to fabric in several ways. In all cases, the pattern from the original is first transferred to tracing paper or transferred to graph paper with a well-sharpened pencil. After that, the drawing is transferred to the fabric.

A) Translation of a drawing using carbon paper.

The fabric, previously ironed, is spread on a smooth surface (table, board), while making sure that there is no distortion of the fabric along the warp and weft threads.
Trace paper with a pattern is placed on the fabric and attached with pins. Place carbon paper under the tracing paper with the bold side to the fabric and outline the pattern with a sharpened pencil. It is desirable for copying to have a set of carbon paper of various colors, then for light fabrics take dark carbon paper (black, blue, green), for dark - light (white, yellow).
After the pattern has been translated, you need to take out the copy paper, break off the pins on one side, check the drawing and then remove the tracing paper.
Geometric patterns (for counted stitching, etc.) can also be translated using carbon paper. For this, a thick needle is used to make punctures of graph paper and carbon paper along the pattern at the intersections of the horizontal and vertical lines of the cell.
A pattern is obtained on the fabric, indicated by dots.
When translating a pattern using carbon paper, remember that the lines of the pattern should not be greasy, otherwise the fabric and threads may get dirty during the embroidery process. Therefore, it is better to use used copy paper, and first wipe the new one with dry cotton wool or a cloth.
b) Transfer of the picture to the "light".
The pattern can be translated onto thin transparent fabrics using highlighting. On the glass, under which the lamp is placed, a tracing paper with a clear pattern is placed, and on top of it a well-stretched fabric. A sharpened pencil is drawn around the pattern (drawn on the fabric), which is visible through the fabric. c)

C) Translation of the drawing using tissue paper
On cloth, velvet and shiny fabrics, the pattern is transferred with a mark through tissue paper, swept it to the fabric and sewn with small frequent stitches with a seam in front of a needle along the entire contour. Then the paper is ripped off.
After embroidery is completed, the seal is pulled out.

Embroiderer's workplace

To embroider it was convenient, the work did not cause fatigue, you need to properly organize your workplace and follow certain labor rules.
The table with fixtures and fittings should be placed so that the light falls from the left side. If there is no drawer in the table, the threads can be stored in a special bag, tools in a box, and tracing paper sheets with patterns in a folder. It is necessary to monitor the position of the body, do not slouch, do not tilt your head low. The body should be slightly inclined forward during operation. The distance between the eyes and the work should not exceed 25 - 30 cm. Sometimes, for this purpose, the hoop is set higher, placing a board, a book, etc. under them. The chair is moved to the table so that you can lean on its back.
The correct position of the hands during work is of great importance: the left hand should be at the bottom, the right one on the top of the hoop. When embroidering on rare fabrics and stitching mesh with the right hand, draw the needle to the wrong side of the embroidery, sticking it in with a sharp end. With the left hand, take the needle by the sharp end, leading to the front side with a blunt end (eye). Tighten the thread with your right hand.
When embroidering on dense fabrics, the needle is brought out with a sharp end from the seamy side to the front side.

Counted seams

Counted stitches are among the most ancient and widespread seams in Russian embroidery. This is a cross, a set, a painting, a goat, a counted surface, etc. Embroidery with these stitches is widespread, especially for the Arkhangelsk, Ivanovo, Ryazan, Tambov, Smolensk regions.
The cross appeared later than the seam painting, around the second half of the 14th century, when drawings from city albums began to spread.
To complete it, we used seam patterns, painting and line embroidery.
The cross stitch is performed faster than the painting stitch and attracts with its dense, grainy texture and bright decorative effect.
Towels, valances, clothes were successfully embroidered with a cross. This embroidery is widely used in the Ryazan and Tambov regions. It is difficult to find an embroiderer who does not know embroidery with a simple cross, but not everyone knows that there is a double cross, two-sided and one-sided, but in
The Tambov region is embroidered with a double-sided cross, framed by four stitches, this is the Tambov cross.
Counted seams are called counted because they fill the pattern, counting the threads of the fabric. The embroidery stitches lie flat on the surface of the fabric. To perform counting embroidery, it is better to take a dense weave fabric, since its structure is clearly visible. Cross stitches, painting, counted surface can be embroidered according to the translated pattern on dense fabrics, on fabrics with a fuzzy structure.
Counted embroidery is successfully used to decorate items of clothing, napkins, curtains, cushions, panels and other products.
Counted embroidery helps develop the eye, but it requires special care. If the threads of the fabric are counted incorrectly, the stitches will be of different sizes and as a result the pattern will be distorted and the work will take on a sloppy look. The embroidery on the seamy side should look just as beautiful and neat as on the front.

Simple cross stitch

This seam is easy to make. It consists of diagonal crossed stitches of the same size. The cross is performed in the following sequence: the first stitch is from bottom left to top right, the second from bottom right to top to left. From the first stitch to the second, the working thread runs along the wrong side vertically from top to bottom. If you need to sew several crosses, located side by side horizontally, then all the first (lower) stitches are performed first, then all the second (upper) stitches.
Thus, all top stitches should be in the same direction.
When embroidering a complex pattern, you must also follow the basic rules for making a seam. So, in the rhombus motif, where the crosses are located diagonally, they perform the lower stitch in the first cross, the upper stitch in the second, the lower one in the third, and so on throughout the pattern. Moving in the opposite direction, overlap the bottom stitches of the crosses and bring the needle and thread under the top stitches.

Used Books:

1. TI Eremenko "The needle is a sorceress".
TI Eremenko "Cross stitch".
L. M. Rusakova "Motifs of a rhombus with hooks in the patterns of Siberian embroiderers." G. P. Durasov "Fine motives of Russian folk embroidery".

Features of the development of embroidery as a type of arts and crafts

Coursework

Culturology and art history

Embroidery is a widespread type of folk arts and crafts, ornamental or subject image on fabrics, leather, felt, made with various hand or machine stitches using threads or other materials.

« Features of the development of embroidery as a type of arts and crafts»

SECTION I. HISTORICAL ASPECT OF EMBROIDERY DEVELOPMENT AS A TYPE OF DECORATIVE AND APPLIED ART ………

1.1. Embroidery as a kind of decorative and applied art, its classification ……………………………………………………………

1.2. The history of the emergence and development of embroidery …………………… ...

1.3. Conclusions on the section ……………………………………………… ...

SECTION II. ARTISTIC AND TECHNOLOGICAL FEATURES OF EMBROIDERY IN ART ………………… .. ……

2.1 Artistic and expressive means of embroidery …………………

2.2. Features of the technological process of making embroidery ...

2.3. Occupational health and safety when embroidering …………… ..

2.4. Conclusions for the section ……………………………………………… ......

CONCLUSIONS…………………………………………………………….……….....

LIST OF USED SOURCES …………………… ..…

APPENDICES ……………………………………………………… ..….

SECTION I. HISTORICAL ASPECT OF EMBROIDERY DEVELOPMENT AS A TYPE OF DECORATIVE AND APPLIED ART

1.1. Embroidery as a kind of arts and crafts, its classification

Embroidery is a widespread type of folk arts and crafts, an ornamental or plot image on fabrics, leather, felt, made with various hand or machine seams using threads or other materials. The amazing wealth of artistic and emotional solutions to folk embroidery is due to the variety of materials, techniques for making ornaments, compositions, colors, which have numerous local features. There are no limits to the variety of their artistic and expressive means.

The emergence of embroidery is associated with the appearance of the first stitch when sewing clothes from skins; this art has a long history. At various times, both precious stones and pearls, beads and beads, coins, sparkles, shells, and animal veins, dyed or natural threads of hemp, flax, silk, cotton, hair and wool served as material for embroidery. At all times, embroidery reflected the ideas and artistic tastes of different peoples, showed their skill and national originality.

In developing the classification (division according to certain common features) and typology (division into groups reflecting significant differences), researchers followed expressive main features: material and technique, ornament, composition, color, functional and practical purpose.

The materials determine the artistic level of the work. In connection with their purpose, embroidery materials are divided into two types:

1) the base on which to embroider,– woolen, linen, canvas, home-made fabrics, leather, cloth. Later - factory-made fabrics: percale, calico, cambric, Chinese, kumach, bambak, su raj, muslin, plisse, silk, leather, etc .;

2) material used to embroider: hand-spun linen, hemp, woolen threads, factory-made threads - ardor, pain, kumach, wolf, garus, woolen plaid threads, cords, silk, metal, gold and silver threads, corals, pearls , precious stones, beads, metal plates - sequins, buttons, morocco ribbons, etc.

Embroidery materials have been gradually improved. So, factory-made threads came to replace hand-spun. A different material was used for individual components of clothing and interior fabrics. Linen clothes were mainly embroidered with linen, woolen, hand-spun threads, and cotton factory-made; woolen – suites, sleeveless jackets, sardaki, google, in addition to the named threads, were also embroidered with cords, factory-made woolen threads - with a wire; rewind – threads, silk, silver, gold threads; casings – wool, morocco ribbons, silk, etc. From the middle of the XIX century. more and more often used for embroidery garus, factory, and from the beginning of the XX century. - threads "LCA", floss, beads, silk, etc.

Natural, physical, structural and elastic properties, color shades, the nature of the interaction of these two types of materials determine the artistic quality of embroidery. The collective wisdom of the people lies in the artistic skill of harmonizing various types of materials, the most expressive revelation of their beauty in a two-dimensional plane and the thoughtful proportionality of embroidered patterns and fabric gaps to enhance the emotional accents of ornament and color.

Creative ingenuity, the power of artistic imagination is found in various ways of using bleached and unbleached threads, recipes for dyeing linen, hemp, woolen embroidery threads with natural and chemical dyes.

Often, for embroidery of one pattern, they also used bleached linen threads ("white", "squirrel", "linen", "white squirrel", etc.), and threads with a grayish, ocher tint, and cotton threads "pamut", "factory" , "Zapol", and hand-spun and factory-made woolen threads - "dragline", "onion", garus, metallic gold and silver threads, beads, etc. Embroidery with silk, woolen, metal threads of different quality and structure enhanced the relief of the patterns, their volumetric spatial sound.

According to the material, embroidery is divided into basic types: linen, wool, silk, gold (silver). The widespread combination of materials underlies the division of embroidery into separate subtypes: gold-silk, woolen-pamut, etc.

Embroidery is renowned for its wealth of technical performance. Undoubtedly, the word embroidery comes from the word to sew. According to researchers, the ancient name for embroidery is "sew", "sewing", "seam". In folk terminology, embroidery is still called "sewing", "sewing", "sewing", "sewing", etc.

Sewing, embroidering - it is in different ways to drag through, to fasten the thread entangled in a needle, to apply stitches to fabric or leather. Differences and specificity depended on how these stitches were stitched into the fabric, how the embroidery thread lay on the base, at what intervals (how many warp threads), the stitches were straight, inclined or oblique, stretched loosely on the fabric.

The results of the analysis of the surviving samples of embroidery of the X-XII centuries. ornamental and fine sewing (embroidery in gold, silver, silk) allow you to highlight different embroidery techniques.

Before embroidering complex work, you must be able to correctly and quickly sew simple seams. If they come easily, then in the future there will be no problems with mastering any manual embroidery technique.

The simplest seams include contour - "needle forward", stalked, tambour, etc., as well as looped and "goat", loops with attachments and "knots". These seams are usually performed in many embroideries as auxiliary, for example: in the embroidery of stems and twigs - a stalk seam, in the embroidery of the cores of flowers - "knots", "goat", chain stitch, etc. All of them are simple, do not require special skills in embroidery , but, having mastered them, you can make more complex patterns. For the convenience of making seams on a dense fabric, 1-2 threads are pulled out of it for each seam and a seam is made along the trail of the pulled threads (the required number of threads will be easy to count). By performing these seams, you can practice well in setting your hands when embroidering, threading working thread into a needle, securing it to fabric, etc. (fig.1a).

It is a series of stitches and skips of the same length. Secure the thread at the right edge of the fabric, making a 5 mm stitch (3 to 6 threads of fabric). After fastening the thread, insert the needle into the point of the second puncture and pull it along with the loop to the wrong side. Having passed the same number of threads, poke the needle to the right side and make a second stitch, etc. The stitches of the seam and gaps must be made of the same length and positioned in the direction from right to left. On the wrong side of the fabric, stitches of the same length will be placed between the right stitches. The stitch length may vary. The seam can be performed both by thread count and along a drawn contour; place the stitches in two or more rows (Fig. 1b).

A seam "by the needle" - a continuous row of stitches (Fig. 2). Move the needle from right to left to make the first stitch and skip of one length, for example equal to 4 threads of fabric. Pull the thread from left to right for the second stitch. Insert the needle at the same point where the first stitch ends, and bring it to the right side 4 threads of the fabric to the left of the second stitch. Thus, the purl stitch will be twice as long as the front stitch. For the third and all subsequent stitches, insert the needle at the point where the previous stitch ends. The seam stitches must be the same length.

This seam can be sewn with fabric gaps between the stitches (fig. 3). From right to left, sew the first 4-strand stitch on the fabric. On the right side of the needle, poke out to the left of the first stitch by 8 threads and sew the second stitch with a length of 4 threads in the direction from left to right. The front side is the same as the seam "forward to the needle", but the stitches are more convex, raised. This method of making a seam is used in a white surface for making motifs with a "scattering" seam, as well as for making a contour of drawn patterns.

The stalk stitch is used to embroider contour patterns, stems and twigs, the motifs of the pattern are sewn in embroidery, which is called the "Orlov list" (Fig. 4). When performing a curved line (curved or concave), the needle is punctured from the side of the center of the circle, if we consider the curved line as part of the circle. The seam forms a continuous row of oblique stitches that fit tightly together. It can be sewn from left to right when sewing with both hands, and away from you when sewing with the right hand and holding the hoop with the left. Having made the first stitch on the fabric from you, bring the needle and thread to the middle of the left side of the stitch, place it towards you and press it against the fabric with your left thumb. On the second stitch, pierce the fabric above the first stitch and bring the needle out in the middle of the second stitch from the left side. The seam is performed by moving the needle towards you, placing the stitches away from you. At the same time, each new stitch comes forward half of the previous one. When making a stalk seam, the working thread should always be on one side - to the right or to the left. It is impossible to change the direction of the thread during operation, since this will disturb the structure of the seam. All stitches must be of the same size.

The lace seam is performed in two steps (Fig. 5a, b). First, in a straight line or along the contour of the pattern, you need to make the stitches of the seam "forward to the needle". The distance between stitches should be half the length of the stitch. Then bring a needle with thread (usually of a different color) under each stitch from top to bottom, without piercing the fabric. If the needle and thread are brought under the stitches, then from top to bottom, then from bottom to top, you will get a different kind of seam (Fig.5a).

Goat seam. This seam is used to embroider small leaves, flower cores, etc. (Fig. 6). It is also used to embroider the entire pattern with an arbitrary outline. Even strips of a seam are used as an addition to large, complex embroidery, as well as for masking seams when joining pieces of fabric.Stitches should be placed from left to right, making punctures in the fabric alternately along one and the other edge of the strip. The distance between the punctures should be the same. In the middle of the strip, the stitches cross. Each new stitch overlaps the previous one. When sewing a seam along a curved line (a circle in the heart of flowers, leaves, etc.), it is necessary to ensure that the distance between the punctures along the edge of the larger circle is longer than the distance between the punctures located along the edge of the smaller circle.

Buttonhole seam or edge seam.Fold the fabric to the wrong side to a width of 3-4 mm and sweep it with a thread to match the fabric (Fig. 7). Make the buttonhole stitches from left to right, positioning them perpendicular to the edge of the fabric. Place the edge of the fabric on the index finger of your left hand and hold it with your thumb. For convenience, the opposite end of the fabric can be pressed against the table with a heavy object. Having made the first stitch on the fabric, move the needle towards you to lay the thread down, to the right and up from it, that is, in a loop. Drive the needle into the fabric, stepping back from the first stitch to the right, and sew a stitch along the wrong side from top to bottom so that the loop of the thread remains under the needle. Tighten the thread, make a third stitch, and so on. The seam stitches can be of different lengths. If the edge of a stitching net is sewn with a buttonhole seam (for example, in a colored interlace), then the stitches are made 2-3 mm high and 2 threads of fabric are left between them. In embroidery with white satin stitch, scallops (scalloped edge of the collar), neck cuts, etc. are sheathed. In this case, the stitches, tightly adjacent to each other, are made of different heights, placing them in the shape of the scallop. A buttonhole is sewn over the edge of small napkins, the bottom of an apron or a towel. In this case, the stitches are made with thick colored threads. The stitch height can be from 8 to 10 mm, the distance between them is 3-4 mm.

The stitches can be of different lengths (Fig. 7a), grouped in 3 or more stitches (Fig. 7b). Sometimes the edge of the fabric is sheathed twice with threads of different colors, for example, red and blue. First, using blue threads, sew 8 mm seam stitches with 5 mm stitch spacing. Then the stitches of 4-6 mm high are made with red threads, placing them between the blue stitches.

The technique of "puncture" sewing is that the base of the fabric is pierced with a metal thread and stitches are laid on the front side. The variety of density and the direction of their location create an attractive heterogeneity of the structures of individual elements, motives and shapes (Fig. 8).

The technique of "seam in shape" (oblique stitches were covered with rounding, wavy framing) and the technique of "seam in a herringbone" surface application of oppositely inclined stitches depicted branches, narrow ribbons (Fig. 9).

The technique "in the attachment" consisted in the fact that metal threads were tightly applied next to each other on the fabric and sewn to the base of the fabric with silk threads. The same technique was used for embroidery with mother of pearl, corals, beads, leather ribbons, woolen cords, etc. In the XVII century. the technique of "sticking" on a soft mat was widespread, when soft linen, silk was tucked under the metal threads, as well as the technique of "sticking" on a hard mat, when cardboard was placed under the metal threads. These techniques can be seen on shroud, vestments, veils, shroud, etc. (Fig. 10).

The artistic sound was enhanced by the introduction of small oblique stitches on the backing - "seam along the rope" (Fig. 11), straight stitches often in a checkerboard pattern - "carapace seam". In the plot images - the face, hands - they embroidered with silk threads flat, densely, smoothly covering the planes with different, in accordance with the shape, stitches - "barely seam".

For centuries, the dominant embroidery method has been the application of straight, oblique, counter-oblique stitches with embroidery thread. These three methods of overlaying developed differently in certain environments, in the work of embroiderers in landowners, nobility, monastic, urban workshops and in folk art.

The results of the analysis of dated embroidery of the 17th – 19th centuries, made with hand-knotted linen, woolen threads, threads, etc., makes it possible to distinguish two main methods of applying embroidery thread stitches to the base: two-sided and one-sided.

Bilaterally on the fabric, stitches are applied by the following techniques: busting, stitching, "behind the needle", double-sided satin stitch, stalk seam, pine, various techniques gouging, cutting, hemstitching, scarring, overcasting, etc.

The techniques of one-sided embroidery are no less diverse, that is, the application of embroidery stitches from the inverted or front side of the fabric. Embroidery from the inverted side (low, understitching) is a sequential pulling of the embroidery thread from one end of the fabric to the other, during which a certain number of warp threads are covered alternately once - from the inside, and the second - from the front side. As a result, a reverse pattern is formed on the seamy side of the fabric, i.e. the negative one on the front side.

Embroiderers constantly enriched, developed new techniques for surface embroidery on the front side. These include: kafasor, double-sided shtapivka, toploot, slider, braid, pigtail, reticule, cross, "through the chisnitsa", chain-tambour, "curls", in pairs, rushnikovy, gorodok, choice, etc.

These techniques are typical in the art of embroidery. They do not exhaust the entire wealth of embroidery; their various types enrich local subtypes, groups known in every region, even in individual villages. In addition, the individual creativity of embroiderers, the "lightness" of the hands affects the duration of the same embroidery techniques, which varied depending on the purpose, materials, sizes, shapes, colors of products.

Folk embroidery is characterized by diminutiveness, purity of execution, jewelry character. Very often, embroidery looks the same from both the front and the wrong side, with interesting accents of mirror symmetry. Researchers claim that there are about 100 types of embroidery differing in stitching techniques.

The nature of the interpretation of ornamental motifs, their compositional, coloristic solution, structural and plastic accents largely depend on the embroidery technique. In the development of the ornament, the embroiderers went from individual simple elements to complex motifs and complexes.

Embroidery is a unique art of folk graphics; it has preserved the centuries-old culture of the decorative line. Line stitches - straight horizontally or vertically, diagonally - the basis for creating complex ornamental shapes.

Embroidery is regarded as a kind of pictorial art. Analysis of silvery overflows of embroidery with white threads on a white background, sonorous sounds of embroidery with red and white, red and blue, red and black threads, colorful juiciness of multicolored gamut suggests that in this area the coloristic talent of folk craftswomen has been fully revealed. One-color, two-color, multi-color embroidery stands out - the ornamental treasury of the collective genius. It embodies the wonders of folk fantasy - a geometrized method of depicting the beauty of the earth, nature, sun, man.

According to the content and form of ornamental motifs, embroidery is mainly divided into geometric, floral, zoomorphic, ornithomorphic and anthropomorphic. The most common motifs in traditional geometric embroidery designs are straight, oblique, broken and uneven lines, zigzags, meanders, braids, rhombuses, squares, triangles, rosettes, crosses, thorns. The diversity of geometric patterns, harmony and interconnection of all elements, clear rhythm of lines and outlines should be emphasized.

The floral ornament is characterized by a variety of images of flowers, leaves, flower branches, trees, etc. (Fig. 12 a, 12 b). Zoomorphic (birds, eagles, cockerels, zosulki) (Fig. 13) and anthropomorphic (image of a person) motifs are mostly geometrized, subordinate to dominant plant or geometric motifs (Fig. 14). Subject embroidery is more common in cult items (Fig. 15).

In the XIX century. motives of the archaic type, for example, the goddess-beregin, experience active changes, are supplemented with new elements, and the means of their technical execution are enriched. There are changes in the color scheme (polychrome advantage), complex processes of transition from clear geometric to geometrized plant forms (at the same time - the proportionality of existence even in some patterns).

Among the various options for the compositional solution of embroidery, ribbon, bouquet, "flowerpot" compositions prevail. The rosette and checkerboard systems for placing embroidered ornamental motifs were somewhat less used.

Embroidery reflects the picturesque, graphic and ornamental-compositional culture of the people. At the same time, it is the result of both material-practical and spiritual activities of people. It contains information on ornament, composition, color, it also covers the sphere of knowledge, aesthetic views, tastes, as well as customary ritual aspects, ethical beliefs, etc.

But the most important are the aesthetic and cognitive functions of embroidery. Complex aspects of the world outlook and perception of the surrounding world are conveyed through the system of ornament, colors. Embroidery actively performs a communication function - visual transmission of information from generation to generation, from artist to artist. It is also possible to single out the festive, symbolic, symbolic function of embroidery, primarily the embroidery of banners and banners.

Embroidery appears in a peculiar way in a complex system of other factors, primarily language - as a sign of its belonging to the creators of one ethnic group of people. In it, not only nationally-specific characteristics, but also universal ones, rightfully appear. Embroidery is part of the system of interpersonal communication, this art is understandable for everyone. Studying it in the system structures of ornamental-compositional solutions, functional things makes it possible to determine the distinctive features, the specificity of the artistic imagery of clothing embroidery, interior and ritual purposes.

Clothing embroidery unites types, subtypes, groups of embroidery, which differ in the content of ornamental motifs, the nature of the compositions, color, material and technique of execution. There are numerous local differences. Over the centuries, mainly the principles of placing embroidery on headdresses, underwear, breast, waist, outerwear, and shoes were determined.

The embroidery of hats (ribbons, rewinds, scarves, hats, caps) is characterized by an original composition. The ribbons were embroidered in rows of lush flowers, complex geometric motifs or a broken or wavy flexible line, in the folds of which there are flowers, and in the performances, leaves, buds.

Rewind-obrus were embroidered with wide stripes of geometric and geometrized plant motifs along the edges and in the forehead (Fig. 16).

Caps, kibalki are distinguished mainly by completely embroidered complex rosette compositional motifs placed along the edges in the form of a border, in the corners and on the entire plane in a rosette or ribbon plan (Fig. 17).

In men's hats, a horizontal ribbon was embroidered between the brim and the forehead. Often they sewed volumetric-protruding colored ribbons, "worms", brushes, etc.

Magerki hats were embroidered with garus, red and white threads, interspersed with blue and green threads.

Headdress embroidery is an important artistic accent in the compositional integrity of folk clothing.

The embroidery of shirts stands out for the consistency of the arrangement, the special wealth of embroidery techniques. It has long been attributed to the shirt magical power, a number of beliefs, customs, rituals are associated with it. The shirt is seen as a "double" of the person who wears it. The shirt brought it closer to the body, and it has long been embroidered, endowed with magical symbols, signs, so that it would be a keeper.

In women's shirts, collars, bosoms, hemlines, sleeves were embroidered, in men's shirts - collars, cuffs, shirt-fronts. The cut of shirts, the evolution of folk modeling influenced the principles of placing embroidery on individual parts of shirts. So, on the narrow linings of men's shirts (with scars on the neck, standing collars), the ribbon arrangement of the embroidery is along the entire length, and on the set aside gates, only the front edges are often embroidered and the central, rosette-branch composition prevails.

At the end of the XIX century. at the bottom of the sinus incision, they began to sew rectangular wedges, where the embroidery was located in the horizontal direction, framing the vertical stripes made along the sinus incision.

The embroidered sleeves are divided into the following main groups according to the nature of the arrangement of the patterns: 1) the embroidered upper part - settings (poliki) and cuffs; 2) embroidered settings only; 3) the embroidery is placed on their entire plane.

The folk craftswomen have reached the pinnacle of artistic excellence in embroidery. It is the dominant accent not only of the sleeve embroidery, but of the entire shirt. Logically thoughtful arrangement of the rectangular setting plane, mainly up to 15 cm high, up to 35 cm wide on the most prominent upper part of the sleeves.

The settings with colorful ribbons horizontally cross the vertical plane of the sleeves below the forearms, clearly standing out in the design of the shirts, and are easily seen in a circular aspect.

The embroidery of cuffs - "covers", "shakers", "wrist" depends on their shape. Ornamental motifs on narrow panels are placed in single-row ribbons. Several ordinary stripes were also embroidered on the cuffs, often with a transition into small folds of the sleeves. There are cuffs that are only embroidered at the edges. Diversifies the embroidery of the cuffs of their overedging, looping.

On the hems of the dodil shirts, horizontal stripes with hemlock scars were made. There are shirts with barrels - they have vertical stripes at the bottom with cuts, up to 12 cm high. The embroidery of the hem of the shirts carries a weighty artistic load, it frames, compositionally completes the system of embroidery of the shirt.

Chest clothes - straight-back, fitted, short, with sleeves and without sleeves - were sewn with vertical stripes on the floors, with a chest cut on the armholes and horizontal ones - below the brim, back and sleeves. A peculiar embroidery of sleeveless jackets, their floors are embroidered with intricate ribbons, and in the corners of the fields at the side seams, on the back there are rosette or central-radiant compositions. Often on the back of sleeveless jackets between the cutouts of the armholes there are zoomorphic and anthropomorphic motifs in a complex frame.

Embroidery of waist-length garments (stocks, skirts) is distinguished by the ribbon-like arrangement of the motifs in the lower part. In various versions of rhythmic repetition, motifs of rosettes, teeth, flowers, twigs, trees, etc. are made.

The shrouds were embroidered with wide horizontal stripes on the bottom of the sleeves, on the bottom and vertically on the right pilli. In jackets with a detachable back, stripes were sewn on the back (above the waist line), near the slits of the pockets and on the sleeves.

The embroidery of upper shoulder garments (suites, sardaki, etc.) is characterized by complex ornamental compositions on the back, at the belt, at the hem, on the sleeves, etc.

Each type of clothing, its individual components correspond to a certain technique of performance, material, complexes of ornamental motives. Embroidery is more complex and richer on the central planes of the sleeves of shirts, sleeveless jackets, casings, suites, in the horns of scarves, the edges of rewinds, at the bottom of the stocks. The embroidery of women's, men's, children's clothing, as well as wedding, for daily work, for a holiday and for death is different.

Compliance with this principle is mandatory in the works of embroiderers, who clearly identified the specifics of artistic techniques, various techniques, depending on its application on various parts of clothing.

The embroidery of fabrics for interior ritual purposes had specific artistic means, its artistic imagery is due to the functional role of interior decoration, its emotional and symbolic role.

Towels - the most common typological group - played an important role in family and social life. They were a necessary attribute during solemn events, meeting guests, laying new residential and public buildings, celebrating the birth of a child, matchmaking, weddings, and funeral rites. The people have preserved the original belief in the life-giving power of towels, their symbolic meaning in human life. Researchers claim that in the distant past, during pagan holidays, girls decorated tree branches with towels. Rhombuses, rosettes, squares depicted on towels symbolized the sun, earth, plants, they were worshiped as phenomena that give life, protect from various troubles, sufferings, evil forces. The central corner of the house - the corner - is the original place for pagan ubruses, and the canvas played the role of an icon board, sacred pagan images that preceded icons were applied to it.

Towels, embroidered with different threads (silk, white, pamut, gold, silver, beads, etc.), have certain types of compositions, differ in technical performance, color scheme. The docentric arrangement of trees of life, flower pots, and the striped arrangement of motifs in transverse stripes prevail. Towels with an ornamental stripe on one wide side are less common.

The tablecloths were embroidered on the central plane and the border from four sides, only along the border; in two or three rows only in narrower edges.

Cloths, boards, shawls, in contrast to shawls - hats, have a different, domestic, ceremonial purpose. It is no coincidence that there are direct analogies of embroidery in ornamental, technical, compositional, color solutions with embroidery of interior fabrics, in particular, towels and tablecloths.

Less commonly, there were white sheets with platbands sewn on one edge - suspicion. These are panels (2 m X 40 cm), embroidered in ornamental rows from rosettes, wavy ribbons or small floral branches.

The embroidery on the pillowcases is located mainly on one side of the seams. On children's pillows there is a central circular composition - mainly along the central part of the upper plane of the pillowcase.

Embroidery on fabrics for interior and ceremonial purposes is distinguished by thoughtful constructiveness. The patterns are predominantly in an established order: on the central plane, along the edges, on the sides, at the ends, taking into account their good view.

The white color of the fabric, bleached threads, as well as red-blue, multicolored patterns enriched the lively play of light and shade in the embroideries, which fell in tiers on beds, poles, tables, walls, amplified their sound in the interior of houses and religious premises.

1.2. The history and development of embroidery

The art of embroidery is rooted in the distant past, it has a long history.

Perhaps, we will never be able to find out who and when first guessed to embody the beauty of native nature, their experiences and sensations into a patterned motif, so given the fragility of fabric and threads, science is deprived of the opportunity to accurately determine the time of the emergence of this art. After all, samples of the most ancient embroidery in museums in Europe in the 5th century. AD, and samples of Ukrainian embroidery have survived only for the last few centuries (most of all in the embroidery museums of the 19th century).

Very ancient embroidery products have survived to this day, they date back to the 6th – 5th centuries BC. These products belong to the art of ancient China. Silk fabric began to be produced there, and was insanely expensive. Therefore, only very noble ladies from high society could afford to embroider. They embroidered with gold and silver threads, very skillfully. The embroidered items have survived to this day. The history of embroidery in China suggests that they decorated not only clothes, but also various decorative panels, carpets and fabric paintings. The embroidery included images of birds and animals (Fig. 18).

The transition from the Stone and Bone Ages led to the invention of the bronze and then the steel needle. The history of embroidery speaks of the rapid development of this craft. More and more new ways of embroidery and sewing were invented and improved.

Woolen fabric was also suitable for embroidery, but with the advent of linen fabric, it greatly facilitated the work, since the structure of flax fibers and the whiteness of the fabric were excellent for embroidery. Ancient India is considered the homeland of flax, where this plant was first grown (Fig. 19).

In the ancient world, embroidery symbolized a talisman as a talisman against dark forces and evil spirits. In ancient Egypt, embroidery denoted a person's social status. The most beautiful, brightest and richest was made for royal persons, pharaohs, and among the lower strata it was more modest or, at all, absent.

In ancient Greece, embroidery was also used, as evidenced by the finds of household utensils, where women embroidered on a hoop (Fig. 20).

Among the Slavs, embroidery was of a religious nature. It was believed that the ornament embroidered along the edge of the sleeves, neck and hem protected the naked parts of the body from evil forces. At the birth of a baby, they presented embroidered items with ornaments-amulets. Also, embroidery served as a decorative decoration for festive and wedding dresses (Fig. 21).

From the age of seven, girls learned to embroider, preparing a dowry for marriage. The main criteria were the quality, volume and complexity of the drawing. These criteria were used to determine the accuracy and diligence of the future bride. This art was passed down from mother to daughter, from generation to generation. They embroidered towels, tablecloths, curtains, bed linen, hats and so on.

Later, women around the world learned to embroider more complex designs, geometric shapes and scenes from everyday life on fabrics. The embroidery of Byzantium stood out especially, where needlewomen skillfully embroidered striking images of the flora. The colorful and interesting embroidery of Byzantium was distinguished by silk embroidery and gold embroidery (Fig. 22). It amazes with its luxury even today.

Each nation had its own ornament and its own colors in embroidery. This determined their belonging to a particular nation. For example, the coat of arms of their country, their kind, as well as their position in society were embroidered. This served as the so-called business card.

In the Middle Ages, it was customary for gentlemen and ladies to have cambric handkerchiefs with embroidered initials in the corner of the scarf (Fig. 23). Ladies gave perfumed scarves to their fans as a sign of sympathy.

Noble ladies also loved to do embroidery. Gathering in a close circle, discussing over needlework, the latest news of social life. They embroidered their garments with expensive and luxurious embroidery, following the trendscurrent fashion.

English embroidery is known for its rich gold palette, silk and silver ornaments and intricate plant curls. In France and in many countries of Western Europe during the medieval period, portrait embroidery, hunting scenes, images of flowers and nature, ornamental motives were widespread. In Spain, skilled embroiderers beautifully depicted plants, animals and birds on woolen and linen linens.

The data of archaeological excavations, testimonies of chroniclers and travelers of the past allow us to assert that the beginning of the art of embroidery in deep antiquity and its development have never been interrupted - from time immemorial to the present day. The elements of the symbolism of modern ornaments of folk embroidery echo the ornaments with which the ancient inhabitants of the territory of our country, the Trypillian tribes (the time of the late Neolithic and the beginning of the Bronze Age), decorated their dishes.

The clothes of the Scythians, inhabitants of the Black Sea steppes, were decorated with embroidery, as evidenced by the ancient Greek historian Herodotus.

There is a lot of archaeological evidence regarding the age and prevalence of folk customs to embroider clothes. In Martynovka, Cherkasy region, a treasure was found dating back to the 6th century. AD Among other things, silver plaques were found with figures of men wearing wide shirts with embroidery on the chest. Plaques similar to those found in Martynovka were found in Thessaly, in the Balkans. Scientists believe that they were brought there by the Slavs from the middle Dnieper region. The Thessalian plaques depict a warrior so expressively that you can see the embroidered insert on the shirt.

The Arab traveler Ibn-Fadlak (10th century AD) in his legend about the Russians noted that they had embroidered clothes.

During the times of Kievan Rus, the art of artistic embroidery was highly valued. Vladimir Monomakh's sister Anna - Yanka organized in Kiev, in the Andreevsky Monastery, a school where young girls learned to embroider in gold and silver.

Archaeological excavations confirmed the significant spread of embroidery in ancient Kiev on fibulae and silver bracelets of the 13th century. Where were depicted figures in shirts with wide embroidered bibs.

In the Ipatiev Chronicle of 1252, it is said that Prince Daniel of Galitsky, during a meeting with the king, was dressed in a casing trimmed with gold flat weaving.

Creative communication with other peoples had a certain influence on the technique of artistic embroidery of the masters of Kievan Rus, but in its essence it remained original. The people created, found and asserted their own, original style. Unknown craftsmen painstakingly produced a variety of covered embroidery techniques, samples of ancient Kiev embroidery on leather and fabric have come down to us since the X-XI centuries. From the initial occupation, embroidery later turned into a craft that one had to know well. It is known that such a school is obviously the first, in the XI century. organized by Monomakh's sister Anna. It taught craftswomen who embroidered church utensils, princely clothes, etc.

Ribbon embroidery has also been known for a long time.Initially, of course, there were no ribbons, so a plant fiber rope was used. And this rope gradually turned first into a braid, and over time into a ribbon. Halready widespread use of silk ribbons began in the XIV century. In the French city of Lyon, the production of silk fabrics and threads began to develop quite quickly. Representatives of a noble society began to wear luxurious clothes, which were embroidered with ribbons with a gold border, which corresponded to the origin and rank of the wearer.

In 1446, by order of the future King Louis XI, silk-making and ribbon-making machines were brought in. He also invited Italian craftsmen to teach this skill to local weavers. But his idea failed.

A little later, camisoles and raincoats were in fashion, which were trimmed with brocade and gold ribbons. The demand for such a product began to grow. Lyon eventually became the largest textile center. In 1560, 50 thousand craftsmen were already working there. They made various ribbons: gold, silk, brocade and satin. In the cities of Vélzy and Saint-Etienne, located in the neighborhood, about 45 thousand weavers were producing braid. In 1660 in Saint-Etienne and its environs more than 80 thousand looms produced ribbons and 370 made gimmick products (braid, trimmings, braids).

Ludwig XIV encouraged all his courtiers to dress beautifully and with imagination. At his court, all clothing items (from pantaloons to shoes) were decorated with ribbons embroidered with pearls and precious stones. The next French monarch, Louis XV, himself loved to embroider with ribbons and donated his products to courtiers. During this period, voluminous dresses with flying silhouettes, with folds and many ribbons came into fashion.

Noble ladies decorated their dresses with ribbons, sewed many roses and other voluminous flowers on corsages, and also used lenses and pearls. Later, they began to decorate with ribbons and linen, which became more luxurious and elegant. Even special ateliers appeared, in which real works of art were created with the help of needles and silk ribbons. Some of these items have survived and are kept in various museums around the world.

The traditions of embroidery art constantly evolved, in the XIV-XVII centuries embroidery became even more widespread in the decoration of costumes and household items. Church vestments, clothes of kings and boyars rich in silk and velvet were embroidered with gold and silver threads in combination with pearls and gems. Wedding towels, festive shirts made of fine linen fabric, and scarves were also decorated with colored silk and gold threads. Embroidery was mainly common among women of noble families and nuns. Gradually, the art of embroidery spreads everywhere.

In the XVI-XVII centuries. embroidery trades successfully operated in Kiev, Chernigov, Korets and other cities. In Lvov, an embroidery workshop was established in 1658. There were numerous such masters in the 18th century. at monasteries, manor houses. Clothes, tablecloths, towels, pillowcases, etc. were embroidered here. These products were mainly intended for sale. Significant embroidery centers are gradually being formed, for example, in the villages of Grigorievna in the Kiev region, Kachanevtsi in the Chernihiv region, Klembivtsi in Podolia, etc.

From the 17th-18th centuries, ribbons were used to decorate not only women's but also men's clothing. Even the vestments of the priests were decorated with ribbons.

Since the 18th century, it has entered the life of all strata of the population, becoming one of the main occupations of girls - peasant women. Each embroidery had its own purpose. Embroidery on shirts was located at the points of contact of the human body with the outside world (i.e., along the collar, sleeves, hem) and served as a talisman. The embroidery of towels reflects the cosmological ideas of people, ideas related to the cult of fertility and the cult of ancestors. First of all, this concerns the ornament of folk sewing, in which ancient symbols are preserved up to the 2nd quarter of the 20th century.

In the 19th century, ribbon embroidery became popular among almost all segments of the population. The number of machines making tapes also increased. In the city of Basel In 1775 there were 1225 of them, and in 1870 there were already 7,631. The founder of the Rue-de-Le-Pays fashion house, the Englishman Charles Frederic Worth, and a special French chic added to the English embroidery. He not only decorated clothes with ribbons, but also embroidered various motifs on clothes with silk ribbons and braids.

The clothes of the Don Cossacks in the 17th – 18th centuries were trimmed with embroidery with silver, gold, silk threads and various ribbons. Shirts were decorated with embroidery and ribbons along the hem and sleeves. The top, swing dress, was embroidered with pearls and ribbons. Even shoes were decorated with ribbons.

Gradually, under the influence of the Rococo and Baroque styles, embroidery with silk ribbons of various floral patterns becomes popular in Russia. They decorated clothes with ribbons, pulling the sleeves and forming bouquets of flowers.

In the 1870s, silk ribbon embroidery was most widespread. Skirts, sleeves, bodices, collars, cuffs of dresses, gloves, shawls, muffs were decorated with ribbons. In addition, quilts, lampshades, umbrellas and various household items were decorated with voluminous embroidery. Also, various applied trims from jewelry have become fashionable: silk ribbons, curly sequins, volumetric appliqués from tinted gauze with chenille. Various types of embroidery could be combined, for example, an applique made of silk ribbons was combined with a colored satin stitch.

Gradually, New Zealand and British craftswomen seized the initiative, they became the best needlewomen at that time. In the 19th century, Queen Victoria instructed them to decorate their outfits. But in Australia this type of needlework has spread much more than embroidery with threads, since there was a tax on fibers and threads from Japan, and there was no tax on ribbons.

In our country, ribbons for decoration have been used since ancient times. In time immemorial, the bride, who was betrothed, wore a wreath with ribbons on her head, which was called beauty. Another old dress for girls - ribbons - was decorated with golden threads and multi-colored ribbons with beads. In the Rzhevsky district, women and girls wore a warrior - a headdress with sewn ribbons and gold thread embroidery. The bottom of the festive shirts was decorated with two strips of red silk ribbons. Other shirts were trimmed with colorful ribbons. The bottom of the sundress was decorated with openwork stitching and ribbons. In the center of the sundress, a vertical strip of cotton and silk ribbons was sewn. Often, embroidered ribbons were used instead of belts in festive attire.

In the second half of the XIX century. a renewed interest in folk, national embroidery and not only the components of clothing, household items, but also attributes, symbols. And it was during this period that it turned out to be a kind of touchstone under the pressure of artificial pseudo-folk samples, not inherent in its purpose. Hand embroidery, as the basis for the existence of this type of folk art, could not be competitive with industry. An attempt by various societies, organizations, institutions (for example, "Prosvita" zemstvos, various schools, courses at them) to preserve and further develop this type of folk art could give the desired results in the competitive struggle against industrial production.

However, embroidery did not disappear from the life of the people, nor did their soul and aesthetic tastes go out. The main purpose of embroidery - to decorate clothes, interior ritual fabrics - determined its survival and further development. It has become almost exclusively a household activity.

Late 19th - early 20th century - This is the period when embroidery acquired widespread use on women's and men's embroidery clothing, the figurative, ornamental structure, acquire clearly marked features. For example, embroidery from floral ornaments in red, blue, green, yellow Yavorov tires in Lviv region and monochrome (black), often geometrized, ornament. The uniqueness of compositions, ornament, color is characterized by the embroidery of Polesie, Boykivshchyna, Podillia, Poltava region. Often they are a kind of "passport" for embroidered items (for example, shirts). Already at the end of the XIX at the beginning of the XX century. more than 1200 artistic and technical techniques of embroidery were known to embroiderers, although for centuries there were two main methods of applying stitches with embroidery threads to fabric - two-sided and one-sided. It was widely known to be merry, but individual regions had their own characteristics.

The compositional solution of embroidery is marked by boundless imagination and color. And yet ribbon, bouquet and flowerpot compositions prevail. It is the rich color, complex geometric patterns that densely fill the background of the fabric, characteristic of embroidery.

The most common motif in folk embroidery is the "rhombus". In the embroidery of different nations, it looks different and has different meanings. A rhombus with hooks in embroidery is considered a symbol of fertility associated with the idea of \u200b\u200bthe mother - the progenitor - the immediate beginning of all births on earth. Rhombus - "burr" in folklore is compared with an oak, a sacred tree of many peoples, and is a metaphor for the heavenly "color" - lightning that strikes demons, protects cattle. Among the favorite motifs was the "rosette", consisting of 8 petals - blades connected in the center. It acts as a symbol of the feminine principle, fertility. Among the motifs of plant ornament, a prominent place is occupied by the "world tree" - the tree of life. A common motif of facial embroidery is a stylized female figure. She can perform in various compositions: in the center, riders or birds on the sides; holding branches orlamps; with birds in hand, etc. All these plots differ in the nature of their interpretation. But in most of them, the Mother Goddess woman, personifying the Raw Earth, acts as the patroness of agriculture, the fertility of the earth.

Traditional embroidery is a source of knowledge of the ethnic history and culture of the people and their evolution over time.Embroidery techniques, patterns, their color embodiment have been improved by their generations. Gradually, all the best was selected, and unique images of embroidery with characteristic features were created. Crafts of folk craftsmen, decorated with embroidery, are distinguished by the beauty of the patterns, the harmonious combination of colors, the perfection of proportions, and the sophistication of professional techniques of execution. Each embroidered product meets its practical purpose.

The museums of our country have collected many samples of folk embroidery. The most preserved and survived to this day embroidery of the XIX century. Embroidery was divided into peasant (folk) and urban. Urban embroidery did not have a strong tradition, as it was constantly influenced by fashion that came from the West. Folk embroidery was associated with the ancient customs and rituals of the Russian peasantry.

Embroidery is not only a masterful creation of the golden hands of folk craftsmen, but also a treasure trove of beliefs, customs, rituals, and spiritual aspirations. Numerous ornamental images of animals, birds, plants, trees, flowers, claim that our ancestors deified them, inspired nature not only in folklore, but also in decorative art. For example, towels with embroidered images of pigeons, roosters, horses, crosses, etc. was a kind of amulets that protected a person from "evil" forces. Color symbolism was also of great importance (red - love, thirst, light, struggle, weeds - sadness, misfortune, grief, death, green - spring, riot, renewal of life, etc.). Solar signs, schematic figures of the Sun, Beregini, Treelife, embroidered on fabric, is another evidence of the deep honor of our ancestors to the Sun, Mother, as powerful, holy, life-giving fundamental principles of all things. In addition, embroidery as a national tradition contributed to the formation of patience and a sense of beauty in girls and women.

So, peasant girls by the age of 13-15 had to prepare a dowry for themselves. These were embroidered tablecloths, towels, valances, garments, hats, gifts. At the wedding, the bride presented the groom's relatives with the products of her work.The girl had to embroider a shirt, a scarf, wedding towels for a sweetheart.Before the wedding, an exhibition of a dowry was arranged, which was supposed to testify to the skill and hard work of the bride. Women were engaged in needlework in a peasant family - they spun, weaved, embroidered, knitted, weaved lace. In the process of working, they honed their skills, learned from each other and from their elders, adopting the experience of many generations from them. Women's clothing was made from homespun linen and woolen fabrics. It was decorated not only with embroidery, but also with lace, braid, inserts of colored chintz. In different provinces, clothes had their own characteristics, differences. It was different in purpose (everyday, festive, wedding), was performed for different ages (maiden, for a young, elderly woman).

Do-it-yourself clothes were one of the main indicators of the girl's hard work, the stability of traditions came through the centuries to the present day. Of course, over time, the skill of embroidery has improved. The folk experience has preserved the typical, most expedient patterns of ornament, indicated by a high artistic taste, their colorfulness, and embroidery techniques.

By the nature of the patterns and techniques for their implementation, Russian embroidery is very diverse. Individual regions, and sometimes districts, had their own characteristic techniques, ornamental motives, and color schemes. This was largely determined by local conditions, life, customs, natural surroundings.

Russian embroidery has its own national characteristics, it differs from the embroidery of other peoples. Geometric ornament and geometrized forms of plants and animals play an important role in it: diamonds, motifs of a female figure, bird, tree or flowering bush, as well as a leopard with a raised paw. In the form of a rhombus, circle, rosette, the sun was depicted - a symbol of warmth, life, a female figure and a flowering tree personified the fertility of the earth, a bird symbolized the arrival of spring. The location of the pattern and the embroidery techniques were organically related to the form of clothing, which was sewn from straight pieces of fabric. The seams were made by counting the threads of the fabric, they were called counted. It is easy to decorate with such stitches the shoulders, the ends of the sleeves, the slit on the chest, the hem of the apron, the bottom of the apron, the bottom of the garment. The embroidery was placed along the connecting seams.

In embroideries "free", along the drawn contour, floral patterns prevailed. Old Russian seams include: painting or half-cross, set, cross, counted surface, goat, white small stitching. Later, there were cutouts, colored intertwining, cross stitching, guipure, chain stitching, white and colored satin stitch. Russian peasant embroidery can be divided into two main groups: northern and central Russian. The most common methods of northern embroidery are cross, painting, cutouts, white stitching, through-stitching performed on a net, white and colored satin stitch. Most often, patterns were made with red threads on a white background or white on red. The embroiderers skillfully used the background as one of the elements of the pattern. Squares and stripes inside large figures of a bird - a pea, a leopard, or a tree - were embroidered with blue, yellow and dark red wool. Works of folk arts and crafts have unlimited demand both in our country and abroad.

In almost every home, linen was woven and clothes were sewn from it. And embroidery was the most common way to decorate fabric.

The history of embroidery has survived to this day. But less and less, it began to be used in clothing. Modern needlewomen are more and more fascinated by the embroidery of paintings from floss, iris and satin braid, paintings made of beads and bugles, as well as paintings painted on fabric, and on top of the pattern are embroidered with individual elements with ribbons (Fig. 24 a, b).

In stores you can find any material for creating great embroidery. Embroidery serves not only as a decorative and applied art, but also as an occupation for the soul. For thousands of years, embroidery has evolved and has united millions of people around the world, creating unique masterpieces.

Even the creation of special machines for embroidery did not prevent the preservation of the traditions that have been observed for centuries. After all, only manual work is valued above all, because it is done with a soul and keeps the memory of generations.

1.3. Section Conclusions

ANNEXES

Figure: 1 a, b. Forward seam

R fig. 2 ... Needle seam

Figure: 3. Embossed seam "forward to the needle"

R fig. 4. Stalk seam

R fig. 5. Seam "lace"

R fig. 6. Seam "goat"

Figure: 7. Buttonhole seam or edge seam

Figure: 7 a, b, c. Types of edge seam

Figure: 8. Puncture seam

R fig. 9. Herringbone seams

Figure: 10. Stitch seam

Figure: 11. Rope seam

Figure: 12 a. Floral ornament

Figure: 12 b. Floral ornament

Figure: 13. Zoomorphic ornament (birds, eagles, cockerels, zosulki)

Figure: 14. Anthropomorphic ornament (image of a person

Figure: 15. Subject embroidery

Figure: 16. Rewind-obrusi

Figure: 17. Caps, kibalki

Figure: 18.China embroidery

Figure: 19. Embroidery of ancient India

Figure: 20. Embroidery of ancient Greece

Figure: 21. Embroidery of the Slavs

Figure: 22. Embroidery of Byzantium

Figure: 23. Embroidery of the Middle Ages

Figure: 24 a. Embroidery from floss threads

Figure: 24 b. Embroidery ribbons

Lesson topic: “Embroidery as one of the arts and crafts. Cross stitching ". Class 2 technology.

Akhmetdinova Gulnara Granitovna, primary school teacher of the first qualification category.

Goal: to acquaint children with the technology of cross stitching; to expand knowledge about the history of embroidery of different peoples; repeat the safety rules when working with needles.

Tasks:

Expand the knowledge of students about the cross stitch, performed horizontally, vertically, diagonally;

to work out practical skills of placing fabric in a hoop;

consolidate the ability to prepare tools and materials for embroidery work;

develop dexterity, coordination of movements;

instill accuracy and patience in work;

develop thinking;

promote the development of competencies;

Observe safety regulations;

to educate the accuracy, organization of work.

Planned results:

Subject results:

Expand students' knowledge of cross stitching;

To consolidate the ability to prepare tools and materials for embroidery work.

Metasubject results: (developing)

Regulatory UUD:

Teach to develop imagery, attention, speech;

Cognitive UUD:

To be able to search and highlight the main information from the proposed source of the book (educational Internet resources, encyclopedias, etc.);

Communicative UUD:

Develop the skill of working in groups when performing practical work;

Find ways of creative work within group communication;

Be able to generalize and draw conclusions.

Personal results:
- the ability to express in creative work your emotional attitude to the acquired knowledge, to be active, proactive in finding additional information, to share it with teammates;

To cultivate curiosity, work culture, accuracy, respect for one's own and other people's work.

Lesson type : study lesson.

Visual aids: samples of embroidery, sketches, arrangement of patterns, stylized drawings.

Equipment: textbook, workbook, a set of hand tools, threads for embroidery - floss, hoop, canvas, thick fabric, drawing scheme, posters.

Textbook: NI Rogovtseva, NV Bogdanov, NV Dobromyslova "Technology" Grade 2.

During the classes:

I. Organization of the lesson:

Checking the readiness of students for the lesson.

Questions to repeat the previous topic:

What kind of fabric is used for embroidery?

Why is the fabric pulled in the hoop?

Name the main stitches and seams based on them.

Why does the fabric need to be taken out of the hoop after every embroidery session?

Checking and assessing student homework. Show of the best works.

II.Study of new material:

Tell students about the history of embroidered ornament, composition, rapport, types of ornament. Show how the cross stitch and tapestry stitch is made.

Explanation of the teacher.

Creativity helps us to discover hidden abilities, to get away from everyday problems for a while, and most importantly, to create amazing things that diversify our life and make it brighter and richer.

Embroidery is a technique that can be used to decorate a wide variety of products from different materials, giving them a completely new look. Embroidery lavishly adorned the lower edges of bed covers that hung from beds, towels, tablecloths and curtains, canvas sundresses, headdresses and shawls, wedding and festive shirts.

Many crosses of different colors and shades as separate elements of the mosaic can work a miracle and make up a landscape, still life or portrait. There are many different types and techniques of embroidery.

The embroideries of Latvia, Lithuania and Estonia are decorative and colorful. They are dominated by geometric and floral motifs of patterns.

The embroidery of the peoples of the Caucasus is rich and elegant. In Georgia, embroidery with silk, wool, gold and beads is widespread.

The embroidery of Kazakhstan and Kyrgyzstan are distinguished by various versions of the invoice made of felt, cloth, leather. The patterns often contain curls of horns, stylized figures of animals, less often - images of plants.

Among the peoples of the Far North, deer fur embroidery on suede, cloth and applique made of fabric and leather with the use of beads are widespread.

Embroidery of the peoples of the Volga region - Mari, Mordovian, Chuvash - is distinguished by geometrized patterns from a combination of plants, animals and birds.

Tartary embroidery is characterized by sewing with gold and beads on velvet on various household items and clothes.

Follow the traditional cross as follows: you finish the previous cross and start the next.

The Danish cross is done like this: first you embroider half of the cross and finish the crosses as you come back. (Show pictures)

Embroidery crossPerformed on dense fabric or canvas. Canvas -This is a special fabric for embroidery.

The technique of cross stitching or semi-cross stitching is one of the most famous and popular in folk art. This technique has been known for a long time, but became widespread in the second half of the last century.

The cross is made with two crossed diagonal stitches. (Show students doing cross stitches horizontally and vertically and diagonally)

The main pattern of folk cross-stitching is geometric, floral and zoomorphic (images of animals, birds) ornament.

Modern embroidery is represented by a wide variety of patterns: cartoon characters, plants, berries, animals, etc.

During practical work, physical minutes.

" Butterfly"... Pat your eyelashes often, often, that is, blink

What materials and tools do we need for embroidery with counted stitches:

Materials:

Canvas - a special mesh-like fabric for cross stitching;

Mouline thread

Tools:

Thimble

Safe work practices.

NEEDLES. Tapestry needles with a blunt end are used for cross stitching. Don't hold the needle in your teeth. Inadvertent inhalation - and you can swallow it. Do not stick needles into clothes, armchairs, sofas, do not leave them on the dining table. Is it dangerous!

SCISSORS. Should have sharp and tightly closed ends.

Practical work "Making a simple cross stitch".

IIISecuring the studied material

Answer the question:

1. A device for stretching the fabric? (hoop)

2. A special mesh fabric for cross stitching? (canvas)

3. Thread used for embroidery? (floss)

IV.Summarizing

What new did you learn in the lesson?

Where in life can this be useful to you?

How would you rate yourself for practical work?

V. Homework

Practice the skills of simple cross stitching. Prepare for practical work. Bring canvas, threads, hoops.

Section: NEEDLEWORK. COUNTING EMBROIDERY - 6 hours.

THEME: EMBROIDERY AS A TYPE OF DECORATIVE AND APPLIED CREATIVITY - 2 hours.

LESSON TYPE: Combined. Acquisition of new knowledge, their consolidation and application, the formation of skills.

LESSON TYPE: TRADITIONAL.

Educational aspect: continue acquaintance with the work of folk craftsmen, with the compositional construction of patterns, teach the technique of performing counting stitches.

Developing aspect: continue the formation of artistic taste, develop imaginative thinking and fine motor skills of hands, improve the skills of work culture, mutual control and self-control.

Educational aspect: to form taste, to cultivate love for folk art, sociability, the ability to bring the work started to the end.

INTEGRATION: History, Fine Art.

Use of ICT: R / R program, text editor, printout of additional materials and exercises.

Equipment and tools: projector, laptop, Microsoft Power Point software, embroidery accessories;

VISUAL GUIDELINES: paintings made by students, types of national clothes decorated with embroidery, Presentation "Creating volumetric souvenirs - biscornu", instructional cards, souvenirs "biscornu"

METHODS: conversation, demonstration, instruction, practical work.

Greeting. Checking the attendance of students to class, their readiness for the lesson. Activating learners. Formulation of the topic, the objectives of the lesson. Setting an educational task for students.

2. UPDATING PREVIOUS KNOWLEDGE.

- Types of needlework.

- Tools and accessories for needlework.

- Rules for safe work.

- Health-saving technologies.

3. STUDY OF NEW MATERIAL.

- dependence of embroidery on the geographic location of the country, its history and culture;

- color selection;

- compositional construction of the pattern;

- counting seams;

- preparation for embroidery;

- techniques for performing cross stitching;

- features of embroidery for biscornu.

4. PRACTICAL WORK

Project implementation “Souvenir biscornu”.

5. SUMMING UP (work on drawings and cards)

- What is composition?

- What is rhythm?

- What is ornament?

- What is rapport?

- What is symmetry?

- Materials and tools for embroidery.

Control and self-control at the beginning of embroidery work.

6. JOB TO THE HOUSE

Prepare a presentation on counting embroidery, continue embroidery.

7. CLEANING OF WORKPLACES

LESSON OUTCOME

1. ORGANIZATIONAL AND PREPARATORY STAGE.

2. UPDATING PREVIOUS KNOWLEDGE

- Types of needlework (knitting<Рисунок1> and crochet<Рисунок2>, beading<Рисунок3>, patchwork<Рисунок4>, quilling<Рисунок5>embroidery in various ways<Рисунок6>, <Рисунок7> etc.)

- tools and accessories for needlework: knitting needles and hooks from various materials, special needles, magnetic boards with a magnifying glass, hoops, etc.

- rules for safe work

To get started:

- Remove hair under a scarf and pick up sleeves of clothes.

- Know the number of needles and pins taken for work.

- The needles and pins are stuck in the needle bar.

- Store scissors with closed blades.

During work:

- When doing manual work with thick fabrics, sew with a thimble to avoid pricking your finger.

- During work, pins and needles should only be injected into the pads and do not take them into your mouth, do not inject into clothes ...

- Collect the pieces of broken needles, wrap them in paper and dispose of them as normal waste.

- Pass the scissors rings forward.

- You cannot bite the threads with your teeth.

At the end of the work:

- Check for needles and pins.

- Tidy up the workplace.

- health-saving technologies

The use of physical education minutes.

3. STUDYING NEW MATERIAL

- dependence of embroidery on the geographical location of the country, its history and culture

The emergence of embroidery, one of the most widespread types of folk art, dates back to the era of primitive culture. Folk embroidery has long been famous for the variety and originality of patterns, delight us with the sophistication of color solutions. They were created over the centuries and depended on the geographical location of the country, its history and culture. Whoever wants to study the language of arts and crafts will discover the beauty and expressiveness of a work of folk art, its aesthetic value. A certain meaning was laid in the images. For example, figures in the form of a rhombus, square or circle denoted light sources - the sun or the moon, a horizontal wavy line - water, a vertical line - rain, intersecting - fire and lightning, mountains were represented by triangles.

- color selection

The Belarusians have a geometric ornament in embroidery of red, burgundy, grayish-blue and black colors on a white or gray canvas.<Рисунок8>, <Рисунок9>

The Ukrainians are characterized by a rushnik ornament, usually of a vegetative nature; there are stylized images of birds and animals. For embroidery, they use mainly red, sometimes adding black and blue.<Рисунок10>, <Рисунок11>

Georgian embroidery is distinguished by a complex pattern - a multi-figured thin geometric and floral ornament, as well as applique and embroidery with colored beads.<Рисунок12>, <Рисунок13>

Reindeer fur embroidery on suede and cloth, applique made of fabric, leather and beads are common among the peoples of the Far North.

The embroidery of the peoples of Russia is distinguished by its great originality, richness of techniques, color solutions. Each nation, depending on local conditions, peculiarities of life, customs and nature, created its own embroidery techniques, motives of patterns, their compositional construction.<Рисунок14>, <Рисунок15>, <Рисунок16>

Tatarstan is characterized by sewing with beads and gold on velvet.<Рисунок17>, <Рисунок18>

Each nation has its own way of decorating clothes. Nowadays, traditional and modern creativity are perfectly combined in embroidery.

- compositional construction of the pattern

When choosing a pattern for embroidery, a number of questions arise:

A) what seams will be used in the work
B) the purpose of the product
C) the location of the pattern on the product
D) the choice of color for its implementation

All these are terms of the concept of "composition".

COMPOSITION is the unification of image elements into one artistic whole, which has a single form and content. The composition always contains the main and the secondary. The main thing can be highlighted with the help of color, size, special location, and not necessarily in the center of the composition. Color composition construction is based on RHYTHM - alternation of color spots: major and minor, bright and weak. Stripe construction is the simplest way to show rhythm in an ornament.

ORNAMENT - sequential repetition of individual patterns or a whole group of patterns.

A rhythmically repeating element or several elements that make up an ornament is called a RAPPORT.<Рисунок19>

The motives in the pattern are not always repeated. Ornamental are those patterns that are built on the basis of symmetry or asymmetry.

SYMMETRY - a proportional arrangement of shapes, main lines and colors relative to one, two or more axes. This construction of patterns is typical for Russian embroidery and Russian ornament.<Рисунок20>, <Рисунок21>

- counting seams

Counting seams are most often used to complete the ornament. These seams are so named because they fill the pattern, counting the threads of the fabric. This is a set (abuse), "painting"<Рисунок22>, counting surface<Рисунок23>, Russian surface<Рисунок25>, cross<Рисунок26>, tapestry<Рисунок24>... The choice of ornament largely depends on the nature and location of the composition. A ribbon ornament is used to decorate the middle or edge of the product.

- preparation for embroidery

1. The choice of the basis. These are plain weave fabrics with an equal number of threads on the warp and weft. The threads of such fabrics are the same thickness. This allows embroidery stitches to be sewn at the same size and spaced apart. It is constantly necessary to count the threads of the fabric, which requires a lot of eye strain. It is better to embroider on CANVE - fabrics with a clear mesh-like structure. Such tissue can have different cell sizes (cells). The more stitches are located in 1 cm of fabric, the “thinner”, more difficult and smaller the work will be.<Рисунок27>, <Рисунок28>

2. The choice of a needle depends on the type of embroidery, fabric and thread thickness. So, the size of the eyelet depends on the thickness of the thread, and the sharpness of the end of the needle depends on the type of fabric. The needle should be large enough to thread in and sharp enough to easily pierce the fabric.

3. For counted embroidery, threads with a smooth structure are suitable, for example MULINA of various colors and shades, woolen and semi-woolen threads. This is a cotton floss, and wool, and semi-wool. The thickness of the embroidery thread should match the density of the fabric and the size of the stitch.<Рисунок29>

4. The fabric should be stretched well. It is placed in a hoop or frame. It is better to use a hoop in the form of two wooden rings with a screw to hold and tighten the fabric.<Рисунок30>, <Рисунок31>

5. The thimble is necessary to push the needle through the fabric and to protect the finger from needle pricks. It can be plastic, metal or leather. They select it according to the size of the finger and put it on the middle finger of the working hand.<Рисунок32>, <Рисунок33>

6. Embroidery scissors are used to cut threads. They should be small and sharp. Large scissors are used to cut fabrics.<Рисунок34>

7. A scheme for embroidery is a sheet of paper in a cage, on which a drawing is applied using conventional icons or colors.

- Techniques for performing cross stitching

<Рисунок35>

- Features of embroidery for biscornu

When choosing a pattern for embroidery of a souvenir “biscornu”, the pattern should have two axes of symmetry.<Рисунок36>, <Рисунок37>

4. PRACTICAL WORK

Project implementation: "Souvenir biscornu"

Group 1 - strong students - performing a needle cushion.<Рисунок38>

Figure: 38

Group 2 - weak students - keychain performance.

Choosing a pattern, finding the center of symmetry in embroidery, choosing a color scheme, etc.

Embroidery is a widespread type of arts and crafts. Since ancient times, embroidery has adorned human clothing and household textile products - tablecloths, towels, curtains, napkins. For a woman - mother and hostess - embroidery was the most accessible type of applied art, and she combined her aesthetic needs, thirst for creative activity with the benefit of her family and home. Getting into the museum, where ancient household items are exhibited, we cannot but admire brightly embroidered sundresses, vests, kokoshniks, beaded bags, pouches, purses. And even in a peasant blouse or shirt made of a simple canvas with a simple, but surprisingly expressive ornament, an abyss of taste, the talent of an unknown craftswoman, is revealed.

The geography of this type of creativity is truly immense. Perhaps, there is no such people, whose national costume would not get off with embroidery. Having arisen in ancient times (images of embroidery are found in the monuments of art of ancient civilizations of Asia, Europe, America), the art of embroidery among different nationalities has created certain traditions of patterned embroidery inherent only to them. And it is in the decoration of household items and clothing that these traditions are preserved and developed for the longest time.

The art of embroidery has its own history. It, like any other art, has experienced periods of prosperity and decline. Thus, embroideries created during the Renaissance are distinguished by their extraordinary artistic subtlety and virtuosity of execution. Suffice it to say that drawings for subject embroidery were often made by famous painters (Perugino, Botticelli, etc.). In the 19th century, embroidery is gradually degrading - by the middle of the century it becomes mainly a means of reproducing popular paintings, and in the second half, with the emergence and development of machine embroidery in the industry of developed countries, hand embroidery loses its artistic traditions and declines.

Folk embroidery acquired a new life during the existence of the USSR. The art of embroidery developed on the basis of ancient national embroidery and gained more and more popularity. Once again it was fashionable embroidered table and bed linen; panels and paintings made with satin stitch or cross decorated the interiors of apartments; an important role was played by embroidery in the decoration of clothing. This is not surprising. In conditions of general scarcity and monotony, Soviet women sought to decorate a blouse, skirt or dress made of inexpensive fabric with embroidery.

Embroidery has not lost its popularity these days. The best traditions of folk embroidery art have been preserved in modern embroidery. Many women want to decorate their apartment with beautiful and modern things. Furniture, dishes, fabrics, clothes, toys and much more that surrounds a person in everyday life, not only serve him, but also educate his taste, affect his mood. That is why it is very important that these items are made with great taste and skill. Studying samples of folk peasant embroidery, artists create patterns for decorating modern products that differ from the previous ones in shape, color, material, content and fully meet high requirements.

As an artist with a brush, so an embroiderer with a thread can reflect the world around and convey the mood. Embroidery creates unique works of applied art. Passion for embroidery contributes to the development of taste, a sense of beauty, and most importantly, it brings incomparable joy to creativity and gives pleasure to those who see the result of this painstaking and wonderful work.