First of all, let's define the terms: craft- this is when they do something useful in everyday life with straight hands, and fishing this is about the same, but (in our case) also for beauty. By the way, getting walrus meat or unicorn horn for sale is also a craft, but we are talking about needlework.

The first thing that comes to mind is, of course, artistic casting in Kasli and Kus. Meanwhile, the region did not live by cast iron alone, but also by button accordions and moonshine. Well, let's go in order.

Almost until the 20th century, coopers, that is, barrel makers, were honorary people in the South Ural villages and cities, but not too rare. Today, however, the craft has been ruined almost completely: firstly, the volumes of pickles and homemade wines have fallen sharply, and secondly, barrels can be made under industrial conditions ... however, the result will not be authentic.

There are, however, masters in the Chelyabinsk region who undertook to revive the barrel art. For example, enthusiastic businessmen Zateev and Dyachkov put together the experience of coopers, to which they “could reach”, and set up a whole enterprise. The assortment includes barrels for pickling, bowls, tubs, steamers for brooms ... Everything is not so simple with wine barrels, only oak is suitable for them, which must be brought from the Caucasus. Such products will really be "worth their weight in gold."

Where -30 is a common thing, there is simply no way without boots. Well, before the revolution there were no alternatives to felted shoes. Pimokats (specialists in felt boots) worked in the Verkhneuralsky, Kizilsky, Nagaybaksky districts. One of the leading operating industries is considered to be a workshop in the Agapovsky district. Per month - 500-600 pairs. For more than a hundred years, the traditions and pimokats of Brodokalmak have been preserved.

Today, demand has fallen, civilians are flaunting boots and boots, and military personnel are wearing special footwear (in berets). But felt boots are returning to fashion, especially since they now look very aesthetically pleasing, embroidered with ornaments and various colors.

The homeland of Kasli casting revealed itself from an unexpected side. It turns out that button accordions were made here even before the war. So, for example, in the newspaper Kasli Rabochiy, No. 58 of September 1937, we read the following: “Skulkin, a locksmith of the Kasli school of drivers and auto mechanics, created an original musical instrument, calling it the Bayan Orchestra. The instrument looks like a small, beautifully finished table, on which the bass and voice keyboards are located horizontally, like a piano. With the help of a special pedal, the musician sitting at the table pumps air into the button accordion furs with his foot ... September 5, 1937 in the club. I. M. Zakharov held a public audition of the invention of a craftsman musician. The melodic and rather loud music delighted those present. The instrument received full approval from the musicians of the village.”

Moonshine and equipment

Alcohol rises in price, its quality falls. And in the asset of every second lover to lay behind the collar there will always be a story about “the same moonshine” that was brewed in his native village by the cherished granny. Indeed, the quite active activity of yard bootleggers in the Urals has long been known, the word “moonshine” came into use immediately after the revolution. Do not confuse moonshining with the production of counterfeit, “palenki”: usually the volume of output from a moonshiner is so negligible that it is barely enough to provide neighbors, there is no need to talk about entering any significant market.

To remind about the old "Uncle Sam", as they call moonshine among the people, manufacturers of distillers undertook. In Chelyabinsk, for example, there is a workshop that first soldered water purification devices, but after a slight refinement of the technological line, entrepreneurs released moonshine stills on the shelves. It is not hard to guess that the new product has become much more in demand than distillers.

We urge you to observe moderation in the use of alcohol, and it is better to refuse it completely, even without medical indications.

It is difficult to describe this cultural phenomenon in three words. Initially, engraving was used to decorate exclusively edged weapons ... not only souvenirs, in general, but also quite killing ones. Since 1829, the Zlatoust Arms Factory has been a regular guest of industrial exhibitions, including world ones. But to late XIX century, things began to decline: with the help of industrial stamping, it was possible to decorate a thousand blades while the master manually works on a single one.

Fortunately, the Soviet authorities realized in time that the engraving art was barely breathing and could be lost forever. Now art critics express the opinion that the patient is more alive than dead, the more capitalism has opened up a new market niche: “very expensive gifts for very dear people (read: oligarchs)”, in which engraving feels comfortable.

Our region, in terms of ethnic composition, is similar to that hipster smoothie: there are a lot of ingredients, but try to figure out where someone is, everything is so mixed up. The same is with the traditional costume: Bashkirs, Tatars, Finno-Ugric peoples, and even Kazakhs have invested in the capacious concept of the “costume of the Southern Urals”. Nevertheless, the researchers note that embroidery is very specific, traditional for the region.

Ural cross-stitch is an ancient ornament - these are geometric shapes (including the ancient sign of fertility) and geometrized images of stars, birds, plants. Of course, everything was created by hand, with or without hoops, and no embroidery machines.

Almost in all large cities and in many villages there was a pottery production. In Chelyabinsk, Lozhkin's pottery workshop is known on Zapadny Boulevard (now Sverdlovsky Prospekt); there were also makeshift pottery sheds (near the Red Barracks).

Clay in our region is good. For example, raw materials mined from Lake Misyash were sent all the way to St. Petersburg, to the Imperial factories. Until the middle of the 20th century, potters worked in Chebarkul, Verkhneuralsk, and Troitsk.

The Yuzhnouralsk Porcelain Factory is one of the first in the USSR, founded in 1961. The company's website has not been updated since 2001 (!) until that time the company regularly produced an ordinary service to an undemanding consumer. But in the days of the great Union, the products were quite non-trivial, just look at the photo!

With such rich deposits of precious and semi-precious minerals - and we mined high-quality marble, amethysts, topazes, opals, jasper, malachite, garnet, it’s impossible to list everything - the Chelyabinsk region has become one of the world centers of stone-cutting industry. Placers were scouted back in Catherine's times. Actually, the entire Urals — Yekaterinburg, Chelyabinsk, Perm, Magnitogorsk — was “covered” with a stone-cutting boom ... An enterprise in the village of Koelga is now closely engaged in marble decoration for churches. And the “jewellery” with stones is a huge number of “private traders” and souvenir shops.

It would seem that there is no work left for modern blacksmiths of the front: there are fewer and fewer horses, it is easier to buy hardware and hardware in a store than to forge. Nevertheless, the workers of the hammer and the anvil do not give up their positions, unite in creative clusters and even hold their own festivals.

At the first district Ural festival "Folk Crafts" in Yekaterinburg, all regions of the Ural Federal District presented products of local craftsmen. Their diversity was dizzying. Just like Gogol: "What is there at that fair!" But how rare bird reaches the middle of the Dnieper, so a rare master will earn his bread and butter. Why, the correspondent of "RG" tried to find out.

Fair without buyers

According to federal law, folk craft is a creative activity localized geographically in the so-called places of traditional existence. Economists and historians indicate another, perhaps key, characteristic - it is "a source of livelihood." And this is just not easy. So, if there were many spectators at the festival, then there were only a few buyers.

Admire, but do not buy, - complains lace maker Elena Epifanova. - In the understanding of the public, our products are an inexpensive and small-sized "souvenir". But, for example, this cape is a month and a half of my work, and I would like to get it for it accordingly.

Handicraft products are often uncompetitive, since the low efficiency of state support and the high proportion of manual labor make these products too expensive, - says Andrey Besedin, President of the Ural Chamber of Commerce and Industry. - And we are simply obliged to help the masters to establish the promotion of their products in a modern format.

The holding of the festival is one of the points of the strategy for the development of folk crafts in Russia, developed by the Ministry of Industry and Trade of the Russian Federation. As conceived by the authors, crafts will be released on new level development, if markets are opened for them through the organization of such large-scale events.

This time in Yekaterinburg, the craftsmen demonstrated amazing things - a fur mosaic, clothes made of nettles, puppets made of duck beaks... The most impressive performance was made by the people of Yamal, who put up a tent in the exhibition hall. Inside, eight-year-old needlewoman Liza shows how beads are woven and bone is cut. He has been doing this since childhood, following the example of his parents, who work in the district House of Crafts - the "epicenter" of the development of traditional folk crafts in Yamal.

Regions of existence

Colleagues from other Ural regions can only envy the people of Yamal, where the regional fisheries support system is really developed. Festivals and exhibitions are regularly held in the district - only the Salekhard House of Crafts organizes up to 50 events, and there are three of them in the autonomy, and each has workshops, a gallery and a salon for selling products. From the most outstanding samples, the art fund of Yamal is formed, which numbered 1944 items at the beginning of the year. In total, last year the district budget allocated 439 million rubles for the targeted subprogram for the conservation of crafts. Manufacturers, in addition to tax incentives, marketing and methodological services, are provided with grants. For example, this year four artisans received 200,000 rubles each, five fishing enterprises received 700,000 rubles each, and the "master of the year" determined by the competition was rewarded with 80,000 rubles.

Unfortunately, in Sverdlovsk region the scale is different: the title of master and custodian of crafts is estimated more modestly - 50 thousand rubles are awarded to four or five people a year. There is no profile state program, it is only being developed. Although talk about the need for its adoption has been going on for many years.

According to the regional expert council, in the Middle Urals, 300 craftsmen and about 50 small organizations work in 11 places of folk crafts. The regional Ministry of Industry and Science calculated that in 2016 they produced products worth 77.8 million rubles - five percent less than a year earlier.

For ten years, Turin toys, Bogdanovich porcelain, Butkin carpets, Rezhev painted wooden utensils have sunk into oblivion ...

10 years ago there were more than 60 such enterprises in the Middle Urals. During this time, along with the factories, Turin toys, Bogdanovich porcelain, Butkin carpets, Rezhev painted wooden utensils, stone-cutting and jewelry made in the village of Malysheva have sunk into oblivion ... The list goes on.

Support the falling

There are only two left in the Middle Urals industrial production handicrafts. The first is a porcelain factory in Sysert. Two years ago, the region accepted half of the shares of the enterprise, which is in a pre-bankruptcy state, on its balance sheet, paid off wage arrears and, as officials say, may even act as an investor. Recently, deputies of the Legislative Assembly of the region proposed to sell the plant, which is quite expensive to maintain for the budget. However, for the improvement and "pre-sale preparation" of this asset, according to the regional Ministry of State Property, 152 million rubles are required. For comparison: according to the head of the Ministry of Industry and Trade of the Russian Federation Denis Manturov, in 2017 state funding for the entire sphere of folk crafts will amount to 450 million rubles.

The second enterprise - a ceramic factory in Tavolgi - is in a better position. However, as its director Alexander Nazarov admits, without federal subsidies for about two-thirds of the cost of electricity, the production of pottery would have closed. The issue volume is 200-300 thousand rubles per month. In the price structure of a glazed pot, electricity makes up half, another 40 percent is wages, and the remaining ten percent is raw materials. There is enough clay in the Urals, and there are no problems with sales either: a quarter of the products are sold in their own store in Yekaterinburg, 40 percent are sold in bulk, the rest is bought up by tourists, who are accepted at the enterprise up to 20 thousand annually.

I do not see any regional support, - says Nazarov. - Let's say tourism is a great help for us, but how can tourists get through our bumps?

Meadowsweet away from the main roads. According to the ceramist, he repeatedly asked regional officials to allocate money and build ten kilometers of asphalt - an exit to the Alapaevsky tract. This would at least increase the tourist attractiveness of the object.

Lost in crying

The tourist flow eliminates the main "headache" for most folk crafts - worries about the sales market. Alas, artisans are not trained in marketing. Together with other problems - lack of finances, high wear and tear of equipment, a reduction in the raw material base - this, according to Gennady Drozhzhin, chairman of the board of the Folk Artistic Crafts of Russia Association, is leading to the fact that crafts are about to reach the point of no return.

It is necessary to develop the sales industry, - Drozhzhin is sure. - We have units of specialized salons throughout Russia. For example, in Nizhny Novgorod, not a store - a pearl! 700 square meters visited by everyone famous people, from Yeltsin to Thatcher. Why not allocate the same premises in each millionaire? Regions should take care of crafts, because this is primarily spirituality, not economics.

At a recent round table in Yekaterinburg, it was proposed to arrange presentations of artisans' products at meetings where leaders gather - a more solvent category than ordinary visitors to fairs (by the way, the Ministry of Industry and Trade of the Russian Federation proposes to allow officials to receive gifts worth more than three thousand rubles, provided that these are handicrafts).

Another suggestion is to "cross" tradition and modern design. For example, to use elements of cast iron and motifs of traditional house painting in the interiors of hotels. Moreover, guests of the region have a demand for authenticity. For example, tourists from China several years ago sent an application: "We want to live in the center of Yekaterinburg, but in traditional Russian huts." Now, alas, it is not easy to find even souvenirs with local flavor, with the exception of Bazhov lizards and caskets (by the way, from Zaire, not Ural malachite).

It is necessary to support the organization of fairs and festivals, - Olga Kruteeva, a researcher of folk crafts in the Urals, believes. - And informing. Take, for example, the Tagil tray: no one had done this before the Tagil people, the well-known Zhostovo ones appeared later. Our Ural uniqueness lies in the combination of tradition with industry, and this craft arose as an addition to production. But even local schoolchildren heard about Gzhel, but nothing about the Ural-Siberian painting.

direct speech

Denis Manturov, Minister of Industry of the Russian Federation:

Abroad, our traditional art has always been valued and is still being bought up for fabulous money, while we, worshiping advertised brands, forget about our national masterpieces. For a long time, Russians bought folk art products at best as a gift or a tourist souvenir. Now the situation is changing, the interest of Russians in folk art crafts is reviving. The understanding came that these are not just decor items or household items, but a kind of national symbols representing the originality of our country, its individuality. They are, without exaggeration, the basis of national culture. That is why the preservation and support of fisheries is the most important state task.

Khusnutdinova Yesenia

Research work. Contents: introduction, folk crafts and crafts of the Chelyabinsk region, folk crafts and crafts of the village.

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"Ural crafts"

2018

Page

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

Chapter 1. Folk crafts and crafts of the Chelyabinsk region……………..8

1.1 Kasli casting……………………………………………………………

1.2 Stone-cutting art………………………………………………………

1.3 Pottery………………………………………………………………

1.4 Pimokatny case…………………………………………………………..

1.5 Cooperage………………………………………………………………

Chapter 2. Folk crafts and crafts of the village of Muslyumovo.…………….10

2.1 Hand embroidery, patchwork, knitting……………………………..

2.2 Beekeeping……………………………………………………………….

Conclusions…………………………………………………………………………..

Conclusion……………………………………………………………………. 19

References…………………………………………………………… 20

Appendix……………………………………………………………........... 21

Introduction

From time immemorial, our land has been famous for its good craftsmen, people who created and create fabulous beauty with their own hands.

Since ancient times, people have been engaged in crafts - occupations that could provide income for the life of a peasant family.

Crafts, according to the nature of their activities, can be divided into those in which something is produced and those in which something created by nature is extracted. Industrial trades are usually called crafts, and the latter are called either "booty" or, in each case, have their own specific name.

The word "craft" comes from the word "crafts" - a carpenter. This word signifies and denotes different types work, mostly by hand.

In the explanatory dictionary of the living Great Russian language of Vladimir Ivanovich Dal, it is explained as “needlework, manual labor” and as “the ability to get bread, a craft that requires mostly bodily rather than mental labor” .

Craft is the ability to make something. “The craft does not hang behind the shoulders,” the ancestors said, emphasizing the primacy of skill over its material completeness, skill over a thing.

The presence and originality of the craft depended on the area in which the person lived.

To fill in the gaps in the knowledge of the crafts, I began my design work for the study of crafts in the Chelyabinsk region and the village of Muslyumovo.

Relevance of the chosen topic

A person must know the history, traditions and customs of the place where he lives.And so that their knowledge and skills are not lost in time, they need students who continue their craft. Getting acquainted with the work of the masters, we become more humane, kinder, because in their works moral and aesthetic principles, expediency and beauty have merged. And all this beauty is the experience of a wise, hardworking people.

Target: acquaintance with folk crafts of the Chelyabinsk region and the village of Muslyumovo

Research objectives:

Collect material about the fisheries of the Chelyabinsk region and the village of Muslyumovo;

To identify the masters of the village of Muslyumovo, engaged in trades and crafts;

Systematize and summarize the material about them;

Hypothesis - if we study the history of our small homeland, its culture, customs and traditions, including crafts, then we will take a step towards ensuring that the future generation will preserve and remember the past of their small homeland, will be proud of both their village and its residents, and the fact that they were born and live here.

Subject of study- trades and crafts of the Chelyabinsk region, the village of Muslyumovo.

Forms and methods of work- review periodicals, local lore sources of literature, a trip to the district library, a conversation with craftsmen.

Significance and applied value of the work- This work can be used in the classroom at school.

Chapter 1. Fisheries of the Chelyabinsk region

1.1 Kasli casting

Not far from the city of Snezhinsk is one of the oldest cities in the Southern Urals - Kasli. This small town is famous all over the world for its cast iron products.

In 1747, on the shores of Lake Kasli, among the forests of the Urals, the Tula merchant Yakov Korobkov set up the Kasli iron-working and iron-smelting plant. The place for it was well chosen: the Urals are rich in iron, and the quality of local foundry sands is unique, and there was plenty of wood for coal production.

In 1752, N. Demidov, the owner of many factories in the Urals and Siberia, bought the Kasli plant. By that time, the plant was smelting pig iron, which was converted into coulter, strip and lump iron. At the Kasli plant, guns and cannonballs were manufactured and sent to the Center of Russia. Demidov's iron had its own brand - two sables standing on their hind legs. It was the most High Quality in the world!

The next owner of the factories, a free merchant of the 1st guild, Lev Rastorguev, further strengthened the glory of original products. Since 1809, he and his heirs have attracted talented sculptors, artists, chasers and moulders to their workshops. At the same time, graduates of the St. Petersburg Academy of Arts M. Kanaev and N. Bakh were invited to Kasli, who organized a factory art school, which later raised the craft to the level of art with its talented works.

In 1823, a new manager, Grigory Fedorovich Zotov, appeared at the Kasli plant. It is with the activities of G. F. Zotov at the Kasli plant that the formation of artistic casting is connected. Zotov was the first to introduce the German art casting technology in 1824 at the Kasli plant. As the first samples, the Kasli people used German castings brought by G. F. Zotov from Berlin, as well as artistic castings from the bronze foundry workshop of the Verkh-Isetsky plant. 1824 can be considered the year of birth of Kasli art casting.

In the first third of the 19th century, artistic iron casting was mastered at many metallurgical plants in Russia. But by the middle of the century, in connection with new production and economic relations, as well as the lack of orders for architectural casting, enterprises stop special production of artistic products from cast iron. However, the Kasli plant not only did not stop, but also increased output, while expanding production. The company refocused on the production of the so-called "cabinet" or chamber casting. The craftsmen also learned how to make amazingly beautiful boxes, vases, floor lamps, openwork trays, plates, and sculptures. These things were made very elegantly. It was hard to believe that they were made of cast iron.

We must not forget about household castings, intended not only for decorating everyday life, but also for practical use in everyday life. Ashtrays, boxes, candlesticks, vases and other items that you often find in apartments are all works of art, they have a lot of peculiar charm, invention, brilliant technical perfection.

1.2 Stone cutting art

In the first quarter of the 18th century, self-taught stone-cutters were already working in the Urals, with European specialists invited to help them. Until the turn of the 18th-19th centuries. in the stone-working industry there were no mechanisms and all processing was done by hand. Hammer, chisel, files - were the main tools of the master - bricklayer. Processed rough products were polished with heavy cast-iron trowels. After grinding, the stone product was polished. Before polishing, all cracks and pores in the stone that remained after processing were carefully sealed with mastic matched to the color of the stone; the stone was washed with water and wiped with a rag. In order to give the finished product a mirror shine, it was sprinkled with polishing powder.

The main centers of stone-cutting art are the city of Chelyabinsk, Zlatoust, Miass.

1.3 Pottery

Pottery in the Urals has a not so long, but no less original history. It has developed in various economic forms and cultural environments, responded to the needs of various social groups, arising everywhere where it was possible to find clays of suitable quality. The technological cycle of pottery production is very simple: extraction and preparation of clay, dressing products on a potter's wheel and by hand, drying, firing. They sold pottery at fairs: Irbitskaya, Shadrinskaya, Chelyabinsk, Kamyshlovskaya, Tyumenskaya. In all local centers, the assortment of manufactured products was diverse: lids, pots, pots, cups, oilers, patches. The Ural pottery was characterized by a wide top in diameter, the absence of a narrow neck, a linear, wavy and molded ring ornament. It can be stated that in the Urals there is a solid tradition of ceramic art, various centers of ceramic production have been recorded and described, differing both in technological methods and in the appearance and composition of products.

1.4 Pimokatny business

The village of Brodokalmak is famous for its shoe felting shop. The production of felt boots in Brodokalmak is over a hundred years old.

During the period of perestroika, the Brodo-Kalmak shoe felting workshop fell into complete decline. In 2002, the Phoenix enterprise was formed, producing 250 pairs of felt boots per month.

Brodokalmak's pimokat business was widely known outside of it back in the 19th-20th century, and at present this craft is still being practiced. At the end of the 19th - beginning of the 20th centuries. in with. Brodokalmak sheep were kept in almost every household. Sheared sheep in the spring, because spring wool is more durable, long, oily. The wool of the autumn haircut was used little, because. things connected from it rolled heavily when worn. From the "autumn" felt boots were rolled. After the sheep were sheared, the fleece was spread on the canopy, dried in the sun, then immediately sorted out from the burdock and debris, because if the burdock dries out, then it is difficult to remove it. The sorted wool was put into bags or baskets and hung in a closet for further drying.

The first stage of production is mechanized, but heavy, because it is dusty and noisy. Wool-beating machine breaks wool, removing dirty elements.

So, the woolen mass obtained in the works and whipped up in small pieces fits into a carding machine, consisting of many shafts with thin needles. Passed through thousands of needles, the wool is wound in a thin, soft, like a cobweb, on the original large shaft without needles, from which it is easily removed, weighed and sent under the press. Blanks are formed - woolen layers for future boots.

Splices, splice wool and make felt boots directly.

The final stage of production consists of many operations: first, huge pimas are rolled in a rolling machine, after which they become flat. Soak overnight in an acidic solution to give the shoes the necessary hardness. Then the felt boots are washed in hot water. Steamed felt boots are pulled out on a special machine, and to give shape, blocks and devices are inserted into them. Wet felt boots with pads and appliances inside are dried in an oven for two days at a temperature of 80-100 degrees. Then the forms are taken out, and the finished Russian boots are marked and sent to the warehouse. Technological process production of each pair of boots takes four working days. It seems that the process is completed, but there is one innovation in the rolling shop. Part finished products before the sale goes to the embroiderers.

1.5 Cooperage

In the old days, the secrets of cooperage were passed down from father to son.The people used wooden barrels, various utensils for the home and household everywhere, and they were in every house.

The manufacture of the tub begins with the preparation of rivets, those boards from which the walls and bottom of the product are assembled. Once upon a time, they were harvested right in the places where trees were cut down. And the craftsmen with assistants stabbed right on the hemp plots on the blanks of staves. Now sawn boards are used.

After the rivets are fitted in a circle one to the other, they are assembled into a "working" hoop, which will subsequently be removed and replaced with permanent ones.

Then the walls of the tub are planed from the inside with a special planer - a hunchback, which has a convex knife and a rounded sole to give the tree the desired inner circle. One bucket tub can go from three to five hoops. When the finished hoops are caught up on the tub blank, the bottom is prepared and inserted into a special groove called chime.

Chapter 2. Folk crafts and crafts of the village of Muslyumovo.

2.1Hand embroidery, patchwork, knitting.

The art of embroidery dates back centuries. “The finds of archaeologists confirm that already in the 9th-11th centuries in Ancient Rus' decorated with goldsewing clothes of noble people and household items. Embroidery was done with a needle on various fabrics with threads of flax, hemp, silk, silver, wool, gold, precious stones. Russian embroidery had its own characteristics. It often used a geometric ornament, depicting women, trees, birds, vegetation. Russian embroidery is divided into two types: northern and central Russian. The north is characterized by cross-stitch, cutout, and satin stitch embroidery. The main feature of the Central Russian embroidery is a colored interlacing (hemstitching)." Russian crafts and ancient folk crafts of Russia.

Previously, almost every woman knew how to weave from childhood. Colored rugs, towels, capes for a chest of drawers, a TV set at Sultanova Lilia Lutfullovna have been preserved. All these products were made by the mother of Lilia Lutfullovna - Abdrakhmanova Sazhida Gumarovna. The wooden loom was in the past a necessity in every home. Since ancient times, women spent long hours behind him to provide their families with clothes, and the house with various household items. Now looms rarely preserved in its entirety. Having visited the district museum, I saw such a machine [Photo 1,2].

At home, I learned that my grandmother also knows how to embroider with satin stitch, and used to weave towels [Photo 3,4,5].

Sultanova Liliya Lutfullovna is a master of all trades. It seems that if a needle and thread or knitting needles fall into her hands for a few minutes, the hook will immediately create some kind of pattern.. Lilia Lutfullovna since childhoodcrocheting and knitting. There are a lot of products in her collection. Based on the stories of Lilia Lutfullovna, at first there were small napkins, and now she embroiders whole pictures that she gives to relatives and friends. After I saw the pictures embroidered with a cross, I had a goal to learn how to embroider.

One of the most skillful needlewomen of the village is the mother of Kulmukhametova Lilia Mavlyutovna, aunt Maulikha. She is famous as an embroiderer. She passed on her art to her daughter Lilia Mavlyutovna. Her finished products create coziness and comfort in the house. good mood these are tablecloths and napkins, pillowcases and scarves.

Now you can buy everything ready-made, but in these things made by machines there is no soul, a part of which the needlewoman puts into each of them.

Knitwear has always been popular. They didn't come outfashion today. Handmade clothes are unique. At schoola knitting circle is being conducted. This circle is led by Mingazhova Yamilya Misbakhovna, a teacher of mathematics. Students love going to her classes andlearning to knit. Yamilya Misbakhovna herself knits sweaters, sleeveless jackets, socks,mittens, berets and more.

2.2 Beekeeping

Nature has given people many valuable products with healing properties. One of the wonders of nature is bee honey.

Probably everyone knows the saying "Hardworking like a bee." And the order and clarity in the work of a bee colony can be compared with the work of a computer.

Man has been collecting honey for a long time. At first it was just the destruction of bee nests, then a person began to take half of the wealth of the bee house, realizing that after wintering, in the summer, he could return to the nest again and again take half of the stored honey. Then the man began to cook hollows in the trees, and the bees willingly settled in them. Now a person took “his half” by the right of a “landlord”. This is how "board crops" appeared.

When communicating with bees, a person came to the idea; But why not try to cut down the bee board from the tree trunk and move it to the house? This is how apiaries appeared, made from wooden logs. The bees put up with the proximity of man and the now "legalized" division of honey.

In the village of Muslyumovo, the Sultanov, Ershov, and Latypov families are engaged in beekeeping.

The main bee in the bee family is one queen bee. She lays eggs, larvae form from them, and bees emerge from the larvae. So the bees take care of her. On combs, among other bees, it is larger than an ordinary bee, it has long wings and an even body. Her proboscis is almost invisible, but she does not need it. She does not collect honey, the queen is fed by worker bees.

At the beginning of summer, large bees without a sting appear - drones. These are non-working male bees.

And of course, the main worker is the worker bee. Their number in small families is several hundred, in large ones - up to 80,000. Labor in a bee colony is divided. Each group of bees performs only their duties. During the day, the bees sit down and take off from the house continuously, forming a chain in the air. They collect nectar, they work. Bees that crawl at the entrance to the house can fly up to a person who is not far from the hive, they can sting. These are the guards. There are also bees that just show up from the house and crawl back. They do housework: they feed the larvae, clean the combs, air the hive. This division is related to the age of the bee.

According to Liliya Lutfullovna Sultanova, bees need special care. Constantly inspect bee families. During the swarming period, it is necessary to constantly be in the apiary [Photo 6,7,8].

In winter, the bees are underground. In early April, snow is cleared in the apiary, in the garden in order to expose bee hives. It is necessary to rinse the empty hives well inside. Then the bee colonies are transplanted into the treated hives.

In early June, the bees begin the process of swarming. It is necessary to guard the bees in order to collect them in a special box and release the swarm into a new hive in a day.

After the swarming process, the bees begin to collect honey. At this time, "shops" are placed in the hives (one floor with empty frames). When the "shops" are filled with honey, remove the shops and pump out the honey.

conclusions

Everything that surrounds a person, with the exception of nature itself, has been created over thousands of years by his hands.

Having studied the traditional trades and crafts of my region, I was glad that in my land, my small homeland, there are such craftsmen who can serve as an example for the younger generation. I hope that in the near future such products as self-woven carpets and rugs, embroidered tablecloths, paintings created by modern folk craftsmen will again enter our daily life and become its necessary attribute.

I was pleased to recognize creators in my acquaintances, to see the marvelous works of masters who glorified the beauty of their native land.

I am very proud of them! And I treat my countrymen and my small homeland with even greater love.

Each person should know the history and traditions of his people and his homeland. So that it does not crumble into grains, is not lost in time.

Conclusion

Crafts, which in distant, and in some cases not very distant times, were widespread on the territory of our village, were forced out of the daily life of peasants by the mass production of affordable household items and became an ethnographic rarity.

To preserve the craft, it is necessary to adopt the experience of the old-timers, to learn their craft in order to folk crafts continued to live. And everything that we collect about folk craftsmen needs to be immortalized in collections of memories of their life and work, photos and video materials, because each craft develops its own special techniques, its own technology, its own secrets of preparing material, which are lost with the departure of masters. We need to have time to adopt this art from those who remained.

Craft is our pride. I was able to understand the significance of this craft, look deep into the centuries and visit its origins. Moreover, I met folk craftsmen who keep the secrets and secrets of craftsmanship, which they shared with me.

Time is running out forever, and we, young people, must make every effort to preserve the folk, original culture of our ancestors for ourselves and future generations.

Bibliography:

1. Dal V.I. Explanatory dictionary of the living Great Russian language. Moscow: "Russian language", 1999-196s
2. Ismailova S.T. Encyclopedia for children. In 4 volumes. T. 2. - M .: Avanta +, 1996. - 706 p.
3. Latyushin V.V. Chelyabinsk region. Atlas. 5th edition, revised. And additional - Chelyabinsk: ABRIS, 2014-32s
4. Nechay I. R. In Brodokalmak for more than 100 years there has been a production of felt boots, the newspaper "Mediazavod", 02/17/2012
5. Smirnov V. I. Iron casting of the masters of the Urals. - M., 1954.-94s
6. https://znaytovar.ru/s/xudozhestvennaya-obrabotka-kamnya.html
7. http://uraloved.ru/obo-vsem/remeslo

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Folk crafts of the Urals Prepared by a teacher of additional education Karpuk Nadezhda Alexandrovna Chelyabinsk region, the city of Bakal, MBUDO "House children's creativity»

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MBOU DOD DDT Bakal Karpuk Nadezhda Alexandrovna. Master class: “Tagil monogram” Introducing a modern person to the traditional art of his people is significant for his aesthetic and ethical education, it is on this basis that respect for his Land, Motherland grows, and the revival of national identity takes place. This is determined by the specifics of traditional applied art as an age-old cultural experience of the people, based on the continuity of generations that transmitted their perception of the world, embodied in the artistic images of folk art.

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Folk crafts of the Urals Folk art strikes with two features: inclusiveness and unity. “All-encompassing” is the permeation of everything that comes out of the hands and mouth of a person with an artistic principle. Unity is, first of all, the unity of style, popular taste ”(D.S. Likhachev). Folk arts and crafts is one of the time-tested forms of expression of a person's aesthetic perception of the world. Unique art products folk crafts of the Southern Urals are loved and widely known not only in our country, they are known and highly valued abroad, they have become symbols of national culture, Russia's contribution to the world cultural heritage.

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Folk crafts of the Urals Folk art as one of the forms of information culture. Traditional art, in addition to its undoubted significance as a result of the creative activity of a particular people, is also the most valuable ethnographic source involved in solving ethnogenetic and many cultural and historical problems. In its images and symbols, information about the development of the worldview of our distant ancestors is encrypted. Starting from the most ancient stages of the formation of human culture, creativity harmoniously combined two methods of cognition and transformation of reality - artistic and intellectual, they found a way out and merged together the inherent human nature aspirations of the soul and mind.

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The folk crafts of the Urals include Ural house painting Stone-cutting art of the Urals Ural iron casting Pottery and clay toy CHELYABINSK REGION Kasli casting Zlatoust engraving on steel Artistic processing copper ORENBURG REGION Downy shawl BASHKORTOSTAN Wood carving, wooden utensils, spindle products Cotton mills

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Folk crafts of the Urals Folk crafts in the Urals have a long history. They began to develop more than three centuries ago, when the first factory settlements began to be built in our region, and its population grew significantly due to immigrants from Central Russia. Initially, the traditional Ural crafts were distinguished by a variety of trends and styles. They were developed by talented original masters. Nowadays, traditional trades and crafts are being revived in the Ural cities and villages. More than half of the Ural crafts have long been associated with the processing of stone and metal. Pavel Petrovich Bazhov sang the art of the Ural stone cutters in his tales.

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Folk crafts of the Urals In 1726, on the initiative of the founder of the city of Chelyabinsk, Vasily Nikitich Tatishchev, a lapidary workshop was established in Yekaterinburg, which later became a lapidary factory. From the second half of the 19th century, stone-cutting enterprises appeared in Berezovsky, Verkh-Isetsky, Polevskoy, Marble, Nizhne-Isetsky factories, Shartash village. The current masters - jewelers and stone cutters - revive and continue the traditions of Danila the master. The textile products of the Ural craftswomen were also widely known in the past. Many residents of the village of the Verkh-Isetsky factory were engaged in bobbin lace making, and in the villages and villages surrounding Yekaterinburg, women made handmade carpets. And to this day in the village of Butka there is a factory of manual carpet weaving.

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Folk crafts of the Urals One of the areas of work of the Ural artisans was ceramic craft. Even in the first half of the 18th century, ceramic dishes were produced in the village of Nizhnie Tavolgi in the Nevyansk region. And today, master ceramists of the Sysert Porcelain Factory make unique faience iconostases for churches and monasteries of the Yekaterinburg diocese.

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Folk crafts of the Urals At the beginning of the 18th century, the first bell was cast in the Nevyansk factory by order of Nikita Demidov. Today, the Kamensk-Ural enterprise "Pyatkov and K" is widely known, which has become one of the leading bell factories in Russia. The art of making products from birch bark also developed in the Urals - the so-called "beetroot" craft. Its centers were the Nizhnesaldinsky, Verkhnesaldinsky and Nizhny Tagil factories, where more than 40 handicraft workshops operated at the beginning of the 20th century.

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Folk crafts of the Urals Since the middle of the 18th century in the Urals, in Nizhny Tagil, Verkh-Neyvinsky, Turinsk and Nevyansk, another interesting craft began to develop - lacquer painting on metal. Today, the largest enterprise in this area is the Metal Lavka enterprise in Nizhny Tagil, where excellent masters and artists. Folk crafts in the Urals live and develop. As of old, the products of the Ural stone cutters, jewelers and blacksmiths, Nizhny Tagil masters of lacquer painting on metal, porcelain dishes with hand painted, Kamensk-Ural bells. Masters honor centuries-old traditions, keep secrets and create new techniques for creating original products that cannot be confused with any others.

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Tagil Wenzel Nizhny Tagil, founded by the Tula blacksmith Nikita Demidovich Antufiev in 1725, was and is famous for the talented serf artisans of the owners of the Ural metallurgical plants - the Demidovs. Their products were known not only in Russia, but also abroad. And to this day, in some places, islands of old, but still solid buildings of the last century are barely guessed. One of them, the former Demidov factory management, now houses the local history and local history museum. Nizhny Tagil was rich in craftsmen. Handicraftsmen bought sheets of soft and malleable roofing iron and made ladles, caskets, tables, trays out of them, covering them with paintings.

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Tagil monogram Entire dynasties formed, jealously guarding the secrets of their craft. The workshops of the Dubasnikovs, Perezolovs, Golovanovs enjoyed great fame ... But Andrei Stepanovich Khudoyarov, a man of a tough and stubborn disposition, was considered the first master. Rumor ascribes to him the honor of inventing the famous lacquer, which was transparent as glass, hard - not scratched with a knife, resistant to heat - neither a hot samovar, nor boiling water accidentally spilled, did not spoil his sparkling armor, neither acid did not take it, nor fire. They said: "The paper will be burned on it, the ashes will remain - and that's it." The old man passed on his skill to his sons Vavila and Fedor

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Tagil monogram They, like their father, received the right from Demidov to have their own workshops for painted iron products. In 1784, the Khudoyarov brothers painted "bright butterflies and birds" on lacquered iron plates for the Demidovs' house in Moscow. For this work, they were rewarded with sashes, hats and cloth for caftans, and their father (he was already over sixty) was released from factory work. The grandfather's tradition was continued by the sons of Fyodor Andreevich Khudoyarov - Pavel, Isaac and Stepan, talented painters. Pavel owns the painting “Leaf Shop”, a rare image of the work of workers at that time.

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Tagil Monogram The Tagil Museum keeps the works of old masters... And although the colors have faded from time to time, the flowers still shine as if alive, and the lacquer shines like glass. The Russian traveler of the 18th century, academician Pyotr Pallas, wrote that in the Urals "there are things lacquered, not much worse than Chinese, but better than French ones, including paintings." But this folk art, which developed at the Ural ironworks in the first half of the 18th century, could have disappeared forever, if not for the painstaking and disinterested interest in it of many today's keepers of our culture. True, one secret of the Ural lacquer painting has not been unraveled to this day.

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Tagil monogram How were the Nizhny Tagil trays created in those distant times? First of all, the farrier took over. He cut out round, rectangular or guitar-shaped pieces of roofing iron with scissors, then selected six blanks so that each subsequent one was smaller than the previous one, strengthened the "six" on a cast-iron gutter. With a five-pound hammer, the master forger struck the blanks until the iron took the form of trays. After that, he made a "gurtik" - he bent the edges, made pterygoid or slotted edges and handles. Before varnishing, the master puttied and polished the tray, then covered it with drying oil and put it in a hot oven to burn. This procedure was repeated several times.

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Tagil monogram After varnishing, the surface of the product acquired depth, began to gleam mysteriously. The background of the trays was prepared by Tagil craftsmen in a variety of tones. In one case, they symbolized green grass-ant, in another - a fiery evening dawn, in the third - a warm summer night. Sometimes the background was painted "under the turtle" or "under the malachite". After drying, the tray was again carefully polished, and only after that it fell into the hands of the painters - “scribbler”. Do you think that something has changed since those distant times?... There is no only thing that blanks are stamped without the use of manual labor.

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Master class Tagil monogram I bring to your attention where the Tagil monogram is used today. You see that a wide variety of household items are painted.

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Master class Tagil Monogram Nizhny Tagil, a city rich in metals, received both schismatics and fugitives, who could use their “golden hands” not only to enrich the Demidovs, but also to enrich themselves. And what is important, self-enrichment has become another reason for the formation of the original culture of the Urals. The Russian people, even being Christian, had deep-seated pagan roots, the tradition of decorating household items remained, perhaps that is why flattened metal products began to be painted. There are suggestions that the Tagil painting on metal originates from the Old Believer icon painting, but there is another version that says that Turin artisans could have been carried away by such painting. One way or another, they began to decorate the Nizhny Tagil tray with it.