CC BY
8Norwegian Journal of development of the International Science No 17/2018 21
THAN THE SLAVICIAN THE CUBAN LAND
Maltseva L.
Doctor of Pedagogical Sciences, Associate Professor, Professor, Kuban State University, Art and Graphic Department
Abstract
The article considers that folk art and art is a kind of emotional and intellectual communication of people. Therefore, folk art, fine and decorative art in the development of a person's personality plays a major role, in the formation of his ideals, aspirations, in the development of his spiritual world.
Keywords: art, creativity, development, education, history, traditions, customs, culture.
To study the experience of its people, its traditions, to see features of national identity in the guise of people, in their clothes. Know the history of your land, thereby form self-consciousness. After all, unfortunately, we turned out to be a people suffering from a loss of historical memory and roots. In addition to history, traditions are also lost, so it is necessary to tell and show to the younger generation everything that has been collected for centuries by the older generation. To understand what Slavic Kuban land will make a short journey into history. In the Kuban for a long time people engaged in various crafts and crafts. It was pottery, wood carving, knitting, weaving, embroidery, painting. People arranged their way of life, made furniture, dishes, decorated their home, their clothes. Straw occupies a special place in the craft business of the Cossacks. Straw was always in abundance in the Kuban. Her lot remained after harvesting bread, this is the most affordable and cheap material for all sorts of crafts. Straw was decorated with ready-made wooden and cardboard products. From the strips of smoothed straw make attractive applications. For the product use straw rye, oats, wheat, barley. From corn cob leaves, talasha made various decorative items.
Pottery was developed in the Kuban in those areas where a good viscous clay lay close to the markets. She made dishes, children's toys, tiles, facing slabs to stoves and fireplaces. The settlers who came to the Kuban brought with them traditional professional skills and artistic techniques. In the Kuban, children were able to sculpt toys at the age of 7-10 years, helped in the preparation of clay, which still had to be able to knead and grind correctly, so that not a single small pebble remains in it. This is a large, labor-intensive work, requiring great patience. Without her, the pupil was not allowed to the potter's wheel.
Woodcarving was widespread in Kuban, one of the most common types of folk craft of the Cossacks. Often it was possible to find carvings on various objects of everyday life. Carved articles: wooden dishes, spinning wheels, rubels, on a loom. In the decoration of houses: porches, trim.
Forged products made by craftsmen in the XIX century, can still be found in some of the stanitsas and towns of the region, as well as in Krasnodar. Basically it is an openwork fence, porches of houses, window and door grilles. A whimsical ornament consisting of curls, rosettes, medallions. Often it was woven into the manufacture of the product. Honoring blacksmiths from ancient times passed from generation to generation: a
blacksmith and horse hides, and a Serb with a scythe will make, and in construction an indispensable assistant.
Leather and shoemaking in the Kuban. The leather has long been used to make shoes, harnesses, belts. A special kind of tanneries was tanning sheepskins for sheepskin coats and sheepskin coats. In contrast to the northern provinces, leather shoes were worn by almost all residents of the Kuban. They used products made of leather and in households and households.
Weaving provided material for clothing, decorating the home. Already from seven to nine years in the Cossack family, the girls were accustomed to weaving and spinning. Up to the age of majority they managed to prepare for themselves a dowry of several tens of meters of linen: towels, shirts. The raw material for the weaving craft was hemp and sheep's wool. The inalienable objects of the Kuban dwelling were: looms, spines - spinning wheels, donets - combs for making hemp threads, beech - barrels for bleaching canvas.
In the Kuban in the old days it was believed that the Cossack woman would never throw an old, worn tablecloth or curtain. These things in the house can get a new life. To do this, the landlady will cut rags into long ribbons, sort them by color, and roll them into big balls. When you accumulate a lot of these balls - bright, dark, white, monotonous and variegated - the woman sits at the loom, and now the scraps are folded into strips, the cages - in front of us a rug. Bags can not only be weaved, but also knit with a thick hook, the rug can also be sewn. They turn out to be thick and beautiful, they covered stools, benches, chests.
Art is a kind of emotional and intellectual communication of people. Therefore, visual and decorative arts in the development of the human personality plays a major role, in the formation of its ideals, aspirations, in the development of its spiritual world. At present, the greatest interest is shown in the arts and crafts and folk art, which shows the interrelationship of oral folk art, preserve and pass on to future generations the secrets and skills of folk art traditional for the Kuban.
The most developed kinds of folk-applied art in the Kuban region were embroidery. The craftsmen of the Cossacks embroidered towels (towels), tablecloths, napkins, pillowcases, curtains, shirts. Basically, the embroidery was done in color and white. Folk art embroidery is a bright and unique phenomenon of Kuban culture, the study of which enriches, brings joy of communication with real art.
22
Norwegian Journal of development of the International Science No 17/2018
From time immemorial our land was famous for the skill of handicraftsmen. All female half of the Kuban village spun, weaved, embroidered, giving wonderful patterns to everyone for joy. Festive clothes, table-cloths-tabletops, the edges covered - the gaps, the ends of the towels - everything was decorated with woven or embroidered ornament. From the age of 8-9, girls were engaged in needlework, who, under the care of their mothers, comprehended the secrets of female needlework, and prepared their own dowry.
The complexity of the decorative design of elegant women's shirts. Here the ornament was decorated with a hem, a sleeve and a thoracic neckline. The number of patterns and the brightness of the color depended on the purpose of the costume and the age of the woman. So most elegant was a shirt in the suit of a young, recently married woman, whom she had the right to wear only until the birth of her first child. Such festive shirts blazed in red and differed in a complex pattern. Each housewife decorated her home with embroidered objects of everyday life, creating comfort, on the windows embroidered curtains, on the icons, on the dresser of the walkway, walls and photos were decorated with towels, curtains, table-tops, napkins, bedspreads, pillowcases on the doors were all embroidered.
There were ceremonies and customs of the Cossacks. Usually there were about thirty embroidered towels in the house. Some of them were part of the bride's dowry and prepared by the girl before marriage. This is, first of all, a towel for the newlyweds - it was used by the newlyweds. Two towels were prepared for future kids: for a boy - with a geometric ornament, for a girl - with a vegetable. A modest towel was intended for the Cossack on the road. Obligatory accessory was a shoe, symbolizing a distant happy road, and two strips of red and blue. Sometimes a horse's head or a flower horseshoe was embroidered below. For the harvest, a very long (up to 3.5 m) towel was made, divided in width by a series of woven strips; its ends were ornamented with flower patterns: cornflowers, spikelets, etc. A small but beautiful towel with stylized vases or teapots was meant for a dinner table.
A large family towel for guests was hung in the hallway. For the children-guests, small white towels with embroidered birds and flowers were prepared. Large, not less than three arshins, a heavy towel was made for a bath, decorated with embroidered wildflow-ers and shading. For children, a bath towel was also provided, but much smaller. Festive towels were embroidered for Christmas, Easter and the Trinity.
The girl used to prepare at least 12 towels together with other parts of her dowry for the wedding. Some of these things were passed from mother to daughter. Towers had a variety of functional significance, which determined the content and form of ornamental motifs. Embroidered towels played a big role in the rituals of giving, especially in wedding rituals. Wedding towels were carefully preserved and passed from mother to daughter from generation to generation. Often my mother-in-law gave her young sister-in-law her towels. A modest towel was intended for the Cossack on the road. A necessary accessory was a shoe, symbolizing a distant happy road and two strips of blue and red. Sometimes a horse or a horseshoe was embroidered. For the harvest, a very long towel of 3.5 m was made,
divided in width by a series of woven strips. Its ends were ornamented with a floral pattern: cornflowers, spikelets, etc. A small but beautiful towel with stylized vases or kettles was meant for a dining table. Embroidery was decorated with women's and men's shirts. They decorated their shirts with embroidery on the bottom, along the edges of their sleeves, over the collar and chest. The breast embroidery was located along a narrow strip along the lateral cut in the form of more or less wide bands along the sides of a straight cut and a wide "shirtlet" was made, it was combined with a side cut of the gate or with a straight line (the "axillary" was superimposed on a straight incision). The bottom was not always decorated. The nature of the ornamentation is geometric: rhombuses, crosses, rosettes, etc.
Comparing the ornaments of ritual and everyday historical objects of the XVIII century and embroidered objects of the late XIX - XX centuries, it can be noted that the embroideries of recent years do not carry that clear information through ornamentation and symbols, and the decorative function of objects is increasingly preferred, forgetting gradually about the original traditional appointments and information. But to this day, machine embroidery is very popular and is used as a decoration of clothes, decoration of household items and the interior of modern houses.
Advertising the work of folk artists, to attract the youth of our Krasnodar region and our country to the development of folk crafts. Do not let this art disappear, which brings joy, beauty, comfort to our homes and pride for our creative people. Regional traditions of upbringing help to form in the person such important features as responsibility, the desire to dialogue with other cultures, to develop the need for self-improvement. They become both an object of study and a learning tool. But whatever these methods are, the main task remains the development and upbringing of a creative personality, possessing an artistic taste, able to analyze, evaluate what is happening, understand the main values of life, be spiritually rich. This will save and pass on to succeeding generations in the course of educational practice the most valuable layer of folk art.
REFERENCES:
1. Bondar V. V. City of Ekaterinodar in space and time. Krasnodar, 2006. - 126
2. Babenko I., Kapyshkina S. Patterns were suggested by nature // Folk art. 1998. № 2.
3. Boluglavskaya. AND I. Russian folk embroidery. M.: Education, 1972.
4. History of the Kuban / Pod. Ed. The cube. GU Shetneva V.E. Krasnodar .: Kuban book publishing house, 2004.
5. Maltseva L.V. Development of artistic and creative abilities of schoolchildren through the means of fine arts (based on the ethno-cultural culture of the Krasnodar Territory). Krasnodar: Ekoinvest, 2009.
6. Maltseva L.V. Cuban studies in the classroom of fine arts in the secondary school. Krasnodar: Tradition, 2010.
7. Maltseva L.V. Teaching the basics of fine and decorative and applied arts. - Germany: LAP LAMBERT Academic Publishing, 2016.
