Embroidery as a kind of arts and crafts. Embroidery as one of the types of arts and crafts
Lesson topic: “Embroidery as one of the types of arts and crafts. Cross stitching ". Class 2 technology.
Akhmetdinova Gulnara Granitovna, primary school teacher of the first qualification category.
Target: to familiarize 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 students' knowledge of the cross stitch performed horizontally, vertically, diagonally;
to work out practical skills of placing fabric in a hoop;
to consolidate the ability to prepare tools and materials for embroidery work;
develop dexterity, coordination of movements;
instill accuracy and patience in work;
develop thinking;
contribute to the development of competencies;
Observe safety regulations;
to educate the accuracy, organization of work.
Planned results:
Subject results:
Expand student 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:
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 constructive 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 knowledge acquired, 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 : research lesson.
Visual aids: samples of embroidery, sketches, arrangement of patterns, stylized drawings.
Equipment: textbook, workbook, a set of hand tools, embroidery threads - 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 the seams based on them.
Why does the fabric need to be removed from the hoop after every embroidery session?
Checking and assessing student homework. Show of the best works.
II.Examination 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 bottom edges of bed covers that hung from beds, towels, tablecloths and curtains, canvas sundresses, hats and shawls, wedding and festive shirts.
Many crosses of different colors and shades as separate elements of the mosaic are able to create 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 embroideries of the peoples of the Caucasus are rich and graceful. 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, sewn from felt, cloth, leather. The patterns often contain curls of horns, stylized figures of animals, less often - an image 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.
The 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 cross Performed 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 it became widespread in the second half of the last century.
The cross is made with two crisscross 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) ornaments.
Modern embroidery is represented by a wide variety of patterns: cartoon characters, plants, berries, animals, etc.
During the implementation of practical work, physical minutes.
" Butterfly"... Slap 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;
Thread floss
Tools:
Thimble
Safe work practices.
NEEDLES. For cross stitching, tapestry needles with a blunt end are used. Don't hold the needle in your teeth. Accidental inhalation - and you can swallow it. Do not stick needles into clothes, armchairs, sofas, do not leave them on the dining table. This is dangerous!
SCISSORS. Should have sharp and tightly closed ends.
Practical work "Making a simple cross stitch".
III.Fixing the studied material
Answer the question:
1. A device for stretching the fabric? (hoop)
2. 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, thread, embroidery frame.
Send your good work in the knowledge base is simple. Use the form below
Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.
Zaporozhye specialized school 1 - 3 steps No. 40 with in-depth study of the English language
Arts and crafts embroidery
The abstract was prepared by:
9B grade student
Zaporozhye
Introduction
The concept of "embroidery"
From the history of embroidery
"From the World on a Thread" (history of embroidery)
History of embroidery in Ukraine
History of embroidery in Italy
History of embroidery in Russia
Ornaments and symbols in embroidery
Semantic roots of ornamentation of ancient cultures
The meaning of some elements of the ornament
Symbols of Ukrainian embroidery
"From the world on a thread" (embroidery patterns)
Ukrainian folk embroidery patterns
Types and methods of embroidery, materials for embroidery
Indian embroidery Chikankari
Embroidery at home
List of used references and literature
Introduction
The art of each era and country is closely related to the historical conditions, characteristics and level of development of a particular people. It is due to political, economic, religious and philosophical teachings and reflects the pressing problems of society. At the same time, art lives and develops according to its own laws, solves its own, artistic, tasks. And we, having learned to appreciate and understand this special content of folk art, became heirs of the spiritual wealth that the artistic culture of mankind preserves for us.
Folk arts and crafts occupy a prominent place in the decorative and applied arts.
The art of handicrafts, created by many generations of talented masters and artists, reveals the artistic talent of the people; in the work of folk craftsmen, the combination of labor and beauty is manifested. In artistic crafts, remarkable traditions of folk decorative household art are preserved and continue to develop. It is no coincidence that folk art is called an inexhaustible source of beauty. In our age of technological progress, the art of folk arts and crafts, with its pronounced national specifics, determines the diversity and contribution of each nation to the common treasury of the country's art.
The concept of "embroidery"
Embroidery is a well-known and widespread handicraft art to decorate all kinds of fabrics and materials with a variety of patterns, from the coarse and dense, such as cloth, canvas, leather, tree bark, to the finest fabrics - cambric, muslin, gas, tulle, etc. ...
Actually, embroidery refers to the decoration of products from different materials with an ornamental pattern or a plot image made with threads and other materials by hand with a needle or by machine technique.
Embroidery is a widespread type of arts and crafts. In it, the pattern and image are made by hand (with a needle, sometimes crocheted) or by means of an embroidery machine on various fabrics, leather, felt and other materials with linen, cotton, woolen, silk (usually colored) threads, as well as hair, beads, pearls, precious stones , sequins, coins, etc. For sewn applications (a kind of embroidery, often with a raised seam), fabrics, fur, felt, and leather are used. Embroidery is used to decorate clothes, household items, to create independent decorative panels.
The types of seams are infinitely varied:
· For "dull" embroidery, that is, for the whole fabric, a cross, satin stitch, set, painting, vestibule, etc. are characteristic;
· For "stitching", that is, embroidery on fabric with threads previously cut or pulled out in some of its sections - hemstitching, "intertwining", flooring, guipure, etc.
Used both individually and in various combinations with each other, they allow you to create embroidery from completely flat to convex, from the lightest contoured or openwork mesh ("lace") to "carpet", tightly covering the entire surface of the product. The pattern with geometric shapes is performed mainly by counting embroidery (counting the threads of the canvas), and the curvilinear pattern - by "free" embroidery (along the contour drawn in advance).
The main expressive means of embroidery as an art form:
· Revealing the aesthetic properties of the material (iridescent shine of silk, even shimmer of flax, shine of gold, sparkles, stones, fluffiness and dullness of wool, etc.);
· Using the properties of lines and color spots of the embroidery pattern to additionally influence the rhythmically clear or whimsically free play of seams;
· Effects derived from the combination of a pattern and an image with a background (fabric or other base), similar or contrasting to the embroidery in texture and color.
Embroidery is one of the most popular types of textile decoration. Since ancient times, embroidered products have occupied a predominant place in arts and crafts. This type of handicraft, changing and improving in parallel with the historical stages of human development, reflects the progress of culture. It is closely connected with the environment, work, nature and, therefore, almost constantly displayed artistic tastes and ideas, revealed the national identity and skill of any people.
From the history of embroidery
Embroidery skills have been created for centuries. For thousands of years, household items and clothing have been covered with embroidered patterns. In various historical periods and social strata, embroidery had features characteristic of that time, society and the development of technology in methods of execution, composition and ornamentation. Some types of sewing have been modified in accordance with changing fashion trends, using new decorative techniques, while other traditional methods of embroidery have retained their originality and originality. The embroidery technology was developed by many generations of craftsmen who carefully preserved everything of value. Gradually, the embroidered patterns acquired the completeness of the composition, the unity of the ornament and the technique of execution. Embroidery is interconnected with nature, activities and everyday life of people, therefore, as a mirror, it reflects artistic performance, the development of tastes, emphasizing the special originality and talent of each nation.
Having originated in the distant past, the art of embroidery has been used for many centuries to decorate clothes and homes. Unfortunately, fabrics and threads are damaged by microorganisms and it is very difficult to preserve embroidered products in their original form for centuries. Many old masterpieces of embroidery art have been irretrievably lost. In this regard, the historical progress of embroidery can be traced only thanks to literary sources, old paintings and their reproductions.
The art of embroidery has been developed and improved by many generations of skilled creators. Fantasy, talent, originality, experience of the masters were embodied in embroidery decorations for clothes and interior items.
The skill of decorative sewing had to be taught to young embroiderers, for which in Kiev, in the Andreevsky Monastery, the sister of Vladimir Monomakh, Princess Anna - Yanka, created the first embroidery school, in which those who wish were taught the art of embroidery with metal and silk threads.
Skillful hands of craftswomen created decorative cult decorations embroidered with gold and silver threads (thread and beating) and made the most beautiful ornaments on the clothes of wealthy people.
The peasant costume was finished with inexpensive cotton, linen and woolen bleached or colored yarns and ribbons.
The passion for decorating oneself and one's clothes, in order to stand out with something from the environment, is inherent in human nature, even in its primitive, semi-wild state; for example, red-skinned Indians decorate blankets with various embroideries; Lappish people embroider a wide variety of designs on their deerskin clothing.
The date of the appearance of the first embroideries can only be guessed at.
The first mentions of embroidery can be found in the Bible - in the book of Exodus.
Interesting fact: we are talking about men.
“He did everything that the Lord commanded Moses, He made merry,
son of Uriah, son of Hor, of the tribe of Judah, with him Aholiab,
son of Akhisamachs, from the tribe of Dan, carver and skillful weaver
and an embroiderer for blue, purple, scarlet and fine linen ”.
Embroidery was known in ancient times, and like many other branches of art and science, the East was its cradle. In Asia, this art flourished widely much earlier than it became known to the Greeks and Romans, although the Greeks attribute the invention of embroidery to Minerva, Pallas Athena.
The legend of Arachne, detailed in Ovid's metamorphoses, tells that the daughter of the dyer Idmon in Colophon, having learned to weave and embroider from the goddess, surpassed her teacher in this art and, challenging her to a competition, won a large embroidery depicting the adventures of the gods. Minerva, angry at her defeat, threw the shuttle at her rival's head; Arachne hanged herself out of grief and was turned into a spider by the goddess. The Odyssey mentions embroidery and points to the magnificent cloak of Ulysses, the front of which was richly decorated with gold embroidery. In the same way, Homer says that Paris brought to Troy rich embroideries from Tire and Sidon, which were already famous for their art at that time, and the III Canto of the Iliad describes the activities of Helena, who embroidered on the snow-white fabric of the battle because of her `` Royans and Greeks ...
The more developed art of embroidery was borrowed by the Greeks from the Persians, when, during the campaigns of Alexander the Great, they became acquainted with the luxury of the Asian peoples. Strabo describes the surprise of the Greeks at the sight of robes covered with gold embroidery and showered with precious stones, as well as fine Indian fabrics richly decorated with multicolored embroidery. Having defeated Darius, Alexander the Great took possession of his tent and, delighted with the luxurious embroideries on it, ordered himself a magnificent cloak for skilful Cypriots. During the time of Moses, the art of embroidery was highly developed; Ahaliab from the tribe of Dan was especially famous for his art. The clothes of Aaron and his sons, during the divine services, consisted of fabric made from linen embroidered with multi-colored patterns. In the book of Exodus, we also see that the curtain hiding the Holy of Holies was made of linen with crimson cherubim embroidered on it. Solomon ordered for his temple the Babylonians, famous for their art, a blue curtain with purple cherubim embroidered on it. Assyrians and Jews probably borrowed embroidery from Egypt. The significant spread of embroidery in Egypt is evidenced by the preserved, albeit in rare cases, embroidered clothes on mummies and images of ancient Egyptian pharaohs on sarcophagi and on monuments.
Since the ancient peoples were shepherds, the first fabrics and embroidery were made of wool. Subsequently, when the fibrous properties of some plants, mainly hemp and flax, were discovered in Egypt, fabrics began to be made from them, which, in their whiteness, turned out to be especially suitable for the splendor of religious rites and were used for this purpose among all ancient peoples. Later, a cotton plant was found in India, and there they began to make the finest fabrics on which they were embroidered with woolen, paper and, finally, gold threads.
Some writers attribute the invention of gold embroidery to the Phrygians. It is only certain that the Romans got to know him through Attala, the king of Pergamon, who died in 133 BC. e .; therefore, the first embroideries in gold were called attaline; but since in terms of the art of execution the best embroideries were generally Phrygian, the Romans called all embroideries "phrygionae" and the embroiderers "phrygio". The first, who appeared in Rome in gold embroidered clothes, was, according to Denis of Halicarnassus, Tarquin the Ancient. In general, the passion for rich embroidery quickly spread in Greece and Rome and reached such monstrous proportions that often the government made attempts to prohibit or at least somewhat curtail the insane luxury, but to no avail. Even earlier, among the ancient Asian peoples, this passion for rich embroidery was so developed that strong protests often arose against it; so, for example, the prophet Hezekiel condemned the women of his time for their insane luxury in jewelry and embroidery. Silk, originating from China, became known in the West much later; although Aristotle mentions a worm that changes three times, and silk yarn, this is only an exceptional fact, and it is most likely that even in the East, in Persia, India, Egypt, silk was introduced shortly before the birth of Christ. It first appeared in Rome during the time of Julius Caesar: Virgil was the first to speak of silk, but even under the emperor Tiberias silk was considered a great rarity and was extremely expensive. Since the Chinese jealously guarded the export of silkworms to other countries, the Emperor Justinian had to resort to cunning in order to get them: two pilgrim monks brought him to Byzantium in their bamboo staffs several worms; Since then, the cultivation of silkworms and the production of silk began to spread rapidly, first in Asia Minor and then in southern Europe. In general, under the Byzantine kings, the art of embroidery reached a high degree of perfection, both in wealth and in execution. They not only covered clothes with embroidery, but also embroidered horse harnesses and saddles with particular luxury. Under the Byzantine kings, the use of silver threads was introduced for the first time in embroidery. It is not known whether there are Byzantine embroidery older than the 7th century AD. e .; this is doubtful, although in St. Petersburg, in the Hermitage, woolen cloth with green and yellow palm trees embroidered on it is kept, which is considered a work of the 3rd century of the Christian era. In Bamberg, Bavaria, there is an ancient Byzantine embroidery found in the grave of Humbert, Bishop of Bamberg, who died in 1062.
This embroidery represents the Emperor Constantine (riding on a white horse), who is worshiped by the West and the East in the person of two women who offer him - one a helmet of war, the other a laurel wreath. When, in the 7th century, the rapidly spreading Islam began to deal severe blows to the power of the Byzantine Empire, it did not in the least affect the further development and prosperity of the art of embroidery. On the contrary, the luxury of the caliphs in this respect reached fabulous proportions: not only clothing, horse harness and saddles, but also the boots and scabbards of sabers were richly decorated with embroidery. Among the gifts that Harun al-Rashid sent to Charlemagne was a luxuriously embroidered tent. In France, even earlier, thanks to the established frequent trade relations with the Greek colonies, the art of embroidery began to spread rapidly, but the first subjects of embroidery were almost exclusively borrowed from Holy Scripture. Charlemagne, who himself loved to dress luxuriously, gave a strong impetus to the further development of this art. At his court all the women, starting with his wife Bertha and his daughters, were skilled embroiderers. His sister Gisella founded several monasteries in Provence and Aquitaine, where all kinds of handicraft work were taught. Among the wonderful embroideries, the large and skillful, albeit naive in execution, embroidery of Matilda, the wife of William the Conqueror, which is kept in the museum in Bayeux, is especially famous, depicting all the episodes of the conquest of England by the Norman duke. In England, even earlier than that, the art of embroidery was already at a high degree of perfection; in the 7th century, the abbess of the monastery of St. Ethelred was presented with rich embroidery to the bishop of St. Cuthbert. On the banner that accompanied Alfred the Great in all his battles, a magnificent raven was embroidered by Danish princesses, and Egita, the wife of Edward the Confessor, was known in England as a skilled embroiderer. From England this art passed to Germany, where it was soon widely used. Henry the Saint was a special admirer of good embroidery, and Gisella, wife of the King of Hungary, St. Stefan, set up workshops for weaving and embroidery near her palace; here the so-called Hungarian stitch was invented, in which the entire background is embroidered in zigzags. The Crusades, which closely introduced the inhabitants of Western Europe to the splendor of the East, contributed much to the widespread dissemination of rich embroidery, borrowed from both Byzantine designs and from Muslims. They were especially engaged in this art in monasteries; also noble ladies, locked in castles, during the campaigns and knightly adventures of their spouses, devoted their free time to embroidery. The established trade relations of Venice, Genoa and other Italian cities with Asian peoples quickly re-developed a taste for rich jewelry in the countries of southern Europe. Especially famous were the embroideries of Milanese, Luc, Venetian and Genoese. During the Renaissance, when, with the splendor of the court of Lorenzo Medici, such a strong impetus was given to the development of all arts and arts, embroidery, on a par with others, reached a high degree of perfection; the best artists made drawings for embroidery and Raphael himself was interested in this art. The Spaniards, imitating the Italians, also achieved great art in embroidery; this is evidenced by some of the embroidered paintings and embroideries with a sacred purpose, preserved in many museums and collections.
Between them, especially remarkable is the painting depicting Adam and Eve in the Cluny Museum and the church nale donated by Charles V to the monastery of St. Just, where he retired in the last years of his life and where he died in 1558; this embroidery is in the Spitzen collection. It should be noted that for a long time in Saxony alone, embroidery with white thread on white fabrics (broderie blanche) was performed, which is now so widespread everywhere, especially in western Europe. In other states, they almost exclusively embroidered on cloth or silk with gold, silver, woolen and silk threads. Note that, in addition, many famous women in France were skilled embroiderers: Catherine de Medici, surrounded by her daughters, their cousins de Guise and Maria Stuart spent their leisure time in needlework. Madame de Maintenon was so fond of embroidery that even during a walk, in a carriage, she could be seen everywhere with work in her hands; she also introduced the teaching of this art in the girls' school St.-Syr, which she founded; when this school was under her direct supervision, embroidery was in particular esteem there. Even Marie Antoinette also did a lot of embroidery, especially on the canvas with a fine stitch (au petit point).
"From the world on a string"(embroidery history)
The oldest embroideries that have survived to this day date back to the 6th-5th centuries. BC. They were executed in Ancient China on silk fabrics with raw silk, hair, gold and silver threads. Not so much clothes were painted with embroidery, but also carpets and decorating panels depicting trees and birds. China's finest embroidery had a powerful impact on Japan's embroidery skills
The various embroideries of Ancient India and Iran were characterized by an abundance of plant themes, depictions of animals and genre scenes. The colorful embroidery of Byzantium, distinguished by the luxury of silk and gold embroidery, a variety of floral ornaments, had a tremendous impact on the development of embroidery skills in almost all Western European states during the Middle Ages, where their own ornamental themes, coloring and execution techniques were developed.
In England from the XIII century. famous for the luxurious embroidery in gold, silver and silk of ornamental themes of colors and intertwining curls of plants. In the XVI-XVII centuries. in France, Italy and other European states, embroidered portraits, panels depicting the inhabitants of our planet and animals in perspective, species with castles, mythological subjects, and hunting scenes have spread widely. The exceptional richness of embroidery techniques, the variety of images of plants, animals and birds on linen and woolen fabrics distinguished the embroidery of Spain.
From the end of the XIII - the beginning of the XIV century. in France, Germany, Sweden, England, Denmark, Norway, embroidery began to be widely used in ethnic costume and for decorating household items. Snow-white satin stitch and cross-stitch embroidery with geometric and floral patterns has become widespread. In the Scandinavian states, embroidery with colored wool and gold embroidery was also used.
In Altai, in the Pazyryk kurgans, there are excellently woven, embroidered and beautifully decorated with applique hide, felt, beads and iron plaques, carpets, saddles, saddles, clothes and shoes of authoritative Scythians, made in the VI-III centuries. BC. In the European share of the state, during excavations of ancient burial mounds, remains of clothing of the Scythians and Sarmatians who lived here in the 1st-3rd centuries were found. BC, beautifully decorated with embroidery with woolen, silk, gold and silver threads.
For Russian embroidery, the themes of geometric and floral patterns are distinctive, repeating the appearance of straight stripes that highlight the edge of the clothing. Images of breathtaking animals, birds and plants were embroidered in very beautiful patterns that brightened clean towels and valances. Among the Russian embroideries, the Vladimirsky verkhosh and the virtuoso snow-white surface are widely known, the Kaluga-Krestetsko-Valdai string, the Kaluga color intertwined, the Oryol copies and branes, the Nizhny Novgorod guipures and other techniques
The old habits of decorating clothes and household items with state embroidery are preserved in Ukraine. In any area: Polesie, Middle Dnieper, Slobozhanshchina, Podillia, Carpathians and Prykarpattya - regional peculiarities inherent in individual regions and villages can be traced. Clothes, towels (clean towels), headscarves and handkerchiefs, tablecloths, curtains and so on were brightened with strict patterns "snow-white on snow-white" and lush vegetative patterns. On ladies' shirts, sleeves, collars, bodice, cuffs, hem are finished with embroidery. Men's shirts are embroidered along the collar, along the fastener and at the ends of the sleeves. The embroidery technique is extremely diverse, as are the ornamental themes in different regions of the country and individual villages. As the leader, this technique of counting and free surface, snow-white and multi-colored hemstitch, half-cross and cross, bottom - embroidery from the seamy side and others.
For embroidery in Belarus, rich patterns "reddish on snow-white", hemstitching, cutting, sewing by production and others are distinctive.
The embroideries of Latvia, Lithuania and Estonia are decorative and colorful. They are dominated by geometric and floral themes of ornaments, performed by a variety of techniques: counting and free satin stitch, line, half-cross and cross, goat, vestibule, hemstitching and stitching "snow-white on snow-white" and others. In ladies 'and men's solemn shirts, collars, shoulder pads and cuffs, removable collars for ladies' shirts, aprons, headdresses were decorated with embroidery
The embroideries of the peoples of the Caucasus are rich and graceful. Silk, wool and gold embroidery of ladies' and men's shirts, outerwear, bibs, kerchiefs, belts, pillows, wall hangings and other products is widespread in Georgia. There are dozens of different decorating stitches in both floral and floral patterns, and in exactingly geometric ones: half-cross, stitch, stem and chain stitches, knots, satin stitch, applique.
The Armenian embroidery is distinguished by the subtlety and professionalism of execution, their pattern is a stylized floral and geometric theme, produced by all kinds of seams along the free silhouette and counting of the threads of the fabric. This is satin stitch, hemstitch, braided seam, etc.
In Azerbaijan, tambour stitches with colored silk on reddish cloth, black velvet, satin and satin embroider themes of patterns consisting of curls, colors, leaves and plant stems. They are used to decorate carpets, pillows, tablecloths, bedspreads, sleeveless jackets, wallets and other products. Gold embroidery and embroidery also flourished here.
snow-white counting and colored independent satin stitch, iron sequins.
Embroideries of Kazakhstan and Kyrgyzstan differ in all kinds of overhead sewing made of felt, cloth, leather; chain stitch and satin stitch seams on cloth, velvet, silk. The patterns often contain curls of horns, stylized figures of animals and, less often, images of plants.
In the Far East, embroidery is made with silk on a stencil from fish skin, applique made of fur, leather, cloth. Solid beads are used in the design of clothes and shoes. Among the peoples of the Far North, embroidery with reindeer furs on suede and cloth, applique made of fabric and leather using beads are widespread.
The embroideries of the peoples of the Volga region - Mari, Mordovian, Chuvash - differ in geometrized patterns of plants, animals and birds, made using the technique of satin stitches and patch sewing, embroidery with beads, and iron plaques. For embroidery in Tataria, it is distinctive to sew with gold and beads on velvet on all kinds of household items and clothes.
History of embroidery in Ukraine
On the territory of Ukraine, embroidery as an art form has existed since ancient times. This is evidenced by the data of archaeological excavations, as well as the records of ancient travelers and historians-chroniclers. In particular, the ancient Greek historian Herodotus, whom our contemporaries call "the father of history", recalled in his notes about Scythia that the Scythians decorated their clothes with embroidery. Important witnesses of embroidery on the territory of the southern Ukrainian lands are the Scythian "stone women", on which the embroidery is clearly marked on the inserts, hem, and cuffs of clothing. In the Cherkasy region, plaques dated to the 6th century were found, on which embroidery can also be clearly traced. Moreover, detailed studies have shown that the embroidery ornaments of the Scythians are very similar to the modern ornaments of the Lower Dnieper region.
The material for embroidery at that time was natural or dyed threads of flax, hemp, cotton, silk, wool, hair, as well as pearls, precious stones, beads and beads, glitters, turtles, gold and copper plaques, coins.
The development of embroidery in that territory of Ukraine was part of the worldwide development of this art form. In the first millennium BC, embroidery reached a high level of development among the peoples whom we consider the main carriers of ancient culture - the Babylonians, ancient Greeks, Romans, as well as in India, China and Iran. Byzantine embroidery is characterized by special splendor. Its influence affected the embroidery art of Medieval Europe and Kievan Rus.
During the times of Kievan Rus, embroidery with gold and silver threads became widespread among the nobility. This embroidery was used to decorate not only festive, ritual, princely clothes, but also fabrics for temples. In Kievan Rus, the centers of embroidery were monasteries, more precisely, monastic schools. Under them, schools of embroidery were organized, in which young girls learned the art of decorating fabrics with gold and silver threads. Embroidery in Kievan Rus was considered an elite business, worthy of only the best. Embroidery was very popular among the families of the great dukes.
Various versions of embroidered motifs in the works of the X-XI centuries were preserved and displayed in the embroidery of the next generations. Circles depicting the Sun are embroidered on the embroideries from the Tithe Church in Kiev, the Raikovets settlement. These motifs were very popular in Kievan Rus, reflecting elements of the beliefs of their ancestors with the cult of the Sun. They did not disappear from the embroidery elements, coinciding with the image on other works of folk art, they are also known in the embroidery of the 18th-19th centuries, have survived to this day. In some districts of the Carpathian region, rosette circles are still in use today; these are the favorite embroidery patterns, which are called "suns" by local streams. Other important components were images of Slavic pre-Christian temples, teremki with trees, birds, and in the middle - female figures. Probably, this is the origin of the image of the “tree of life” and Bereginia, which are often found in modern embroidery.
The passage of time, the course of history is constantly changing the world and the things in it. This process did not bypass embroidery either. However, through the centuries, fragments of the embroidered faiths of the times of Kievan Rus (and, unfortunately, only fragments have survived) convey to us the warmth and pride of the people who worked on them. In the 11th century, Vladimir Monomakh's sister Anna Vsevolodovna took monastic vows at the Kiev Andreevsky Monastery and organized a school where young girls learned to embroider in gold and silver. Rurik Rostislavovich's wife Anna also embroidered fabrics for herself, her family, for the Vydubetsky monastery.
In Kievan Rus, embroidery was the occupation of the elite. Over the centuries, more and more people have joined this occupation, and today embroidery is a nationwide art, in which the artistic memory of the people has been carried and preserved through the centuries. Embroidery lives today, develops, is enriched with new aspects. Today's Ukrainian embroidery is the result of the unique spiritual and material evolution of our people. For many centuries, Ukrainian embroidery reflects the thoughts and moods of a person, the beauty of the world around them, their dreamy hopes for a better fate, human beliefs, the protective symbolism of things indicated by the touch of a needle and thread.
History of embroidery in Italy
Embroidery came to Western Europe from the archaic culture of Babylon and the Arab countries: even to Ancient Greece, embroidered fabrics were brought from the east, and Roman emperors were ready to pay huge sums for the right to possess the unique creations of Babylonian needlewomen.
The tradition of decorating fabrics became European only with the spread of Christian culture: the first Italian embroideries were intended for decorating church interiors. The offerings of female parishioners adorned the walls of cathedrals and the robes of priests. For example, one of the oldest surviving Italian embroidery, kept in the Museum of Ravenna, depicts the thirteen bishops of Verona. Sacred embroidery was a traditional occupation of novices in convents in Italy. Only very wealthy people could afford to use such fabrics in everyday life: pleasure was not cheap.
In the 11th-12th centuries, the first national school of embroidery was formed in Palermo. It is from Italy that this art begins to spread throughout Western Europe. In this process, the Medici family played an important role - perhaps the greatest lovers of needlework in Italy.
In the Italian tradition of embroidery, cross-stitching, in contrast to the East Slavic, practically does not use such a technique as cross-stitching. Most of the Italian craftswomen used satin stitch, while on the Slavic soil, where this handicraft had a pagan ritual origin, in some areas stitching is almost never found, but ornaments for cross stitching are very common.
History of embroidery in Russia
Decorative sewing in Russia has ancient roots. During excavations of Altai burial mounds, well-preserved embroidered items dating back to the 4th-3rd centuries were found. BC. In Scythian burials on the territory of the North Caucasus, the remains of clothing embroidered with woolen and metal threads, made 2 centuries earlier, were found.
In Russian embroidery, geometric patterns were often used, arranged in the form of stripes along the edges of clothing. Symbolic motives, images of birds, trees, animals, were used to decorate tablecloths, curtains, valances, towels and were considered amulets. Among traditional Russian embroideries, the following are widely known: Nizhny Novgorod guipures, nizy, Vladimirsky verkhosh, peasant-Valdai stitching, Oryol lists and letters, Kaluga color intertwine, Mstera white smooth surface, Vologda seam by letter and many others. Headdresses, scarves, as well as sleeves, collars, cuffs, hem of women's shirts and sundresses were decorated with decorative multi-colored patterns or monochromatic embroidery, using elements of floral or geometric ornaments. Embroidery technology, like patterns, varied in different areas. Stitches and seams were often used: cross, half-cross, free and counted surface, bottom, hemstitch, etc.
Numerous museum exhibits, reproductions, literary works and songs testify to the decorative use of ribbons. In the old melody there is a line: "Yes, they did not let me bring the scarlet tape." In ancient times, "beauty" was the name given to a wreath decorated with ribbons worn by the bride-to-be. In the Rzhevsky district, the headdress-warrior "hat" was covered with ribbons and gold embroidery patterns. There was a very old girlish “ribbon” dress, which was embroidered with gold thread, beads and trimmed with ribbons. In the Tver region, wedding shirts were usually decorated with embroidery placed between red ribbons on the shoulder of the sleeve and along the hem. In festive shirts, not only sleeves, but also collars were embroidered with patterns, and the hem was trimmed with two strips of silk red tape. Shirts - "haymaking" were elegantly decorated. They were trimmed with colorful ribbons. The hem of the sundresses was embroidered with openwork stitching and “lined” with ribbons. "Overlay" - a vertical strip in the center of a sundress - was often made of cotton and silk ribbons. Sometimes the clothes were girded with embroidered ribbons.
The costume of the Don Cossacks (17th - 18th centuries) was sewn from imported cotton, linen and silk fabrics with embroidery with silver, gold, silk threads and ribbons. The shirt was richly embroidered in the front, along the bottom of the sleeve and along the hem. Over the shirt they wore a kubelek embroidered with pearls and ribbons. Even fur coats were luxuriously embroidered. Chiriki shoes were sometimes trimmed with ribbon patterns. Later, plain fabrics prevailed in the Cossack costume.
This type of clothing required bright decorative additions, for which silk ribbons were used. Several shiny woven stripes were stitched along the bottom of the skirts. Sweatshirts - swing (matine) or fitted (keras) were decorated with ribbon patterns and silk edging. The complementary silk scarf could have ribbon ruffles.
Popular in the 17th century. there was embroidery with silk, linen, gold and silver threads. They reproduced symbols, floral and geometric patterns and oriental motifs. Embroidery was used to decorate clothes, carpets, tablecloths and icons.
Ornaments and symbols in embroidery
The decorative arts are an inexhaustible source of creative activity. The artistic merit of the works, the precise definition of the forms and content of ornamental compositions made using the embroidery technique, make us constantly search for and find bright and accessible images in decorative and applied art for their use in needlework.
When choosing artistic motifs for embroidery, first of all, one must proceed from the specifics of their ornamentation, since it is in the ornament that the stylistic features of the image, the connection with the natural theme, which gives the ornament a realistic character, the brightness and decorativeness of its color characteristics, are most clearly displayed.
Folk artists draw the content of the ornaments from the surrounding life, but they do not just copy its images, but, distracting from the individual characteristics of a particular flower, bird, animal or butterfly, freely recycle their decorative forms. But, despite the fact that in the ornaments the images are transmitted flatly, their real forms, proportions change, the natural ratio of sizes is violated, the patterns are endowed with rich color, the thrill of life, they are real in their own way.
Folk arts and crafts have great opportunities for a variable interpretation of the composition of the ornament, which is distinguished by the symmetry and balance of its elements.
Color is essential in the ornament. Folk craftsmen were well aware of the effect of color not only on vision, but also on the psyche of people. They took into account that certain phenomena, specific moods and experiences are often associated with a particular color in a person's consciousness. Craftsmen in the color scheme of the ornament give preference to red material. It is with red that the idea of joy, fun, celebration and happiness is associated. It evokes in our minds associations with the sun, the source of all life on Earth.
In the products created by folk craftsmen, in most cases, a colored background is used, which enhances the sound of the ornament, softens it, in general, creating a rich color palette.
No matter how perfect the material security and technological methods of decorative images are, nothing can replace the role of the human imagination, which transforms the variety of forms of flora and fauna into symbolic diversity and ornamental richness of compositions of products based on folklore traditions.
Folk art gives a strong charge of wisdom and understanding of life to everyone who penetrates into the world of creativity. A master who creates embroidered paintings feels like a creator. His hands create magic patterns on the canvas, embodying the beauty of nature and symbolizing the perception of the surrounding world, where everything should be harmonious.
Archaic agrarian-magical symbols are used in the embroidery of folk craftsmen. Observing nature, people deified it, skillfully depicting conventional conventional patterns. These signs-symbols reflected the perception of the surrounding world and the attitude towards natural phenomena. Each element of embroidery, signs and even lines had a certain meaning, were a means of communication and amulets.
The solar sign symbolized the sun, the six-rayed rosette - thunder, the Sirin bird - the feminine principle and a symbol of joy, happiness and light, the elk - rain, the deer or the horse - the luminary, the lion - the guard, the unicorn - chastity, the griffin - the relationship between heaven and earth, the mermaid - the keeper of the waters, the female figure is the image of Mother Earth. The horizontal straight line represented the earth, the wavy line - water, the vertical wavy line - rain, the triangle - mountains, crossing lines - fire and lightning. The sources of light - the Sun and the Moon - were designated by a circle, a square, a rhombus. The last character had many meanings.
Over time, the meaning of the magic figures was forgotten, only a decorative purpose remained. Over the centuries, many symbols have changed, become more complex, combined, turning into new ornaments.
Depending on the motifs depicted, ornaments can be divided into the following types:
· Vegetable, or phytomorphic, developed from stylized images of trees, branches, leaves, fruits, herbs, flowers, etc .;
· Animal, or zoomorphic, composed of figures of animals, birds, insects;
· Humanoid, or anthropomorphic, depicting human figures;
· Geometric, composed of geometric elements;
· Meander, depicting continuous broken lines;
· Font (ligature) - in the form of stylized inscriptions.
In connection with the shape of the product and the placement of patterns, ornaments are:
· Tape - in the form of a strip;
· Centric or rosette, located in a square, circle, rhombus, polygon or ellipse;
· Symmetrical - proportionate, proportional in the arrangement of parts of the ornament on both sides of the middle or center;
· Asymmetrical - with a different number of elements relative to the middle.
In embroidery, combined ornaments are very often found, which, complementing each other, create an optimal visual perception, highlighting the compositional centers.
The meaning and symbolism of some elements of the ornament
Ornament is one of the most ancient types of human visual activity, which in the distant past carried a symbolic and magical meaning, sign, semantic function. But the early decorative and ornamental elements might not have a semantic meaning, but were only abstract signs in which they expressed a sense of rhythm, form, order, symmetry. Researchers of the ornament believe that it arose already in the Upper Paleolithic era (15-10 thousand years BC).
Based on non-pictorial symbolism, the ornament was almost exclusively geometric, consisting of strict forms of a circle, a semicircle, an oval, a spiral, a square, a rhombus, a triangle, a cross, and their various combinations. Zigzags, strokes, stripes, “herringbone” ornament, braided (“rope”) pattern were used in the decor.
Ancient man endowed his ideas about the structure of the world with certain signs. For example, a circle is the sun, a square is the earth, a triangle is mountains, a swastika is the movement of the sun, a spiral is development, movement, etc., but they, in all likelihood, did not yet possess decorative qualities for objects ( parts of objects hidden from human eyes were often covered with ornaments - the bottoms, reverse sides of jewelry, amulets, amulets, etc.).
Gradually, these signs-symbols acquired the ornamental expressiveness of the pattern, which began to be considered only as an aesthetic value. The purpose of the ornament was determined - to decorate. But it will be fair to say that pictography appeared from ornamental motives - an early stage of writing.
In subsequent times, artists simply copied the old forms, which had a very definite meaning in antiquity. The symbolic and semantic content of the ornament returns to the Middle Ages.
In the works of modern researchers of the history of the appearance, existence and use of ornament, special attention is paid to the motive of the spiral. “It can be assumed that for the ancients this sign is nothing more than a kind of all-embracing formula, such as for us, for example, Einstein's E = mc2. From the spiral, the ancients drew the alphabet of their first abstract concepts, and the spiral embodied the basic laws of nature, their interconnection, logical thinking, philosophy, culture and worldview of the ancients.
In 1698, the Swiss mathematician Jacob Bernoulli performed a ... surgical operation on the spiral: he cut it in half through the center, straightened the resulting segments and got a kind of harmonic scale that lends itself to mathematical analysis! This is how the famous law of the "Golden Section" was born, or, as mathematicians call it, the "Law of the Golden Number."
Decorative figurative elements of ancient creativity have been preserved in the traditional art of the peoples of Africa, Australia, Oceania, in the ornaments of the South American Indians. In their ornamental and decorative motives, real and geometrical conventionally stylized forms coexist in parallel. But the artist usually stylizes the real form “geometrically”. Often the stylization and generalization of figures of animals and people leads to a complete loss of their external recognition and connection with the original image. They are perceived simply as a geometric pattern.
Having appeared at the dawn of mankind, the ornament emotionally and aesthetically enriches the variety of forms and the figurative structure of stone and wood carvings, woven patterns, jewelry, and book miniatures.
Ornament has taken a large place in folk art craft. One of the largest Czech researchers of folk culture, Josef Vydra, distinguishes four main functions of ornament:
1. constructive - it supports the tectonics of the object and affects its spatial perception;
2. operational - it facilitates the use of the item;
3. representational - it increases the impression of the value of the object;
4. psychic - it acts on a person with its symbolism and, thus, excites or soothes him.
"Ornament in folk art and folk art has always been beneficial to the cause, and its interpretation, in essence, corresponds to the principles of modern aesthetics."
The same ornamental elements at other times were perceived and used in different ways, depending on beliefs and views on the surrounding reality. They were given a special interpretation, pictorial solution, and style. For example: a rose flower (rosette, rosette) according to ancient, pagan beliefs, the flower of the goddess Venus is a symbol of love and beauty; in the Middle Ages - the flower of the Mother of God; in Islam it is a symbol of paradise life and cosmic power: "the rose burns like a gift from the sun, and its petals are small moons."
One of the difficult problems in the study of ornament is the difficulty in deciphering and dating the original origin, as well as belonging to one or another ethnic group. Often, subsequent generations of artists use the previous art and create their own variations on its basis.
Such a striking example is the swastika element, one of the earliest symbols that is found in the ornaments of almost all peoples of Europe, Asia, America, etc. The oldest images of the swastika are found already in the culture of the Tripillya tribes of the 5th-4th millennia BC. e. In ancient and medieval cultures, the swastika is a solar symbol, a lucky sign, with which ideas of fertility, generosity, well-being, movement and the power of the sun are associated. In 1852, the French scientist Eugene Burnouf first gave the four-pointed cross with curved ends the Sanskrit name "swastika", which roughly means "carrying good." Buddhism made the swastika its symbol, giving it the mystical meaning of the eternal rotation of the world.
Swastika signs are included in both Christian images and folk art. "The popular consciousness conveyed the original meaning of the use of the swastika - not just a symbol of the elements, but the one who controls the elements - the eternal wind, the Holy Spirit." In ancient Chinese manuscripts, the image of the swastika is also found, but this sign denotes the concept of "country", "region"
The intricate and ancient braiding motif has been known since the Paleolithic times and was most likely obtained by pressing a rope into a clay mold. The braid, which is more complex in its configuration, as the main element, is included in the so-called "animal style" (teratological style). It is often found already in the art of the Sarmatians, who passed it on to the Germanic tribes, who, in turn, contributed to the spread of this pattern in the countries of Europe.
The braids are especially expressive in the Celtic decor. Even before our era, the Celts borrowed many elements of their ornament from the Mediterranean, and later from the Scandinavian and Byzantine peoples, but, having passed their ornamentation through their artistic thinking, the Celts changed it beyond recognition, creating their own special decor. The early period of Celtic ornament is characterized by a complete absence of plant motifs. It is believed that the Celtic ornament emerged from the interlacing of leather belts and straps, which the Celts used to decorate horse harnesses, clothes, and shoes.
Subsequently, images of individual parts of animal bodies began to be included in the braid ribbon: heads, mouths, paws, legs, tails, etc., as well as snakes, plant shoots, etc. This type of decoration is very dynamic, non-stop and inexhaustible in its movement. In all likelihood, such an ornament expressed the attitude of wild nomadic peoples. It is fair to say that Celtic art was not the art of ornament in the sense we are accustomed to, it rather did not decorate, but, one might say, transformed matter into movement.
Braid has taken a large place in Scandinavian handicraft production. This type of decor is sometimes called the Viking style, and it constantly repeats the motif of a dragon-like animal called the "Big Beast". Later, the braid took an honorable place in the carved decor of Romanesque cathedrals, in Bulgarian, Armenian, Russian products and structures.
Until now, art researchers have no consensus about the origin of the ornamental motif of meanders (this type of ornament got its name from the meandering river Meander in Asia Minor; now this river is called Menderes), which belongs to the characteristic ornamental motives of ancient Greece, as well as Mexico, Peru and other nations. It is found in both the simplest and the most complex patterns on buildings, vessels, clothes, etc.
One of the largest researchers of ancient culture A. Formozov believes that “the meander, characteristic of ancient vase painting, was adopted by the ancient Greek potters from weavers, who only copied the pattern from threads that they involuntarily obtained when making clothes. Among the Paleolithic hunters of Eastern Europe, who were not familiar with weaving, the meander appeared most likely as a result of the complication of zigzags, often engraved on their bone objects.
The witty suggestion of the Soviet paleontologist V.I. Bibikova. Once she was examining a thin section - a thin section of a mammoth tusk and suddenly noticed that the dentin plates form something like a meander in cross section on it. The same observation could be made by the Paleolithic people, who work the mammoth bone from day to day, after which they wanted to reproduce a beautiful natural pattern on the bracelet and their other things. "
Ethnocultural contacts, trade, military campaigns, religious missions, ambassadors' gifts and invited artists facilitated the movement of works of art from one country to another, which led to the spread of artistic ideas and styles.
Over the many years of the existence of decorative art, various types of patterns have developed: geometric, floral, complex, etc., from simple joints to complex intricacies. The ornament can consist of objective and non-objective motives, it can include the forms of man, the animal world and mythological creatures, in the ornament naturalistic elements are intertwined and articulated with stylized and geometrized patterns.
At certain stages of artistic evolution, there is a "blurring" of the line between ornamental and subject painting. This can be observed in the art of Egypt (Amarna period), the art of Crete, in ancient Roman art, in the late Gothic, Art Nouveau.
As we have already noted, the early forms of ornament are geometric. Researchers attribute the appearance of plant ornament to the art of Ancient Egypt, but it should be noted that the most ancient plant elements of ornamentation were geometrized. In the future, an abstract geometric pattern was combined with conditionally realistic plant and animal ornaments.
Over the course of several millennia, the decor motives have been preserved and repeated, traditionally observing the peculiarities of the established pictorial canons of Egyptian art. The preservation of tradition in Egyptian art was helped by the fact that already from the 3rd millennium BC. e. Egypt was a single state with a homogeneous ethnic composition of the population.
In the ornament of Egypt, the transformed surrounding world was reflected, endowed with certain religious ideas and symbolic meanings. The decor often used a lotus flower or lotus petals - an attribute of the goddess Isis, a symbol of the divine generating power of nature, reviving life, high moral purity, chastity, mental and physical health, and in the funeral cult it was considered a magical means of reviving the departed. This flower was personified with the sun, and its petals - with the sun's rays.
The ornament used the image of aloe - this drought-resistant plant symbolized life in the other world. The ancient Egyptian ornament included stylized aquatic plants: papyrus, reed, lily. Of the trees, date and coconut palms, sycamore trees, acacia, tamarisk, blackthorn, Perseus (Osiris tree), mulberry tree were especially revered - they embodied the life-affirming principle, the idea of an eternally fruitful Tree of Life. The decor included wreaths of leaves, vines, bunches of dates, scales of tree bark, etc.
Among the animalistic motifs there are a falcon, a goose (the Egyptians represented the birth of the sun from an egg of the Great Gogotun), an antelope, a monkey, a fish, a heron (the sacred bird Benu - the personification of the soul of Osiris, a symbol of rebirth), a scarab beetle (a symbol of immortality), a snake (ring , formed by a snake holding its tail in its mouth, is a symbol of an ever-recovering world order), etc. The image of a scarab beetle was especially popular; it had a very complex and varied symbolism. The scarab was considered a sacred symbol of the eternally moving and creative power of the sun, was revered as a sign that brought happiness, replaced a removed heart in a mummy.
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Characteristics of the main types of needlework: knitting, embroidery, beading, patchwork. The history of the appearance of ribbon embroidery in Europe and beyond. The use of ribbons and braids in other ways of decorating clothes, houses, holiday tables.
For the first time, embroidery appeared in the era of primitive culture, when the first stitch was made to combine animal skins to create clothing. In those days, embroidery was the decoration of products of various kinds of materials with the help of plot images, ornamental patterns, the execution of which was carried out with threads or other materials. In the work, we used all the means at hand that resemble modern needles, fabric and threads. Basically it was a chiseled stone in the shape of a needle, veins and animal skins, sharp bones, hair, hair and much more.
From century to century, both festive and everyday clothes of people were decorated with embroidery, which was marked on the rich robes of kings and nobles, officials, military leaders, and the nobility. Embroidered items were used to decorate clothing, household items, furniture, including military uniforms. Even the most valuable icons had embroidery, the shine of which was added by the addition of gold threads and sewn pearls.
The art of embroidery was taught in monasteries. In those days, every girl had to master the technique of embroidery. Embroidery from all types of needlework gained particular popularity among the peasantry, when embroidered elements were used to decorate clothes, bedding, bedspreads, and tents. On the fabrics, as a rule, girls embroidered the initials of their lovers, good wishes and congratulations.
Embroidery these days.
Today, embroidery as an art form has not lost its popularity and is still in demand. This type of creativity highlights the main types of embroidery techniques. This includes satin stitch embroidery, cross stitch, "Richelieu".
You can embroider not only with threads, but also with ribbons, precious stones, beads and beads. Especially popular today is embroidery with ribbons and beads. Unfortunately, clothes with hand-embroidered elements are quite expensive. In this regard, more and more often preference is given to clothing with machine embroidery, which perfectly combines price and quality. However, machine-made designs cannot be compared to hand-made designs, as they are not as colorful or picturesque. Only manual work is able to display all the details and make the item truly exclusive.
Of course, over time, new technologies and materials appear. But, despite this, embroidery as an art form is also invariably highly popular. She is loved by both ordinary consumers and eminent clothing designers. For example, world famous couturiers use embroidery in exclusive collections.
The art of embroidery is a long and painstaking process. But if you have a desire to do this wonderful type of creativity, to realize your dreams and fantasies, you can use books and magazines with diagrams that are commercially available. You can also purchase ready-made embroidery kits.
Embroidery is a very exciting activity, with the help of which you can not only decorate clothes and interiors, adding new life to them, but at the same time it allows you to escape from everyday worries. The most important thing is to have a desire and then you will succeed.
AnapaMama.ru
From the history of embroidery as a type of arts and crafts:
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 the drawing to the fabric
Using carbon paper.
On the "skylight".
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 Rus is evidenced by archaeological finds 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 the art of embroidery were constantly developing, 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 segments 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 seen as a symbol of fertility associated with the idea of the 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 peoples, and is a metaphor for the heavenly "color" - 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 motives 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 implementation have been improved by their generation after generation. 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 refinement 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 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
At the age of 13-15 they 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. 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 work, 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), performed for different ages (maiden, for a young, elderly woman).
By the nature of the patterns and methods of 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, way of 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, a bird, a tree or a 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 techniques of embroidery 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 the embroidery "free", along the drawn contour, floral patterns predominated.
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, Gorky, 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 stitch. Most often, the 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 carry out 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, 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 depends entirely 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 planar 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.
When 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, 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 (a 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.
The patterns of Russian embroidery are characterized by symmetry - the regular arrangement of the main lines, shapes, colors relative to the horizontal or vertical axes of symmetry. A 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 the 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. They do not have the flaws 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 on top of the other. 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.
For embroidery, it is recommended to use samples of folk patterns and drawings created by artists. 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 the combinations of colors, 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 by 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 to which it is close 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 crosses 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, resulting in a grayish, low-saturated color. When placed side by side, complementary colors mutually reinforce color saturation. Given this property of complementary 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 color when placed side by side affects each other and can give a different impression. Any color surrounded by darker colors appears lighter, and surrounded by lighter colors appears 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 light 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 ones. 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 one. Therefore, the background should not stand out, be brighter than the ornament. The color scheme of the pattern also depends on the execution technique.
Embroidery tools and accessories.
To carry out manual 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 thread a working thread into a 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 to push 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 pointed 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 proceeding with embroidery, the fabric is aligned with the warp and the weft, the location of the pattern is marked on it, then the pattern is translated. After that, the fabric is hoisted. In order to even out the edges of the fabric, you need to pull out the end 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 interweaving 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 seams, colored satin stitch, etc.), it is required to transfer the pattern to the fabric.
Transfer of drawing to fabric
The drawing can be transferred to the 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 is 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. To do this, puncture the graph paper and copy paper along the pattern at the intersections of the horizontal and vertical lines of the cell with a thick needle.
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 transferred to 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, pull out the seal.
Embroiderer's workplace
To embroider it was convenient, the work did not cause fatigue, you need to properly organize your workplace and observe certain labor rules.
The table with fixtures and tools should be positioned 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 below, the right one should be on 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 with the right hand, 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 from the seamy side to the front side is taken out with a sharp end.
Counted seams
Counted stitches are among the most ancient and widespread stitches in Russian embroidery. This is a cross, a set, a painting, a goat, a counted surface, etc. Embroidery with these stitches is widespread, it is especially characteristic of 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 make it, seam patterns, painting and line embroidery were used.
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 has found great application 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 counted embroidery, it is better to take a dense weave fabric, since its structure is clearly visible. Cross seams, painting, counted surface can also 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 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 first perform all the first (lower) stitches, 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 stitch 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. T. I. 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 "Pictorial motives of Russian folk embroidery".
Work description:
The plan - the outline of the lesson is developed within the section "Needlework", educational area "Technology" and is designed for students in grade 5. This material will be useful for teachers who switched to the new generation Federal State Educational Standard in the 5th grade.
Class: Section 5: Needlework
Topic: Embroidery as a kind of arts and crafts and its application in folk and modern costume
Target: To acquaint students with the history of embroidery and show its application in folk and modern costumes. Master the techniques of embroidery.
Tasks:
Educational: to familiarize students with the art of hand embroidery; the tools and materials used, with embroidery techniques;
Developing: develop creativity, sensory and motor skills;
Educational: cultivate diligence, patience, attentiveness and accuracy.
Equipment: textbook, workbook, plain-dyed cotton fabric, a set of tools and materials for embroidery.
Lesson type: combined.
Methods: dialogical, algorithmic.
Duration of the lesson: 90 minutes.
During the classes:
1. Organizational and preparatory stage.
Greetings;
Appointment of attendants;
Identification of those absent from the lesson;
Checking the readiness of students for the lesson;
Students' motivation for work.
2. Learning new material.
Today's lesson will be devoted to one of the most common types of arts and crafts, but which one, you have to guess for yourself from a short story - a hint. (Determination of the topic of the lesson).
1. The oldest and most widespread type of arts and crafts. Widespread among all peoples of our country. The techniques were developed by many generations of masters, who carefully preserved everything of value (if the students did not guess, the second part is read).
2. It was performed with linen, woolen, silk (usually colored), stones, coins, etc.
What are we going to talk to you about today? How can you formulate the topic of our lesson?
Embroidery as a kind of arts and crafts. (the guys open notebooks, sign the number and the topic of the lesson)
Based on our topic, what tasks can we set for ourselves for today's lesson?
Get acquainted with the history of embroidery;
Consider its application in folk and modern costume.
From time immemorial, our land was famous for the art of craftswomen - needlewomen. The entire female half was spinning, weaving, embroidering.
What do you think is embroidery? Embroidery is the art of creating patterns on fabrics (with what?) Using needles and threads. The existence of embroidery in the era of Ancient Russia (9th century) is evidenced by the finds of archaeologists.
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These are pieces of clothing decorated with patterns made with gold threads. This difficult but fascinating work accompanied a Russian woman all her life. From the age of seven to eight, girls began to prepare their own wedding dowry. It was necessary to embroider tablecloths, bedspreads, towels, as well as various clothes. A peasant girl had to prepare a dowry for herself: a wedding dress, day clothes, hats, gifts. At the wedding, the bride presented the groom's relatives with the products of her work. Before the wedding, an exhibition of the dowry was arranged, which was supposed to testify to the skill and hard work of the bride.
Why do you think the craftswomen decorated their products with embroidery?
Embroidery not only made the costume more beautiful and richer, but also had a different purpose. According to popular belief, it was supposed to bring happiness to a person, protect him from all evil and misfortune, bring him closer to the surrounding nature. Ancient warriors in Russia were presented with white shirts with red embroidery before the campaign.
Where could the embroidery be located?
They embroidered special patterns on the chest, sleeves and along the hem, which, according to legends, protected a person in battle (lion, leopard - bravery, wisdom, protected by protection).
In ancient times, Russian embroidery was often associated with the religious beliefs of the Slavs, whose main cult was the cult of the goddess of fertility, who was depicted as a stately female figure surrounded by flowers, birds, animals or horsemen.
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And now we will look at the symbols that the craftswomen used for their patterns.
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The sun is the source of life with life-giving power
The Earth is an image of a female figure, mother Earth. "Nurse - Mother Earth".
Horse - a charm of the hearth, a symbol of kindness
The bird is the companions of the sun, a symbol of goodness, love, peace, harmony in the house.
The tree is a symbol of life, unity of the clan.
Fire is a cleansing force.
Spiral - a symbol of the wish for good
Dressing up a costume is not empty fun. These were like cherished letters passed down from generation to generation, which were passed down from generation to generation, which can be read like a book. The main element of the embroidery is the ornament.
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Ornament- this is a sequential repetition of individual patterns or a whole group of them. Each element of the ornament had its own meaning and meaning. There are several types of ornaments: plant, zoomorphic and geometric, humanoid. The Russian embroiderers' favorite ornament was geometric. They were dominated by rhombuses, rectangles, squares. The figures of people, animals and birds of the image of plants consisted of these elements, only they are stylized, simplified.
Physical education
Here we have a physical education minute,
Bent over, come on, come on!
Straightened, stretched,
And now they bowed back.
(bends forward and backward)
The head is tired too.
So let's help her!
Left and right, one and two.
Think, think, head.
(head rotation)
And over the sea seagulls are circling,
Let's fly after them together.
Foam splashes, the sound of the surf,
And over the sea - we are with you!
(waving hands)
We're sailing on the sea now
And frolic in the open.
More fun to rake
And catch up with the dolphins.
(swimming movements with hands)
Look: seagulls are important
They walk along the sea beach.
(walking in place)
Although the charge is short
We rested a little.
In order to embellish any product with embroidery, it is necessary to use certain tools and materials.
What tools and devices are used in embroidery?
(hoops, embroidery needles, scissors, pencil, tracing paper, carbon paper)
What materials can be used for embroidery?
(fabrics - cotton, linen, silk, mixed, canvas, threads - iris, floss, garus, wool).
Today embroidery has not lost its popularity. This is a great way to give an original and unique look to everyday things and clothes. Embroidery is very rich in different types and methods of embroidery.
What types do you know?
(cross, satin stitch, beads, sequins, ribbons, etc.)
We will begin our study of embroidery with the simplest stitches.
Types of decorative stitches for hand embroidery.
1. The simplest seam - "forward to the needle" - on the front and back side of the stitches are the same.
2. Seam "forward needle with intertwining" - first the stitch "forward needle" is performed, and then the stitches are intertwined with a thread of a different color or with the same threads (for decorating clothes, table linen)
3. Back stitch seam - forms a continuous row of stitches on the right side, on the seamy side these stitches are 2 times longer (This seam is sometimes called a “stitch” because it looks like a machine stitch). Today embroidery has not lost its popularity. This is a great way to give an original and unique look to everyday things and clothes.
4. Stem seam - a continuous row of oblique stitches, tightly adjacent to each other. (For making the stem of plants, for making a monogram - a ligature from the initial letters of the name, surname)
5. Tambour stitch - a continuous row of loops coming out of one another (for embroidering flower petals, leaves, etc.)
6. A buttonhole stitch is a row of buttonhole stitches located along the edge of the product - this seam can be used to fasten the applique, to process the edge of the product
3. Practical work.
Repetition of safety precautions:
when working with scissors:
Store scissors in a case;
On the table, the scissors should lie with the blades away from you;
Do not leave the scissor blades open during operation.
Pass the scissors with closed blades, rings forward.
when working with needles, pins:
Store needles and pins in a specific place (special box, pillow, etc.);
Do not leave them at the workplace;
Under no circumstances should you take needles, pins in your mouth;
Do not stick them into clothes;
Do not use a rusty needle for sewing;
Collect the pieces of broken needles or pins and give them to the teacher.
P / R: perform the simplest seams, based on samples and a technological map
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4. Issuing homework.
Textbook pp. 96-100, 108-113 entries in notebooks.
5. Summing up the lesson.
What tools and accessories are used for embroidery?
What is embroidery material?
What new did you learn in the lesson?
What have you learned in this lesson?
Have we achieved the tasks that we set at the beginning of the lesson?
Learning to embroider is not difficult, you need to show patience and perseverance. Clothes embroidered with your own hands will become elegant and original.
Reflection: pupils are given circles, in them they must draw their mood, on the back side write + and - of the lesson.
The teacher reminds the attendants of their duties: after the call from the lesson, stay and clean up the class; thanks the students for their educational and cognitive activities and ends the lesson.
The topic of this combined lesson: "Embroidery as a kind of arts and crafts" - the first topic in the section "Needlework"
The chosen structure of the lesson was optimal for the tasks I set. Time is rationally allocated to study new material and consolidate it. The transition from one stage of the lesson to another was smooth and logical. During the lesson, visual aids and health-saving technologies were used - physical education