Artistic techniques. Fashionable patterns on scarves Drawing a scarf for children

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Tasks.

• To familiarize yourself with the art of artistic painting of fabrics using the example of Pavlovo Posad shawls.
• Teach students to see that the decor of a scarf is related to its purpose, i.e. with the one for whom it is, for everyday life or for a holiday.

Predicted results: students will learn to aesthetically evaluate the variety of options for painting fabric using the example of a scarf; learn the basic compositional options for painting a scarf (with an emphasis on the pictorial motif in the center, in the corners, in the form of free painting), as well as the nature of the pattern (floral or geometric); will gain creative experience and artistic and practical skills in creating a sketch for painting a scarf (fragment), expressing its purpose.

Educational materials:

• PC, presentation “Pavlovo Posad shawls”,
• Goryaeva N.A., Nemenskaya L.A., Piterskikh A.S. Fine arts: Art around us: 3rd grade / Under. Ed. B. M. Nemensky;
• Goryaeva N. A. and others. Fine arts: Your workshop. Workbook: 3rd grade / Under.

Ed. B. M. Nemensky. For students:

blanks of colored or white paper in triangular and square shapes, gouache, brushes, sippy cup, napkin, scarf. Preliminary preparation for the lesson

. Students find out in communication with their mother and grandmother which scarves they especially love and why, and bring a scarf to class for a festive display.

I. Organizational moment.

II. Updating knowledge.

Teacher. Guys, today in the lesson we will work on the topic “Mom’s scarf”. Think about what will be discussed in the lesson? (Children's answers). What do you guys think, how long ago did the scarf appear, and what role did it play in the folk costume ensemble? (Children's answers).

III. Teacher's story. Teacher. The predecessor of the scarf in Rus' is considered to be a white linen towel with embroidery - ubrus. Since ancient times, women covered their heads with it. Since the end of the 17th century it has given way to the scarf. A century later, the word appeared in the Russian language "shawl"

In the ensemble of a folk costume, the scarf plays an important role, completing a headdress, or decorating everyday and festive women's attire. The concept of “Russian scarf” is recognized throughout the world thanks to the work of talented Russian artists and weaving and dyeing masters. They created an original artistic image. Its origins were the traditions of folk art and creative borrowing from the cultures of other peoples.

The scarf harmoniously combines Russian chamomile, Persian lotus, Iranian “beans”, French bouquets “mille-fleur”, solar rosettes, antique vases and various variations of oriental ornaments.

Industrial production of printed and patterned scarves in Russia began at the turn of the 18th-19th centuries . The basis of the future Russian textile industry was peasant farms with dyehouses and handlooms. Manual labor was replaced by steam engines, calico printing machines and pattern weaving machines. Fame also came to Russian scarves and shawls.

The weaving technique then made it possible to make single- and double-sided patterns. One of the striking examples of the traditions of printed patterns are scarves and shawls from the Labzin and Gryaznov manufactory from Pavlovo Posad.

Reading poems by students.

City of Pavlovsky Posad
Glorious for the masters,
People know: old and young
About scarves with flowers.
They gave me a handkerchief
It blooms like a summer garden.
It turned out to be a miracle
Made by Pavlovsky Posad.
How can I throw it on my shoulders?
I will paint this shawl,
All my sorrows at once
They will float away somewhere into the distance.
Just a miracle, just a miracle,
Created for centuries
Needlewomen of Posad,
Handmade scarves.

IV. The demonstration of the presentation “Scarfs from Pavlovsky Posad” is accompanied by a story from the teacher.

Show slides 1-3. Among the world-famous unique products that make up the pride of Russia, scarves and shawls from the city of Pavlovsky Posad occupy a special place. The Pavlovo Posad shawl manufactory annually produces about 400 types of shawls, shawls, scarves, mufflers, stoles, tablecloths made of wool, cotton and silk.

The enterprise has the status of a folk art craft of Russia.

Show the 4th and 5th slides. The history of the enterprise goes back more than two centuries. The production of the famous Pavlovo Posad scarves and shawls was established by merchants Ya.I. Labzin and V.I. Gryaznov in the early 60s of the 19th century, half a century after the founding of the factory. The shawl firmly entered the life of Russian society, becoming a characteristic element of Russian costume - first noble, then merchant and peasant. Shawls became widespread during the establishment of the production of cheaper, compared to woven, shawls with a printed pattern.

Show the 6th slide. The company has established a one-of-a-kind Pavlovo Posad school of handkerchief designs, thanks to which traditions are preserved. Work on each new product begins with a drawing - a sketch, which is reviewed and approved by the Artistic Council. After approval of the design, colorists select recipes for printing inks, achieving an accurate reproduction of the author’s design made in gouache using textile dyes. Before receiving the final recipe, the colorist has to do a lot of test fills.

Show the 7th slide. Since the 19th century, designs have been applied to shawl fabric using wooden carvings using two types of boards: “manners” and “flowers”. “Flowers” ​​were cut from wood, with their help paint was applied to the fabric; each color required a separate board. The outline of the drawing was filled with “manners”. Their production was labor-intensive: first, the pattern was burned into the wood to a certain depth, then filled with lead. The resulting outline was placed on separate boards. Making “flowers” ​​and “manners” for the size of the entire scarf was impossible; the design was broken into parts. To print a scarf, sometimes more than 400 layers of boards were required.

Show the 8th slide. At the factory, new shawl compositions were created and shawls were printed according to old designs in different color designs, on substrates in colors such as “crimson, burgundy, gold, lettuce, orange, green, turquoise, violet.” Since the 1970s, some scarves have been printed by applying designs to the fabric using silk or nylon mesh templates.

Show the 9th slide. Each design is printed in several color options on printing tables with automatic printing carriages. The most critical operations are performed manually. And you need to do a lot of them to create a unique Pavlovo Posad scarf!

Show the 10th and 11th slides. Printing inks are prepared on an automatic ink cooker. All processes - from dissolving the dye powder to mixing the finished paint - are carried out without human intervention. Printed patterns are prepared using a unique direct engraving machine that applies computer-controlled droplets of molten wax to the surface of a mesh coated with photoemulsion.

Showing the 12th slide. Since the late 90s of the 20th century, shawls and scarves with a number of colors reaching 23 have been produced at the shawl manufactory through pattern printing, which are superior in appearance and quality to products printed earlier.

Show the 13th slide. The company's products have been repeatedly exhibited at numerous domestic and foreign exhibitions. In 1958, at the World Exhibition in Brussels, Pavlovsk scarves were awarded the Great Gold Medal.

Show slides 14–20. Pavloposad shawls.

Show slides 21–25. Portraits of women in scarves and shawls.

Show the 26th slide. The patterns of the Pavlovsk scarf are dominated by bouquets and flower garlands. Turkish “cucumber”, “medallions”, ovals, stars are popular. On the scarf you can see antique vases, lotuses, daisies, birds and ancient symbols. But the main symbol was the rose, playing with all the colors of the rainbow. Dahlias are the second most frequently depicted flower on Pavloposad shawls. Artists often use lily, tulip and peony in the “bouquet” of Pavlovo Posad shawl. A variety of wildflowers provide scope for the creativity of master artists. The spring Russian field is replete with flowers of different colors, they all complement each other and emphasize the brightness of each. Times and technologies change, but a scarf and shawl remain the best gift.

Show the 27th slide. Explanatory dictionary. ( The interpretation of all words is given in the second meaning).

A method of applying a design to fabric by printing from carved boards; fabric with such a pattern, design.

PRINTED.

About the pattern, drawing applied to the fabric; about fabric with such a pattern, design (applied by hand or machine).

MANUFACTU "RA. outdated Factory, mainly textile.

Teacher. What new did you learn? What did you find particularly interesting? What did you like and remember? (Children's answers).

V. Physical education minute.

On a bright sunny day (Starting position - squatting, hands clasped above your head).
A golden flower blossomed. (Stand up, spreading your arms to the sides.)
Light breeze blowing -
Our flower swayed. (Hands on the waist, tilts to the right and left).
A strong wind is blowing
Petals are worried. (Hands to shoulders, spinning).

VI. Exhibition of women's scarves.

An impromptu exhibition of women's scarves with different emotional sounds helps create an emotional atmosphere in the lesson. Children come to the board in rows with scarves of their mothers, grandmothers or sisters and show them off. Students examine each scarf and make an assumption about whether the scarf belongs to their mother, grandmother, younger sister or older sister and its purpose (everyday or holiday), explaining their point of view.

Teacher. Guys, look at the compositional patterns on the colored field of the scarf. What compositional options for constructing the pattern did you see (decoration of the border, corner, center and four corners, free painting, etc.)? (Children's answers).

Teacher. The calling card of the Pavlovo Posad shawl is the location of the pattern on the fabric. The design, large at the edges, becomes smaller towards the center, and the corners are decorated with catchy flowers. The composition is most often built with accents on the corners. Bouquets of large flowers are placed symmetrically along the border and corners, and the middle of the field is filled with sparsely scattered small flowers. There are also compositions consisting of flower garlands that are closed in space and increase towards the center. Often the border is decorated with a dense pattern of garden flowers. The shawls clearly demonstrated the compositional skills of folk artists, the ability to fit a pattern into a square, build a corner, and find countless variations of the same pattern. Guys, pay attention to the nature of the pattern. Find scarves with floral patterns. Why is it called that? (From plant elements). Find scarves with geometric patterns.

Guys, pay attention to the color scheme of the scarf. What color scheme can the scarf design be in? (In warm colors or in cold colors, and maybe in contrasting colors).

VII. Working with the textbook pp. 30 - 33

Reading the textbook text.

Answers to textbook questions after reading.

1. Why isn’t what is bright and colorful always beautiful?
2. Is it possible that bright, elegant clothes are inappropriate and therefore ugly? (Children's answers).
3. Do you think it is possible to express the beauty and sonority of early morning through an ornament on a scarf?
4. What patterns and colors on a scarf can convey the fabulous mystery of the coming evening?

Who could such scarves be intended for?

Students. The Construction Wizard helps you choose the location of the pattern on the scarf - at the corners, in the middle or throughout the entire field. The Image Wizard helps you choose an image on the scarf - birds, flowers, butterflies or something else. And the Decoration Master helps turn the image into a pattern - choose the color and rhythm of the pattern.

VIII. Practical work: creating a sketch of a scarf painting.

Teacher. Guys, according to the instructions in the textbook, draw a scarf for your mother and another scarf or scarf for your sister or grandmother. Try to make the scarves different and appropriate to the age of the person for whom they are intended. For work you will need paper and gouache. First, make the drawing with light paint, use your imagination, fill the scarf with images of herbs, flowers, leaves, twigs, birds, butterflies, etc. in a color scheme that matches your design.

IX.Homework

Complete the task in the workbook p.10.

Teacher. What did you learn in the lesson? What was the most interesting? (Children's answers).

An exhibition of children's works is organized on the board. Children look at each other's work.

Materials used.

1. Nemensky B.M. - Fine arts lessons. 1-4 grades. Lesson-based developments. Federal State Educational Standard.
2. M.: Education, 2013.
3. http://platki.ru
4. http://www.kleopatra.ru
5. http://muztunes.net
6. http://slovonline.ru
7. http://www.artgalery.ru

http://kykolnik.dreamwidth.org

And so, we draw a scarf using the cold batik technique.

The fabric is crepe satin, white, size approximately one meter by one meter. We take the fabric with a reserve, i.e. the finished product will be somewhere around 90x90 cm.

Reserve - transparent from Gamma

Paints - acrylic for silk Silk, Gamma

Glass tube for reserve

A rag for removing a drop of reserve from the tube and for drying brushes.

Brushes - 3 squirrel brushes of different sizes, No. 5 for small details, No. 12 for filling large details, No. 24 flat brush for the background.

Pencil, large sheet of paper for drawing, marker for outlining the drawing.

Wooden frame or stretcher (I use a sliding frame)

Before stretching the fabric onto the frame, it should be washed in a light soapy solution in order to wash off the factory treatment of the fabric, because if it is not washed, the paint will not flow well. After the fabric has dried, it should be lightly ironed.

We stretch the fabric onto the frame.

To begin with, we position it very evenly:

After the fabric is stretched, we need to make a drawing of our scarf to fit the frame. You can make a preliminary sketch of a small size, and then enlarge it to the size of the scarf. I make a drawing without preliminary sketching, directly on a large piece of paper. To make the drawing more visible, I trace it over the pencil with a permanent marker.

Then we place the design under the fabric so that it is clearly visible through it.

If the design is too low and not visible, you can place books or magazines so that it is closer to the fabric.

When the design is placed under the fabric, we begin to apply the reserve.

We apply the reserve carefully so that there are no breaks, otherwise the paint will flow. When the entire drawing has been covered with reserve, we leave it to dry. It dries in about an hour. If you have limited time to work, you can speed up the drying process with a hairdryer.

When the reserve has dried, we begin the actual painting. Before applying paint, you need to wet the area to be painted with clean water. This is necessary so that the paint flows more freely, as well as in order to identify those places that are poorly saturated with the reserve.

Painting on fabric is reminiscent of watercolor painting, because, as in watercolor, we gradually fuse one color into another, achieving unique transitions and play of colors. I do without a palette, mixing paints directly on the fabric. This trick will probably be difficult for beginners, so I advise you to use a plastic palette.

When applying paint, consider the type of fabric. The dye behaves differently on different fabrics. It can flow evenly, either more along the weft or more along the warp.

You need to apply the paint carefully so as not to get a different color on the already painted areas, since this cannot be corrected.

According to my idea, the flowers on the scarf will be lighter than the background, I make them golden-orange, the leaves will be darker than the background, I make them red-brown.

If, nevertheless, in some places the reserve was applied poorly, and we did not notice this when we wet the fabric with water, in these places the paint will leak onto another area of ​​​​the design. We don't need this, but since the background is supposed to be quite dark, the leaks don't have to be too blurry. But be sure to go through these places again in reserve so that the color of the dark background does not bleed onto the light flowers. If you make the background light, then as soon as the paint has leaked, you need to immediately wash it out as much as possible and go over the leak area with a reserve.

Gradually, painting small details, we move on to painting the background area. It must be remembered that a large area must be painted quickly, without interruption, so that the paint flows evenly and does not dry anywhere ahead of time, otherwise you can get unsightly spots and streaks.

To add an interesting “drip” effect, sprinkle the wet fabric in some places with urea. Urea is sold at any gardening store. There is some kind of special powder for a similar effect, but of course it costs an order of magnitude more (I don’t know what it’s called). Or you can sprinkle coarse salt instead of urea; salt creates “stars” of a lighter color.

And so, we finished painting. If in some places the color is not as saturated as you would like, you can add color, re-wet the desired areas and increase the contrast.

After drying, the fabric must be carefully removed from the frame by removing the buttons.

We fix the pattern using a not very hot iron on the wrong side at an average temperature acceptable for this type of fabric.

After fixing the pattern, the fabric should be rinsed in warm water with the addition of a small amount of mild shampoo, this should be done in order to get rid of the stiffness of the fabric after ironing.

After the fabric is rinsed and dried, you need to iron it again and cut it evenly to size, and then finish the edges. For those who are not comfortable with a sewing machine, you can take the scarf to the nearest studio and for a small fee they will process the edge using an overlocker.

And now our scarf is ready!

We wrote about the initial stages earlier. Now a few words about the printed pattern. The hitter must be a physically strong person. It is necessary to put together on one piece of fabric all the parts at the disposal of the printer, and fill the outline so that it is not visible how it all turned out separately. The cutters work in pairs: one prepares one corner, the other prepares the second corner. They are in continuous motion around the printing table: they stuff one color, dry the scarf, and then start again on another color.

But not all scarves are made using hand-printed heels. It's been almost fifty years since the first photo-film printing table appeared at the factory. The drawing for printing is made on a fine silk or nylon sieve (which got the name of the film) by photocopying. And from the sieve it is transferred to the fabric.

Photo film printing allows you to create scarves in 12-17 colors, which is in no way inferior to handmade scarves. But productivity thanks to this method increased 3 times. The use of photographic film printing eliminated the labor-intensive work of carvers from the process and facilitated the work of printers.

The first template is applied to the fabric - a sieve of a certain pattern.

They begin to rub the paint through a sieve - and a certain pattern of the same color remains on the fabric. Then the sieve is changed - and a different color remains on the scarf. Usually light pink paint is applied first, then green, then all the rest. Lastly, the paint of the general background of the scarf is wiped off.

This method greatly simplified the process of making scarves, but was not ideal. Still, a lot of work had to be done manually that could have been done by machines. And the process of submitting and transferring templates was mechanized. This happened in 1961. The productivity of a worker using such a machine is 6-7 times higher than the productivity of a printer engaged in manual labor. The consumption of chemical materials and dyes has decreased. So now drying, laying the fabric on the table, on the trolley, the printing process itself, feeding the fabric - all this happens by itself. You just need to monitor the operation of the mechanism.

A few years later, in 1965, the craftsmen had three multi-color automated machines. The total economic effect is over 600 thousand rubles per year. Now stuffing is done quickly, economically and, importantly, the production of large products, say, panels, tablecloths, bedspreads, is not difficult.

The photo film printing area is now located in a new modern building. The departmental building was put into operation in the summer of 1980. The entire shift runs in three lines of conveyors - and every 12 seconds a new scarf is ready. About 2 thousand scarves are produced per shift. And first, the white fabric enters the conveyor. And gradually, as it moves along the conveyor, colors and patterns begin to play on it.

White earth and ground shawls - both wool and cotton - are printed on machines with a copper shaft. More than half of all association scarves are produced on such machines. You can use ten colors on them. Shafts for machines are prepared in the engraving workshop in different ways - pantograph, mo-lettering, manual...

And when the scarf comes off the conveyor or from a machine with a copper shaft, it is sent to be processed with wet steam in a periodic chamber - a ripening chamber. Then it is washed in special machines, pressed and dried.

In principle, the scarf is made according to the same ancient pattern as a hundred years ago. But many processes are mechanized and automated, and thanks to this, the work of the craftsmen has been made many times easier. Even at the very last stage - sewing on the fringe - the fringe-basting machine works, increasing labor productivity by 2 times.

Traditional designs of scarves have always included ancient pagan images and symbols, such as songbirds, the tree of life, and the image of a swan. Later, antique vases and French bouquets borrowed from Europe, vines and flowerpots with large flowers masterfully fit into these ornaments. Also, the theme of oriental ornaments - beans and paisley (or oriental cucumber) - has always been present in the scarf (as one of the directions).

The area of ​​Pavlovsky Posad (the territory of the former Bogorodsky district) is one of the oldest Russian textile centers. In the 18th - first half of the 19th centuries, Bogorodsk shawls and sarafan fabrics were distinguished by the special beauty of the ornament woven with gold thread. Later, silk weaving became widespread here, and in the 1860s, the production of woolen and half-woolen scarves, decorated with colorful printed patterns, began.

Gradually, production expanded and acquired a pronounced national character.

Initially, Pavlovo Posad printed scarves were woolen and half-woolen. They were decorated with traditional colorful printed patterns that originated in the town of Pavlovsky Posad near Moscow in the 1860-1880s.

The Pavlovo Posad manufactory is the only one of the ancient Russian scarf enterprises that has survived to this day. In the 18th - early 20th centuries, the textile industry was extremely developed in Moscow and the Moscow province.

In Pavlovsky Posad and the villages nearby there were large factories and small manufactories, the products of which were exported to Moscow and other cities and distributed at fairs.

One of the largest enterprises in Russia in the second half of the 19th century was a factory owned by Yakov Ivanovich Labzin (1827-1891) and Vasily Ivanovich Gryaznov (1816-1869). It was founded at the end of the 18th century by a peasant from the village of Pavlova (from 1844 - the city of Pavlovsky Posad) Ivan Dmitrievich Labzin, whose grandchildren were already in the merchant class by the beginning of the 1840s.

Yakov Ivanovich Labzin (1827-1891)
Vasily Ivanovich Gryaznov (1816-1869)

Yakov Ivanovich Labzin (1827-1891)- merchant-philanthropist. Since 1849, he headed a shawl manufactory in the city of Pavlovsky Posad, Bogorodsky district, Moscow province. One day he came to the local saint Vasily Gryaznov for some advice. The first communication with Gryaznov made a strong impression on the merchant; he saw before him a man living a holy life. He invited Vasily to become his comrade in business, and he agreed. They soon became friends.

Vasily Ivanovich Gryaznov (1816-1869). Born into a simple family in the village of Evseevo (currently Pavlovo-Posad district), he was educated at home and inherited from his parents deep faith and love for God.

But when he went to work at the factory, the naive village youth plunged into the world of vice and passions, began to drink wine, and fell under the influence of bad company. However, over time, he managed to overcome his weaknesses and take the path of correction.

After meeting the merchant Ya.I. Labzin and joining the business, Gryaznov continued to lead the life of a holy ascetic. When he had more money, he spent it on helping the poor and on good causes. Vasily, together with Yakov Labzin and Yakov’s sisters, built schools and almshouses. Vasily dreamed of building a monastery in the city of Pavlovsky Posad, but did not have time. Thanks to Yakov Labzin and his sisters, in 1874 a church was built in Pavlovsky Posad at the burial site of St. Basil. In 1894, the Pokrovsko-Vasilievsky Monastery was opened on the site of the temple.

Vasily Ivanovich Gryaznov was canonized by the Russian Orthodox Church as a saint among the righteous - Righteous Vasily Pavlovo-Posadsky.

The small silk weaving establishment grew quickly, expanding and changing its assortment. In 1853, Yakov Ivanovich Labzin (great-grandson of the founder of the factory) and his relative and companion Vasily Ivanovich Gryaznov (Yakov Labzin was married to Gryaznov’s sister), pooling capital, founded their own Trading House. Three years later, in addition to weaving, they also opened printing.

Until the 1860s, the factory produced woolen, half-woolen, cotton fabrics and Pavlovo Posad shawls. In the second half of the 19th century, popular printed woolen stoles and shawls already prevailed. Just at this time they were widely coming into fashion as an indispensable element of the costume of city and rural women. Merchants, bourgeois women, and peasant women sported stoles and shawls draped over their shoulders or heads with ornaments in the “oriental” spirit or with bright floral arrangements.

After the October Revolution, the factory was nationalized, it lost the names of its previous owners and began to be called Staropavlovskaya.

Changes in the life of the country immediately affected the assortment. In the 1920s, experiments with designs began, and motifs of the revolution, the success of collectivization and industrialization, unexpected for the scarf theme, arose. But floral arrangements still remained the hallmark of Pavlovo Posad shawls.

New designs and ornaments in line with the factory’s classic tradition were the main concern of the artists of that time, among whom Nil Postigov and Konstantin Abolikhin, who worked even before the revolution, stood out.

Pavlovo Posad artists created drawings with complex decorative motifs: intricately intertwined, so-called “Turkish” cucumbers, “fans”, cartouches, curls; patterned, almost jewelry-like design of each element. Naturalistic, three-dimensionally interpreted floral compositions of garden and wildflowers were also born: roses, peonies, daisies, forget-me-nots...

Pavlovo Posad shawls are recognized representatives of Russian folk crafts. Woolen, silk, and cotton scarves from Pavlova Posad are valued all over the world.
The company has produced more than three hundred different types of scarves, shawls and stoles, which, undoubtedly, can be called real Russian souvenirs.

Natural wool, cotton and silk scarves can be worn at any time of the year.

In addition, fashion designers find interesting solutions using Pavlovo Posad scarves.
Women's clothing items such as the ones below can become the calling card of their owner, and they will make any cloudy day bright and sunny.

Fur-lined scarves and vests made from Pavlovo Posad scarves are warm and stylish elements of the costume of a modern woman who loves Russian folk flavor. All this can be worn with trousers and skirts, on holidays and on weekdays.

All these wonderful models were invented and made by craftswomen Alyona, Valentina Davydova (valentin-ka), Iraida Nightingale

The Pavlovo Posad scarf is so recognizable that it seems difficult to find a person who has never seen it. The Pavlovo Posad shawl from Moscow has long become one of the symbols of Russian traditional culture. Let us remember the merchant women in bright shawls from the paintings of Kustodiev and Malyavin. The designs on Pavlovian scarves were applied manually using special wooden boards: “manners” and “flower”.

Despite the fact that in the 1870s. pyrrhotine was purchased - a machine that printed a pattern on fabric; its use had serious limitations: only Pavlovo Posad shawls of small sizes in four or five colors were mechanically printed. Using boards, the pattern was printed in parts, overlaying it up to 400 times, since each part (and there could be from 4 to 24) and each color (sometimes more than 16) had its own board. This labor-intensive and lengthy process required the printer to have the highest skill and precision of movements that did not allow the design to shift.
The boards were used for a long time, sometimes for decades, because the demand for shawls with similar patterns did not fall. Hand-printing of Pavlovo Posad shawls was partially preserved almost until the mid-1980s. Along the edges, Pavlovo Posad shawls were decorated with mesh wool or silk fringe, which is still knitted and sewn by hand by homeworkers. It takes the craftswoman two hours to knit the fringe of one scarf - this is a family tradition, mothers, grandmothers and children knit it.

Since the 1970s, the technology of stuffing scarves has greatly simplified. The principle of applying the pattern remains the same, but the paint is applied by printers to the fabric not with wooden forms, but with the help of special silk or nylon mesh templates. Pattern printing allows you to apply an unlimited number of colors, obtain a thin, elegant outline on the fabric, and accurately combine individual elements of the design.

Printed patterns are prepared using a unique direct engraving machine that, under computer control, deposits droplets of molten wax onto the surface of a photoemulsion-coated mesh.

Printing inks are prepared on an automatic ink cooker, where all processes are performed without human intervention. Here, for the first time in the world, plasma-chemical treatment of fabric before printing was introduced instead of harmful chlorination.

In the museum of scarves you can see the whole variety of Pavlovo Posad scarves, from ancient classic examples of hand-printed prints of the nineteenth century, avant-garde propaganda scarves of the thirties of the last century to modern scarves and shawls produced by the company at the present time.

For more than two centuries of existence, the Pavlovo Posad shawl manufactory has come a long way in its development from a peasant brighthouse to a modern competitive production that meets all international standards. Her achievements have been repeatedly noted at various exhibitions, ranging from the Small Silver Medal at the Moscow Exhibition of Russian Manufactures, to the Large Gold Medal at the World Exhibition in the capital of Belgium in Brussels.

It is with the drawing (croc) that work on each new product begins. All prepared pieces are reviewed and approved by the artistic council, to which honored artists of the enterprise, representatives of the Ministry of Culture of the Russian Federation and the expert council of the Moscow region on folk artistic crafts are invited.

As soon as the drawing is approved, colorists get involved in working on it. Their task is to select recipes for printing inks, achieving an accurate reproduction of the author's drawing made in gouache using textile dyes.
The main difficulty in the work of colorists is that the true color will only be visible after steaming the fabric.

Each drawing is printed in several color options - shades. Depending on the complexity of the design, various methods of applying it to the fabric are used.

Printing is carried out on printing tables with automatic printing carriages and multicolor printing machines. The most critical operations are performed manually.

In the finished products workshop

Working with fringe

A factory worker demonstrates the finished product

Before Pavlov Posad shawls became an integral part of the folk costume of the peasantry and merchant class, they remained a fashion accessory for ladies of the noble classes for a long time. At the beginning of the 19th century, this element of women's wardrobe was so popular that there was even a dance with a shawl, in which ladies could demonstrate their noble bearing. Scarves of that time were usually decorated with Turkish ornaments; a little later, floral ornaments also came into fashion. Their creation is a special art, carefully and jealously preserved by artists and printmakers of the Pavlovo Posad shawl manufactory.

“Once, at Orlov’s ball, they asked one of the Moscow beauties, the wife of his illegitimate son, to dance “pas de chele,” recalls E. I. Raevskaya. “She agreed and, standing in the middle of the hall, as if by accident, dropped the comb holding her hair. Luxurious jet black hair spilled over her shoulders and hid her figure almost to her knees. Everyone present screamed with delight and begged her to perform the dance with her hair down. That's all she wanted; performed a dance with general applause." The emergence of this dance was facilitated by the fascination of French society with ancient culture. "Pas de chal - solo, danced with a light gauze scarf in her hands: the dancer either wraps herself in it, then lets it go." Particular attention was paid to the smoothness and the gracefulness of the movements of the hands The dance with the shawl required grace and grace. The lady slowly turned to the audience, now with her face, now with her back, alternately raising her right and now her left hand with the end of the shawl clasped in it. Each new movement began with the outstretched toe of her right or left foot. In the 19th century, it could have been a couple’s dance, but later it became a solo dance for women. To make the shawl more manageable, heavy gold, silver or coral balls were sewn into its ends. At first the dance was called a la Greek; a new name appeared closer to the 30s. This is an improvisational dance, where playing with a scarf and hand movements were of particular importance. The lady went out into the middle of the hall and, throwing a light scarf up, caught it, making various graceful movements with it. All attention was focused on the smoothness and beauty of hand movements. During the reign of Alexander I, pupils of women's educational institutions began to be taught dancing with a shawl. This is how the girls demonstrated their grace, grace and good posture. This tradition survived until the end of the 19th century.

Today, many designers are turning to the national style in general and Pavlovo Posad patterns in particular. The secret of such popularity is that these scarves convey the peculiarities of the national Russian character, recalling its inherent spirituality.

After so many years, the Pavlovo Posad shawl continues to live and develop: ancient patterns are restored, ornaments of other peoples and cultures are borrowed. For example, scarves and shawls with “Turkish cucumbers” and “beans”, borrowed from the famous Indian cashmere shawls, are currently popular.

This is not surprising, because real, traditional, high-quality things will find their connoisseurs at any time, and Pavlovo Posad shawls are proof of this.

Photographer Lara Kantur

Drawing of a Pavlovo Posad shawl. Russian postage stamp, 2013

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Slide captions:

Fine Arts The lesson is based on the author’s program “Fine Arts” by Nemensky Municipal budgetary educational institution secondary school No. 3 (MBOU Secondary School No. 3) Lesson topic: “Mom’s scarf” Teacher: A.M. Burlakova Class: 3 – in 2015, Surgut

Kulikov Ivan Semenovich. " Wildflowers "

They meet you by their clothes, they see you off by their minds

There lived a man and a woman. They had a daughter and a little son. Daughter,” the mother said, “we’ll go to work, take care of your brother!” Don't leave the yard, be smart - we'll buy you... a handkerchief

The song “Blue Handkerchief” during the Great Patriotic War

The Pavlovo Posad factory for the production of scarves with original printed designs was first mentioned in 1795. The production was founded by a wealthy peasant, Ivan Labzin.

In the 19th century The application of patterns on scarves at the Pavlovo-Posad manufactory was carried out only by hand. Wooden forms for printing patterns on scarves were called “flowers” ​​and “manners”. Using the “flower,” paint was applied to wool or silk fabric; each color required a separate board, the “flower.” Wooden forms for printing patterns on Pavloposad shawls were called “flowers” ​​and “manners”; only hard wood (oak, pear, walnut) was used for their production, and for greater strength they were glued together from three layers of wood. With the help of a “flower”, paints were applied to wool or silk fabric; each color required a separate board - a “flower”.

Automatic machines have made it possible to relieve the workload of master carpenters, but don’t worry, it’s still excellent quality!

“Sunny Summer” “Southern Night” Often in the “bouquet” of the Pavlovo Posad scarf, artists use a flower - a lily. The most popular flower in Pavlovo Posad patterns is the rose. "Evening Garden"

Multicolored scarves made Pavlovsky Posad famous throughout the world. The luxurious rose became a symbol of the Pavlov Posad scarf. The usual pattern of a Pavlov Posad scarf is from large at the edges to small in the center. In the corners there are large, catchy flowers, towards the center the pattern decreases, and the middle is filled with disappearing small elements

Three magical brothers

Build Master

We determine the center using diagonal lines. Place the pattern in the center.

Image Wizard

Master Decoration Warm and cool colors.

Rhythm is the alternation of elements

Work plan: Choose the location of the pattern. Select an image on the scarf. Turn the image into a pattern; to do this, choose the color and rhythm of the pattern.

Today we paid a lot of attention to clothes, “we met by clothes,” but I still advise you to see off wisely, it has been tested for centuries!!!

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