Pavlovo Posad shawl. Russian fashion

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

Materials:

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 parts, 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.

To begin with, we position it very evenly:

Then we attach the fabric with push pins, doing this starting from the middle to the edges. It is important to pull the fabric very evenly so as not to warp it.

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!

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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" , borrowed from Persian. And it means a large patterned scarf.

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.

Pavlovsky Posad city
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 many 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, and paints were applied to the fabric with their help; 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, pattern.

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 to 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.

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

Teacher. Guys, determine what is the participation of the Masters of Construction, Decoration and Image in the creation of elegant scarves? Which Master is the presenter?

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.

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

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 connect 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. The shafts for the 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 for washing in special machines, spinning and drying.

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.

Russian beauty in a Pavloposad shawl

The culture of a particular people is multicomponent. Cuisine, everyday life, traditions and peculiarities in clothing - all this makes up a complete picture, making one or another nationality recognizable. It is the little things, nuances, features and individual details of a traditional costume that show the people’s image to the whole world. Without exaggeration, Russian culture is considered one of the most vibrant and diverse. The symbiosis of the hard work of skilled artisans and the skill of artists gave rise to such a unique work of applied art as Pavlov Posad shawls (shawls).

History of the scarf

Today, every foreigner, a guest of the great and vast Russia, will consider it an honor to purchase extraordinary posad scarves or shawls as a souvenir. But few people know that the history of such a unique and popular accessory all over the world goes back more than 200 years.

Pavloposad shawl can be found in many paintings

The origins date back to the middle of the 19th century. The city in Rus' Pavlovsky Posad, previously called Bogorodsky district, has long been considered a kind of center of talented and skillful artisans, and especially textile craftsmanship. In those distant times, it was in Pavlovsky Posad that there were countless textile workshops that had been preserved from even more ancient times. In the 17th century, Bogorodsk shawls were already widely known thanks to the recognizable pattern-ornament made of gilded threads.

And how could such beauty not become popular?

Later, production rapidly gained momentum and the townspeople's scarves were made from various fabrics, and the nature of the design acquired more characteristic national features and a recognizable Russian character.

Manufacture production expanded, the direction of silk weaving appeared, scarves were also made from wool and wool blend fabrics.

History of Pavloposad shawls

Traditional posad shawls had one feature - an unusual and unique printed pattern. The patterns were so exclusive that it was impossible to find two identical scarves.

Drawing technique

The magnificence of color, complex and one-of-a-kind floral pattern or ornament is achieved using complex application technology. Initially, the pattern was transferred to the material using carved wooden forms. Such board shapes were called “flowers” and “manners”. The “flower” board was cut out of wood, with its help paints were applied to the fabric, but the “manners” boards were used to stamp the outline of an ornament or pattern.

"Manner" for applying patterns

The evolution also affected the technology of printing, so already in the 70s of the last century, designs began to be applied to townspeople's scarves and shawls using screen printing and special nylon templates. More modern Pavloposad textiles have changed somewhat: the design has become less detailed, and the contours of the ornaments have acquired less intricate and somewhat strict outlines.

Industrial production did not at all play in favor of the beauty of the scarf

For some time, the hand-printing technique was used to apply the design, but due to the particularly labor-intensive process, it never became popular. Although it was during this period that real exclusive models were created, worthy of the title of cultural value of Russia.

In the 90s of the last century, at a time when many industries were hit by a crisis, production not only did not come to naught. Pavloposad products have become even more colorful and original. The number of colors per scarf or shawl reached 23. Today, stencil technology has been preserved; a unique design is first developed by artists, after which stencils are made, then shawls and scarves are put into production.

Developing a design for a future scarf is not an easy task.

Creation of Pavloposad shawls

Features of patterns

From ancient times to the present day, posad scarves and shawls are divided into two main types:

The first are scarves and shawls, which are made from thin translucent wool. Such Pavloposad products may have a silk ancestral basis. The design on such a shawl or scarf was printed on a cream, black, dark cherry or scarlet colored ground. The ornament consisted of large flowers or bouquets, strictly selected style patterns. As they say, the award has found its hero. Such posad scarves received the highest state award in 1896, which gave the right to depict the National Coat of Arms on a label or sign.
The second are Pavloposad products, which were made from thick wool. Such models, as a rule, differed from the first ones not only in fabrics, but also in ornamentation. The title pattern was borrowed from the eastern people “cucumber”, enclosed in floral patterns. The emphasis in such scarves was on the edges, and more precisely, on the corners of the scarf, leaving a small middle figure in the central part.

In the post-war period, posad scarves acquired greater brightness than the models of the war period. The color of the Pavlovo Posad shawl is based on the contrasts of yellow, green, red and blue. Black and white treatments appear in the design, which add realism and tangibility to floral prints.

This principle of bright and unusual contrasts, national ornaments or floral patterns is so unique in its kind that it makes posad scarves and shawls out of fashion trends.

Beauty like this never goes out of style

How to wear a Pavlov Posad scarf or shawl?

Modern fashion trends are a tribute to and even admiration for the skill of our ancestors. Therefore, Pavloposad stoles, shawls and scarves are incredibly popular today among fashionistas. Such a bright and unusual accessory undoubtedly has its own character, history and soul, which gives the image original folk notes in an unusual modern frame, like a precious diamond.

The image of a Russian beauty would not be complete without such a scarf.

There are several tips on how to wear a Pavlovo Posad accessory:

In the traditional way, as they wore in Rus', putting it on the head and tying it under the chin. This method is suitable for beauties with clear and regular facial features.
It is very easy to tie a scarf in the traditional way.
Putting it on your head and wrapping the ends of the scarf around your neck. Looks perfect with a fur coat or sheepskin coat. You need to be careful with an image consisting of a floor-length fur coat and a Pavloposad scarf, so as not to take on the appearance of noblewoman Morozova.
You can put it on your head as a bandana or turban, and tie the ends around your head. This method looks unusual and modern.
Pavloposad shawl in the form of a bandana
Simply throwing it over your shoulders, randomly tying the ends of the scarf so that those around you can admire the beauty of the design.
Original skirt made from Pavloposad shawl

There are many ways of how and with what to wear posad scarves, stoles and shawls. You can safely let go of your imagination and experiment with such an extraordinary accessory, creating your own bright and original image.

A skillful combination or shawl will help give the appearance not only folk identity. Pavloposad products are not just fashionable accessories, they have a soul, transforming a woman’s appearance not only externally, but also internally. Such bright painted accessories will never go out of fashion, forming a true Russian style beyond fashion trends.

Interesting information about Pavloposad shawls

Municipal budgetary educational institution

"Secondary school No. 13"

Topic “Pavlovo Posad shawl. Square ornament. Heel."

Lesson for 6th grade.

Developed by a teacher from Municipal Budgetary Educational Institution “Secondary School No. 13”

Lygina Natalia Nikolaevna

Cherepovets

2015

The purpose of the lesson: “Depict an ornament in a square based on the Pavlovo Posad scarf using the stamping technique.”

Tasks:

1. Get acquainted with the history of the Pavlov Posad printed scarf.

2. Study the patterns of patterns in a square, characteristic of the Pavlov Posad shawl.

3. Study the ornamental motifs of Pavlovo Posad shawls.

4. Study the color scheme of the Pavlovo Posad scarf.

5. Make a stamp - a style with a floral ornament from vegetables.

6. An image of an ornament in a square according to one of the selected patterns using the “stamping” technique (the square is cut out of colored paper).

Structure and course of the lesson.

Lesson stage

Teacher activities

Student activity

Organizing time

Offers to formulate the purpose and objectives of the lesson.

The teachers are listening. Formulate the purpose and objectives of the lesson based on the topic of the lesson.

Learning new material

Offers information about the history of the production of Pavlovo Posad printed scarves.

The area of Pavlovsky Posad (the territory of the former Bogorodsky district) is one of the oldest Russian ancient centers. In the 18th – first half of the 19th century, 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 began. decorated with colorful printed patterns.

Gradually, production expanded and acquired a pronounced national character. The production features, compositional and color splendor of the Pavlovsk scarf are based on the masterly skill of the carvers of printed boards, from which the design begins on the fabric, as well as the skill of colorists - typesetters. Each color is printed from a separate board, the number of which sometimes reaches several dozen. The decoration of Pavlovsk scarves is dominated by lush floral bouquets and garlands. The ornamental motif “Turkish cucumbers” is popular, borrowed from the famous Indian cashmere shawls that became fashionable in Europe during the Napoleonic era. The predominant colors are milky white, black, red, dark blue, and cherry.

Throughout the 1920-30s. In Pavlovsky Posad, mainly cotton fabrics with printed and printed patterns were produced.

The art of an elegant printed woolen scarf was revived after the Second World War, when hand-printed fabric began to be actively used. However, since the late 1950s. manual production began to be gradually replaced by modern printing machines and photo printing techniques. Currently, only a small number of hand-printed scarves are produced at the Moscow Shawl Association in Pavlovsky Posad. However, when creating samples for replication using modern printing methods, artists strive to preserve the traditional techniques for decorative generalization of floral motifs for Pavlov Posad shawls, the nature of the composition and color features.

The teachers are listening.

Remember new terms.

Answer questions.

Creative practical activity

(creative

search)

Offers to consider several schemes for constructing an ornament in a square (schemes for constructing an ornament of a Pavlo-Posad shawl), ornamental motifs, and colors. Clarifies the meaning of the terms: ornament, printed material, manner, stamping, stylization, coloring.

He suggests cutting out stamps from vegetables with floral patterns and depicting the pattern in a square using the stamping technique.

The children get acquainted with the meaning of new terms. Consider patterns of ornaments; cut out stamps; determined by color scheme. Perform the composition of the ornament.

Lesson summary. Reflection.

He invites you to admire your work and answer questions about the history of scarf production, patterns, ornamental motifs and execution techniques.

Review their work. They draw conclusions and answer questions.

Presentation:

1. Tit. sheet

Goal and objectives - on the 2nd sheet

3. History of the scarf with pictures of scarves

4. Shawl samples

5 Example circuits

6. Examples of ornamental motifs

7. Photo of stamp making

8. Photo of ornament printing

9. Photos of samples of children's work.