Ribbon ornament, history of origin, styles, features, types. Images, photos

Art of ornament

1. Ornament

2. Types and means of ornaments

3. Types of ornament

4. Rhythm in the ornament

5. Solar signs in the ornament

6. References

1. Ornament

Ornament is one of the oldest types visual arts a person, which in the distant past carried symbolic and magical meaning, iconicity, and semantic function. But the early decorative and ornamental elements may not have had a semantic meaning, but were only abstract signs in which they expressed a sense of rhythm, form, order, and 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 design was almost exclusively geometric, consisting of strict forms circle, semicircle, oval, spiral, square, rhombus, triangle, cross and their various combinations. Zigzags, strokes, stripes, “Christmas tree” patterns, and braided (“rope”) patterns were used in decoration. 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 have decorative qualities for objects (they were often covered with ornaments hidden from human eye - parts of objects - bottoms, reverse sides of jewelry, amulets, amulets, etc.). Gradually, these signs-symbols acquired the ornamental expressiveness of a pattern, which began to be considered only as an aesthetic value. The purpose of the ornament was determined - to decorate. But it is fair to note that pictography, an early stage of writing, emerged from ornamental motifs.

Ornament (Latin ornemantum - decoration) is a pattern based on the repetition and alternation of its constituent elements; intended for decorating various objects (utensils, tools and weapons, textiles, furniture, books, etc.), architectural structures (both externally and in the interior), works of plastic arts (mainly applied), among primitive peoples also himself human body(coloring book, tattoo). Associated with the surface that it decorates and visually organizes, the ornament, as a rule, reveals or accentuates the architectonics of the object on which it is applied. The ornament either operates with abstract forms or stylizes real motifs, often schematizing them beyond recognition.

In folk decorative arts everything is based on proven professional skills and techniques developed over many generations. These techniques are so perfect that their use allows one to achieve great artistic expression means simple and concise. Products of decorative and applied art must meet the requirements of the organic unity of the utilitarian nature of the thing and its decor, national colors. Ornament is the main way of decorating items of decorative and applied art. Elements of ornaments are created from stylizations of real natural forms.

2. Types and means of ornament

The formal features of an ornament include decorative stylization, flatness, an organic connection with the surface bearing the ornament, which it always organizes, often revealing the constructive logic of the object. Not every pattern can be considered an ornament. Thus, patterned fabric with endlessly repeating rapport is not ornamental. According to the nature of the composition, the ornament can be ribbon, centric, bordering, heraldic, filling the surface, or combining some of these types in more complex combinations. This is due to the determined shape of the object being decorated.

According to the motifs used in the ornament, it is divided into: geometric, consisting of abstract forms (points, straight, broken, zigzag, mesh intersecting lines; circles, rhombuses, polyhedrons, stars, crosses, spirals; more complex specifically ornamental motifs - meander, etc.);

vegetable, stylizing leaves, flowers, fruits, etc. (lotus, papyrus, palmette, acanthus, etc.);

zoomorphic, or animal, stylizing figures or parts of figures of real or fantastic animals. Human figures, architectural fragments, weapons, various signs and emblems (coat of arms).

A special type of ornament is represented by stylized inscriptions on architectural structures (for example, on Central Asian medieval mosques) or in books (the so-called ligature). Complex combinations of various motifs (geometric and animal forms - the so-called teratology, geometric and plant - arabesques) are not uncommon.

3.Types of ornament

Depending on what elements the ornament consists of, it is classified as one type or another. Let's consider only those of them that are of interest in the sawing business.

Geometric ornament. Characteristic of many eras and peoples. Despite its extreme simplicity, it still retains its aesthetic value. The basis for constructing such an ornament is a clear alternation geometric elements V in a given order. Very often used with other types of ornament. We should not forget that the prototype of geometric ornament was a natural form. For example, the Greek meander symbolizes a wave, a circle symbolizes the sun, and a braid symbolizes water.

Floral ornament. Most common in folk art after geometric and the most favorite in sawing carving, including wood sawing. Different times and different peoples gave their own plant motifs. In the early Middle Ages, the vine and shamrock were especially popular; in Baroque times - tulip and peony; in the Art Nouveau period - lily, etc. We can say that floral ornament uses the most numerous set of motifs, and there are an infinite number of different variations of such motifs. Moreover, the same motif can be very close to nature, or it can be simplified beyond recognition.

Calligraphic ornament. It can consist of either individual letters or entire sentences such as sayings, proverbs, slogans, etc. This pattern is most typical for ancient art Persia. Japan, Arab countries. The reason here lies in the fact that, for example, the ligature of Arabic letters is characterized by amazing plasticity. The letters of the Russian alphabet are also plastic, and if you combine them with floral patterns, you can achieve a significant decorative effect.

Fantastic ornament. It is based on images mythical creatures: Sirin birds, sirens, unicorns, lions, etc. It was often used in wood carving, in particular in folk sawing.

Animal ornament. As in the floral ornament, there are close to real and extremely simplified images of birds and animals. This ornament often goes well with floral designs. A good example This is the ornament of the Shemogod birch bark carvers.

Heraldic ornament. Its elements can be coats of arms, attributes of war - weapons, armor, torches, banners, etc.; attributes of musical and theatrical art - lyres, trumpets, horns, masks, curtain folds, etc. Carrying out this ornament is an extremely painstaking and responsible task. After all, it is impossible to reproduce any of the listed items in all details, so the images are subject to significant processing and simplification. There is a danger that the simplified drawing will not resemble the original. The use of a heraldic ornament is appropriate when designing thematic stands, as well as thematic ornamentation of products, for example, boxes intended as a gift to a military man, artist or musician.

4. Rhythm in the ornament

Rhythm in an ornamental composition is the pattern of alternation and repetition of motifs, figures and intervals between them. Rhythm is the main organizing principle of any ornamental composition. The most important characteristic of an ornament is the rhythmic repetition of motifs and elements of these motifs, their tilts and turns, the surfaces of the spots of the motifs and the intervals between them.
Rhythmic organization is the relative arrangement of motifs on the compositional plane. Rhythm organizes a kind of movement in the ornament: transitions from small to large, from simple to complex, from light to dark, or repetition of the same shapes at equal or different intervals. Rhythm can be:

1) metric (uniform);

2) uneven.

Depending on the rhythm, the pattern becomes static or dynamic.
The rhythmic structure determines the rhythm of motives in vertical and horizontal rows, the number of motives, the plastic characteristics of the form of motives, and the features of the arrangement of motives in rapport.
The motif is part of the ornament, its main forming element.
Ornamental compositions in which the motif is repeated at regular intervals are called rapport.

Rapport- minimal and simple in shape area occupied by the motif and the gap to the adjacent motif.

The regular repetition of rapport vertically and horizontally forms a rapport grid. The rapports are adjacent to each other, without overlapping each other and leaving no gaps.

Depending on the shape of the surface they decorate, the ornaments are: monorapport or closed; linear-rapport or tape; mesh-rapport or mesh.

Monoportrait ornaments are finite figures (for example, a coat of arms, emblem, etc.).

In linear-rapport ornaments, the motif (rapport) is repeated along one straight line. A ribbon pattern is a pattern whose elements create a rhythmic sequence that fits into a two-way tape.

The border of the blanket can be made in the form of a ribbon ornament.
Mesh-rapport ornaments have two transfer axes - horizontal and vertical. A reticular pattern is a pattern whose elements are located along many axes of transfer and create movement in all directions. The simplest mesh-rapport ornament is a grid of parallelograms.

In complex ornaments, it is always possible to identify a grid, the nodes of which make up a certain system of ornamental points. Rapports complex shape are constructed as follows. In one of the repeats of a rectangular grid, broken or curved lines are drawn from the outside to the right and top sides, and the same lines are drawn to the left and bottom, but inside the cell. Thus it turns out complex structure, whose area is equal to a rectangle.

These figures fill the area of ​​the ornament without gaps.
The composition of the mesh ornament is based on five systems (grids): square, rectangular, regular triangular, rhombic and oblique parallelogram.

In order to determine the type of mesh, it is necessary to connect the repeating elements of the ornament.

A rhythmic series presupposes the presence of at least three or four ornamental elements, since a too short series cannot fulfill an organizing role in the composition.

The novelty of the composition of the ornament, as noted by the famous expert in the field of the theory of ornament on fabric V.M. Shugaev, is manifested not in new motifs, but mainly in new rhythmic structures, new combinations of ornamental elements. Thus, rhythm in the composition of the ornament is given special importance. Rhythm, along with color, is the basis for the emotional expressiveness of an ornament.

In ornamental art, plasticity is usually called smooth, continuous transitions from one form element to another. If during rhythmic movements the elements are at a certain distance from each other, then during plastic movement they merge.
Depending on the emotional impact, ornamental forms are conventionally divided into heavy and light. Heavy shapes include square, cube, circle, ball, light shapes include line, rectangle, ellipse. >>>to the beginning

Symmetry is the property of a figure (or ornamental motif) superimposing itself in such a way that all points occupy their original position. Asymmetry is the absence or violation of symmetry.
In the visual arts, symmetry is one of the means of constructing an artistic form. Symmetry is usually present in any ornamental composition; it is one of the forms of manifestation of the rhythmic principle in the ornament.

Basic elements of symmetry: plane of symmetry, axis of symmetry, translation axis, plane of sliding reflection.

Plane of symmetry - an imaginary plane that divides a figure into two mirror equal parts

- figures with one plane of symmetry,

A figure with two planes of symmetry,

- with four planes of symmetry.

There are countless planes of symmetry in a circle.
The axis of symmetry is a straight line relative to which equal parts of a symmetrical figure are repeated. The number of self-alignments of a figure when rotated 360° is called the order of the figure's axis with the order of the axes 1,

The translation of a figure parallel to itself is called translation

The axis along which the figure is transferred is called the translation axis. The smallest transfer is the period of broadcast or rapport. If there is one transfer axis, then it is a linear-rapport pattern; if there are two, it is a mesh pattern.

The plane of grazing reflection is a combination of planes of symmetry and parallel translation.

Examples of opposite symmetry are also: a positive relief shape (convexity) and an equal negative one (deepening); a figure of one color and an equal figure of a different color (tone); black and white ornament based on the “positive - negative” principle.

Symmetry of similarity will be observed if, simultaneously with the transfer, the size of the figure and the spaces between the figures decrease or increase.

The ornamental motif can be made using the symmetry of similarity.

5.Solar signs in the ornament

One of the options solar sign, a symbol that depicted the sun and was often associated with the supreme gods of different times - Dazhbog and Perun.

The sign of heavenly water, “heavenly abysses”, which, according to the beliefs of Slavic pagans, were located above the sky, on which the Sun, Moon and Stars were located

The oblique cross symbolizes earthly fire, a powerful cleansing element, the action of which has always led to the death of the old and its rebirth in a new form.

A rhombus divided into four parts is an ancient sign of sown arable land, of Mother Earth in general.

The tree of life is a connecting link between the three worlds, which were depicted as three branches.

Flower - similar flowers covered the figures of mythical beasts, benevolent to humans

The triangle is an ancient symbol of a woman. Two female figures (Rozhanitsa) make up a rhombus - a sign of the Earth, giving birth and nourishing. Two triangles standing next to each other also denoted heavenly divine power.

The Y-shaped figure is an image of a man raising his hands to the sky, praying for rain. Denotes the masculine principle of a person.

Eight cardinal directions. The Slavs divided the Earth into eight parts - four main directions and four auxiliary

Our ancestors were very well versed in the symbols and images behind them, and knew how to correctly convey the image with a symbol and were wise.

This wisdom is evident from the meaning of the words “ornament” and “pattern”. What was and is understood in Russian by these words?

The word “Ornament” appeared in Russian much later than the word “pattern”. The word “ornament” is borrowed from the Latin “ornamentum” (decoration). However, having been reflected from Latin, this word began to mean in Russian a pattern, which is built by alternating in a certain order (rhythm) symbols, lines, repeating motif elements (rapport), which are the basis.
“Rapport” from the French rapport - “response, response, return, attitude, response,” that is, a repeating part.

From the point of view of Western culture, where this word came from, ornament is not considered independent a work of art and only sometimes is it taken as the basis for shaping the product. It is believed that the main function of the ornament is decorative stylization.

The peculiarity of the ornament is its flatness, the obligatory connection with the surface and material bearing the ornament, while expressing the constructive logic of the thing.
According to the nature of the composition, the ornament can be centric, heraldic, ribbon, bordering, or filling the surface. Combinations of these types can also be combined. It depends on the shape of the item being decorated.

According to the motifs used, ornaments are classified as:

- anthropomorphic ornament, where female and male stylized figures or individual parts of the human body are used as motifs;

- plant, stylizing leaves, flowers, fruits, etc. (lotus, papyrus, palmette, acanthus, etc.);

- geometric, consisting of abstract forms (points, straight, broken, zigzag, mesh-intersecting lines; circles, rhombuses, polyhedrons, stars, crosses, spirals; more complex specifically ornamental motifs - meander, etc.);

- zoomorphic, or animal, stylizing figures or parts of figures of real or fantastic animals.

Weapons, architectural fragments, various emblems (coats of arms) and signs are also used as motifs. A special type of ornament is stylized inscriptions on architectural objects (on Central Asian medieval mosques) or in books (ligature).

There are also complex combinations of various motifs: animal and geometric forms (teratology), as well as plant and geometric ones (arabesques).

But the ornament is still associated with the material of the work itself, the form of the work, scale, purpose and image. At the same time, through the ornament such sensations as: solemnity and restraint, smoothness and grace, calmness, lightness, free movement or internal tension are conveyed. You can also convey emotions. By the ornament one can judge the cultural characteristics of the people who created it and the era of its appearance.

Not every pattern is an ornament. For example, a patterned fabric with an endlessly repeating pattern is not ornamental.

Since ancient times, in Rus' they used to say “pattern” instead of the word “ornament”. This word is more figurative and deeper, since the roots of this word are clearly visible. Pattern - behold - behold. And here, according to Dahl, there are two meanings:
- MATURATE (ripening) to mature, to ripen, to ripen, to ripen, to mature; sing, come to maturity, reach, fill up. The grain is ripening in the field, the apples are ripening. The little one matured for a long time, but did not mature; it grew and developed slowly. A rich thought ripened in my head; Vision, the ripening of paint printed on chintz, which needs time to reach and mature.
- TO SEE (I see), to stare and gaze at something or that, to look, to look; see; understand, comprehend; to ripen to the root, that is, to comprehend the essence. Ziral (ZIR AL) I love my children.

“To see” meant to reach, to mature, to comprehend the essence (AL). That's what this word means! And for decoration there was a word “decoration”. And they often said “decorations” to patterns, apparently emphasizing the external properties of the pattern (beautiful, decorating, patterns that awaken beauty).

That is, our ancestors conveyed and comprehended the World around us, its Essence, Love and Beauty through patterns. In addition, they knew that it was necessary to protect the edges of clothing (hem, edges of sleeves, collars), seams and vital places (head, heart, etc.) with protective symbols, since these areas are usually exposed to other forces .

By embroidering ornaments and patterns they not only protected themselves, but also harmonized themselves with space, choosing certain symbols and patterns for a specific place and time. This great wisdom we, for the most part, have almost forgotten and are comprehending it again.

Ornament is a pattern built on the rhythmic alternation of depicted motifs.

The term “ornament” is associated with the word “decoration” (from Lat. ornemantum- decoration). Ornament - part material culture society, one of the oldest types of human visual activity, which in the distant past carried symbolic and magical meaning and symbolism. Every era, style, national culture developed their own system, so the ornament is a sign that the works belong to a certain time, people, or country. The purpose of the ornament was to decorate objects, fabrics, and homes. At the same time, it carried both magical and informational meaning. Thus, the ornament applied to the neck of the vessel “protected” it from the penetration of evil spirits. The same applied to clothes, home, interior items, etc. Ornament reached a special development where conventional forms of representing reality predominate: in the Ancient East, in pre-Columbian America, in Asian cultures of antiquity and the Middle Ages, in European Middle Ages. Since ancient times, in folk art, principles and forms of ornament have evolved, which largely determine national artistic traditions.

Depending on the nature of the motives, they distinguish the following types ornaments:

- geometric- consists of points, lines and geometric shapes.

- vegetable- made up of stylized leaves, flowers, fruits, branches, etc.

- zoomorphic- includes stylized images of real or fantasy animals

- anthropomorphic- uses male and female stylized figures or individual parts of the human body as motifs

- combined.

All Oornaments represent an alternation of repeating parts. The minimum area of ​​a repeating pattern is called rapport(from French rapport - return). Repeating repeat horizontally and vertically forms a repeat grid.

Motive- this is part of the ornament, its main element. The motif can be simple, consisting of one element, or complex, consisting of many elements plastically connected into a single whole. The repeat of an ornament includes a motif (or group of motifs) and the distance to the adjacent motif (group).

According to the nature of the alternation of rapports, all ornamental compositions are divided as follows:

1. Ribbon ornament- rapport is repeated many times, developing in one direction. In this case, the motifs in a ribbon ornament can be located in a straight line; such an ornament is called a “straight stripe”, or a striped ornament. In some cases, the rapport is repeated along a curved contour, called a “border”. In architecture, decorative arts and costume, most often the ribbon ornament has a horizontal direction. But it can also be located vertically or along an inclined line.

When constructing, the basis of the composition is laid different kinds symmetry: mirror symmetry, vertical, horizontal or diagonal. And various principles of rhythmic construction of elements - repetition, alternation, including color and tone.

2. Centric ornament- based on central axial symmetry, when the rapport rotates around the central axis. The motifs in such an ornament are placed from the central point along the rays, filling the entire surface limited by the circle, and when rotated they are completely aligned. The most typical example of a centric ornament is a rosette, which represents the motif of a blossoming flower. This is a very ancient species ornamental construction, known back in Ancient Egypt and gained the greatest popularity in Gothic art.

3. Mesh pattern- repeating rapport fills the entire surface to be decorated, developing in two directions - horizontally and vertically. The cell of such a repeat grid can have a variety of shapes - in the form of a square, rectangle, regular triangle (equilateral), rhombus, parallelogram, regular pentagon and hexagon, etc. This type of ornament is often used in architecture when decorating floors, walls, ceilings, and also in a suit when designing textiles - almost all fabric patterns are mesh patterns.

Description of the stages of work.

1. Let's consider one of the options for constructing a square geometric pattern. Let's draw a square 4 by 4 cells. At first it will be built as a centric ornament. Those. the report will rotate from the center of the square. And then we will make it tape and mesh.

2. Draw auxiliary diagonal lines and rhombuses.

3. Connect the corners of the large square with the corners of the small rhombus. We have interesting pattern. Please note that the report in this case is one-eighth of a square. This part rotates 45 degrees around the center.

4. We choose which form - more complex or simple - we like. Erase the extra construction lines.

5. From one blank you can make many different ornaments in shape and color.

6. Choose one of the options.

7. Now this square will be the report of our ribbon ornament. We can rotate it 90 degrees. We decorate the ornament with additional elements.

8. We make a mesh ornament from our ornamental square. We can use an additional element and alternate colors a little.

Ornament from the Latin ornament is a pattern based on rhythmic alternation and organizational arrangement of elements. Depending on the nature of the motifs, the following types of ornaments are distinguished: geometric, floral, zoomorphic, anthropomorphic.

A GEOMETRIC ornament can consist of dots, lines (straight, broken, zigzag, intersecting mesh), circles, rhombuses, polyhedrons, stars, crosses, spirals, etc. Complex ornaments such as meanders, found in the art of Ancient Greece, can also be classified as geometric ornament.

PLANT ornament depicts stylized leaves, flowers, fruits, branches, etc. (lotus, palm, papyrus). The most common ornament, widespread among all ancient peoples, is the “Tree of Life”, which can be depicted as a flowering bush, or in a more decorative and generalized way, it is also a floral ornament.

ZOOMORPHIC ornament depicts stylized figures or parts of figures, real and fantastic animals. Sometimes such an ornament is called animal style. Decorative images of birds and fish also belong to this type of ornament.

ANTHROPOMORPHIC ornament uses male and female stylized figures or parts of the human body and face as motifs.

Sometimes an ornament combines several types at once, for example: geometric + floral, etc.

Not every pattern can be considered an ornament. A pattern that freely fills a plane is not such a pattern. Based on the nature of the compositions, the following types of ornament can be distinguished: ribbon (frieze, border, border), ornament in a circle (rosetta), ornament in a square or rectangle, and mesh.

The properties of an ornament also depend on the purpose, shape, structure and material of the thing it decorates (clothing, furniture, weapons, book, poster, etc.). An ornament can become an object if it is woven in the form of lace (a napkin, a collar, a tablecloth, etc.). The general stylistic features of ornamental art are determined by the characteristics and traditions visual culture of every nation, have a certain stability over a long period of time historical period and have bright pronounced character. Therefore, we can say that the ornament is the style of the era, a sign that the work belongs to a given time and to a given country (Gothic, Baroque, Art Nouveau, etc.)

In folk art, ornamental motifs capture the folklore and poetic attitude to the world (signs of the Sun, Earth, Water, Fire, etc.). Over time, ancient motifs lost their magical meaning, and only the decorative, expressive role of the pattern remained.

Ticket 7

Light in the picture. Reflection of light from a painting.

Chiaroscuro. Modeling volume in a painting.

The volumetric shape of objects is conveyed in the drawing not only by constructing them taking into account the perspective reductions of the surface, but also with the help Sveta . Light and shadow (chiaroscuro) are a very important means of depicting objects, their volumes and positions in space. Chiaroscuro, as well as perspective, has been used by artists for a very long time. Using this means, they learned to convey in painting the shape, volume, and texture of objects so convincingly that they seemed to come to life in the works. Light also helps convey the environment.

Artists to this day use the rules for the transmission of chiaroscuro discovered in the Middle Ages, but are working to improve and develop them.

The picture may contain different lighting: natural lighting (natural) sun and moon; artificial lighting (man-made) from a candle, lamp. Spotlights, etc.

The great Rembrandt mastered the art of using light in painting like no other. His paintings are always illuminated by an inner light. The light illuminates the faces of those being portrayed from the darkness.

The nature of illumination depends on the height of the sun above the horizon. If it is high above your head, then objects cast short shadows. Form and texture are poorly revealed. When the sun decreases, the shadows from objects increase, the texture appears better.

Lighting has different types:

· FRONT lighting is when a light source illuminates an object directly in front of it. This lighting does not highlight details well.

· SIDE lighting (left or right) highlights shape and volume well. Invoice of objects.

· BACKLIGHT lighting – if the light source is behind the object. Objects look silhouetted and lose their volume.

There may be one or more light sources in a painting. In this case, the artist resorts to light perspective to depict objects.

The illumination of objects depends on the angle of incidence at which the rays of light fall on the object. If they illuminate the surface at right angles, then the brightest place on the object is formed, conventionally it is called - light . Where the rays only glide is formed penumbra . In those places where light does not penetrate - shadow . The light source is reflected on shiny surfaces and the brightest spot is formed - glare .

Light, shadow and penumbra play a significant role in the shape of an object, so that the best way convey the features of the shape and texture of an object.

Ticket 8

Still life genre in painting. System of allegories in painting.

Nature morte – “dead nature” (Italian). If we remember what gave rise to the still life, we can safely say that the impetus for its appearance was the common custom of medieval knights choosing short mottos for their tournaments, applied to weapons, clothing and household items. In addition to mottos, information was also encrypted in drawings; they expressed the knight’s personal principles. Appear simple drawings, which accompany the motto. This is how the emblem appears. Solving emblems is becoming a traditional pastime secular society"gallant age" Collections of emblems also served as dictionaries from which the authors of allegorical paintings and still lifes drew allegories.

Still life initially appears as part of the picture, its background, detail, interior decoration. He gained final independence in the 17th century in the painting of the Dutch, Flemish and Netherlanders. Still lifes occupied a special place in the painting of the Netherlands. There, in the 17th century, entire centers of still life paintings were created. For example:

breakfast paintings were popular in the bourgeois city of Haarlem;

· aristocratic Utrecht, famous for its floriculture, so “Flower Bouquets” were common there;

· the port city was characterized by “fish compositions;

· “scientific still lifes” are common on the Leiden university campus.

The meaning of a still life has always been encrypted with the help of objects taken from ordinary human life. From them a new, deeply symbolic world of still life was created. Still life has become a kind of “game with the viewer,” who is invited to solve symbolic meaning compositions. Still life appeared precisely in the 17th century, because time itself was conducive to it. The times of the “gallant age” were relaxed, playful, mysterious and enigmatic. There was mystery in everything, even in everyday life. Normal communication between gentlemen and ladies involved solving all sorts of secrets, allegories and symbols. People tried to encrypt everything around them into symbols. Therefore, still life is a child of the “gallant age”.

Symbols appear most often in the still life:

· roses, wildflowers. Insects - speaking about the brevity of human existence;

· butterflies and dragonflies - salvation of the soul4

hourglass, smoking pipe, bubble, houses of cards - the transience of life;

· old books – bygone times;

· musical instruments- “their sound is so beautiful and fleeting”;

· flowers. Ears of corn, fruits, lemons are symbols of the seasons;

The compositions of floral still lifes were more complex; they were divided into the following types:

· radial composition – where main flower the one that was at the crossing of the stems;

· carpet composition – where the hierarchy of colors is built from top to bottom;

· triangular composition – the center is the axial flower, and the rest are grouped on both sides of it;

From here, based on the given compositions, the semantic zones of the floral still life are formed:

· bottom – signs of burden (broken or withered leaves, flowers, petals, empty shells, caterpillars, flies);

· middle – symbols of modesty and purity (lilies of the valley, violets, forget-me-nots, cyclamens);

· top – crown of virtue (large single flower);

In the mid-17th century, still lifes with reptiles, amphibians and other animals became widespread. Traditionally the following were symbolic:

· snakes, mice, frogs, hedgehogs - devilish animals;

· caterpillar, pupa, butterfly - a person lives on earth, dies, future life;

· squirrel – labor;

· parrot – eloquence;

· monkey – human vices;

· cat and mouse – dark forces, the devil and the human soul;

· dog – protection of the mind from dark forces.

Thus, concluding from all of the above, you can see that still life = a composition that constantly reminds the average person of the transience of life, the frailty of existence and the meaning of being.

Ticket 9

Fresco. Its features.

Fresco is a view monumental painting, the basis of which is mainly the wall. Fresco loves large planes, wide lines and extremely laconic language. The fresco needs tempera paint - it is water paint, but its binder is lime. The artist writes directly on the wall on the plaster that has not yet dried. Hence the name: Italian “fresco” - “fresh”. The main difficulty is the need to work quickly. The artist must finish what he started before the plaster dries, that is, on the same day. And if a mistake occurs, the painter is forced to knock down the entire layer of plaster in the corresponding area, apply it and paint it again. It is clear that such a technique requires a clear vision of the entire composition and a confident hand.

In the fresco, both the soil and the binding substance are the same – lime. This unity prevents paint from falling off. But lime is subject to strong chemical reaction, spoiling some paints. In addition, the painter must provide for a significant lightening of the paints when the lime dries.

The fresco was already known in antiquity. True, ancient masters polished the surface of the finished fresco to a shine with hot wax, which gave it a resemblance to encaustic painting. In the Middle Ages, ancient technology was forgotten, but new technology was developed. Until the 14th century, the fresco technique “al secco” (Italian for “on dry”, that is, on dry plaster) was very popular. Gradually, it was this technique that led to the flowering of fresco in the 15th century, when Giotto’s school created a mixed technique called “buon fresco” (Italian: “good fresco”). Contemporaries described this work by Giotto this way. First, the first layer of plaster was applied, consisting of two parts sand and one part lime mixed with water. On this first, rather thick layer, after drying, a square grid was drawn, along which a drawing was applied with charcoal. From above, all this was covered with a second layer of plaster - thin and smooth, through which the charcoal pattern was visible. The final version of the fresco was based on it. And soon, in 1400, the method of transferring a drawing from a large life-size cardboard was finally introduced by piercing the outline and sprinkling it with crushed coal. Now the fresco could be carefully prepared in advance.

Since the 15th century, fresco has been replaced by easel painting, which is less expensive and easier to perform. The fresco remains only a subject for decorating the interiors of churches and cathedrals. Especially in Russia.

Ticket 10

Ceramics. Stages of making a ceramic product.

Ceramics is a product made of clay, fixed by firing. Ceramics is a very ancient art form. Images of people and animals made of clay appeared in the Paleolithic era. Later they learned to burn them, as well as to make vessels, reliefs and architectural details.

The main types of ceramics are determined by the technology of their manufacture and the composition of the mass: porcelain, faience, majolica, terracotta etc.

In more in the narrow sense Almost all products made from simple coarse clays are called ceramics, in contrast to porcelain and earthenware made from fine clays. This ceramic is usually divided into two types : majolica, which has a colored glaze on the front surface made of glassy, ​​transparent glaze or opaque enamels, and terracotta, the so-called “burnt earth” of a beautiful red-brown color that does not have a glaze. Terracotta also includes ceramics painted with coloring compounds based on colored clays.

Clay products are plastic, and firing gives them hardness, water resistance and fire resistance. This allows you to make a variety of dishes, sculptures, panels, vases, toys, decorations, etc.

Ceramics are also found in architecture, where ceramic products play an important role: bricks, tiles, tiles. From pieces of ceramic tiles you can make mosaic paintings for the exterior cladding of a building, decorating fountains, swimming pools, garden sculpture, interior decoration, etc.

Ceramics are especially popular in folk art (Gzhel, Skopin, etc.)

Nowadays, architectural and household ceramics continue to develop, and many artists create unique original works; experiments with the material continue in search of new means of expression.

Ornament (lat. ornamentum - decoration) - 1. Pictorial, graphic or sculptural decoration, a pattern from a combination of geometric, plant or animal elements. 2. In music: decoration of vocal and instrumental melodies (Ozhegov S.I. Dictionary Russian language, p. 460).

Associated with the surface that it decorates and visually organizes, an ornament, as a rule, reveals or accentuates the architectonics of the object on which it is applied. The ornament either operates with abstract forms or stylizes real motifs, often schematizing them beyond recognition.

So, ornament is our ubiquitous life, and at the same time, it is a powerful industry for creating household items, using simple or, conversely, intricate designs.

The history of the ornament

The origin of the ornament is unknown for certain. It captures the aesthetic understanding of human activity, creatively transforming, ordering nature or religious content. Ornament, especially in folk art, where it is most widespread, imprints a folklore and poetic attitude towards the world. Over time, the motifs lost their original meaning, maintaining decorative and architectural expressiveness. Great importance V further development ornaments had aesthetic social needs: the rhythmic correctness of generalized motifs was one of early ways artistic exploration of the world, helping to comprehend the orderliness and harmony of reality.

The emergence of ornament goes back centuries and, for the first time, its traces were recorded in the Paleolithic era. In Neolithic culture, ornament had already reached a wide variety of forms and began to dominate. Over time, ornament loses its dominant position and cognitive significance, retaining, however, an important organizing and decorating role in the system of plastic creativity. Each era, style, and successively emerging national culture developed its own system; therefore the ornament is reliable sign belonging of works to a certain time, people, country. Ornament reaches special development where conventional forms of reflecting reality predominate: in the Ancient East, in pre-Columbian America, in Asian cultures of antiquity and the Middle Ages, in the European Middle Ages. In folk art, since ancient times, stable principles and forms of ornament have been developing, which largely determine national artistic traditions.

Types of ornaments

The formal features of an ornament include decorative stylization, flatness, an organic connection with the surface bearing the ornament, which it always organizes, often revealing the constructive logic of the object. According to the nature of the composition, the ornament can be ribbon, centric, bordering, heraldic, filling the surface, or combining some of these types in more complex combinations. This is due to the shape of the item being decorated.

The main classification features of an ornament are its origin, purpose and content. Taking all this into account, ornamental forms can be combined into the following groups, or types.

1. Technical ornament. The emergence of forms of this ornament is due to human labor activity. For example, the texture of the surface of objects made of clay made on a potter's wheel, the pattern of the simplest cells of fabric when it was produced on a primitive weaving loom, the spiral turns obtained when weaving ropes.

2. Symbolic ornament. The formation of a symbolic ornament was facilitated by the common nature of conditionally symbolic images of works of ornamental art in general, and the ornamental images themselves, as a rule, represent symbols or a system of symbols. This kind of image is capable of expressing very broad, diverse concepts in a laconic form.

3. Geometric ornament. Initially, this ornament arose through the fusion of technical and symbolic ornaments, forming more complex combinations of images devoid of specific narrative meaning. The abandonment of the plot basis in this type of ornament made it possible to focus on the strict alternation of individual natural motifs. After all, any geometric shape is an initially existing form, extremely generalized and simplified. The gradual development of the original and at the same time basic geometric forms led to the artistic forms that are used modern Art and which are distinguished by special variety and grace in the works of Arabo-Moorish and Gothic art.

4. Floral ornament. This is the most common ornament after the geometric one. Floral ornament, compared with its other types, provides the greatest opportunities for creating a variety of motifs, execution techniques, and for an original interpretation of the form. Floral ornament uses numerous forms of plants: leaves, flowers, fruits, taken together or separately. This is an artistic processing of various forms of the plant world. In the hands of an ornamental artist, the original forms, scales, and colors change and are subordinated according to the laws of symmetry. The most common plant forms since ancient times include: acanthus, lotus, papyrus, palms, hops, laurel, grapevine, ivy, oak.

5. Calligraphic (epigraphic) ornament. This ornament is made up of individual letters or text elements, expressive in their plastic pattern and rhythm.

6. Fantastic ornament. This type of ornament is based on images of imaginary, often symbolic content. Fantastic ornaments depicting scenes from the life of fabulous animals became especially widespread in the countries of the Ancient East (Egypt, Assyria, China and India).

7. Astral ornament (from the word “aster” - star). Establishes the cult of heaven. The main elements are the image of the sky, sun, clouds, stars.

8. Landscape ornament. The main objects of this ornament are a wide variety of motifs: mountains, trees, rocks, waterfalls, often combined with architectural motifs and elements of animal ornament.

9. Animal ornament. This ornament is based on images of birds and animals with varying degrees of stylization: both close to realistic and conventional. IN the latter case the ornament is somewhat closer to the fantastic.

10. Subject or material ornament. Originated in ancient Rome and was widely used in all subsequent eras. The content of the subject ornament consists of images of military heraldry, household items, and attributes of musical and theatrical art.