Decorative and applied art wood carving. Artistic wood carving. The history of the wooden spoon in Russia

It can be viewed from different sides... It is thought out to the smallest detail. The master working with her must possess not only practical skills, but also know the laws of composition. This is an ancient art that has not lost its significance today. All of the above is sculptural woodcarving, a special direction in artistic woodworking. Read about how the direction developed, about the choice of material and motives of the images, about all stages of work on the sculpture, read our article.

Sculptural carving from antiquity to modern times

It all started from pre-Christian times - at first, a man made figurines of pagan gods from wood, he worshiped them, he sought protection from them. There is evidence of the existence of wooden sculptures in the Ancient East, in ancient Rome and Greece. Ancient masters, for example, used the wood of cypress, cedar, fig, incense.

Antique Slavic toys

Sculptures of gods were made of wood, which could be lined with bronze plates on top. Such statues and figurines were looked after a lot - they were rubbed with aroma oils and wax. Wooden sculpture succumbed to rare craftsmen, the work is painstaking and laborious.

In the Middle Ages, wood was the main material for shipbuilding, carved sculptures became an adornment for the bow of the ship. In the 18th century, the main nasal sculpture was a lion standing on its hind legs. Other parts of the ship were also decorated: monograms, coats of arms, flowers. In the work of Russian craftsmen, the development of the direction in the northern regions is especially traced, where most of the men knew how (and how!) To work wood.

And today, wood sculptures are not “greetings from the past”, but a direction, the style of which is impressive in scope. Japanese and African sculptures, art deco, country: all this becomes a source of inspiration for artists who can choose a narrow focus of their activities.

Image motives

The motives are as diverse as life itself and its artistic reflection. Take netsuke, for example. The carver makes a sculpture in miniature, a carved keychain that impresses with the subtlety of the image. This decorative and applied art with Japanese roots, the figurine itself is considered both a self-sufficient piece of art and a decorative part of the costume. They are still being made today, but for the most part they are low-quality products that do not meet all the criteria for their historical progenitor.

There are, of course, even today netsuke masters, but for one mini-sculpture from such a carver you have to pay from $ 10,000 and more.

Carved wood sculpture - types:

• monumental- solves ideological and figurative problems that are revealed in monumental works (the proportions of the sculpture should be ideally combined with the surrounding space);
• garden- an element of decoration of the garden space, conceptually the same with the design of the entire garden;
• sculpture for home- decorative component of interior design, made in wood;
• educational figures for children- play material, environmentally friendly, popular today (recommended for children from 6 months and older).

If you're not sure where to start with curly wood carving, making simple wooden toys for kids can be a great start.

Selection and preparation of wood

If you plan to make small figures, good option there will be an apple tree, no worse - birch, cypress, hazel. For miniatures with great detail, take linden, alder, maple, aspen, birch and pear. A tree with a pronounced texture for work with small details is not taken.

Novice carvers can immediately try themselves in abstract works (it is really easier for someone), in which case it is better to take linden, this is perhaps the most plastic material. But the aspen has to be pre-steamed in order to give the wood softness.

Log

The material is harvested in late autumn or winter, so it dries faster. Traditionally, preference is given to the natural drying of wood. For this, the logs are stacked, covered with a canopy. And in this position they remain for a year. The material that is intended specifically for carving is sawn up to half a meter into chocks, folded in a dry room.

But a modern master can both boil and dry blanks in an intensive way (infrared dryers). The bark from the trunk is removed almost completely, leaving small rings along the edges. Bags are put on these ends and wrapped with elastic bands. This is a long log.

Stump

Stump owl family

In the process of growing and maturing the garden, some trees have to be cut down (illness, old age, bad weather). Uprooting them with your own hands is a very difficult task, and there is also a danger of damaging the roots of neighboring plants and communications. Therefore, an ordinary tree stump can be turned into a garden art object.

For example, owlets or squirrels uprooted in a tree stump will be interesting. But you can also uproot the stump, but later use it for garden sculpture. The bark is removed from such an object, the stump is cleared of rotten wood, and a phased transformation of the stump into a sculpture begins. Get ready that you will need more than one drying, painting, sanding, impregnation, varnishing, etc.

Log

The purpose, type and shape of the future product determine the choice of material.

How to choose the right log:

• its wood must have an even and uniform structure;
• the pattern of wood fibers should not be expressive;
• wood of the middle period is suitable for carving;
• light and uniform, suitable for face sculpting and portraits;
• dark and also homogeneous wood is suitable for less expressive work.

Very often, the work of the master involves the following scheme: harvesting the material, digesting the blanks, initially removing the liquid, airing and withering.

For small works, a novice master should adhere to this scheme, since it is built according to all the classical rules for preparing material for a wooden sculpture.

Tools

Beginners usually use only two tools - a penknife and a jamb knife. But when the simple elements are mastered, it's time to move on.

The list of required tools will include:

• a hatchet for cutting;
• adze;
• cutter knives;
• chisels;
• calmed down;
• nadheli.

A chainsaw for large jobs will also be needed. A carpentry vise is required to fix the workpieces. A set of sandpaper and tools for sharpening the tool will be a valuable purchase.

The miniature master will additionally need claws and rivets. Japanese professionals who carve exquisite mini-sculptures are especially adept at miniature carvings, so you can find samples of suitable tools on the websites and accounts of these craftsmen.

Sketch

If you have an art education, and you have a detailed idea of ​​the future sculpture, then you can limit yourself to a sketch in two projections. But if the figure is complex, and its spatial visualization requires analysis, then you will have to make a model (almost always - without detailing).

If the future animal, human figurine or abstract figure requires a complete analysis, then a detailed sketch is made with detail and even worked out chiaroscuro. Then, based on this sketch, you need to sculpt a model: it is needed to refine the sketch and build a diagram in two or even three projections.

Experienced craftsmen working with a simple form can get down to business even without a sketch, right from the tree marking. There are works that are easier to cut out right away than to draw.

In most cases, you will have to sculpt a figurine from plasticine or clay on a wire frame. With the help of stacks, a volumetric model is created, which will become a guide for further actions of the wizard. It is obvious that without understanding the composition, light and shadow, the basics of modeling, it is practically impossible to take on wooden sculpture as a form of creativity: artistic training as the basis of the craft is very necessary.

Sculpting

Work begins with preparation. Carving a figurine on wood, the future sculpture is right choice material and its preparation for processing. The next step is to create a sketch, as described above.

Next steps:

1. Rough processing with sampling of basic shapes- at this stage, the original sketch is reduced to a geometric figure of straight lines with control points. First, the projection is cut with the maximum removal of material, then the workpiece symmetry lines are restored, after which the outline of the second projection is built.
2. Cutting a figure into 4 edges- the refined contour of the figure is cut out along the frontal and rear, as well as lateral edges. A common mistake at this stage is the desire of the master to round the figure. No, as long as its outline remains generalized.
3. Cutting on 8 sides. The corners of square blanks are cut, which forms 4 more faces. The position of the figure, its plasticity and dynamics are finally clarified. Stage error - refinement and detailing.
4. Rounding and detailing. Finally, it's time to get rid of the edges, work out small details and facial features. Stage error - drawing on the workpiece (then it is difficult to remove dirt from the pencil).
5. Sanding. Corundum paper on a fabric basis, fine or medium grain, will cope perfectly with it.

The stages of creating a volumetric wooden sculpture are well disclosed in this video.

Do not rush to transfer the finished product to the garden - the sculpture must be covered with a protective layer. By the way, it is believed that the finished sculpture should be left in the shade for about a year, and only a year later it can become a permanent sunny place.

Painting sculpture

Painting is done only on dry wood. This means that for some time (at least a week) the figure should stand without finishing... And it is desirable that before painting the sculpture is already covered with a primer that closes the pores of the wood. It is enough to dry only the upper layers before painting. If you cover the tree with primer and then paint it with alkyd paints, the sculpture is less likely to crack.

A garden sculpture is best painted and varnished, or well primed and stained. For carvings for the home, paints are needed less often, but you can also make a figurine in color: if you subsequently cover it with varnish, then the paints can be virtually any. For example, acrylic compounds are often used today.

Wooden figurines for children are often painted with ordinary gouache and covered with high-quality varnish (glossy, for furniture). The most environmentally friendly will be a toy coated with linseed oil.

Make a figurine yourself? Why not, only a decent preparation is required. Start with small toys based on preliminary drawings, sketches, so you will understand whether you were attracted by wood carving, sculpture in miniature and all the intricacies of this craft.

In contact with

Wood processing among the peoples of Dagestan is one of the most ancient types of handicraft production. The wide spread of forests, a rich variety of wood species (oak, hornbeam, beech, walnut, birch, pine, poplar, etc.), the pliability of the material itself to processing has long contributed to the use of wooden products in the everyday life of Dagestanis and wooden structures in the architecture of their dwellings. The art of artistic woodworking for several millennia has been organically linked with the daily life of the Dagestanis. Various properties of wood were used by folk craftsmen for both technological and decorative purposes.

Preserved in mosques, houses and museums, the wonderful works of Dagestan woodcarvers (pillars, carved doors, windows, chests, dishes) embodied the best traditions of folk art craft, are evidence of the great taste and talent of the people. The shape and ornament of some monuments reveal a clear connection with the most ancient, pre-Muslim traditions, while others - with the Christian and Muslim periods of the Middle Ages. The development of the art of wood carving is closely related to the development of the monumental and decorative art of Dagestan in general, in particular, stone and piece carving. These three types of applied arts had a noticeable mutual influence, enriching each other with technical techniques and ornamental motives.

The earliest monument of woodcarving art is a fragment of a casket or a cradle for children from the Dagestan Museum fine arts, found in the Kafyrkumukh burial ground (Buinaksky district) and dating back to 2 thousand BC. NS. The monument, which is in a state of natural charring, is ornamented with a magnificent geometric grooved-notched ornament, which testifies to the well-developed traditions of wooden carving in Dagestan already in the Bronze Age.

Unfortunately, a tree cannot be stored as long as a stone, therefore the bulk of the monuments that have come down to us date back to the Middle Ages. It was during this period that carved wood became especially widespread in connection with the flourishing of architecture and monumental decorative art. The art of wood carving reaches a very high level. The tools of labor are being improved, the quality of woodworking is improving, and the range of products is expanding. Woodworking centers with highly developed traditions appear in forest regions (in the upper reaches of the Avar and Andean Koisu, in Tabasaran, Kaitag, and other places).

Dagestan woodcarving is characterized by features inherent in any folk art: spontaneity and artistic integrity, practical purpose and collectivity of creativity, namelessness (as a rule) of masters and exceptional stability of ancient traditions, a certain range of images, the use of the simplest tools. At the same time, the Dagestan art of wood carving has its own characteristics, which is associated with the specifics of local conditions and the originality of the artistic thinking of the mountaineers.

Decorated wooden products can be divided into three groups: architectural elements, furniture, vessels and household items. Of greatest interest are the details of architectural decor (pillars, pillars, gates, doors and windows, window and door frames, pillars, railings, cornices on loggias, verandas, balconies, etc.). Carved wood was widely used in the design of religious buildings - mosques, minarets, madrasahs. The doors of mosques were richly ornamented (the most famous monument is the doors of the Kalakoreish mosque, dating from the 12th century), minbars (pulpits for a preacher), music stands (stands) for the Koran and other holy books.

The second group includes bins and chests (fixed and movable types), as well as sofas, benches, stools, chests, cradles for children, etc. The third group is represented by small household items that belong to every mountain house - measures, milk boxes, supplies, salt shakers, mortars, dough troughs, trays on three legs, etc. All these items are usually hung in the house in certain places - on the poles and facades of chests.

Of particular interest are the monumental Avar lari-barns for storing grain and bulk products, the so-called. "Tsagurs", adjoining the rock wall of the house and being the most important component of the interior of the mountain house. The height of the Tsagura usually reached 2.5 meters, the depth - up to one and a half meters. It was based on a frame made of massive wooden planks.

Tsagura doors are double-leaf, rotating around an axis. The front part of the chests from the deep Avar regions is completely covered with carved ornaments, elements of which date back to ancient times and have a protective value. These are mainly swastiko-spirals, concentric circles, labyrinths, crosses, rhombuses, etc.

An important role in the house of the mountaineer was played by the support pillar, called the "pillar-root" among the Avars. It was of great functional importance, serving as a support for the girder-mat, which supported the flat earthen roof of the sakli. No less important was the spiritual significance of the pillar, which played a protective, protective role in the house. It is not for nothing that during the construction of the house, the old pillar, having witnessed the life of more than one generation, was carefully transferred from the old house to the new one. The supporting pillars, especially their upper part (the so-called support), were richly decorated with deep carvings. For different peoples, this thread had a different character. In general, three types of ornament are clearly distinguished in wood carving. The Avars were dominated by a large geometric ornament having a monumental character (Gidatl), among the Kubachins it was more sophisticated, vegetal, similar to the traditional “markharai”, among the Tabasarans it was a ribbon, the so-called. "network".

Among the Laks, the chest for grain "su" had the shape of a large chest and was also richly decorated with carving and painting with natural dyes. Each house also had a couch for dignitaries, with characteristic armrests in the shape of concave horns. The threads cover the front sides of the backrest and seat slats, and the uprights are completed.

In Dagestan, there is a unique type of decorative and applied art that combines woodcarving and jewelry art - the Untsukul metal notch on wood. This art is relatively young - it appeared in the first half of the 19th century during the Caucasian War. From the reeds growing along the banks of the Avar Koisu, the Untsukul people began to make whips for legs, and dogwood - pipes and canes. But since Imam Shamil forbade smoking tobacco in the imamate, the Untsukulians sold most of their products to officers of the Russian army, and also exported outside Dagestan to Vladikavkaz, Tiflis, and the southern provinces of Russia.

Thus, from the very beginning, the Untsukul fishery was not focused on domestic market, but on the outside, and therefore products of the 19th century. practically not preserved. The earliest items presented in the collections of Dagestan museums date back to the thirties and forties of the 20th century. For products of this period, along with metal wire, inlay with bone, horn, colored paste under turquoise is characteristic.

Myself technological process notches with the finest silver, and later cupronickel wire on hard cornelian or apricot wood are quite complex and laborious. Each tiny element requires four operations: notch a tree, insert a wire, hammer it in with a special hammer and cut off the excess. Elements of the Untsukul ornament have their own names - "bird footprint", "street", etc. The ornament is predominantly geometric, located around the circumference.

Like the Kubachin people, the Untsukul craftsmen made traditional household items: flour measurements, garlic mortars, salt shakers, ladles, suppliers, boxes. The artistic discovery of the Untsukul craft was the production of small decorative panels, usually rectangular in shape, which depict scenes reminiscent of stone Kubachi reliefs - animals, birds, often having a fantastic character, less often human figures. Since the 1950s, Untsukul craftsmen began to use lathe, which ensured a more thorough surface treatment of products, an expansion of the range, but gradually this led to the production of very large, non-functional products that have a purely decorative value.

Ministry of Education and Science of the Russian Federation

Federal State Budgetary educational institution higher professional education

"Novosibirsk State Pedagogical University"

Faculty of Technology and Entrepreneurship

Department of Pedagogy and Psychology of Professional Education

Course work

according to the method of teaching and upbringing

"Formation of students' knowledge, skills and abilities in the circle of artistic woodcarving"

Completed: 4th year student

41 FTP groups

Patylitsin A.V.

Head: Art. Lecturer of the Department of PiPPO M.V. Leonov

Novosibirsk 2013

Introduction .. …………………………………………………………………… .. 3

Section I. ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ..

The organization of the circle and the basic principles of its work ………………… ....... 5

Pupil as an object and subject of the learning process. ………………………… ..... 9

Age psychological characteristics student as an object of technology learning. ……………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… 10

Historical overview on the topic: "Artistic woodcarving" ………. 12

Types of wood carving …………………………………………………… ... 15

Section II .. ……………………………………………………………………. 18

« Artistic processing wood "… ... …………………………… .. 18

Conclusion. ……………………………………………………………… .. 27

Bibliographic list …………………………… .. ……………………………………… .. 29

Introduction

A feature of this work is the combination of the traditional woodcarving technique with modern views graphic images used as enhancing the individual creative activity of students.

Relevance - term paper- "Formation of students' knowledge, skills and abilities at the woodcarving circle" - to preserve and preserve the best national traditions in creativity, not to let them sink into obscurity is a difficult, but achievable task. The program contains an orientation towards the knowledge of the diversity of living beings on earth, the properties and structure of wood - the most common natural material, towards disclosing the needs of children to create and be aware of their capabilities.

The object of research is the technology of wood carving. It consists in combining the traditions of the Russian people in the manufacture of decorative and applied wood products and the realization of the creative individuality of each student; The program covers all the elements of woodcarving, from the formation of an artistic image of an applied product from natural material and ending with its presentation at exhibitions.

The subject of research is the technology of decorating a product with various types of carving. The preservation of the studied technological methods allowed us to avoid direct copying and create our own composition corresponding to the mastered technology.

Purpose of work: to teach the manufacture of flat wood products using the techniques of slotted, geometric, flat-relief carving.

Hypothesis: Woodcarving, as one of the most common and accessible forms of folk ornament, is a wonderful decoration.

Objectives of this course work:

- acquaintance with the history of artistic woodcarving in Russia,

- visiting local history museums,

- study of the manufacturing technology of the corresponding product,

- researching the experience of master woodcarvers,

- study of literature on this issue,

- show existing species wood carving and highlight in detail the technology of geometric carving, which is used to decorate the product.

The organization of the circle and the basic principles of its work.

The circle is an important link in the system of labor training and education of schoolchildren. This concept refers to various forms of organization. labor activity stable groups of students. Labor circles provide a solution to the issues of upbringing hard work, organization, the ability to work in labor collective, obey his regime, maintain business relations with comrades for a long time. Ample opportunities in the choice of the content and organization of the work of the circle allow teachers to solve many issues of in-depth study and development of types of labor. At the same time, the interest and independence of the choice of the circle, the voluntariness of work in it, contributes to the formation of consciousness in labor activity.

The student goes to the circle for different reasons: to do some thing, to master certain skills, to work together with friends, to show his abilities, etc. In all cases, his interest is supported and developed by success in his work, a positive atmosphere, a reasonable expenditure of time and effort. From this follows the specificity of the circle work: punishments, censures and other methods of stimulating the activities of the members of the circle are not used here, and, on the contrary, incentives, business support, help, advice dominate. In circle work there are no such specific criteria as in educational work, but very great importance plays originality, independence of work, to a certain extent its spirituality in search, inquisitiveness, satisfaction with what has been done.

The distribution of students according to the studied types of decorative and applied arts should be voluntary, since often teenagers come to study not alone, but with friends. It is not recommended to distribute them evenly among different groups, creative communication with each other when studying the same type of artistic processing of materials helps them achieve great success, the process of their labor and aesthetic education is more active.

Classes in various types of arts and crafts eliminates one-sidedness in the creative development of students, helps to acquire a wide range of diverse knowledge and skills. It is not at all necessary that the ">

The effectiveness of the educational impact on students by means of arts and crafts depends on the correct and timely planning of the work of the children's creative team. The work plan for half a year and for a month is drawn up on the basis of an annual program. This plan should provide for all the main forms of classes, a conversation with a show of the best examples of folk art, practical work on drawing up sketches, visits to museums, workshops of applied artists, factories of applied art.

The planned plan and program are discussed with schoolchildren at the first lesson of the circle, where self-government bodies are also elected - the headman and the activist of the circle. Their functions include helping the leader of the circle in emerging organizational issues. In particular, the elder is responsible for drawing up a duty schedule and appointing a duty officer for each lesson. The duty schedule contributes to the initiation of active self-service work.

More often than not, those who have "enrolled" in the circle want to start working in the workshops as soon as possible. Therefore, they (especially those who are not good at drawing) are continually drawn to some random pictures that they seek to translate into a tree. If you do not pay attention to this and start up a lesson on the principle of "do what you want", when doing such work, their efforts will be wasted; schoolchildren will develop bad taste.

The leader should guide the song selection process. It is better if the children can see in front of them finished work... And do not hesitate to invite the guys to repeat certain images. This technique will help them understand what can and cannot be created in one form or another of arts and crafts. Together with professional skills, they will develop artistic taste.

The upbringing of aesthetic taste in arts and crafts circles should go through students' understanding of the artistic and technological capabilities of the materials being processed, which leaves its mark on the solution of the image.

The task of the leader is to orient students towards a deep independent study of images of folk arts and crafts and the creation of their own products on this basis.

In the work on models at the first stage of training, imitation of the model is inevitably observed to a certain extent. It is necessary to ensure that schoolchildren have not blind copying, but conscious imitation.

Students come to the club in a mood to work. Therefore, when the leader begins to explain, acquaints them with the rules and techniques of work, that is, conducts an introductory briefing, their patience does not last long. They become inattentive, impatient, wanting to get to work as soon as possible. The manager is required to take this into account and conduct briefing briefly, purposefully, combining various information into a common system. However, although knowledge should be mainly of a practical nature, in the initial period of training, the principle of the decisive role of theoretical lesson should be observed. On average, 20% of the study time is allocated to theoretical information. Theoretical information can be transferred to schoolchildren in the form of thematic conversations.

When conducting briefings and conversations, it is necessary to apply different options word combinations with demonstration of visual aids.

A lot depends on the first task that the leader will offer the circle members. It should be understandable, accessible, interesting for decorative results. It is desirable that the first task be small in volume and could be completed in one or two sessions. When explaining the first task, the teacher focuses the students' attention not only on the final result of the work. It is equally important to clearly and clearly highlight all the stages, as well as the goals and objectives that schoolchildren face in the process of performing the initial techniques of artistic processing of materials. This contributes to the development of the independence of schoolchildren, when they will understand the sequence of stages in the execution of the product from the sketch to the final finishing operations, they will wait less for a tip from the head, showing independence in creative activity.

The choice of the material to be processed depends on the age of the members of the circle. In wood carving, study assignments of the initial period are better in linden or aspen. If you do not consider physical properties material and provide children with the opportunity to work with inappropriate material, their enthusiasm can quickly fade.

The first task in the circle can be common for all students. The manager must prepare the drawings for him himself.

A distinctive feature of individual-creative activity in a circle is that each student has his own pace of work, his own terms for the implementation of various stages of performing the same tasks.

For the first lesson, the leader must have the tools prepared. After a few sessions, when students get a taste of the work, you can set aside a day for self-made necessary tools.

From the very beginning, it is necessary to accustom the circle members to independent work. Having received a drawing of the first task from the teacher, the student must independently translate it to the selected material and start work. The student will master professional techniques, learning the materials to be processed when performing each of the tasks, i.e. learning will take place in a creative process. After working on the samples, the creative work of the students begins.

Schoolchildren have different age groups there are certain interests in the choice of themes for decorative works. Plots of books and films form the basis of creative compositions. Often, plots for decorative compositions are suggested by the material from which it will be created. When viewing the material, schoolchildren actively form a visual image, which they subsequently embody in this material.

One of the features of the woodcarving class is that it takes a long time to complete the task. So that students do not lose interest in working on the same thing, the end result of which is very distant, it is necessary that they, expecting tomorrow's perspective, feel the joy and beauty of today's work. In order for children to receive emotional support in the process of working on a long task, it is recommended to take stock for each day of work, evaluate the creative activity of children, and note the effectiveness and significance of their work.

An effective result is provided by intermediate views of the work performed by students. During the current interim reviews, the teacher fixes what has been achieved and sets new tasks. A general interim view can also be made when a difficult task is completed and the leader sees that he cannot help students individually, or when many students repeat the same mistake. At the same time, students, participating in the discussion, will become accustomed to self-control. Here you can also express signs of approval in those cases when there are first successes. This raises the emotional mood of students, will stimulate their further work, and give a surge of new strength.

At the end of the first year of study and at the end of the two-year cycle, it is recommended to arrange a final exhibition. The jury members who select the works for the exhibition are, as a rule, the most authoritative students. The chairman of the jury is the head of the circle.

Skillful organization and holding of an exhibition of creative works of students can become one of the effective forms of moral encouragement and stimulation of the creative activity of children. It is also possible to reward children for successful labor and creative activity in the process of woodcarving, this will not only encourage the student for his success, but also create an emotional uplift for continuing classes not only at school, but also independently, in their free time.

Pupil as an object and subject of the learning process.

In the learning process, technologies are directly involved on the one hand - the teacher, on the other - the student. Their roles in this process seem, at least at first glance, quite clear: the teacher organizes, directs and guides the process of teaching technology, and the student must learn, fulfill all the teacher's requirements.

The main role of a technology teacher in modern conditions is the upbringing of the personality of students, the formation of their need-motivational sphere, the upbringing of their abilities, moral ideals and beliefs. Teaching knowledge, skills and abilities by technology is an integral part of this upbringing and the process in which this upbringing is carried out.

Age psychological characteristics of a student as an object of technology teaching.

The fact that it is necessary to take into account the age characteristics of students is said everywhere, but it is not always indicated what this means, which features should be taken into account and how they should be taken into account. Meanwhile, it must be borne in mind that age characteristics are not something unchanging and eternal, which is inherent in students of a certain age. These features themselves change quite dramatically over time. Let us consider some of the psychological characteristics of a modern student, bearing in mind only those features that are important to consider in the process of teaching technology.

Adolescence is a very difficult period in the life of a student, fraught with the danger of crisis phenomena. During this period, the child's body undergoes dramatic changes. The process of puberty unfolds. This process is associated with the appearance in the adolescent of a physical sensation of his own adulthood. He has an idea of ​​himself no longer as a child, he strives to be and be considered an adult. Hence, a teenager develops a new life position in relation to himself, to the people around him, to the world. He becomes socially active, receptive to the assimilation of the norms of values ​​and ways of behavior that exist among adults.

Therefore, the period adolescence characterized by the fact that the formation of moral, ethical and social attitudes of the student's personality begins here, the general orientation of this personality is outlined.

A teenager seeks active communication with his peers, and through this communication he actively learns about himself, masters his behavior, focusing on samples and ideals gleaned from books, films, television.

A teenager becomes less dependent on adults also because he has such needs that he must satisfy only himself (the need to communicate with peers, in friendship, in love). Parents and adults in general, with all their desire, cannot solve the problems facing adolescents in connection with the emergence of new needs in them, while the satisfaction of all the basic needs of primary schoolchildren depends mainly on the parents. All of this often painfully affects students' attitudes towards learning. This is how the famous psychologist N.S. Leites: “The overwhelming majority of 12-13 year olds are generally complacent about learning: they don’t bother themselves with unnecessary thoughts, they do only lessons within the limits of a given, they often find reasons for entertainment ... The weakening of the connection with the teacher, the decrease in his influence especially makes themselves felt be aware of the shortcomings of students' behavior in the classroom. Now students not only sometimes allow themselves to ignore the comments they receive, but can actively resist them. In the middle grades, you can encounter inventive pranks and the manifestation of the most frivolous behavior. "

The overall picture of the work of adolescent students in the classroom is deteriorating compared to the lower grades. Previously exemplary and neat students allow themselves not to complete assignments. For many students, the handwriting changes, it becomes illegible and careless. Attempts by the teacher to interest students in the entertaining form of presentation or in any other way often do not bring the expected result.

At the same time, these same adolescents very willingly participate in the work of various circles, where, it would seem, the most difficult adolescents willingly follow all the instructions of the adult leader of the circle, with interest and diligence they master the theoretical knowledge necessary for practical work.

During these years, value-orientation activities are of particular importance for students. The student tries to make a deep self-assessment of his personality, his abilities. Reflection, cognitive interest in philosophical problems grows and develops, the young man tries to figure out the meaning of life; evaluate the observed phenomena from this point of view.

Particularly noteworthy is the desire of the senior students school age to autonomy, to emotional and value independence, to independence, to self-respect, while adolescents are characterized by dependence on a group of their peers. The teenager is very susceptible to the influence of peers. All this must be borne in mind by the teacher and taken into account in his work.

Motivation of the learning process.

Above, we have established that a student in the process of learning technology from the object of this learning gradually becomes its subject. What does it mean? How is the difference between the object and the subject of learning expressed? Indeed, in either case, the student somehow learns, acquires knowledge, abilities, skills.

Indeed, when a student is only an object of teaching technology, and when he becomes a subject of this process, he performs the teacher's tasks, solves problems, repeats the studied material, etc. he is studying. All the differences between the student's teaching in the role of an object and his own teaching in the role of a subject are in what he does it for.

A person, a disciple, is an active being. He always does something, participates in some kind of activity. But the student participates in many different activities, performs different actions. In order for a student to learn effectively, he should not perform any actions, but rather specific ones. The question arises: why does the student perform precisely these actions, and not others, what prompts him to perform these actions, what directs and regulates his activity in the learning process? In other words, what motivates - motivates and directs - the student's activity.

Only by understanding this, we will be able to understand what are the differences between the object and the subject of the learning process. In addition, it is necessary to understand this also because, and maybe mainly because the teacher must learn to manage the activities of students in the learning process, and for this he must form the necessary motivation in them.

Therefore, the teacher must evoke such a desire in students, which means that he must form in them the appropriate motivation.

What is motivation, how is it formed in a person? Motivation is usually understood as a set of motives for activity.

However, when the activity has already begun, then it has a specific purpose. The goal is what a person consciously wants to achieve as a result of this activity. But between the goal of activity and its motives, there is not always a complete correspondence. When it is there, it is said that this activity makes sense; otherwise, when the goal of the activity and the motives that caused this activity do not correspond to each other, then they say that the activity has no meaning, is deprived for this person meaning.

So, a student is always an object of activity in the learning process, and he becomes a subject of this activity when he consciously accepts the objective goals of activity for his personal goals. Obviously, in the latter case, teaching is the most effective, only in this case the teacher can easily and with pleasure fully implement the goals and objectives of teaching.

The teacher must strive to ensure that each student becomes a subject of activity in the learning process. And for this it is necessary that all aspects of the educational process, its content, organization and methods contribute to such a formation, be directly aimed at educating the student - the subject of his activity.

Historical overview on the topic: "Artistic woodcarving."

Wooden patterns on Russian huts are like frozen beautiful music, like a song about love for the home, for the fatherland. The cornices of pediments, dormer windows, frieze boards, window frames and shutters, a porch, gates, and wickets were decorated with wooden carvings. She has become a constant companion of the architecture of the peasant and city dwellings. And now the addiction of our ancestors to decorating their home with wooden lace is clearly visible. It made it a valuable architectural monument, which combined simplicity of forms, naturalness with a variety of techniques for performing various types of carving. And if in the north of Russia the artistic and constructive solution of wooden decoration was distinguished by laconicism and severity, then in the Volga region the flight of the artists' imagination was not restrained by anything. Here they boldly and uninhibitedly used all the centuries-old experience of folk art, borrowing from the original architecture. The Russian North and the Volga region are woodcarving reserves, a museum and a workshop, where anyone can admire and learn from a master the ancient honorable craft - woodcarving.

The origins of Russian folk art go back to the distant past, revealing clear pagan roots. In material monuments of antiquity (and on buildings) there are schematic drawings that are not images of objects of the human environment. They often look like an ornament, but these are symbols with a deep meaning: in the pre-literary era, they recorded important knowledge, concepts, ideas about the world.

Slavic paganism consisted in the glorification of the vital forces of nature, the fertility of the earth, above all.

Over the years and centuries, the symbolic meaning of circles, triangles, crosses was forgotten, and they turned into an ornament that was passed down from generation to generation, illuminated by tradition. You can try even today to penetrate into the past, to unravel the original meaning of the ornament of the wooden pattern of houses, to try to get closer to the ancestors. In modern peasant art, archaic elements as decorative elements have practically lost their incantatory meaning. But the ornament has changed little over the centuries, still: zoomorphic, anthropomorphic, geometric and floral.

Wood carving is one of the most common and accessible forms and types of folk ornament.

House carving probably began with a note: notches with an ax or conventional sign master of the house. Over time, these signs are complicated by the structure of their rows, figures, places where they were placed on the house. Some notches from the very beginning were charms-symbols of hope for well-being and protection of the hearth from troubles and hardships.

The Russian peasant dwelling combined practicality and extraordinary beauty. Various architectural details carried a certain utilitarian meaning and at the same time played a decorative role, fulfilling a protective function. So, for example, the need to close the cracks that inevitably arise between the log wall of the house and the window frame, caused the appearance of platbands that adorn the house and are a kind of border with the outside world. Platbands are both home decoration and amulet.

Among the elements of folk culture, wooden carved decorations are distinguished by a huge variety in the technique of execution, subjects and compositional arrangement on the house. Russian architectural carving is conventionally divided into: sculptural; flat; relief carving of the Volga region; kerf.

Sculptural carving is characteristic of the northern provinces: Arkhangelsk, Vologda, Pskov, Perm. The ends of the protruding logs and slabs were processed so that they acquired the outlines of animals, birds and other figures. Sculptural carvings adorned the gable roofs of Russian huts with a hulp, which was given the shape of a horse's head, a deer with branched antlers, a goose, and a swan. Gable roofs were often of such length that one hoop was not enough. Two logs were reinforced on the roofs with rhizomes in opposite directions, and each received a sculptural treatment. One horse looked out into the street, the other into the forest! The sculpture completed the composition of the facade of the hut perfectly. The skates floated above the ground in the distant sky amid shifting clouds. The antiquity of the origin of the motive of the pair skate and, in general, the horse, as a talisman, is confirmed by archaeological finds. Over time, ideas about the symbolic meaning of the horse weakened and turned into an element of decor. The horse is a stupid thing as an important constructive and artistic element of the roof is preserved to this day. Tribute to tradition and good taste... The waterways of the house were decorated with sculptural images of animal horns, snake-like heads, etc. In the Yaroslavl, Kostroma and Nizhny Novgorod provinces, images of birds are no less common - a goose, a swan, a duck. They symbolized a good beginning. Their images in window frames are especially frequent. The images of a duck, a peacock rooster, a hen are a guardian from the evil eye of everyone living in the house.

Flat carving is a group of the most common types of wood carving in the 19th century. It has many names and varieties: crenate, grooved, notched, trihedral-notched. In flat carvings, a rhythmic geometric pattern is often combined with a cut through to create real wood lace! Often in the drawing, the image of a circle with rays diverging from the center is repeated, resembling the disk of the sun. We can observe this motive in the decoration of balconies, galleries, porches, platbands. Plots of flat carving of the 18-19th century scientists associate with the ancient pagan beliefs of the Slavs and their magic spells. Circles, rosettes, stars, crosses, wheels, rhombuses, squares served in ancient times as symbols of fire and sun, were the strongest amulets.

The relief carving of the Volga region in the 19th century was especially widely used in the decoration of dwellings in the Upper and Middle Volga regions. Ship (baroque), blind, chisel - these are still common names for the relief carving of the Volga region. How expressively accurate these names are! This type of carving is distinguished by a high relief, the patterns are predominantly floral ornaments. The male population of the Volga region has long been engaged in the construction of river vessels - boats, plows. The stern was richly decorated with wood carvings. Gradually, many carvers who decorated ships began to use their skills in the construction of houses of fellow villagers, received orders from the townspeople. Therefore, it is not surprising that many motifs of ship carving were gradually transferred to the facades of houses.

Ship carving spread throughout the Volga-Oka interfluve. The Kolomna wooden palace of Tsar Alexei Mikhailovich, which was built in 1667-1668, was called "the eighth wonder of the world." In decorating it, the woodcarvers have surpassed themselves. They decorated the roofs, valances, porches, galleries, walkways, window frames with the finest ship carvings. It is a pity that the palace now lives only in drawings and our memories of the past. At all stages of the development of ship carving in the Volga region, frieze (frontal) boards remained the most important detail of the decoration of the house, although the talent of the carver was fully revealed when performing the entire complex of dwelling decor. Decorating platbands, shutters, valances with carvings, folk craftsmen used various motives of their native nature, but they also did not neglect the images of mythical, fabulous creatures: mermaids, siren birds with a woman's face and a luxurious peacock's tail, lions with a branch in their paws. Sirens - half-women, half-fish - mythical creatures in carving are found not only among Russians, but also among Mordovians. Even images of human figures can be found in Chuvash villages. And all this with a sharp ax and chisel!

By the beginning of the 20th century, the simplest to manufacture, which does not require modern tools, became widespread, the type of wood carving - through (sawing) carving, which is performed using saws of various configurations according to the pattern applied on the board. With a certain skill, it was possible to complete home decor in a week. With through carving, the drawing (ornament) became the main defining element of the entire work, like the craftswomen of the world-famous Vologda lace.

Types of wood carving.

Wood carving has existed for many centuries, new directions, types and subspecies of carving appear, but there is no single classification of types of carving. We have summarized classic and new types of carving.

House carving takes a special place in the classification of types of carving. All types and subspecies of carving are practically concentrated in it.

House carving

The origins of wood carving can be traced back to ancient times. With the development of the Russian state, the art of woodcarving also developed. Carvings were used to decorate palaces, temples, churches, icons, houses, wooden buildings, interior items, furniture, household items, musical instruments, toys, souvenirs, and amulets.

The reign of Peter 1 turned out to be favorable for the development of woodcarving in Russia. Under Peter 1, shipbuilding was most developed, since wood in those distant times was the main material for the creation of the Russian fleet. The bows of the ships were decorated with figures - images of animals and birds - a dragon, an elephant, the head of a lion or a horse. These images symbolized the power, strength and courage of seafarers.

The skilfully carved bow figure is not only a worthy decoration of the ship, but, as it was believed, a symbol of the good luck of sailors. Such carving is called ship or baroque.

"Going ashore" wood carving has found wide application in wooden architecture, the manufacture of wooden utensils, home decoration and various decorations.

House (ship) carving received the greatest development in the late 19th - early 20th centuries.

At the same time, the carving was not of the same type, it was carried out in a different technique - which made the decor of the decorated products figuratively, richer and more picturesque.

Cutting thread

In the second half of the 20th century, in wooden buildings in the village and in the city, sawing carving, made with a thin jigsaw file, became widespread.

Of all the variety of types of carving, it is the most common and affordable.

The sawing thread has several subspecies: through, overhead, openwork. In all subspecies, the background is cut out or removed.

Flat thread and its subspecies

The most common, affordable, which does not require special premises and large material costs is flat thread and its subspecies.

Contour thread

The name itself suggests that in this carving technique, a contour, a contour drawing is performed. Contour carving is used to perform not strict geometric shapes, but free patterns, which, as it were, are drawn on the workpiece cutting tool... In this case, various lines can be used: straight lines, curves of arbitrary curvature, wavy, spiral, etc. (fig. 6).

Geometric thread.

Geometric thread is the main subspecies of flat thread, which is based on two components - a plane and a notch made on it. It is called geometric because it is based on all kinds of geometric elements - triangles, polygons, circles, rhombuses, squares, ovals. By combining the simplest geometric shapes, you can get an amazing pattern, where every element, every stroke is accurately drawn.

Complex elements of carving are formed from geometric shapes: ladders, whites, beads, snakes, lights, chippings, various combinations of which with each other create geometric carving motifs, and the combination of motives forms a geometric ornament.

Braided thread.

The staple thread is based on a staple notch or staple cut, shaped like a marigold. Therefore, staple threads are often called marigold. Staple carving is a type of flat carving and, in combination with other types of carving, is used to decorate boxes, cutting boards, decorative panels, household spatulas.

Wrinkled thread.

Wrinkled carving is used for finishing and decorating elements of flat carving. A feature of this thread is the decoration of the surface of the product made with the motif with wrinkles-rays. Each ray is an acute-angled groove that originates from the center point. From the center, the groove smoothly passes into an expanded wrinkle reaching the maximum width and depth of the outer end of the ray.

There is a path to immortality for wood carving: to preserve skill, experience, carving techniques. Teach young people to cut wood. In villages and cities. After all, they build houses from wood, from logs. It is in the traditions of the Russians - to build from wood, cut lace on wood, decorate their houses with carved platbands, porches. Folk art is a true value. Wood carving is an integral part of it. Russians shouldn't forget how to carve wood. To create beauty with your own hands is in the blood of our artisan people.

Training program additional education

"Artistic wood processing"

Explanatory note

Currently, the problem of preserving the cultural and historical identity of Russia, national traditions, unshakable moral values people. Decorative and applied art has organically entered modern life and continues to develop, keeping national traditions intact. It contains a huge potential for the development of cultural heritage, since it has brought to this day, in an almost undistorted form, the nature of the spiritual and artistic comprehension of the world.

Decorative and applied art is traditional in any country in the world. The object environment constantly surrounds a person, it affects the subconscious, positively and negatively shaping his feelings and emotions, demeanor and communication. This means that decorative and applied art also contributes to the spiritual development of a person through creative, aesthetically significant creative activity.

Wood carving is an image, drawing or pattern made on wood products. Wood carving is one of the types of monumental and decorative art and is used to decorate and decorate the interiors of public buildings and architectural structures. Carving is also used to decorate objects of decorative and applied art: furniture, musical instruments, weapons.

Carved woodwork - national species art among many peoples of Russia. For a long time, the Russian peasant, having cleaned the hut and finished field work, on endless autumn and winter evenings, took up art - woodcarving.

Only an introductory section is included in the study of wood carving in school programs in technology lessons. The program "Artistic woodworking" is focused not only on expanding the level of literacy of students in the field of arts and crafts, the development of aesthetic taste, but also on the creation of works that reflect the creative individuality, the spiritual world of children and adolescents.

A feature of this program is the combination of the traditional woodcarving technique with modern types of graphic images, used to enhance the individual creative activity of students.

The additional educational program "Artistic woodworking", being applied, has a practice-oriented character and is aimed at mastering the basic techniques of woodcarving by students. Teaching this program creates favorable conditions for the intellectual and spiritual education of the child's personality, socio-cultural and professional self-determination, development cognitive activity and creative self-realization of students.

The novelty of this program lies in the unification of the traditions of the Russian people in the manufacture of decorative and applied wood products and the realization of the creative individuality of each student; The program covers all the elements of woodcarving, from the formation of an artistic image of an applied product from natural material and ending with its presentation at exhibitions.

The purpose of the program: to teach the manufacture of flat wood products using the techniques of slotted, geometric, flat-embossed carving.

I. Cognitive.

Educational:

To form a spatial representation, artistic - figurative perception of reality;To teach to cognize and use the beauty and properties of wood to create artistic images and household items;Master the basics of technology and safety techniques for manual wood processing;Study the technology of working with a jigsaw;To teach how to work with various tools, devices;

weaving "," loop weaving ".

Educational:

To instill a love for folk traditions, for the history of the native land;Arouse interest in Russian folk art and to new, modern directions of folk art;Develop patience, perseverance, hard work;To form the skills of working in a creative team of different ages.Ability to economically treat the materials used.

Developing:

To develop the artistic and creative abilities of students;Develop the ability to work with the instrument, volumetric vision of objects, develop hands, as essential tool communication of a person with the outside world;Develop imagination, memory, emotional - aesthetic attitude to objects and phenomena of reality;

II. Methodical:

Use of ICT in the classroom use of presentations in the classroom: The history of the development of woodcarving; Types of wood carving; Safety precautions for wood carving. Tools (woodcutter) and accessories (blanks).

III. Organizational:

Acquiring the necessary tools and materials for classes with the help of parents.

Learning outcomes

Students should know:

Workplace organization principles and basic safety rules;Basic concepts of graphics, graphic images (drawing, sketch, technical drawing);Physical and mechanical, technological, energy, environmental properties of materials;Methods of marking by template and drawing;The principle of selection of carpentry tools - by purpose, by type of activity, by material properties;Have an understanding of design and modeling;Wood finishing methods - priming, sanding, painting, varnishing, polishing;Basic information about the types of artistic woodworking in the territory of the native land, their characteristic features;Basics of composition: basic principles of decorative design of the plane;

Students will learn to:

Rationally organize the workplace. Observe safety regulations;Be able to read and execute drawings, sketches, technical drawings;Determine the species and defects of wood by its appearance;To mark the workpiece according to the template and drawing;Perform basic carpentry operations;To carry out finishing of joinery products taking into account design;To independently develop compositions for sawing, carving and perform them;Use materials sparingly; Manufacture:

Kitchen boards, coasters,

Bulky baskets, shelves,

Photo frames,

Stands.

Students will have the opportunity to learn:

Woodworking skills.Ability to independently distinguish between wood species.Ability to independently disassemble and draw up product drawings.

Grading system

Students receive credit based on learning outcomes. Conditions for obtaining credit.

Credit requirement:

Sample making (kitchen board).Control of theoretical knowledge in the form of answers to questions in writing. Content part.

Academic-thematic plan

Topic 1. Basic information about wood and its properties

Acquaintance with the natural texture of wood (cut in three directions). The importance of the location and nature of the location of wood fibers when creating a thread Hardness properties of coniferous and deciduous woods. Disadvantages of wood. Humidity and drying.

Topic 2. Tools for wood carving. Workplace woodcarver and his equipment.

Preparation of the carver's workplace, depending on the nature of the work performed. About tools in more detail Demonstration of tools for woodcarving, Rules for the safe use of tools. Safety rules for working with cutting tools.

Topic 3. Artistic and technical techniques of geometric wood carving.

Types of artwork made of wood, decorated with geometric carvings. Demonstration of samples of folk art. Carving techniques.

Practical work: Initial techniques of geometric carving. Techniques for carving parallel lines along the grain. Techniques for threading "mesh". Techniques for carving "checkers".

Topic 4. Creation of simple compositions of geometric carving patterns

The concept of composition (rhythm, symmetry, identification of the center) in the carving of window frames, in the decoration of household utensils.

About composition in geometric carving

Practical work: Creating sketches of geometric patterns for decorating a kitchen board. Transfer of geometric patterns to the surface of wood products using carbon paper, pencil.

Topic 5. Implementation of patterns of geometric carving on wood products.

Creation of a geometric ornament for the composition.

Practical work: Execution creative work in the technique of geometric carving of ornamental compositions on the kitchen board.

Examination: 2 forms theory and practice

Methodical part.

The course is designed for students in grades 5-11, the study period is 36 hours, 1 hour per week.

Forms of organizing training sessions:

Frontal: Used to explain theoretical material.

Individual. Used by students when performing practical tasks.

Training methods and techniques:

Verbal. Used when explaining new material to students.

Visual. Used by the teacher when showing and explaining on the example of finished products and diagrams.

Practical. It is used when making products and consolidating the acquired knowledge.

Forms of conducting training sessions:

Practical work. Used by children when making wood products. Designed for in-depth study of the course.

Lecture. Used to guide the primary mastery of knowledge of woodcarving techniques.

Conversation. It is used to identify the level of knowledge in the course "Artistic woodworking".

Briefing. Used when explaining safety precautions.

Material and technical support of the discipline:Study room with desks (20pcs), projector (1pc), projector screen (1pc).Handout material with graphic explanation of theoretical information: drawings, diagrams (kitchen board).- Presentations

Folk carving is one of the oldest forms of art. Her memorials are known in Ukraine mainly from the 16th - 17th centuries.

Interesting testimonies from those times tell about the rich carvings on wooden buildings. In pursuit of beauty, the people used it not only in architecture, but also generously decorated things and tools with carved ornaments. Folk carpenters and carvers have created genuine masterpieces, distinguished by their originality and originality of artistic forms.

Quite numerous carvings - furniture, wooden dishes, printed boards, molds for honey cakes, yokes, details of carts and sledges of the 17th - 19th centuries. Kiev region, Chernigov region, Poltava region, Carpathian region, Transcarpathia.

In the XIX and early XX century. famous Hutsul carvers Yuri Shkriblyak (1822 - 1884) and his followers - sons Vasily Shkriblyak (1856 - 1928)) and Nikolai Shkriblyak (1858 - 1920) played an important role in the development of folk carving.

Yuri Shkriblyak was known as an outstanding artist-carver not only in the Hutsul region, but also far beyond its borders.

In our time, great changes have taken place in the art of folk carving. Folk craftsmen, along with traditional ornamental carving, create thematic works dedicated to important events in the life of the people, themes of its historical past, outstanding figures, images of heroes of the works of great writers. The desire to create thematic compositions contributed to the development of the bas-relief genre of carving and round sculpture. Often, subject compositions are combined with ornamental flat carving and inlay.

The carved works of Vasily Garbuz are a continuation of the wonderful traditions of flat Poltava carving. In his miniatures-ashtrays, pencil cases in the form of birds, we meet with the ultimate laconicism of forms typical of folk carving.

Rich ideological content and great artistic expressiveness are characteristic of the bas-reliefs "Hero of Socialist Labor Yekaterina Solomakha" and "Piggy" carver Yakov Usik (1872 - 1960) from Mirgorod region.

The numerous works of the carver from the Kiev region, Peter Verna (1876 - 1966), are varied in theme: "I already passed thirteen ...", "Bend over", "Blacksmith Vakula", "Aeneid", "Sower", "Greening the roads". He owns works that personify various characters from the works of the classics of Ukrainian and Russian literature.

Petr Verna devoted almost his entire life to creating the beloved image of the great kobzar T.G. Shevchenko and images based on his poetic works of the same name. Other sculptures by Verna, filled with the pathos of modernity, reflect the life and work of people.

The life of ordinary people of Transcarpathia is reflected in the works of the national sculptor Vasily Svyda. In the work "On the Polonyna" the author depicts a traditional spring trip to the mountains of the Hutsuls, driving their cattle to summer pastures. This day is considered big spring holiday... The author personally took part in such holidays several times. The knowledge of life helped the carver excitedly and truthfully recreate the images of the new people of Transcarpathia: free, proud.

The talented Transcarpathian carver Ivan Barna for a relatively short term created a number of meaningful works of art convincingly telling about the heroics of the past. Particularly noteworthy is its bas-relief, which reveals the image of the national hero of Ukraine in the 18th century. Oleksa Dovbush.

The creative growth of modern Hutsul carvers, formerly handicraftsmen, was facilitated by their unification into production and creative teams.

A wealth of imagination and poetry are inherent in the works of Stepan Chaika, a carver from the village of Bratki, Lviv Region, Stepan Chaika - Life in the Forest, Family of Ducks, Deer, etc. trees, twigs, etc.

In an interesting material - poplar bark - Lviv carver Mikhail Tkachev works. His miniatures - cockerels, deer, bunks - are made in the spirit of folk sculpture traditions.