Doll with your own hands. Master class with step by step photos

Doll with your own hands. Master class with step by step photos

Master class Doll in Russian folk costume for younger students

Author: Polina Soldatenkova 11 years old, studying at the Children's Art School named after A.A. Bolshakov, Pskov region, Velikie Luki.
Teacher: Natalya Alexandrovna Ermakova, teacher, Municipal Budgetary Educational Institution additional education children "Children's Art School named after A.A. Bolshakov", Pskov region, the city of Velikiye Luki.
Description: work can be done with younger children school age. The material can be useful for teachers of additional education, teachers, children and their parents.
Purpose: participation in creative exhibitions, interior design, gift.
Target: creation of a doll in a Russian folk costume.
Tasks:
- introduce the technology of making plasticine dolls;
- to improve the skills of modeling and painting products;
- to cultivate interest in the history and traditions of Russian folk costume.

Hello dear guests! Today we will talk about the folk Russian costume - this is an invaluable, inalienable asset of the culture of the people, accumulated over the centuries. Clothing, which has come a long way in its development, is closely connected with the history and aesthetic views of the creators.
Before 1930 folk costume was an integral part of the artistic image of the rural population: Russian round dances, wedding ceremonies, gatherings. In many parts of our vast Motherland, the national costume is still preserved as a festive one. It is mastered as an artistic heritage by modern fashion designers, lives in the work of folk song and dance ensembles.

Traditional men's and women's clothing had similarities, men's and women's costumes differed only in details, some elements of cut, and size.

Clothing was casual and festive - richly decorated with embroidery, patterned weaving, ornamental compositions of braid, galloon, sparkles and other materials. However, in the Russian village, not all clothes were richly decorated, but only festive and ritual ones. The most beautiful, annual, was worn only three or four times a year, in solemn days. They took care of it, tried not to erase it and passed it on by inheritance.

In the warm period of the year, women and men wore a tunic-shaped shirt as the main clothing. The men's shirt was knee-length or slightly longer, and was worn over trousers, the women's shirt was almost to the toe, and it was sewn in two parts: the lower part was made of a coarser fabric, it was called a bed, and the top was thinner. A shirt without a collar was usually worn on weekdays, and with a collar on holidays, the collar was low, in the form of a stand, and they called it an ostebka, a cut on the shirt for fastening was made on the side, rarely at the very shoulder, it went vertically down, less often obliquely, from shoulder to mid chest. The shirt was fastened with buttons or tied at the gate with a ribbon, such a shirt was called a kosovorotka.
The shirt, which is directly adjacent to the body, was sewn with endless magical precautions, because it had to not only warm, but also drive away the forces of evil, and keep the soul in the body. According to the ancients, it was necessary to "secure" all the necessary holes that were in ready-made clothes: collar, hem, sleeves. The embroidery, which contained all kinds of sacred images and magical symbols, served as a talisman here.

Only men wore trousers among Russians; in the old days, boys did not wear trousers until the age of 15, and often until the wedding itself.
Slavic trousers were made not too wide: on the surviving images they outline the leg. They were cut from straight panels, and a gusset was inserted between the legs ("in step") - for the convenience of walking: if we neglect this detail, we would have to mince, not walk. Pants were made about ankle-length and were tucked into onuchi on the shins.
The pants did not have a cut, but were held on the hips with the help of a lace - a “gashnik”, which was inserted under the folded and sewn upper edge. The ancient Slavs first called the legs themselves "gachas" or "gaschis", then the skin from the hind legs of the beast, and then the pants. "Gacha" in the sense of "leg" in some places has survived to this day. Now it is done, the meaning of the modern expression "keep in the stash", that is, in the most secluded hiding place, is clear. Indeed, what was hidden behind the lace for pants was covered not only by outerwear, but also by a shirt that was not tucked into pants. Another name for legwear is "trousers". They were sewn from canvas or cloth, elegant Russian trousers were sewn from black plush.

The national costume of Russian women was a sundress. Until the beginning of the 18th century, representatives of the upper classes also wore it, and in later times they were preserved mainly only in the rural environment. "Sarafan is a collective term that refers to long swinging or deaf maid clothes on hangers or sewn-on straps. Presumably, the word" sundress "comes from the Iranian "sarapa" - dressed from head to toe. The first mention of this type of clothing in Russian sources refers approximately to 1376, where a sarafan, a sarafan is spoken of as a male shoulder-opening narrow-cut clothing with long sleeves.
As a women's (girl's) clothing, a sundress has become universally known in Russia since the 17th century. Then it was a one-piece deaf dress with or without sleeves, worn over the head. A sundress with straps became known only after the 17th century. Starting from the 19th century and until the 20s of the 20th century, the sundress served as a festive, everyday, working clothes for the peasantry. Festive sundresses were sewn from more expensive fabrics, everyday ones were mostly made from homespun cloth.
A huge variety of types of sundresses is known, and in each province several varieties could simultaneously exist.

In winter and summer, men and women wore single-breasted caftans, for women with a clasp on the right side, and for men on the left, they were called ponitka, shaburs, Siberians, Armenians or Azs, with their typological similarity, they differed in cut details.

Russian peasants also had clothes specially designed for work and household affairs. On the field and at home, men and women put on deaf tunic-shaped cuffs with long sleeves over their clothes, in front the canvas descended to the knees, in the back to the waist.

An obligatory part of the male and women's costume there were belts, in the northern regions they were also called skirts, belts. "Religious performances were forbidden to wear clothes without a belt, hence the expression "without a cross and a belt", "unbelted", meaning that a person's behavior does not correspond to generally accepted norms of behavior. Be sure to girded underwear, a sundress and outerwear. Women, as a rule, wore a woven or cloth belt, and men a leather one. Woven belts for girdling shirts were narrow - sashiki, and outerwear was tied with wide sashes. There were two ways to tie the belt: high under the chest or low under the stomach ("under the belly"). Women tied the belt on the left side, and the man on the right. The belts were decorated with geometric ornaments - in addition to decoration, this carried the function of a talisman.

Russian headdresses were varied in shape. The main material was fur (usually sheepskin), wool in the form of felt and cloth, less often other fabrics, they were in the form of a cone, cylinder or hemisphere. Felted hats were called hats, or horsemen. Three semicircular headdresses also include - fur hat with headphones. Later, caps with visors on the band became widespread.
Women's headdresses were more diverse, but all their diversity comes down to several types: a scarf, a hat, a cap and a girl's crown.
Religious beliefs required married woman carefully hide your hair from prying eyes. It was considered a great sin and shame to "light up" at least a strand of hair.
Married women styled their hair around their heads, and their headdress was a kokoshnik, which was decorated with gold embroidery, pearls or beads. At the same time as kokoshniks, there were warriors, shamshurs, collections - all these are varieties of a cap. Warriors were sewn from thin fabric in the form of hats on a chintz lining, and shamshurs - with a quilted top on a canvas basis. The back of the warrior was decorated with lush floral ornaments. Married women wore a scarf or shawl over small headdresses that hid their hair.
The headscarf worn by Russian women is the result of the development of the oriental veil. The manner of tying a scarf under the chin came to Rus' in the 16th-17th centuries, and they learned this from the Germans.

Animal skins, tanned leather, less often fur, tree bark, and hemp rope were used as the material for making shoes. The oldest among the Russians should be considered leather shoes, which was not sewn, but wrinkled - they pulled a piece of skin with ropes so that folds formed on the sides and tied to the leg with a long rope. Such shoes are considered a direct continuation of ancient shoes, when the skin of a small animal was tied to the foot. These shoes were called pistons.
Bast shoes, known everywhere, can be considered the most common footwear. These are shoes woven from wood bast, such as sandals, which were tied to the foot with long cords (supports), for warmth, an edge was sewn or tied to the bast shoes - a strip of canvas fabric. In rainy weather, a small plank was tied to the bast shoes - the sole. With bast shoes and other low shoes they wore onuchi - long narrow strips of fabric made of wool or hemp. This fabric was wrapped around the foot and shin to the knee, and on top of it they wrapped the leg crosswise with long laces - extinguishers.
Cats, felt boots, chuni were rolled from wool, leather soles were often sewn to these shoes for strength.

The very first diaper for a newborn was most often the shirt of the father (boy) or mother (girl). In the future, they tried to cut children's clothes not from newly woven fabric, but from old clothes parents. They did it not out of stinginess, not out of poverty, and not even because soft, washed material does not irritate delicate skin baby. The whole secret, according to the beliefs of our ancestors, is in the sacred power, or, in today's way, in the biofield of the parents, which can protect their child from damage and the evil eye.
Children's clothing of the ancient Slavs was the same for girls and boys and consisted of one long, to the heel, linen shirt.
Children received the right to "adult" clothes only after initiation rites. This rite was associated with the ancient Russian goddess Baba Yaga, who was considered the protector and protector of children.

In ancient Slavic culture, people saw in Baba Yaga the Great Mother - the great powerful Goddess, the foremother of all living things ("Baba" is the mother in ancient Slavic culture, main woman) or a great wise priestess. In those distant times, Baba Yaga disposed of the most important rite - the ceremony of initiation of young men, that is, their initiation into full members of the community. This rite meant the symbolic death of a child and the birth of an adult man, initiated into the secrets of the tribe, who has the right to marry.
Such a tradition was kept for an exceptionally long time in the Slavic environment, especially in the countryside, which was little subject to fashion trends. Over the centuries, the ancient ritual of transition from the category of "children" to the category of "youth" was lost, many of its elements became part of the wedding ceremony.

Materials and tools:
-Glass bottle
- old plasticine
-toothpaste
-gouache
-brushes
- jar for water
-cloth for brushes
-Polish for hair

Master class progress:

First we need to wrap the bottle with a thin layer of plasticine.

Then we roll up a large oval shape and place it on the neck of the bottle, form the head with our fingers. Next, we roll up thin sausages, of which we will make hair for our doll. From the front, bangs, and parting for the braid at the back.

Next, we roll up large and long sausages, weave them into a braid and attach them to the base of the doll's neck.

We sculpt kokoshnik from a not very thin triangular cake. For hands, we roll up sausages, carefully lubricate all the details to the product. And we will need a few more thin sausages to highlight the border of the neck of the shirt and sundress. At the bottom of the doll, using a flattened sausage, we fashion the hem of the dress. By pinching we form a spout.

Part four. Doll outfit as a reflection of traditional Russian life

A hand-made toy served for our ancestors as a kind of tribal ethnic code that indicated the landmarks of the life path. The doll played a mysterious role associated with the concepts of life and death. Therefore, the doll was always created with great care, there could be no accidents in its image - there was a certain meaning in everything. Having examined with you the anatomy of a rag doll, we saw how a chain of hidden symbols appears in it, characteristic of the mythological consciousness of the peasant, for Russian folk culture. Usually, rag dolls were the simplest image female figure in everyday or festive peasant attire made of scraps of fabric.

The outfit, like the fundamental principle of the doll, has deep spiritual roots. Long since different peoples clothing not only protected from bad weather, an elegant costume was also an obligatory part of the holiday.

Clothing could tell a lot about the person who wore it: where he comes from, what age and class, what he does, whether he is married or not. The soul of the people and their ideas of beauty found expression in clothes.

Photo of the beginning twentieth century

Despite the variety of women's outfits, they have some common features. A common feature of the Russian women's costume was not to emphasize the shape of the body. The simplicity of the silhouette was offset by the rich colors various parts of clothing, trim, all kinds of embroideries and appliqués. The most ancient and stable forms of Russian clothing have been entrenched in the traditional Russian doll.

Therefore, first it is necessary to say a few words about the Russian costume. Folk costume is a complex and archaic phenomenon. Its main parts have evolved over the centuries. From time immemorial, from fathers to sons, from grandfathers to grandchildren, it was passed along with rooted beliefs and traditions. Even the active familiarization of the ruling elite and urban residents of Russia with Western clothing in the 18th century did not affect the bulk of the population.

The beginning of the XVIII century in Russia was marked by the reforms of Peter I, which were prepared by the gradually accumulated socio-economic changes. The reforms affected almost all spheres of society: church, economy, administrative apparatus, army, navy, culture. The content of the reforms in the most general sense were two critical moments: a decisive shift from the Middle Ages to the New Age and the Europeanization of all areas of life.

(For more information about the reform of Peter the Great "On the abolition of the old-fashioned Russian dress", see).

The Russian village until the end of the 19th century remained the bearer of traditional culture. Even at the beginning of the 20th century, the peasant costume remained truly folk.

Peasant family. Ryazan province., p. Got stuck. 1910

The folk costume was created taking into account the fact that it should not hinder human movements. It protected in heat and cold, was comfortable in all weather conditions. The design of the costume often did not require the use of scissors and great skill from the seamstress, since when making the fabric, the peasant woman counted it on a specific type of clothing. Outerwear they did not fasten with buttons, but girdled with a sash.

Nechaev. Russian types.

This was done on purpose so that any member of the family could wear it. The wide wrap of clothing served as a pocket. The floors of women's clothing were sewn so wide that a child could be wrapped in them. The Russian men's costume, widespread everywhere, consisted of a blouse, ports, a belt, shoes and a headdress (usually it was a sinner hat).

The men's shirt was always girdled. The shirt was the main type of clothing that a person wore from birth to death. Often boys and girls back in the 19th century. before the wedding they went in the same shirts, intercepted by a belt.

The word “shirt” itself comes from the root “rub” - a piece of fabric, because the word “hack” once also had the meaning of “cut”. A rectangular piece of fabric was folded in half, a hole for the head was cut out and fastened with a belt, later the back and front of the shirt were sewn together and sleeves were added.

In ancient times, the father's shirt served as the first diaper for the son, and the mother's shirt for the daughter. She served as a talisman, protection from evil forces. For the same reason, shirts for boys and girls were sewn not from new linen, but from the old clothes of their parents. It was impossible to sell one’s shirt, it was believed that along with the shirt you would sell your happiness, which is why people who are ready to give (donate) the last shirt have always been so valued.

The women's shirt differed from the men's in that it was up to the heels, and the men's shirt was only up to the middle of the thigh, sometimes up to the knee.

A women's shirt was made with a straight neckline on the chest, without a collar or with a low stand-up collar. Preparing a festive shirt, village needlewomen tried to show everything they were capable of. The sleeves, shoulders, collar and hem of the shirt were decorated with embroidery and small applique in the form of a geometric ornament. They put on a skirt for haymaking - a shirt with a wide strip of embroidery along the hem.

S. Babyuk. Haymaking

But a single national women's costume, despite the similarity of common features, did not work out in Russia. In different provinces, women's clothing had its own differences in cut, decoration, fabric pattern. Consider these images.

In different provinces, embroidery was done in its own way, using various ornaments.

But the purpose was common - to decorate the costume and protect the person from evil forces, since the embroidery was placed along the edges of the clothes: the collar, the hem, the bottom of the sleeve (it was from here that evil spirits could penetrate the body). In order to "secure" a person, embroidery contained all sorts of sacred images and magical symbols.

I. Bilibin. Vasilisa the Beautiful.

Modern researchers distinguish two main sets of women's costume: a shirt with a sundress and a shirt with a ponytail and an apron.

A. Charlemagne. Women's outfit of the Oryol province. 1916

A shirt with a pony and an apron is more ancient in origin. They are most characteristic of the South Russian costume. A women's long shirt with sleeves is the oldest common Slavic type of attire. Unmarried girls wore only a shirt with an apron. And married people also wore poneva.

Poneva - a cloth that replaces a skirt - an obligatory accessory for the clothes of a Russian married woman, a prototype of a modern long skirt. Only the poneva was always shorter than the shirt. dressed poneva in a special way: the canvas of the poneva was wrapped around the waist with a cut forward, and the edges were tucked into the belt, opening the hem of the shirt, which was covered with an apron

Vinogradov S.A. To work 1895

Initially, the “sarafan” literally meant the princely male attire, which covered the entire figure. Only in the 16th century did the sundress begin to be used as women's clothing. It replaced the poneva on the territory of Russia, first in the northern regions, and by the beginning of the 19th century it had become one of the main parts of traditional women's clothing. Sundresses were worn with aprons, which played a dual role: they protected clothes from dirt and covered their undecorated parts.

Women's costume was not conceived without a headdress.

A married woman could not go out without a headdress to people, her hair had to be braided into two temporal braids, laid around her head with a crown and hidden under a headdress. The headscarf was one of the main parts of the women's costume.

In addition to everyday and festive scarves, there were also magpies, warriors, and kokoshniks.

Little girls wore simple cloth ribbons 0.5 - 2.5 centimeters wide on their foreheads. Girls were allowed to wear open bandages - ribbons that covered only the forehead and back of the head. Before marriage, the girls, parting their hair with a straight parting, braided one braid low on the back of the head into three braids. The scythe fell freely from under the headdress.

On holidays, the girl's braid was decorated with ribbons and braids. (KOSNIK) - a girl's jewelry, woven into a braid with a cord between strands of hair. The kosnik was considered an indispensable part of the festive decoration of the girl’s head; he completed a pretty complex hairstyle. He was tied to the end of the braid, which was woven into 12 - 14 strands - "lashes". To give the braid width and density, braid, garus threads studded with beads, bright multi-colored ribbons were woven into it. In the Russian village, it was customary to believe that a beautiful, richly trimmed braid gives the girl additional attractiveness. Kosniki became widespread throughout the territory occupied by the Russian population. from beads.

An obligatory part of any peasant costume was a belt, and everyone wore it - from small to large. After all, he was primarily a talisman, The amulet was an object that, according to superstitious beliefs, could protect from various disasters. a trait that protects the human body from evil forces. It was impossible to appear in public without a belt. The significance of this moment is preserved in folklore - completely unbelted. The belt also performed the elementary functions of fastening parts of clothing: they tied an apron with it, pulled up a sundress, and supported ports. Belts could be woven, knitted, belt belts were worn only by men. Ornaments were embroidered on the belts, and their ends were decorated with tassels, pompons, amulets

In addition, purses, pouches and other small household items were hung from the belt. After all, pockets began to appear only at the end of the 17th century. Clothes were sewn from homespun In Rus', the first fabrics were made from flax, hemp, stalks of wild hops and nettles. Until the 17th century, fabrics in Rus' were homespun, which means that they were woven at home primarily for their own needs, and if something remained, then for sale. These were coarse undyed fabrics, while thin linen and silk were imported from abroad.

A woman making a canvas. Ufa province. 1912

But in festive costume not only domestic fabrics were used, but also those that were bought at the fair: silk, chintz, satin, brocade, ribbons, gold or silver galloon, taffeta, satin, velvet, cashmere, calico.

K. Yuon. Red goods. 1905

The holidays demanded the most serious, respectful attitude, because it is only on weekdays that moderation in food and simple, comfortable clothes are appropriate. And the more significant the holiday, the brighter and dressier suit. So, on long winter evenings, a peasant woman created an amazing fairy-tale outfit, which required considerable art, diligence, and skill.

Until the beginning of the 20th century, such fabrics, unlike homespun ones, remained expensive for the village and were intended for festive clothes. All scraps of fabrics were carefully stored in bags, saved for toys. And when they made dolls, the patches were carefully selected. Red rags were especially appreciated, they went to the most beautiful dolls. In folk clothes, they also loved red. Red has long served as a talisman, a symbol of life and the life-giving force of nature, and besides, it is the color of the holiday. And in the old days, the word “red” also meant beautiful (“beautiful girl”).

Eliseev E.A. Brides. Trinity day. 1907

Rag dolls, sewn from a new flap, were specially made as gifts for christening, for name days, for holidays, showing family love and care.

When the winter sleigh festivities began, small children and birthday girls were sent “trump” sleds with dolls as a gift.

Such a duty lay with mothers-in-law and godmothers. Note that “homemade” dolls were given to relatives and friends, cementing family ties: this is also one of the evidence of their sacred meaning. In the family, for their children, dolls were usually “spun” from old rags. And not even because of poverty, but according to the ritual of blood intimacy. It was believed that the worn matter kept the ancestral power and, embodied in the doll, passed it on to the child, becoming a talisman.

For the same reason, newborns were wrapped in underwear parental shirts, swaddled in diapers from worn clothes. For dolls, the hems of women's shirts and aprons were most often used. It was these parts of the costume, in contact with the earth and thus absorbing its strength, that had the greatest sacred significance. It is noteworthy that shreds for dolls were always torn by hand along a straight thread, and not cut off with scissors. It was believed that such a toy prophesied integrity without flaws and damage to her little mistress.

Often doll clothes accurately conveyed the features of local costumes.

A doll from the Oryol province is wearing a linen shirt with straight polka dots, with a frill in front, with rectangular patches of calico sewn on the shoulders. The collar, like in real shirts, is assembled on a narrow lining and decorated with a green silk ribbon. The top of the sleeves and cuffs is trimmed with a strip of red-patterned weaving. The doll is wearing a characteristic Oryol poneva made of homespun wool with a seam of black and blue satin, sheathed along the hem with a red woolen braided belt. An apron with a frill made of bright colorful chintz with a large-rapport pattern is put on over the poneva. On the head of the doll there is a headdress in the form of a crown, embroidered with lace, beads, sequins, ribbons.

The similarity of the puppet costume, however, does not mean a simple imitation of genuine peasant clothes. On the contrary, the craftswomen were able to make such a selection of details, develop such traditional techniques that speak of creating an artistic image in a rag toy.

Today it will seem strange that the costume was not removed from the doll. Couldn't our ancestors have thought of such a simple thing? But they did not set themselves this task: after all, the doll was created as an integral form. This is an important principle - the doll is not a dressing-up mannequin, but an image in itself. The costume organically participated in the plasticity of the toy. Its cut was simple and expressive in a doll-like way.

So, for example, poneva for a rag figurine was sewn from one piece of fabric, while in women's clothing she was quadrilateral.

With even greater freedom, the costume was decorated. Shirts embroidered with a pattern on the shoulders were imitated with one or two stripes of red cross embroidery. A chintz apron with a bright floral pattern adorns the doll with a sonorous colorful ornamental spot. And from a complex headdress consisting of several parts, the craftswomen chose only the most spectacular detail - for example, an embroidered bandage with a silk ribbon crowning the head with a red fan.

Doll of the Oryol province, Novosil, 1932-1933

The proportions of large-headed dolls, far from nature, made the puppet costume conditional, allegorical. He obeyed the nature of the doll itself, an independent being. At the same time, it was the costume that always determined the ethnically specific type in the doll, assigning a certain role to it in children's games. A doll in a pink sundress could not play the role elderly woman, and the “wife” doll was not allowed to play the “bride”.

Have you ever made costumes for dolls with your own hands? Did you enjoy this activity? Did you teach this to your children and grandchildren?

To be continued…

Municipal budgetary institution of additional education

"Center for Children's Creativity" of the Dubyonsky municipal district

The Republic of Mordovia

creative project

"Doll in female Russian

folk costume"

Completed by: Biushkina Elena Ivanovna,

11 years,

student circle "Patchwork Mosaic"

Leader: Tatiana Chesnokova

Alexandrovna,

additional education teacher.

2016

Project theme: Doll in Russian women's folk costume.

Theoretical part.

Every nation from time immemorial has its own toys, which reflected the social structure, way of life, customs and customs. Toys among many peoples, despite their differences, are largely similar in design, shape, decor.

In ancient Greece and Rome, dolls were made from a wide variety of materials: leather, wood, rags, clay, precious metals and ivory.

And the oldest dolls on earth were discovered during excavations in Egypt. Their age is 4 thousand years! They are carved from wooden planks.

Toy, doll has a long history. The ancient masters understood the purpose of children's toys - to amuse the child, helping him to explore the world.

The earliest toys were primitive: whistles, horses, fish, birds. To make them more entertaining, they began to paint them brightly and beautifully, made them make sounds and noises.

An important role was assigned to the doll, as a person saw himself in it. Playing with dolls was strongly encouraged by adults. In the cradle to the child they put a doll "amulet".

The doll also participated in adult rituals. In the old days, at a wedding, she, smartly dressed, with a scarlet ribbon in her braid, adorned the wedding table. Shrovetide was escorted with a large straw doll, which was burned at the stake at the end of the holiday.

Information part.

Goals and tasks of the work.

Target : Make a doll and try your hand at an art competition.

Tasks:

1. To study the history of the emergence of this type of creativity - the manufacture of dolls.

2. Perform work on making a doll in a female Russian folk costume on plastic bottle following all technical steps.

3. To cultivate industriousness, accuracy, patience in work.

The history of women's Russian folk costume.

At the words "Russian national costume" a clear picture immediately arises. Women's version: sundress and kokoshnik, men's - kosovorotka and hat. Actually, traditional costume changed over time and, of course, consisted of a much larger number of parts.

In the folk costume, every detail and color scheme was symbolic. Everything in the costume reminds of the beauty of the native land, gives rise to a feeling of celebration in the soul!

The most favorite color in Russian folk art and especially in clothing was red. The words "red" and "beautiful" for the Russian people had the same meaning: the girl is red, well done, spring is red.

Green color symbolized the plant world: green crops in peasant fields and gardens, lush grasses of countless meadows, velvet greenery of gardens and dense forests, as well as abundance, joy, freedom, hope, tranquility.

Yellow was a symbol of short-term separation, blue - water and sky, as well as chastity, fidelity, white - grief and death.

Historically, there were two forms of women's costume - sundress and pony (wide skirt made of sheep wool). A sundress was worn by women of Central Russia and the north, with a pony - southern regions Russia.

A long shirt was worn under a sundress. It was sewn from bleached canvas, collars, sleeves, wrists were embroidered.

Headwear was required. Girls could wear plain tape, women - kokoshnik, magpie and other headdresses under which they hid their hair. For a married woman, it was considered both a shame and a sin to leave her hair on display: goofing off (opening her hair) was a great dishonor for a woman.

The choice of materials, equipment, tools and fixtures.

To complete the work, I need the following materials:

Cotton fabric white color;

Red fabric for a sundress;

Threads for sewing No. 40;

Braid, palettes, beads for finishing work;

Threads for making doll hair.

Choice of tools and fixtures:

Hand needle No. 3 for basting cut details;

Scissors for cutting threads and cutting fabric;

Pencil, ruler for drawing up product patterns;

Safety pins;

Pattern paper;

PVA glue;

Sewing machine;

Iron.

Workplace organization.

1. The workplace should be well lit, the light should fall on the work from the left side.

2. You need to sit straight, touching the back of the chair with your body. The distance from the eye to the work should not be less than 30-40 cm, so that myopia does not develop.

3. At the end of the work, put all the tools in the work box.

4. Disconnect the iron from electricity.

5. Remove the sewing machine.

Description of work.

1. We need a plastic 1.5 liter bottle. Cut off the bottom of the bottle.

2. We sew a bottle cover from fabric, fasten it on the neck with threads. This will be the body of the doll.

3. We make the head and hands of the doll from knitwear (nylon, etc.), filling them with cotton wool or padding polyester.

4. Finished parts sew to the neck and shoulders of the bottle-torso. The mannequin is ready.

Plastic bottle mannequin.

5. The next stage is the manufacture of the outfit.

We sew a shirt made of white fabric, sleeves and a neck can be decorated with braid or embroidery.

6. We make a sundress from a straight-shaped red fabric. We decorate a sundress with yellow, green braid, sequins, beads.

7. We make a headdress - kokoshnik from cardboard and fabric, decorate it with braid, sequins, beads, bow.

8. Making the head.

From the threads we sew the hair on the doll and weave them into braids.

9. We glue the nose, ready-made eyes, mouth and cheeks from the red film.

Compliance with safety regulations and work culture.

When performing work, observe safety regulations. Before starting work, you need to count the number of needles and pins in the needle bed. Put the tools and accessories in the place provided for them. Check the iron and sewing machine.

Be attentive to work. Stick needles and pins into the needle bed. Lay scissors to the right with closed blades pointing away from you.

Cut the thread with scissors. Pass scissors with closed blades and rings forward.

All work to be done on the table. Ensure proper posture while working.

Comply with all rules when working with sewing machine, iron.

After the work is completed, the parts, product, tools and fixtures are put in the designated place.

Conclusions:

Studying the history of the appearance of the doll, I learned a lot about the world of dolls. A doll can be not only an object of play, it can tell a lot about the history of your country, about the customs and traditions of peoples, about what clothes our ancestors wore. There are many legends and fairy tales associated with the doll.

Maybe someone will also want to make their own original doll in a national costume.

Literature:

Goricheva V.S., Dolls, Yaroslavl, "Academy of Development", 2000. - 170s,

Kochetkova N.V., We make toys ourselves, Volgograd: Teacher, 2010. - 141p.

3. Simonenko, Technology, a textbook for students in grades 6 of a comprehensive school.- M .: Venta-Graff, 20003-240s.

4. M. Nagibina. Do-it-yourself fabric miracles. - Yaroslavl:

"Academy of Development", 2000-208 p.

5. N. Ponomarev, Technology, Project activity in the classroom, ed. "Teacher", Volgograd, 2009-107.

Encyclopedia "Russian folk clothes in the images of author's dolls" is a unique book about Russian folk clothes from the time of Ancient Rus' to the beginning of the 20th century. Together with your children, you will discover wonderful world of Russian folk culture, look at all the details of the Russian costume on the amazing designer dolls of the best Russian puppeteers, and you can do it yourself, following detailed master classes, create simple textile dolls in authentic outfits. In addition to the most valuable historical information, needlewomen will find patterns in the book in life size And detailed description models of historical clothing of different levels of complexity - from a kokoshnik to a caftan and even boots. Even a novice craftswoman can handle some of them, and some require sewing and modeling skills. However, following the advice of the author, mastering this skill will not be difficult. A separate gift is a chapter on the outfits of the Russian nobility, who brought national color to Western fashion: "Russian sleeves" invented by Catherine II, kokoshniki, fur coats, feryazi, letniks, tall boyar hats. Welcome to the world of original Russian art!

About the book

Unique gift book: Encyclopedia "Russian folk clothes in the images of author's dolls"!

First richest history Russian folk clothes, from a peasant sarafan to a royal costume, are presented so fully and so beautifully, illustrated with amazing author's dolls of the best Russian authors.

And most importantly, the book contains master classes and unique patterns that will allow you to sew textile doll and dress her in a Russian costume yourself. Even recognized craftsmen will appreciate the rich set of patterns and patterns presented by the author for the first time.

Such a book should be in every home, because knowing and remembering the traditions of your people is very important for everyone, especially for the younger generation. In addition, this beautiful, large and richly illustrated book is a wonderful gift for any occasion.

• From the author
• INTRODUCTION
• FOLK COSTUME
• SOUTH OF RUSSIA
• Poneva
• Apron
• Tip
• Shuspan
• Shoes
• Folk costumes of Russia Malaya and Beliya
• FOLK COSTUME OF THE NORTH OF RUSSIA
• Sundress
• soul-warming
• cabbage evenings
• Winter gatherings
• Wedding
• Men's suit
• city ​​costume
• Winter clothes
• Women's hats
• COSTUME OF THE RUSSIAN NOBILITY
• Old Russian clothes of the nobility
• (XV-XVII centuries)
• Male royal, noble
• and boyar costume
• Female royal, noble
• and boyar costume
• Petrovsky innovations
• The Dark Decade
• Anna Ioannovna (1730-1740)
• The era of Elizabeth Petrovna
• (1741-1761)
• The golden age of Catherine II
• 19th century
• silver Age
• The last costumed ball of the Russian nobility
• WE SEW DOLLS AND COSTUMES
• Some Tips
• to create a doll
• Young lady. simple doll
• for beginners
• Grandfather Kokovanya and Daryonka. Uncomplicated textile
• dolls
• Short fur coat with asymmetric
• clasp
• Boots for Ivan Tsarevich
• Treads for Peter I
• Accessories
• PATTERNS
• BASICS OF COLOR SCIENCE
• Alphabetical index

Reviews

My daughter just "disappeared" in this book. She is 12. Many thanks to the author! This is not only useful reading for children, and to be honest, for me too, I didn’t know half of the names, it’s a shame, but as it turned out, it’s also fascinating! First, we made a report on the topic of Russian clothes for the school. And now she often just sits and leafs through the book, looks at the pictures, because the book turned out to be surprisingly atmospheric. And she also dreams of hanging on the wall a reproduction of the artist’s painting, which she saw in the book. The dolls on the swing just shine! Incredible! I highly recommend to anyone who is looking for a gift for friends! Especially if they have children of school age.

Semenova Valentina

Lidia Mudragel's books are always a holiday for creative people and for everyone who loves the world of dolls and toys. In my library there are all the books of this wonderful Master. But this one is just a godsend! Of course, this is not an encyclopedia (there is a lot of more informative and accurate literature on the history of the costume), but, nevertheless, I personally really liked the decision to make a puppet costume, even if a little conditional. For a detailed study and tailoring of historical and military costumes, not for dolls, but for people, of course, this book is not suitable. (In my library, an important place is occupied by literature on the history of costume, accessories and footwear, including specific literature on the national costumes of the regions of Russia). In my opinion, the cost and content of the book "five"! Some solutions, in particular - the method of stamping and painting a doll dress - pleasantly surprised me: it turns out that it can be done so simply. The book is not only pleasant to hold in your hands, but also pleases the eye: chic illustrations, a short digression into the history of Russian costume (from the time of Ancient Rus' to the beginning of the 20th century). I am pleased with the presentation of the material and the quantity useful information. Also in the section "We sew dolls and costumes" the author briefly provides material, more precisely, advice on creating a doll, making a frame, tightening a doll's face, creating a wig. Schemes, patterns and assembly sequence are attached. Patterns of historical costumes and shoes are also provided in the book. The book is a practical guide to action! It is also well structured. Consists of the following sections: "Folk costume of the South of Russia", "Folk costume of the North of Russia", "Costume of the Russian nobility", "We sew dolls and costumes", "Patterns", "Fundamentals of color science". Photographs of author's dolls by Ekaterina Tarasova, Svetlana Nikulshina and other authors became a huge gift and decoration of the book. I am very glad that I bought this masterpiece for myself, my beloved! This book is great to receive as a gift. The price is very good, especially when compared to other sites. The works of famous puppeteers shown in the photo inspire and amaze with the detail of the artistic image and costume. The book will be of interest not only to masters involved in the manufacture of dolls and toys, but to everyone interested in this direction. Therefore, friends, I recommend the book! And I immediately go, inspired, to finish the image of my new Masha doll - her costume will now be surprisingly popular!

Risha

Svetlana Birukova

Great idea and very cool execution! The beauty is indescribable, but there is also a lot of information - read and read. And as a gift, a great option - both spectacular and unbanal

Dirk Moske