National creativity. Coursework folk art creativity yak social and cultural phenomenon

artistic, folk art, folklore, artistic creativity, the spirit of the working people; It was established by the people and in the folk masses of poetry, music, theater, dance, architecture, figurative and decorative and applied art. In collective artistic creativity, the people create their own labor activity, Hromad and by-by-word way of life, knowledge of life and nature, cults and corruption. At N. t., Who was taught in the course of a successful work practice, in the eyes of the people, ideals and praise to the people, their poetic imagination, a rich light of thought, feeling, worry, protest against exploitation and oppression, the world about He took in the richness of knowledge of the folk masses, N. t.

Naybagatshi images, those, motives, forms of N. t. Vinikayut in a folding dialectical unity of individual (hocha, as a rule, anonymous) creativity and collective artistic character. The folk collective of the capital of the vidbirak, udoskonalu and zbagachuє znaydenі okremami rіshennya majstras. The onset, style of artistic traditions (within the framework of which, in its own way, special creativity is manifested) is to admit the variability, versatile reincarnation of these traditions in the surrounding creations.

Collectiveness of N. t., Warehouse and its permanent basis and non-peaceable tradition, appear in the course of the whole process of forming creation of any type. The whole process, which includes empowerment, consolidation of tradition, further elaboration, improvement of tradition and hour, will appear superstitiously long in hours. It is typical for all types of N. t., That the creators create є at once by the viconavtsy, and the vison, in his own house, can be found in the options, so that the tradition is built up; It is also an important contact of the viconavts with a mystery of people, as they themselves can be seen as participants in the creative process. To the main rice N. t. To lay it on and on the way there is a lack of segregation, a high artistic unity of these types: poetry, music, dance, theater were angry in folk ritual activities, decorative art; in folk life, architecture, construction, design, ceramics, vishivka were used to create an insignificant value; folk poetry is closely tied to music and its own rhythm, musicality, and the character of the show of great creatures, such as the musical genre, wake up to the poetry, laborious rucks, dances. Create and navichki N. t. Bezposeredno pass from generation to generation.

N. t. Became the historical basis of all light artistic culture. Yogo principals, the most traditional forms, vid and partial images originated in the distant past in the minds of the pre-class suspension, if all the mystery was given to the creation and to the people (div.). With the social development of the people, the form of the class suspension, the development of the practical steps to see the professional "high", "high" artistry. N. t. Takozh set up a special layer of light artistic culture. In the new one sees the development of the social wickedness of the ball, tied with the class differentiation of the suspension, and even to the ear of the capitalist period of N. t. Organizational link with the fundamental principles to the people, the poetical purpose of being brought up to the light, without interruption in the process of enriching the high artistic level of the folk art. Prior to that, N. t. Virobilo was a special form of specialization, the decline in the number of majors and newcomers.

N. t. Riznykh, often far from the distant one from one nation Volodya bezlichchu rice and motives, as well as in the minds of others, as well as sedated from the zalny dzherel. At the same time, M. t. Stolittyi absorbed the peculiarities of the national life, the culture of the skin people. Vono has preserved its life of labor, surplus with the dzherel of the national culture, the defiance of the people's self-awareness. It gave rise to the strength and strength of N. t. For all the light mystery, forgive me the works of F. Rabelais and V. Shakespeare, A. S. Pushkin, M. A. Nekrasov, P. Bruegel and F. Goya, M. I ... Glinki and M. P. Mussorgsky. At his own curtain N. t. Bagato took the form of a "high" mystery, but he knew the versatile turn - from the classic pediments on the village huts to folk songs to the words of great poets. N. t. Preserved the value of the revolutionary attitudes of the people to fight for their freedom.

In the minds of capitalism, having consumed in the sphere of bourgeois suspension-economical wines, N. t. Growing up in the land is nervy. Bagato yogo gіlki degrade, grow up to know or perebuvayut under the threat of vitisnennya; They are consuming their valuable rice by industrializing themselves or getting close to the market. At the 19 st. Growth of national self-confidence, democratic and nationally-vis-à-vis-à-vis, development of romanticism awaken interest to N. t. In the end of the 19th - 20th century. to take advantage of the infusion of folklore into the culture of the people, to innovate the actions of the galuzy of N. t., to organize the museums and the suspension of their protection. At the same time, the state and private patronage is often ordered by N. t. To the commercial goals, the interests of the "tourism industry", for whom I cultivate in the new most archaic rice and religious survivors.

In the socialist support of the branch, give it a thought for the protection and development of N. t.; inherited and maintained national folk traditions, taken over by the ideas of socialism, the pathos of imagining new things, changing action; N. t. To be corroded by a systematic pedagogical state and huge organizations, and the majisters are awarded prizes and honors. It has been created by the fringes of scientific-pre-ancient institutions - institutes and museums, which can be used to promote N. t. Bagato traditional genre N. t. Vidmiyut (for example, ceremonial folklore, Serpent, folk drama), ale іnshі know a new place in life. Population and new forms of art culture of folk masses. To develop intensively (choris, choreographic collectives, folk theaters, etc.), where nature is, below N. t. Creations for a rich capital of high education N. t. Preserve the significance of the ever-living cultural decline, the treasury of artistic information of the folk masses.

people poetical creativity- Massive verbal artistic creativity of that chi іnshy people; the supremacy of both types and forms, modern science cim term, maє i in. name - folk literature, sleepy literature, folk poetry, folklore. Verbal art creativity in the process of forming human movi. Even at the early stages, the development of the suspension is tightly knitted from it. By the types of humanity, the imaginative cobs of their knowledge and religious-mythological manifestations. In the process of social differentiation of the suspension of the winery, the development of the form and form of verbal creativity, as the image of the interest of the growing suspension groups and prosharkiv. Nayvazhliv_shu role in the development of the creative work of the laboring folk masses. With the appearance of writing, the literature is historically tied with N. to sleep.

Collectiveness of usnoi N. t. (This does not mean only the rotation of thoughts and the feeling of the collective, but rather for everything - the process of collective establishment and expansion), the broadening of variability, that is, the minivism of texts in the process of getting involved. With a lot of snakes, they could be even more dynamic - from insignificant stylistic options until I think about it. In the memory of, and also in the variation of texts, the role of playing the original stereotypical formulas is significant - so called the out-of-the-box story, connected with the singing plot situations, to move from the text to the text (for example, the form in the saddle-lines - ).

In the process of running the genre of verbal N. t. Experiencing the "productive" and "unproductive" period ("vіki") of my history that culturally-pobutova zinami in the suspension. The style of popping up folklore texts from the folk can be explained not only by the artistic value, but by the power of change in the way of living, the glimpses, the tastes of the main creators and keepers - the villagers. Texts of folklore works of ethnic genres in minli (however, in the stage of development). However, in general, tradition is in N. t. Nabagato is more powerful than in professional literary creativity.

Collectiveness of verbal N. t. Does not mean zezno-isolation: talented maestri actively poured not only on the stem, but on the broader, thoroughly or even attached texts to the needs of the collective. In the minds of the priesthood of vicarious professors N. t. (Long-standing, Russian, Ukrainian kobzars (Div.), Kazakh and Kyrgyz, etc.). In the lands of the Near Descent and Middle Asia, in the Caucasus, there were transitional forms of verbal N. t. for example, Toktogul Satilganov in Kyrgyzstan, Sayat-Nova in Virmenia).

The wealth of genres, themes, images, poetics of verbal N. t. Is ampled with the versatility of his social and by-beat functions, rozpovіdannya, rozіgruvannya, dialogue, etc.). In the course of history, the genre's deyaky became aware of the sutta wines, they knew, they were new. In the found period, the majority of peoples have experienced childbirth, labor and rituals, serpents. Piznіshe winnіkayut charіvnі, pobutovі kazki, kazki pro tvarin, pre-state (archaic) form a. During the period of the formation of statehood, a classic heroic epic was held, along with the victorious historical pictures (Div.), Baladi (Div.). More recently, an out-of-order lyrical song has been formulated, and in. Small lyrical genres і, nareshty, working folklore (revolutionary songs, usnі razpovіdі etc.).

Uninvolved in the national language of the creation of verbal N. t. native peoples, Bagato motives, images and plot in them are similar. For example, close two-thirds of the plots of the Cossacks of the European nations may be paralleled in the Cossacks in. People, scho viclikano or development from one dzherel, or cultural interaction, or the events of similar appearances on the ground of the outward laws of social development.

Right up to the late feudal era and the period of capitalism in the language of N. t. пізніше literature create active, lower earlier, penetrate the folk middle (for example, "V'yazen" and "Chorna Shal" by A. Pushkin, "peddlers" by N. A. Nekrasov; div. also about in st.,). Z in. Boku, the creativity of folk kazoks nabuva deyaki rice literary (individualization of characters, psychologism, etc.). The socialist support has accessibility to education without giving the opportunity to open the door to the bestowal and creative professionalism of the most gifted people. Riznomanitni forms of mass verbal and artistic culture (creativity of artists, parts, tvir intermedia and satirical scenes, etc.) are developed in close contact with professional socialist mystics; In the middle of them, the singular role is to continue the development of the traditional form of the verbal N. T. Bagatov's thought has given the inevitable artist the value and the triviality of the idea of ​​such pictures, cuts, etc. relish, beaten. Tsim poured and gliboky infusion of verbal N. t. On the development of literature. M. Gorky said: "... An ear of mystery of the word is in folklore" ("About Literature", 1961, p. 452). About the records of N. t., Yogo vivchenna and methodological principles of vivchennya div ..

Folk music (musical folklore) - vocal (more importantly), instrumental and vocal-instrumental collective creativity of the people; Bytuє, as a rule, in non-written forms and passed on to the Vikonavskiy traditions. Being nadbannyam all the people, the musical N. t. Isnu the head rank of the head of the viconavsky mystery of talented nuggets. Among other peoples, guslyar (div.), Skomorokh (Div.), Kuyshi (div.), Gusan (Div.), Olonkhosut (div.), Aed (Div.), Ta in. Rounds of folk music, yak and ін. mystics, come from the prehistoric past. The musical traditions of the rural suspension formations are viciously stylish, tenacious. In the dermal historical era, create more and more ancient and transformed creations, as well as re-created on their basis. In the sukupnostі stench, they establish so the titles of traditional musical folklore. This is the basis of the storehouse of the music of the peasantry, as it is a trivial hour to take the rice of a unique independence and, in general, to be derived from the music, tied with more young, writing traditions. The main types of musical N. t. - пісні (Div.), Epіchnі opovіdі (for example, Russian, Yakutsk olonkho), dance melodies, dance adjusters (for example, Russian parts Div.), Signals dance). Kozhen tvir of musical folklore is represented by a whole system of stylistic and semantically native variants, which characterize the changes of folk music in the process of vikonannya.

The richness of the genre of folk music is the result of versatility and life functions. The music of the supernatural is all the work and life of the peasant: the calendar of the holy of the rural farming stake (carols (Div.), Maslyans, kupalsky pictures), polovi robots (the dead, the life of the village), the funeral -prіchіtanіya). Among the cattle people, the bulls were tied to the tamed horses, the corral of thinness, etc. Pіznіshe naybіlshy rozvitok in folklorі vsіh narodіv otrimali lіrichnі genre, de on zmіnu simple, short naspіvam labor, ceremonial, tantsyuvalnih i epіchnih pіsen abo іnstrumentalnі nagravannya coming rozgornutі i hour skladnі for Form muzichnі іmprovіzatsії - vokalnі (napriklad, rosіyska broaching pіsnya, rumunska i moldavska ) and instrumental (for example, software programs of Transcarpathian violinists, Bulgarian cavalry, Kazakh dombra players, Kyrgyz komuzists, Turkmen dutarists, Uzbek, Tajik, Indonesian musical instruments).

V different genres folk music has been classified as versatile type a - from recitative (Karelian, Russian bilini, Russian-Slovenian epos) to richly ornamental (lyrical songs to the near and wondrous middle-class musical cultures), , nimetska choir chord, Georgian quarto-second and middle-Russian under-voice polyphony, Lithuanian canonical), rhythm (Div.) (zorem, rhythmic formulas, well-tuned rhythm of dance types of work 'Umnih frets to the rosy diatonic of "vilny melodic fret"). Riznomanitni also form stanzas, couplets (boys, symmetrical, asymmetric and in.), Creation in general. Musical N. t. Isnu in monophonic (solo), antiphony (div.), Ensemble, choral and orchestral forms. Typical choral and instrumental rich voices rіznomomanіtnі - from heterophony (Div.) I Burdon (bass background sound uninterruptedly) to folding polyphonic and chordish statements. Kozhna national folk music culture, which includes a system of musical and folklore dialects, set up with a whole musical style goal and one hour to get together with ін. Cultures in a large folklore and ethnographic spirituality (for example, in Europe - Scandinavian, Baltska, Karpatska, Balkanska, Srednomomorska, etc.).

Fiksatsiyu folk music (in the 20th century. For additional sound recording technology) is engaged in a special science discipline - musical ethnography, and to the preliminaries - ethnomusic studies (musical folklore).

On the basis of folk music, the winners are practically all national professional schools, which are legal for the culture of the folk music of folklore decline - from the simplest images of folk melodies to the traditional folk music, folk music In the current musical practice of N. t. Є with late power, both for the professional, and for the new forms of self-made art.

In Russia, the largest expansion in the village, soldier, and factory middle was rejected by the dramas "Tsar Maximilian and the unconquerable Sin Adolf", "Choven" rozіgruvalis also dramas "Tsar Irod", "Yak a Frenchman brav Moscow." For their type of stench, they are introduced to the houses of the tyrannical peoples of the tyrannical peoples, to heroic or so-called rozbyynytsky dramas. "Tsar Maximilian" is a small literary pershodelo - the school drama "Vinets Dimitriya" (1704), which is based on "The Life of St. Demetrius"; "Choven" (the end of the 18th century) is a sketch of the folk painting "Down the Matins by the Volza". The residual formulation of the tsikh p'єs is tied to the fragments included in the text from the works of the poets of the 18th century - the 1st half of the 19th century. - G. R. Derzhavina, K. N. Batyushkova, A. S. Pushkin, M. Yu. Lermontov, motives and images of popular novels. In Russia, there were also satirical p'usi "Pan", "Goliy Pan", "Petrushka".

best characteristic feature folk theater (like the glamor of folklore art) є a sense of the cleverness of costumes and requisites, rucks and gestures; In the course of the manifestation, the actor without a mediocre splitting from the public, as she could give remarks, get involved in the show, direct him, and once and take in a new fate (play together with the chorus of viconauts, images in other scenes. The folk theater, as a rule, is not a stage or a decoration. The main interest in the new development is not on the level of the openness of the characters of the different individuals, and on the tragedy or comic situations, the situation. Great significance may vikhidni monologues of heroes, vikonannya good people pisen (folk or specially folded for giving), ariy from operas. In folk drama, there are two types of characters - dramatic (heroic or romantic) and comic. The first vidrіznyaє is a high-class style of beasts, monologues and dialogues, others - comic, parody priyomi, grasliv. The tradition of performance in the folk theater has given birth to a special kind of theatrical performances, as they have renounced the style. The event in Bagatioi regions is called a traditional theater. Near the lands of Asia, since the founding hours, there have been broadening of folk-dance pantomime vistavi. The traditional theater of the peoples of Asia was formed on the basis of this: the theaters of wayang-topeng in Indonesia, Kolam on the island. Shri-Lanka (Ceylon), Kathakali in India and in.

The peculiarity of the artistic and viconavian priyomy in the folk theater took in the performances of the professional theater and victorious by them (U. Shakespir, Mol'ar, K. Goldoni, A. N. Ostrovsky, E. De Filipo).

Folk dance is one of the found species of N. t. The dance will be partly folk dance at saints and fairs. The appearance of round dances and іn. Ritual dances are tied with folk rituals (Ceylon dance in the fire, Norwegian dance with resinos, words in a round dance, tied with rituals of curling birch, wicker winkling, burning bagat). Proceedingly from the ritual events, the round dance was reminiscent of a new zmist, which twisted around the new specialties. The people, who took care of the love, the creation, were imbedded in the dance with a guard over the creature's light. Figuratively and vividly conveyed the character and the little animals, birds, domestic animals: the dance of the bizon of the Pivne American Indians, the Indonesian penchak (tiger), the Yakut dance of the weddy, the Pamirian, the Chinese pіvnyachiy bіy і ін. There are dances on those silskoy pratsi: the Latin dance of women, the Hutsul dance of the woodcutter, the Estonian dance of the shevts, the Bilorussian lianok, the Moldavian poame (grapes), the Uzbek shovkopryad, buttermilk (bavovna). With the appearance of a creative and factory practice, new folk dances are revealed: Ukrainian cooper, German dance of skloduvs, Karelian "Yak tchut cloth" and іn. Folk dance is often inspired by the spirit of veneration, valor, heroism, and is seen in a stage battle ("ancient" dances of ancient Greeks, to dance the mystery of dance with fencing prizes, Georgian horums, Georgian horums, great misce in dancing N. t. borrowed the theme of love; a collection of tsі dancesі boules outwardly erotic; more dancers have appeared, as they twist the nobility of the sentiments, the shanobly staged to the woman (Georgian, Russian Baynovskaya, Polish Mazur).

The skin people had their own dance traditions, plastic movement, especially the coordination of rukhiv, priyomy and development of music with music; some of the dance phrases are synchronous with musical phrases, while the others (Bulgarians) are not synchronous. The dances of the people of Western Europe are grounded in Rusi nig (hands and body yak bi їm companions), in the dances of the people of Middle Asia and ін. Land The main thing is respect for the collapse of the hands and the body. At a folk dance, a panun is rhythmically cob, like a dancer (prevention, claps, dzvin kilets, dzvinochkiv). Bagato dances vikonuyutsya on the accompaniment of folk instruments, as dancers often trim in their hands (castanєti, tambourine, drum, doira, accordion, balalaika). Deyaki dances will be able to visit with whip accessories (khustku, droplets, dish, bowl, bowl). A great infusion on the character of the vison of the costume: so, the smoothness of the movement of the Russian and Georgian dancers, dovga dovga cloth, so that the feet are curled up; a characteristic ruh in the Russian and Ugorsky cholovichy dance - see through the freebies of the hard chobits.

The development and popularity of folk dance in the SRSR were given the recognition of the new stage form - folk dance ensembles. In 1937, there were new works, which solidified a scenic folk dance in professional choreography. Elementy folk dance vikoristoyutsya in classical ballet. All republics Radiansky Union branches of professional folk dance ensembles. Professional and amateur collectives of folk scenic dance expanded in the lands of the usy svitu (div.).

Folk architecture, figuratively and decoratively applied art, include artworks, buds (div.,), Home stuff and furnishings (div. etc. Up to the number of the most important artistic and technical processes, expanded in N. t., Introduce, artist, etc. People's architecture and decorative and applied art should lie down to material virobnity, be absolutely creative in nature; There is anger in them, aesthetic and utilitarian functions, figurative misinformation and technical wines.

Constructive and formalizing the subject of the middle and giving the subject-aesthetic twist of labor processes, the by-pass way of life, calendar and native rituals, N. t. In okremikh rice N. t. Follow the norms of pratsi and pobutu, stumps and viruvannya, vyshіdnі to neolіtu and bronze vіku. best galery element N. t. To serve since ancient times, which additionally helps to achieve organic unity of composition and highly interrelationship with the technique of visibility, feeling of the subject, plastic form, natural beauty of the material. In some ornamental motifs, most of the few collection of mythological sensations ("svytovye tree", "great goddess" with maybutny, solar symbols), rice of primordial evidence, mythological and magic abilities. Both ancient roots appear, for example, and in the folk arts, in which the rice of the primordial cult plastics is quilted. To the creators of N. t. Often the power is specific to those who call them, to take care of them, if the memory of the cult nature is absorbed, or the mythological intelligence of the person I call. We will explain and explain the Germanicity, the ephemerality of the items of N. t. (Malyunki piskom, fried eggs), which are carried out periodically and regularly repeated rituals.

On the vidminu from the "high" mystery of huge tops, N. t. I do not know the contrasting changes artistic styles... In the course of this evolution, there are new motives, and the steps of stylization and the character of comprehension of the old motives are changing; The image, tied with the roots of the light about the light, acted in a narrow-minded sense (for example, in the new signs-amulets and signs by-item items) For the grati were repaired for a purely decorative role, as the shape of the object often became unimportant from insignificant constructive and functional changes. Revealed about speeches in N. t. Zazvychay does not get locked into the preparation model, but rather a little one, but lives in the witness and ruts of the maister; with the whole result of this individual wines, how to produce the most rational robots, guilty of being accepted by the national team. By virtue of this, the tradition is conceived post-mortem, but if only a few of the specific changes are made. Found objects (for example, wood buckets at a pitching view) can be superbly close to nature; the development of the understanding of these forms in N. t. rational victors technical inputs and materials.

In the world of class differentiation of the suspension, there are changes in the minds for the winery of N. t., Who will serve as servicemen to consume the lower balls of the suspension and the collection of home artistic robots for themselves and before the silk handicraft. The appearance of a special folk gilka still appears in the ancient mystery (for example, in votive objects (Div.) Of the Italo-Etruscan stake, how to fake neolithic plastic). Cobbled monuments of palace and cult architecture are tied with the simplest ancient images of folk tree and stone architecture (Yegeyskiy, Nimetskiy Halle), with portable veins of kochiviks, etc. Budivnitstva that national architecture, as a service staff in the main village bungalow (living room, tik, komora, barn, hliv, etc.).

In the middle Europe, the feudal-ecclesiastical culture defended the preservation of the cultural tradition of the clan harmony, the state and political isolation, the cult of the mythical gods; virazom ts'go old folk strumin in middling mystery, zazvychay filled with images of animal style (Div.). Narodny svitoglyad, with special purity, it was violated in yazychnitsky embellishments-amulets, in the memorials, like with butts I pour folk culture to the court and church (such are the figures of the Volodymyr-Suzdal school (Div.), the grotesque plasticity of the Romanesque and Gothic churches, ornamentation of manuscripts). However nerozvinenіst inventory penny vіdnosin, Slabko diferentsіatsіya forms pobutu and takozh printsipova anonіmnіst serednovіchnogo Mistetstvo i blizkіst Yogo maystrіv to national seredovischі not spriyali tsіlkovitogo vіdokremlennya N. t. We kraїnah, pіznіshe entered into Rann stadіyu rozvitku, zokrema in serednovіchnіy Rusі, podіbna situatsіya zberіgaєtsya right up to the end of 17 - a cob of 18 tbsp. At the edges of the descent, especially in the early (up to the 19th and 20th centuries), they kept a middle-aged way of life, all decorative and applied arts were very much perfected by folk handicrafts and high-rise N. t. in the imaginative and artistic series of the countries, the popular strumin (Chinese, Japanese, Indian popular print) is strong. Nareshty, in the lands, which survived the colonization, the basis for N. t. Zazvichay served as the ancient tubular culture, which would have absorbed rich rice of the brought cultures.

For the distribution of feudalism and the guild system, work is done on the market of folk art craft; the managers of the N. of t., still retaining a tight connection with the people's beggar, will master new types of products, new forms and those. From the side of the art, the emergence of artistic individuality and the cult of ancient mystery, which were laid down in the era of Renaissance, to produce until N. t. Narodna art culture- create a religious painting (votive paintings, ikoni, writing on the slope, a sculpture is rosefarbovana), which grows rapidly from the 16-17 century. (Especially in the lands of the Catholic cult), decorated with saintly, popular prints, with the new archaism of forms, - I can already use the system, below the Vishukan, for an innovative, independent vitvory of the "high" mystery; analogous distribution of wine and in the style of items by the way. Tsei opening the mensh is visible there, de folklore elements deeply penetrate into the culture of the privileged faiths and churches. In Russia, it manifested itself, for example, in the architecture of the palace in the village. Kolomensky (17th century), Three great number of forms of folk wooden architecture, and in the regions Latin America- in the decor of the Baroque church, picking rice paintings of pre-Columbian civilizations. In the 17th and 18th centuries. in N. t. there is a weak ideographic ear. In Russian motives, now everywhere there is symbolic-geometric vіzerunki, decorative mode of old vіlnіshe, rіznomanіtnіshoyu. N. t. Pronikau has more and more fresh warnings, by-key plots, growing up to the Kazakh-folklore comprehension of the life of the other spheres of the suspension, to the suspicion of the forms of pan-style styles, the mathematics of labor of the texture of expensive However, new motives and forms (renaissance, baroque, empire) penetrate into N. t. In total for 17 - ear of 19 tbsp. to bring the era of the development of N. t., which gave a superb distribution of their types and forms. Tsomu was equipped with N. t. Earlier inaccessible to them materials and tools, new technical possibilities, broadening the horizons of folk artists, development of folk lyricism and satire.

At the 19 st. Intensively developing artists are increasingly drawn into the system of capitalist economics; Commodity handicrafts in large regions are left as a conservative domestic one. In Russia, in 1861, the character of private maisterns, which was brought to the All-Russian market, was filled with character. The university of specialization of industries, efficient distribution of processes and standardization of motives for people to use different types of forms, borderingly angry with the virtual receptions of technical performance (within an hour's reach of the machine); At the same time, there is no mechanic lack of mastery, all parts of which are creative creativity. They enjoy the imagery of masculine and anti-artistic products, unmistakably technical and natural principles for folklore. Compositions, previously strictly organized, filled with meaningful associations, become more vivid, a little less logical. The tempera painting of the Farbi is more ol_ine, and more aniline; folk icon and splint withers; in plasticity, the volume-subject form is incorporated into architecture. The image and the ornament, which used to be angry with the picture, now look like a picture pasted on the surface. Okremi galusies, which do not stand out in competition with cheap factory virobs, do not fall asleep, but they do not grow or expand, but they do not show a good technique, style of industrial commerce and the ideas of a professional machine tool In a number of countries, such as mali before naybagatshim N. t. (England, Dania, Niderlandi), it is more likely to grow in in the districts But they have saved the strained layers of the middle culture (the provinces in Russia, Brittany in France, Tyrol in Austria, Slovakia, Balkan lands, Spain, Sicily in Italy).

In the middle of the 19th century verbal folklore, In the ranks of the regions, the winery is of interest to the folk decorative art. For every hour the aesthetics of N. t. (Yak national, and exotic), its barvism and rhythm are more and more infused into the professional architecture, figuratively and decorative art. To fix the collection of collections of N. t., Gromadic organizations and patrons of the arts are developing a number of new industries and organizing new ones. A special range of activities was carried out at the turn of the 19th and 20th centuries. with extended style "" and associated with him national and romantic trends. However, imposing the idea of ​​easel-type on the people's masters, the artists and theorists of "modernity" most often revealed the unreasonable specifics of N. t. in the ranks of the capitalist lands, navpaks, they were afraid to try to bring the folk sculpture and ornament to an abstract painting.

Create a funky N. t. Wear in the main character of decorative virobes and souvenirs, figuratively inform about the freedom of folk culture of this kind; zavdyaky their obviously handicraft respect the stink of rice national traditions and without a middle population, I am mainly standardized by industrial means. Folk arts and crafts play an important role in the economy of the country, as it develops. In the Bagatio regions (the first for everything in the USSR and in the Socialist Powers) there is a need to protect the people's industries and іх artistic freedom, The dіyalnіstіnіm mіstrіv want to hunt for additional competitions and shows, professional and technical schools and colleges prepare artists and viconavtsіv. For the participation of pre-scientific institutes and museums, the tradition and education of N. t., Zokrem, from Tim, to see virobi and decorative priyomi, to sound happy life, can be learned. N. t. Nadaє unremittingly pouring in on the artist's prominence, in addition to helping to know the most varied forms and decor of by-word speech; okremi risi N. t. live in the creations of self-made maestros, as well as professional artists, such as vikoristovuyu to see the folk art. In the SRCR, a number of quieted folk industries have evolved, a lot of new developments have been taken out and linked to the national life of the organization (for example, the number of centers of the iconography have become universally visible centers of varnish). In different types and genres of Radyansky N. t. folk traditions to enjoy a wide range of interests and active children of radiant action.

About N. t.Riznykh people see Rozdili Literature, Architecture and Imaginative mystery, Music, Ballet, Drama Theater, Circus in articles about the country and about the republics of the USSR.

Lit.: Chicherov V. I., K. Marx and F. Engels about folklore. Bibliographic materials, in books: Radianskiy folklore, No. 4-5, M. - L., 1934; Bonch-Bruєvich V.D., V.I. Lenin about usnіy folk creativity, "Radianska ethnography", 1954, no. 4; Lenin's spadschina and vivchennya folklore, L., 1970. Propp V. Ya., Specificity of folklore, in book: Pratsi juvileynoi naukovoi sesiya LDU. Section of Philological Sciences, L., 1946; yogo zh, Folklore and action, "Russian Literature", 1963, No. 3; Chicherov V.I., Nutrition of the theory and history of folk creativity, M., 1959; Gusєv V. Є., Aesthetics of folklore, L., 1967; Bogatirov P.G., Nutrition of the theory of folk art, M., 1971; Kravtsov N.I., Problems of Slov'yan folklore, M., 1972; Chistov KV Specificity of folklore in the theory of information, "Nutrition of Philosophy", 1972, No. 6; Schulze F. W., Folklore ..., Halle / Saale, 1949; Cocchiara G., Storia del folklore in Europa, Torino, 1952 (Russian translation - M., 1960); Corso R., Folklore, 4th ed., Napoli, 1953; Thompson S., Motifindex of folk-literature, v. 1-6, Bloomington 1955-58; Aarne A. The types of the folktale. A classification and bibliography, 2 ed., Hels., 1964; Krappe A. H., The science of folklore, N. Y., 1964; Bausinger H., Formen der "Volkspoesie", B., 1968; Vrabile G., Folclorul. Obiect. Principii. Metodă. Categorii, Buc., 1970.

Meltsi M. Ya., Russian folklore. Bіblіografіchny pokazchik, 1945-1959, L., 1961; the same 1917-1944, L., 1966; the same 1960-1965, L., 1967; Z. I. Kushnereva, Folklore of the peoples of the SRSR. Bibliographic dzherela Russian language (1945-1963), M., 1964; Volkskundliche BibliogrgIphie B, -Lpz., 1919-957; , In the book: Internationale volkskundliche BibliogrgIphie Bonn, 1954-70.

B. Bartok, Navishcho i yak zbirat folk music, M., 1959; Kvitka K.V., Fav. pratsi ..., t. 1, M., 1971-1973; Narisi musical culture peoples of Tropical Africa, Sat. Art., comp. i ter. L. Golden, M., 1973; Bose F., MusikaIlische Völkerkunde, Freiburg im Breisgau, 1953; Nettl B., Theory and method in ethnomusicology L. 1964; Brăiloiu S. Folklore musical, in yogo book .: CEuvres, v. 2, Buc., 1969, p. 19-130.

Alfiorov A.D., Petrushka і th ancestors, M., 1895: Onchukov N.E., Pivnіchnі narodnі drami, St. Petersburg, 1911; Russian folk drama XVII-XX century. Texts p'єs і describe uyavlen, ed., Vstup. Art. і comments by P.N. Berkova, M., 1953: History of the Western European Theater, pіd zagalny ed. S. S. Mokulsky, t. 1, M., 1956; Avdov A.D., Pokhodzhennya theater, M. - L., 1959; Vsevolodskiy-Gerngross V.N., Russian Usna Narodna Drama, M., 1959; Dzhivelegov A.K., Italian folk comedy ..., 2 vidavnitstva., M., 1962; Cohen C. Le théâtre en France au moyen-âge, v. 1-2, nouv. éd., P., 1948.

Tkachenko T. S. Folk dance M., 1954; Goleizovsky K. Ya. Images of Russian folk choreography, M., 1964; The encyclopedia of social dance, N. Y., 1972.

Malitskiy G.L., Pobutovі motives and plot of folk art (in the list and development), Kazan, 1923; History of the Russian Mistress Vol. 4, 7, 8, (book 2), 9 (book 2), 10 (book 2), 11-3, M., 1959-9; Razina T. M., Russian folk creativity M., 1970; Vasilenko V.M., About the wizard in the Russian peasant mystery of the 18-19th century, in the period: Russian mystery of the 18th - the first half of the 19th century, M., 1971; Voronov V.S., About Selyanske Mistress. Vibrani pratsi, M.,; Riegl A., Volkskunst, Hausfliess und Hausindustrie B., 1894; Art populaire. Travaux artistiques et scientifiques du 1st Congrès International des arts populaires, ed. H. Focillon, v. 1-2, R., 1931; Spiess K. von, Bauernkunst, ihre Art und Sinn, W., 1942; Toschi T., Saggi sull "arte popolare, Roma, 1945; Harmon M. Cocchiara G., Marabottini Marabotti A. Folk art in the book: Encyclopedia of world art, v. 5, L. - NY - Toronto, 1958, p . 451-506 (є lit.); Bossert T. H., Peasant art of Europe and Asia, NY, 1959. Div, also lit. at articles,