Biography of folk art

Folk art of art, folk art, folklore, artistic creative activity of the working people; Poetry, music, theater, dance, architecture, visual and decorative art created in the people's masses. In collective artistic work, the people reflect their labor activity, social and household ways, knowledge of life and nature, cults and beliefs. Having absorbed the centuries -old experience of the masses, N.

The richest images, themes, motives, forms of N. The People’s team selects for centuries, improves and enriches the solutions found by individual masters. The continuity, the stability of artistic traditions within which, in turn, personal creativity is manifested with the variability, the diverse implementation of these traditions in individual works. The collectiveness of N.

This process, including improvisation, its consolidation by tradition, subsequent improvement, enrichment and sometimes updating of tradition, is extremely long in time. It is characteristic of all types of N. to the main features of N. The works and skills of N. his original principles, the most traditional forms, types and partly images were born in ancient times in the conditions of a reporting society, when all art was the creation and property of the people, see primitive art.

With the social development of mankind, the formation of class society, the division of labor, the professionalized “high”, “scientific” art is gradually distinguished. It stands out in it, the layers of various social content are distinguished with the class differentiation of society, but by the beginning of the capitalist period N. The organic connection with the indigenous principles of the worldview of the people, the poetic integrity of the attitude to the world, and unceasing grinding determine the high artistic level of folk art.

In addition, N. At the same time, N. It retained its liveliosity labor basis, remained a storehouse of national culture, the exponent of popular self -awareness. This determined the strength and fruitfulness of the influence of N. Rabelais and W. Shakespeare, A. Pushkin and N. Nekrasov, P. Bruegel and F. Goya, M. Glinka and M. In turn N. in the conditions of capitalism, falling into the sphere of bourgeois socio-economic relations, N.

Many of his branches degrade, completely disappear or are under the threat of crowding out; Others lose their valuable features, industrialized or adapting to the requirements of the market. At the end of the 19th - 20th centuries. At the same time, state and private philanthropy often subordinates N. in a socialist society created the conditions for the preservation and development of N.

created a network of research institutions-institutions and museums that study the experience of N. Many traditional genres of N. are also born new forms of artistic culture of the masses. The amateur performances of the choirs, choreographic groups, folkaters, etc., are developing intensively. Creedy for many centuries N. Folk poetic creativity - mass verbal art of artistic work of one or another people; The totality of its types and forms, designated in modern science with this term, has, etc.

Verbal artistic work arose in the process of forming human speech. In a post -class society, it is closely connected with other. In the process of social differentiation of society, various types and forms of oral verbal creativity arose, expressing the interests of different social groups and layers. The most important role in its development was played by the work of the labor masses.

With the advent of writing, literature arose, historically related to the oral N. The collectivity of oral N., while the changes could be very different - from minor stylistic variations to a significant processing of the idea. In memorization, as well as in the varying of texts, a significant role is played by peculiar stereotypical formulas - the so -called common places associated with certain plot situations, passing from the text to the text for example, in epics - the Sedlavia Formula, etc.

In the process of existing genres of verbal texts in folk life, not only their artistic value, but also also of their artistic value, but also. The slowness of changes in the lifestyle, worldview, tastes of their main creators and guardians - peasants. The texts of folklore works of various genres are variable, to varying degrees. However, in general, traditionality has in N.

the collectivity of the verbal N. In the conditions of the division of labor, peculiar professions of the performers of the production arose. The wealth of genres, those, images, poetics of the verbal N. In the course of history, some genres underwent significant changes, disappeared, new ones appeared. In the ancient period, most peoples had generic traditions, labor and ritual songs, conspiracies.

Later, magical, household fairy tales, fairy tales about animals, pre -state archaic forms of the epic arise. During the formation of statehood, a classic heroic epic developed, then historical songs, ballads arose.Later, an uncertain lyrical song, romance, ditties, etc. were formed later. Despite the bright national coloring of the works of verbal N., for example, about two -thirds of the stories of fairy tales of European peoples have parallels in fairy tales of others.

Up to the late feudal era and the period of capitalism, the verbal of N. Later literary works are more actively penetrating into the folk environment, for example, a “prisoner” and a “prisoner” and a “prisoner” and a “prisoner” and a “prisoner” and a prisoner and a prisoner and a prisoner and a prisoner and a prisoner "Black shawl" A. Pushkin, the "boxes" of N.

Nekrasov; See free Russian poetry, popular literature. In a socialist society, the availability of education ensures an equal possibility of revealing the talents and creative professionalization of the most gifted people. A variety of forms of mass verbal-artistic culture is the work of songs, ditties, the composition of interludes and satirical scenes, etc. The centuries-old existence ensured an enduring artistic value and the long existence of such songs, fairy tales, legends, etc.

This also determines the deep impact of the verbal N. Gorky: “The beginning of the art of the word is in folklore” “About literature”, “About literature”, p.

On the recording of N. Folk music musical folklore-vocal mainly song, instrumental and vocal-instrumental collective work of the people; It is, as a rule, in an incompatible form and is transmitted thanks to performing traditions. Being the property of the whole people, the musical N. are those among different peoples Kobzar, Guslyar, see Gusli, buffoone, Ashug, Akyn, Kuysh see.

Kuy, Bakhshi, Husan, Hafiz, Olonkhost see Olonkho, AED, Jug, Menstrel, Spielman and others. The origins of folk music, as well as other musical traditions of various social formations are extremely stable, tenacious. In each historical era, more or less ancient and transformed works coexist, as well as re -created on their basis. Together, they form the so -called traditional musical folklore.

Its basis is the music of the peasantry, which for a long time retains the features of relative independence and generally differs from music related to younger, written traditions. The main types of musical N. Each work of musical folklore is represented by a whole system of stylistically and semantically related options that characterize changes in folk music in the process of its performance.

The genre wealth of folk music is the result of the variety of its life functions. The music accompanied the entire labor and family life of the peasant: the calendar holidays of the annual agricultural circle of carols, springwood, Shrovetide, Kupala songs, field work, greedy songs, birth, wedding lullabies and wedding songs, death of funeral cries-verification. Among the cattle -breeding peoples, the songs were associated with the tame of the horse, the corral of livestock, etc.

Later, the greatest development in the folklore of all peoples received lyrical genres, where to replace simple, short tunes of labor, ritual, dance and epic songs or instrumental tunes, deployed and sometimes difficult musical improvisations come in the form - vocal for example, for example, Russian long -lasting The song, the Romanian and Moldavian doina and the instrumental, for example, software plays of Transcarpathian violinist, Bulgarian Kavalists, Kazakh housekeepers, Kyrgyz Komuzists, Turkmen Dutarists, Uzbek, Tajik, Indonesian, Japanese, etc.

In various genres of folk music, various types of melos were formed - from the recitative Karel. runes, Russian epics, South Slavic epic to a rich ornamental lyrical songs of near and medium-eastern musical cultures, polyphony, a polyrhythmic combination of a field truck in the ensembles of African peoples, German choral chief, Georgian quarto-secret and medium-Russian echloine polyphony, Lithuanian cany Rhythmics, in particular, rhythm-formulas, summarizing the rhythm of typical labor and dance movements, a palm-up-assing system from primitive narrow-volume fins to the developed diatonic of the “free melodic system”.

Forms of stanzas, paired, symmetrical, asymmetric, etc. are also diverse. Musical N. Antiphon, ensemble, choral and orchestral forms. Types of choral and instrumental polyphony are diverse - from heterophonia and bourdon a continuously sounding bass background to complex polyphonic and chord formations. Each national folk musical culture, including a system of musical and folklore dialects, forms a musical-style whole and at the same time unites with other fixation of folk music in the 20th century.

On the basis of folk music, almost all national professional schools arose, each of which contains examples of various use of folklore heritage - from the simplest processing of folk melodies to individual creativity, freely fulfilling folklore musical thinking, laws specific to a particular folk musical tradition. In modern musical practice N.