Introduction:

Chapter I Brief information from the history of textile painting;

1.1 Development of the heel

1.2 Batik art

Chapter II Batik technology

2.1 Equipment, tools, materials

2.2 Basic methods of painting fabrics

2.2.1 Cold batik

2.2.2 Hot batik

2.2.3 Free painting

Chapter III Composition

3.1 Coloring

3.2 Spectrum Color circle

3.3 Additional colors

3.4 Color

Chapter IV Description of the creative part

4.1 Brief excursion to the Mayan world

4.1.1 Historical panorama

4.1.2 Gods, symbols and myths

4.1.3 Mayan art

4.1.4 Scientific knowledge

4.3 Sequence of work under the composition

Conclusion

Literature

INTRODUCTION

My theme thesis"The Lost World of the Mayans. Batik". In choosing the topic, I was guided by two motives.

Firstly, while getting acquainted with ancient civilizations, I discovered the amazing Mayan culture, which is a huge fusion of natural, ethnic, cult and aesthetic principles. The monuments of ancient art that have reached us (we can only guess about the semantic meaning of some) attract an original general solution, unusual types, bright decorativeness, and expressive plasticity. In modern art we observe the desire of artists to use the same principles in creating decorative compositions. The conventional language of sign systems and symbols is often found in various types of decorative art: monumental, applied. Suffice it to recall Balchikonis’s compositions, made in batik style on the theme of “The Sun”. It seemed interesting to me to try to express my perception of Mayan culture in creative work through a system of cult signs and attributes.

Secondly, the batik technique, which fascinated me with its graphic and pictorial effects, was chosen as a method that allows me to most expressively realize my own idea.

Purpose of the work: to study material on a given technique, to deepen knowledge about decorative and applied art, systematize knowledge about fabric painting.

Main goals:

Collect text and illustrative material “The World of Myaia” and “Batik”;

Master the basic techniques of fabric painting;

Perform a creative composition.

Initial data: V.A. Baradulin "Fundamentals of artistic craft."

Work composition: The theoretical part is presented in the explanatory note, the practical part is presented in the appendices.

The explanatory note includes: introduction, four chapters, conclusion and references.

The first chapter covers the main types of painting and printed designs, and brief historical information about them.

The second chapter describes the technique of performing hand-made artistic painting.

First is a list necessary materials and tools. Among the methods of artistic processing of fabric, I choose cold and hot batik, free painting, because... It was initially assumed that these methods could be used in practical work.

In the third chapter I included recommendations from Baradulin and Tankus on composition and coloring when designing textiles. I find them useful and interesting for anyone starting to work with decorative textiles. The authors base their judgments on the practices that have developed in the work of folk craftsmen in lace making, carpet weaving, and patterned weaving.

In the fourth chapter, I base the practical part of my work: I attach a list of applications, the content of the creative composition with reference to information about the Mayan culture, which I relied on when making the panels. "The Lost World of the Mayans."

The novelty of the work lies in the presentation of one’s own version of a creative composition based on the book. “The Lost World of the Mayans” using batik technique.

Chapter I BRIEF INFORMATION FROM THE HISTORY OF FABRIC PAINTING

Hand-made artistic painting of fabrics is a unique type of design of textile products, rooted in ancient times. The first mentions of receiving colored decorative effects on fabrics are found already in Pliny’s Natural History. The most well-known methods for painting fabrics using various reserve compositions. The essence of these methods is that areas of fabric that are not subject to dyeing are coated with various resins or beeswax, the latter, being absorbed into the fabric, protect it from the effects of paint. The fabric prepared in this way is dipped into paint, then the reserve composition (reserve) is removed and as a result a white pattern is obtained on a painted background.

This method of decorating fabrics was known in Rus', Armenia, and Azerbaijan; in Indonesia it still exists. Chinese manuscript from the 8th century. tells us about painting fabrics using wax drawings.

All these methods are called batik. The origin and meaning of the word "batik" is unknown. In Java there is a common word “ambatik”, which translates as “engrave”, “write”, “draw”.

In addition to this method of applying a pattern to fabric, from time immemorial, printed patterns on fabrics have been known, obtained using carved boards, and now mesh templates - the so-called heelboards (from the word “stuff”, when a carved board moistened with paint was applied to the fabric, she was tapped wooden hammer for better printing of the picture).

1.1. Development of printed heel.

The art of printed cloth was especially widely developed in Rus'. Russian printed cloth decorated peasant clothes, tablecloths, sundresses and shirts. The Historical Museum and the Museum of Folk Art (Moscow), the Hermitage and the Russian Museum (Leningrad), the museums of Ivanovo, Gorky, Yaroslavl, Zagorsk, Kostroma and other cities contain many beautiful examples of this type of folk art, dating from the 17th-19th centuries. There you can see fabrics, as well as the carved boards themselves from which the drawings were printed.

Both described methods of decorating fabrics still exist.

The ancient Russian printed material was very close to batik in its technical techniques - a heated reserve (various mixtures of beeswax, resins and other components) was applied manually to the fabric using so-called kvachas (tampons), stamps or carved boards. After the reserve had hardened, the fabric was dipped into a vat, usually with blue dye - indigo. At the end of the dyeing process, the fabric was dried, the reserve was removed, after which a white pattern remained on the blue background. The vat in which the fabric was dyed was called a cube; hence this method received the name cube heel.

Bright red polka dots were often applied with oil paint. These fabrics were used mainly for sewing sundresses, and often men's clothing.

Later, at the end of the 17th century, they learned to perform the so-called white earth heel. In this case, the design was printed using carved boards on undyed fabric. The number of boards corresponded to the number of colors forming the design. The carved pattern on the boards was often complemented by metal inserts in the form of nails without heads, which printed “small peas,” or metal strips, curved according to the pattern, with the help of which the pattern was enriched with a subtle contour pattern, giving grace to the fabric.

Canvases decorated in the manner described above were used not only in costume, but also in the interior.

At the end of the 19th - beginning of the 20th centuries. printed fabrics were produced in factories and were widely used not only in rural, but also in urban interiors. The drawings have become more varied and richer in color. The magnificent Ivanovo and Kostroma prints gained fame.

Over the course of the centuries-long development of printed matter, master draftsmen and engravers selected and polished patterns, the main decorative motifs of which were flowers and leaves. In each plant, these craftsmen were able to find the main decorative characteristic, draw and color the pattern in such a way that it merged with the fabric without destroying its plane.

Decorative prints often contained images of scenes of rural and city life, birds and animals. The skill of the draftsmen and engravers is amazing, as they created decorative compositions that were unusually harmonious and rhythmic, where even the background between the elements of the ornament was perceived as a pattern. Therefore, we strongly recommend studying

ancient samples of printed material, without understanding the decorative patterns of which, it is essentially impossible to master the art of decorating fabrics.

1.2. The art of batik.

In our country, artistic painting of fabrics has existed since about the 30s. XX century and during its existence has received widespread development and recognition. Artistic painting methods are used mainly to decorate items that complement a suit (headscarves, neckerchiefs, kerchiefs, scarves, ties), as well as coupons for women's and children's dresses, items for interior decoration - curtains (large and small), tablecloths, napkins, etc. .

When engaging in artistic painting of fabrics, you must remember that this is one of the types of decorative and applied arts, so teaching should not be limited to mastering techniques, the study of a subject should contribute to the development of taste.

Like all types of decorative and applied art, textiles have their own principles for the design of products, which are determined by the place of this art in human life, a certain range of artistic tasks, means and techniques that enable the artist to most fully express his idea in a thing for a specific purpose, to reveal the beauty and properties of the material.

The basic principle of textile design can be called the principle of a generalized solution of the ornament and its individual visual elements. A scarf or scarf, tied on the head, around the neck or draped over the shoulders, neither by its compositional division, nor by the interpretation of the design, should not violate the natural roundness of the head or the smooth lines of the neck and shoulders; in addition, the fabric can gather in folds, and the elements of the ornament are often not may be preserved in their original form. Thus, the passion for conveying space contradicts the tasks of creating a composition on a plane. An equally incorrect technique would be an illusory image of embroidery, weaving, or wood carving patterns on light transparent fabric, where the desire to convey the interweaving of threads and convexities of seams or the volume of wooden carvings is clearly visible. It will always look like a cheap and unnecessary fake.

Introduction

A lot is changing in the life of our country, but Russian people have always held their skills in high esteem, and those who possessed them were highly respected. After all, the masters put a piece of their soul and the warmth of their hands into each work. And this made the work unique, inimitable, and valuable.

Every day we come into contact with art, be it architectural monuments on the streets of the city, advertising that has become firmly established in our daily lives, works of decorative and applied art that decorate the interiors of apartments, offices and ourselves (jewelry, clothing items and costumes in general). The idea of ​​preserving, reviving and developing folk culture is a fundamental part in the education and upbringing of children. “The main goal of art education is the formation of the spiritual culture of the individual, familiarization with universal human values, mastery of the national cultural heritage” (Kuzin V.S. 1996) Artistic painting of fabrics is an integral part of the cultural heritage of our country.

Author's hand-painted products are always exclusive, each of them contains the soul of the artist, so they arouse interest and desire to purchase, and new technologies allow you to see this work included in environment or become a part of your costume.

In the batik class, students not only deepen their knowledge and improve their practical skills, but also develop their skills. The content of classes in the additional education system expands and deepens students’ understanding of the theory of fine arts, improves their ability to use theoretical knowledge in practice, in independent creative work.

The object of the study is the technological features of artistic painting of fabric. The subject of the study is the process of teaching batik in circle classes to primary school students.

The purpose of this work is to study the artistic and creative development of children in working with the “Batik” technique and to develop methodological features of teaching batik in elementary school circle classes.

The main goal of the circle: the formation of knowledge, the development of skills in the field of decorative and applied arts (textile painting techniques), and the introduction of students to creative activities.

As a result of studying the course, the student should: know the history of artistic painting of fabric; master the terminology encountered when studying the topic; be able to analyze the results of your creative work.

History of batik

The birth of batik art

Hand-painted fabrics are a type of artistic textiles, which, in turn, represents an important section of decorative and applied art. This type of applied art has deep folk roots and traditions that have survived to this day. Modern textile artists have deep respect for the past of this art, constantly drawing creative ideas from it, which leads to the emergence of new technologies based on the use of the traditions of ancient textile painting.

The word "batik" is of Javanese origin and translated means "drawing with hot wax." This art has been developed since ancient times by many peoples of the world - Indians, Chinese, Egyptians, Peruvians, but it reached its highest development and artistic perfection in Indonesia on the island of Java, which is considered the most ancient center batik.

There is a beautiful legend about batik - “an art that pleases the eye and refreshes the soul.” In time immemorial, Batar Guru descended to the top of Mount Allu-Alu on the island of Java and saw that the earth had plunged into silence and darkness, for there was no joy for its inhabitants without bright heavenly colors. And he stretched out his hand, and scrolls of the most exquisite fabrics were spread out in the fields - bah. And he extended his other hand, and hosts of wild bees rushed towards him, carrying their wax from the depths of the forest. He melted the wax, hit the drum, thickened multi-colored clouds and began to dance on the silks, leaving a bizarre pattern - tick, tick, tick. The people could hear batik-tik, bat-tik-tik.

Each pattern had a sacred meaning, how this happened is no longer known, only the methods of coloring the fabric and the interpretation of the symbols, of which there are about a thousand, have reached us.

Some experts believe that batik was originally an art reserved exclusively for the Javanese nobility. Princesses and noble women showed their inspiration to create exquisite designs. It is unlikely, however, that they worked themselves. It is likely that most painting work was carried out by artisans who worked under their direction.

Some scientists do not agree that batik was an art exclusively for the nobility; they believe that batik was also common among the people. Batik was seen as one of the skills that every Javanese woman should have, as were cooking and home economics.

Various methods of dyeing fabric have been known for a long time; just remember the Phoenician sailors who pulled mollusks from the bottom of the sea that could produce only one drop of precious dye. By diluting this dye with water, rich shades of purple could be achieved.

The Indonesians kept the method of dyeing fabric as a great secret; only finished products were distributed.

China (Shang-Tung province) is considered the birthplace of silk. Silk was also called “Chinese”, “fabric from China”. This word came to us along a long, circuitous road. IN Latin There is a word "sericus" meaning "Chinese matter". In the Middle Ages, together with silk products, it reached Scandinavia, where it turned into “snake”. Agree that converting “silk” into “silk” is not so difficult. It is possible that word creation proceeded as follows: “silki”, “silk”, “selk”, “selk”, “silk”. Already in the 12th century. BC. In China, the finest, especially artificial fabrics were produced, requiring the most complex technological methods. The Chinese bred silkworms on special plantations and kept the secret of obtaining raw silk for a very long time. Especially the coloring of fabrics and the method of obtaining dyes from plants were kept in deep secrecy. The book of ancient China “Zhou Li” that has come down to us from the Han period (2nd century BC) reveals some of the secrets of dyeing skills passed down from generation to generation, and even contains a description of recipes for obtaining dyes, making and dyeing silk fabrics and other mysteries of silk , including its medicinal properties.

There was a deep belief in the beneficial effects of silk on the health of the person whose body was wrapped in it. Ancient Chinese manuscripts also mention healing sparks generated by rubbing silk, which was used to treat people. A later Chinese manuscript from the 8th century. talks about the special painting of silk fabrics using a wax pattern, which is done on the fabric using a brush dipped in hot wax. A drawing made in this way is not painted with any color, but remains white.

During the era of feudalism, Chinese artists managed to create silk scrolls with the world's first landscape compositions, unique in skill and poetry. Silk scrolls are a unique form of paintings that help show the natural world in all its diversity. Vertical scrolls were hung on the wall for viewing, which allowed the gaze to simultaneously embrace the expanses depicted on them. Already in the 8th century. The Chinese, along with transparent water dyes, began to use black ink, rich in shades. Then things began to take shape various ways and techniques of pictorial representation. On the one hand, a very careful and detailed registration of nature - “chun-bi”, which means “diligent brush”, and on the other hand, a kind of unfinished plot, quickly written, allowing the viewer to further fantasize the artist’s idea - “sho-i” , translated as “idea painting”.

This type of painting on silk was painted not from life, but from memory and absorbed all the most characteristic features of nature.

In the 3rd century. BC. Sericulture spread from China to India, and then to Korea and Japan. To obtain patterned fabrics, they used various methods of applying patterns to the fabric with paint; they also used hand-painted wax techniques, i.e. obtaining a white pattern on a colored background.

The essence of these methods is that areas of fabric that are not subject to dyeing are coated with various resins or beeswax; the latter, being absorbed into the fabric, protect it from the effects of paint. The fabric prepared in this way is dipped into paint, the wax or other reserve composition is removed, and as a result a white pattern is obtained on a painted background. The described method of reservation has been preserved to this day under the name “wax batik” or simply “batik”.

Screens with fabric painting were widely used in decorating Japanese interiors. They were decorated with paintings, calligraphies and poems. Painting techniques, techniques, and the materials themselves (ink, silk) are very close to Chinese calligraphy. The painting technique required great skill; the silk was pre-processed special compounds, rice starch, alum, and they wrote on it like on paper.

The earliest information about fabric coloring in world literature dates back to the 1st century AD. Pliny the Elder gave in one of his books a description of the dyeing method that was used in Egypt: “In Egypt they dye clothes in an amazing way; after the white panel is drawn, it is impregnated not with paints, but with paint-absorbing substances; when this is done, nothing is visible on the panel, but, having immersed it in a cauldron of hot paint, at the appropriate time it is taken out painted.” As you can see, the description is very similar to modern definitions batik.

Residents African countries Nigeria and Senegal have been using the batik technique for over 1,500 years. Instead of wax, they used a paste, a mixture of flour, cassava, rice and alum (or ferrous sulfate) boiled together to apply the design to the fabric. The ancestors of modern residents of Ukraine began to use the technique of painting holiday ritual eggs “pysanka” with hot wax 5000 years before the birth of Christ. Using a special tool “brush” or “scribbler”, the design is applied with hot wax to the surface of the egg. The egg is then dipped into the paint solutions. Areas covered with wax remain unpainted. Until today, the art form is one of the most popular areas of folk art in Ukraine.

In one of the ancient states of India, Bihar, the art of painting fabrics, called “madhubani,” has been preserved since ancient times. It arose from the custom of drawing drawings that have magical power, on the walls of houses. The same drawings, supposedly expelling evil spirits from a person’s home, also decorated the clean area of ​​​​the land in the courtyards. Each individual family living in its own house had certain patterns that were unique to it. The same patterns were transferred to the fabric from which the daughter’s wedding clothes were sewn. These patterns were endowed with magical power, connecting the ties of the new, husband’s family with the father’s. It is noteworthy that this type of decorative and applied art was owned by a very limited circle of people - only women from local castes.

Madhubani patterns have a specific composition. Figures of gods, people and animals are usually placed in a drawn frame, the entire space of which is filled with images of flowers, birds, fish, snakes, conventional symbols of cosmogonic content, and religious symbols. All this is drawn by hand and is distinguished by its extreme, as if deliberate primitiveness, spontaneity and vividness of the image. Its brightness and colorfulness make the pattern incredibly attractive.

Due to the gradually passing interest in hand-painted fabric in the 19th century, the batting method moved into the sphere of handicraft, and only thanks to the Germans traditions were preserved, new technologies, dyeing methods, dyes and other materials appeared.

Gorodilova Ekaterina

Currently, batik is one of the popular trends in fabric design. Batik has incorporated many features fine arts such as watercolor, mosaic, stained glass. With a huge number of techniques for decorative processing of fabric, batik stands out, first of all, for the ease of mastering the technique, which allows you to paint both clothes and paintings and even interior items.

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Preview:

Gorodilova Ekaterina Mikhailovna

Batik as a technique decorative design fabrics.

Supervisor : Davlatova Alfiya Magafurovna,

primary school teacher

RF, Kogalym, Municipal budgetary general educational institution"Average comprehensive school No. 10" Kogalym, 3rd class "B"

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

1. Definition of batik…………………………………………………………………….5s.

2. History of the development of batik

2.1. The first mention of batik. History of origin and development……….6 p.

2.2 Batik in Russia………………………………………………………………….8p.

3. Batik technique

3.1 Sketches for drawing ……………………………………………..9p.

3.2. Types of batik…………………………………………………………………………………..10 p.

3.3. Materials and tools used in the work………………………13 p.

3.4. Stages of performing the work…………………………………………………………….14p.

Conclusion …………………………………………………….........................16s.

List of sources and literature used………........................17s.

Appendix 1 (Presentation)

Appendix 2 (Finished goods)

Introduction

Currently, batik is one of the popular trends in fabric design. Batik has incorporated many features of fine arts, such as watercolor, mosaic, and stained glass. With a huge number of techniques for decorative processing of fabric, batik stands out, first of all, for the ease of mastering the technique, which allows you to paint both clothes and paintings and even interior items.

Nowadays, batik does not lose its relevance. Batik is widely used in interior design and clothing. Painting on fabric has no restrictions in style or subject matter - you can paint a picture, an ornament, or limit yourself to color spots. By the way, you can also choose any colors to suit a specific interior. With the help of batik you can place accents in the right places and create the mood of the entire room. And interesting techniques and features of the batik technique allow you to achieve unusual results.

The use of batik is truly diverse and wide. A handmade author's work, made in a single copy, is a unique work of art that is truly ready to fully reveal the genuine feelings of the master, which are as individual and unique as his work.

Products self made Today they are valued very highly, so not everyone can afford them, but I want to be an individual. Batik can help with this very well. Unique patterns created by flights of fancy will highlight my style.

Relevance of the problemin the project is that, having mastered this technique, you can create Original gifts for your friends and family, decorate sewing products.

My project is called “Spring Flowers”, since it is based on my first work in this technique - a gift to my mother on March 8 - the painting “ Spring Flower" This theme can be seen further in the floral patterns of the scarves, and the “Poppies” shawl crowns the series of finished products.

I hope that this project will allow us to take a fresh look at decorative and applied art and understand its value and importance.

Goals:

a) learning how to use the fabric painting technique - cold batik - in everyday life;

b) development of a culture of perception of works of fine, decorative and applied art among children of primary school age;

c) the formation of a sustainable interest in decorative and applied arts, the ability to perceive its historical and national characteristics.

Tasks:

• give the concept of batik;
• highlight the time of emergence of batik and the main stages of development;
• describe the characteristic features of batik material and tools.
• explore ways of making batik products;
• consider the variety of ways to use batik in everyday life;
• develop and produce products of various design directions (interior design, clothing design, accessories) using the cold batik technique;
• develop the child’s accuracy, perseverance, and discipline when working with the batik technique.

Methods used:

1. Theoretical:

• study and analysis of literature and other sources of information on the topic

2. Practical:

• creation of creative works made using the cold batik technique with elements of free painting.

1. Definition of batik.

After reviewing the specialized literature, I found several definitions of batik:

Batik - hand painting on fabric using reserve

compositions.

Batik - technique of applying patterns to cotton and silk fabrics. Thin Ponge silk is suitable for working in this technique, as well as more durable silks - crepe de Chine, crepe satin, crepe georgette or buret silk.

Batik is based on a combination of a design applied to the fabric with a paint-impermeable composition (for “hot batik” - heated wax, for “cold batik” - rubber glue) followed by dyeing the fabric in a tank or with tampons.

2. History of the development of batik

2 .1.First mention of batik. History of origin and development

The art of painting fabrics gave the world sundresses from Russia, painted fabrics and saris from India, and extraordinary kimonos from Japan. Many years ago, one of the methods of hand-painting fabric - batik - appeared on the islands of Indonesia.

Batik has its roots in the distant past. It is surprising that the art of painting fabric, which is so popular these days, originated over two thousand years ago. Southeast Asia is considered the birthplace of this applied art.

IN different countries The batik technique, or applying a pattern to fabric, has its own characteristics, but in any case they use water and wax.
Areas of fabric coated with wax do not absorb paint. Wax is also combined with rice paste and clay. They are applied manually using cone-shaped paper bags, “chanting”, and to repeat the design they use wooden or copper stamps, stencils made of wood or high-quality paper.

The concept of "batik" first appears in Dutch texts of the 17th century. The most ancient samples were found in Egypt, they date back to the 5th century AD. e. Other finds dating back to ancient times include Japanese screens from the Nara period (646 - 794). It is believed that they were painted either by Chinese artists who emigrated to Japan or in their homeland.

The art of batik is very ancient. The earliest references to the use of textile dyes can be found in Chinese texts dating back to around 2500 AD. e. The invention of silk is also attributed to the Chinese. Delicate, light material was then worth its weight in gold and was exported from China to Japan, Central Asia, and from there to the Middle East and India. That is why this trade route was called the Great Silk Road.

Batik has gained particular popularity on the island. Java, where specialists in this matter have reached unprecedented heights of skill. Clothes made from fabrics with patterns made using the batik technique were initially worn only by aristocrats. They devoted their free time to painting fabrics. Gradually, servants began to be involved in this delicate and very labor-intensive work.

On about. Java traditional patterns and the technique of applying them were passed down from generation to generation, and in each family they were called differently. For example, cheplokan (with repeating patterns) or kavung (with circular elements). In Central Java, darker colors are used than on the northern coast of the island, where fabrics are painted mainly for the purpose of sale.

North Java was often visited by Arab and Chinese merchants arriving from overseas. Traditional motives here have changed somewhat to suit the tastes of potential buyers.

Islam prohibits the depiction of people and animals, therefore, when it spread to the island of Java, images on fabric became more stylized, and among the colors sacred to Muslims began to predominate. green color. At the same time, Dutch merchants preferred European motifs - they were attracted by bouquets, butterflies and birds.

In 1835, the first batik factory was opened in the Dutch city of Leiden. Following her, such enterprises appeared in Rotterdam, Apeldoorn, Helmund and Haarlem.

Following the sharp collapse of the world economy in the 1920s, batik went from being an industrial production to being a solitary craft again. A batik school opened in Holland, and it turned into an applied art.

2.2. Batik in Russia

Batik appeared in Russia at the beginning of the twentieth century, which coincided with the general fascination with the Art Nouveau style. It was then that a reserve composition was invented that did not require heating. Therefore, Russia can confidently be called the birthplace of cold batik. But, despite such a significant discovery, the development of batik here was very slow. Artists often had to adapt rather than create. During the NEP there was a significant demand for dresses with asymmetrical patterns, silk shawls with exquisite patterns in oriental style. This provided artists with work for some time and spurred their imagination. But gradually the fashion for shawls passed, and the craftsmen had to look for new sources of orders. The subjects of paintings of that time were often dictated by the difficult political situation in the country. Mainly encouraged Soviet symbols, which was depicted on flags and pennants.

Modern batik is distinguished by the variety of its techniques and techniques, the number of which is increasing, thanks to the growing interest in this art, a large number accessible information and organizations of many exhibitions. For a modern fabric artist, practicing batik requires a lot of time, improving skills, creating a special atmosphere of spiritual harmony and concentration.

3. Technique of working in batik

3.1 Sketches for drawing

Before applying the outline of the design to the silk, a sketch of it is made in the original size on a sheet of paper. This sketch or finished drawing from the sample is transferred to tracing paper, using a special pin, and outlined with copying compound. After placing tracing paper with a design on the silk, everything is ironed, after which the design is imprinted on the fabric. Then its contours are drawn with a disconnecting agent. You can use phantom pins to create thicker lines that will disappear on their own over time or when exposed to moisture.

3.2. Types of batik

There are several types batik:

Hot (melted wax is used as a reserve, which is then removed);

Cold (the reserve is a thick mass of rubber origin);

Nodular (unpainted fabric is covered according to the pattern with very small knots, tightly tied with thread;)

Free painting(produced mainly by aniline dyes, as well as oil paints with solvents)

Free painting using saline solution(the fabric stretched over the frame is either impregnated with an aqueous solution of table salt and, after drying, painted, or the painting is done with paints into which a solution of table salt has been introduced);

Shibori or folded batik(combines several methods of dyeing fabric by wrapping, stitching, folding, or pressing).

Hot batik - one of the ancient methods of painting on fabric. The name hot batik appeared because the reserve composition (paraffin, wax), which is used in painting, is applied to the fabric in a hot (molten) form. The combination of dyed and undyed areas of fabric creates a variety of colors and shades. Hot batik gives you the opportunity to show your handwriting, individual style, and imagination. If you follow all these rules, you will get an excellent handmade gift (panel, scarf, scarf, etc.).

Cold batik . This type of painting on fabric has become the most popular today because it is not difficult to manufacture, affordable and effective. Cold batik involves applying a reserve composition to a tightly stretched product using tubes in the form of a closed circuit. After drying, the resulting areas are filled with dye using a swab or brush.

Cold batik is distinguished by the application of a colored or transparent outline for the borders of the design. The outline gives the drawing a graphic character.

The following fabrics are used for painting with cold batik: natural ones are very good, such as crepe de Chine, chiffon, crepe georgette, satin, and fine wool.

Free painting.This is painting on fabric without the use of reserve compounds. The technique of free painting has become widespread, as it reveals the originality of each artist’s handwriting and the individual uniqueness of works inherent in manual labor. Particularly interesting results are obtained from the combination of free painting with contour guidance and finishing with a reserve composition.

Knot batik - This is not painting the fabric, but dyeing it. Different color effects on fabric can be achieved by tying individual sections of fabric with knots. Knot dyeing is used to obtain single- or multi-color effects on materials intended for clothing, for decorative items. This method of decorating fabric is considered the most ancient. It was widespread in many countries of the world: India, Japan, China, etc. In India it was called “bandana” (to tie), and in Japan “tibari” (to tie in a knot).

After dyeing and washing, the knots are untied, and you can get different, very interesting and unexpected designs of the same color. Under the threads with which the fabric is knitted, it is not painted over and remains as is, but in other areas the fabric is dyed unevenly, resulting in a color stretch.

Shibori technique. " Shibori " - the so-called folding batik. The result is also achieved by tying and dyeing, but is more predictable, since the fabric is folded in a certain way. This technique has Japanese roots.

Bandana technique. Knotted batik technique - bandan. One of its types, the “plangi” technique, was widespread in India. The unpainted canvas was covered according to the pattern with very small knots, tightly tied with thread. The fabric was then dyed and the threads removed, resulting in a pattern of white polka dots. If necessary, the fabric could be dyed in this manner several times, removing old knots and adding new ones. The dressing threads were removed from the dried fabric, but the finished product was not ironed, thanks to which for a long time the “squeezing” effect remained.Nowadays, knot painting means more simple options. For example, a pattern in the form of a circle (“sun”) or several circles. When dyeing dry fabric, you can get a sharper border between the dye and the undyed fabric, but if the fabric is wet (moistened and well wrung out), you can get smoother borders of the transition.

Even lampshades and desk lamp, they cover walls with it instead of wallpaper, and use it as curtains for windows. They hang panels on the walls using the batik technique.

3.3. Materials and tools used in the work:

For work I needed:

1.White fabric (crepe georgette, Japanese chiffon, silk).

2.Frame size 25x25 for painting.

3.Frame 140x60 for making a shawl.

4.Hoop for making handkerchiefs.

5. Material for decorating paintings.

6.Lace for decorating scarves.

7.Fringe to decorate the shawl.

8.Acrylic paints on batik silk and reserve composition.

9. Squirrel brushes of various numbers.

10. Palette for mixing paints.

11.Buttons for fixing the fabric.

12.Parchment paper for sketching.

13. Ironing table and iron for fixing the design on the fabric.

3.4. Stages of work completion

Conclusion

Modern batik is very interesting and varied. It uses techniques of graphics, stained glass, and mosaics. In general, the possibilities are unlimited, and everything depends only on the imagination and skill of the person who performs the artistic painting of the fabric.

Artistic painting of fabrics is very common these days. It is widely used in creating fashionable clothing collections, in interior decoration, and in the creation of decorative items. The scope of batik is very wide.

In conclusion, I would like to summarize all the information about the technique of working in the batik style. This style of fabric decoration is a truly unique style that combines many decorative techniques, taking the best qualities from each. The advantages of batik include ease of learning. Even a child like me was able to master batik enough to present my work to you. I hope that many of my friends, after learning about batik, will become interested and passionate about it, like me.

During the work, a presentation about batik was created, which can be used in the future in technology and fine arts lessons.

The goal of my work has been achieved. I have completed several works using cold batik technology.

I hope that my project has provided a new perspective on arts and crafts and an understanding of its value and importance.

List of sources and literature used:

1. Literature

1. Goryacheva N.A., Ostrovskaya O.V. Decorative and applied art in human life. - M.: Education, 2007. . Date of access: 04/03/2013

1. Chernysheva M. Batik is the soul of the East. URL:http://artbatik.ru/ Date of access: 04/03/2013

Introduction:

Chapter I Brief information from the history of textile painting;

Development of printed heel

Batik art

Chapter II Batik technology

2.1 Equipment, tools, materials

2.2 Basic methods of painting fabrics

2.2.1 Cold batik

2.2.2 Hot batik

2.2.3 Free painting

Chapter III Composition

Coloring

Range. Color circle

Additional colors

Chapter IV Description of the creative part

A short excursion into the Mayan world

4.1.1 Historical panorama

4.1.2 Gods, symbols and myths

4.1.3 Mayan art

4.1.4 Scientific knowledge

Sequence of work under the composition

Literature

The topic of my thesis is “The Lost World of the Maya. Batik". In choosing the topic, I was guided by two motives.

Firstly, while getting acquainted with ancient civilizations, I discovered the amazing Mayan culture, which is a huge fusion of natural, ethnic, cult and aesthetic principles. The monuments of ancient art that have reached us (we can only guess about the semantic meaning of some) attract an original general solution, unusual types, bright decorativeness, and expressive plasticity. In modern art we observe the desire of artists to use the same principles in creating decorative compositions. The conventional language of sign systems and symbols is often found in various types of decorative art: monumental, applied. Suffice it to recall Balchikonis’s compositions, made in batik style on the theme of “The Sun”. It seemed interesting to me to try to express my perception of Mayan culture in creative work through a system of cult signs and attributes.

Secondly, the batik technique, which fascinated me with its graphic and pictorial effects, was chosen as a method that allows me to most expressively realize my own idea.

Purpose of the work: to study material using a given technique, to deepen knowledge about decorative and applied arts, to systematize knowledge about fabric painting.

Main goals:

collect text and illustrative material “The World of Myaia” and “Batik”;

master the basic techniques of fabric painting;

perform a creative composition.

Initial data: V.A. Baradulin "Fundamentals of artistic craft."

Structure of the work: the theoretical part is presented in the explanatory note, the practical part is presented in the appendices.

The explanatory note includes: introduction, four chapters, conclusion and references.

The first chapter covers the main types of painting and printed designs, and brief historical information about them.

The second chapter describes the technique of performing hand-made artistic painting.

First, a list of necessary materials and tools is given. Among the methods of artistic processing of fabric, I choose cold and hot batik, free painting, because... It was initially assumed that these methods could be used in practical work.

In the third chapter I included recommendations from Baradulin and Tankus on composition and coloring when designing textiles. I find them useful and interesting for anyone starting to work with decorative textiles. The authors base their judgments on the practices that have developed in the work of folk craftsmen in lace making, carpet weaving, and patterned weaving.

In the fourth chapter, I base the practical part of my work: I attach a list of applications, the content of the creative composition with reference to information about the Mayan culture, which I relied on when making the panels. "The Lost World of the Mayans."

The novelty of the work lies in the presentation of one’s own version of a creative composition based on the book. “The Lost World of the Mayans” using batik technique.

Chapter I BRIEF INFORMATION FROM THE HISTORY OF FABRIC PAINTING

Hand-made artistic painting of fabrics is a unique type of design of textile products, rooted in ancient times. The first mentions of obtaining colored decorative effects on fabrics are found already in Pliny’s Natural History. The most well-known methods for painting fabrics using various reserve compositions. The essence of these methods is that areas of fabric that are not subject to dyeing are coated with various resins or beeswax, the latter, being absorbed into the fabric, protect it from the effects of paint. The fabric prepared in this way is dipped into paint, then the reserve composition (reserve) is removed and as a result a white pattern is obtained on a painted background.

This method of decorating fabrics was known in Rus', Armenia, and Azerbaijan; in Indonesia it still exists. Chinese manuscript from the 8th century. tells us about painting fabrics using wax drawings.

All these methods are called batik. The origin and meaning of the word "batik" is unknown. In Java there is a common word “ambatik”, which translates as “engrave”, “write”, “draw”.

In addition to this method of applying a pattern to fabric, from time immemorial, printed patterns on fabrics have been known, obtained using carved boards, and now mesh templates - the so-called heelboards (from the word “stuff”, when a carved board moistened with paint was applied to the fabric, it was tapped with a wooden hammer to better print the design).

The art of printed cloth was especially widely developed in Rus'. Russian printed cloth decorated peasant clothes, tablecloths, sundresses and shirts. The Historical Museum and the Museum of Folk Art (Moscow), the Hermitage and the Russian Museum (Leningrad), the museums of Ivanovo, Gorky, Yaroslavl, Zagorsk, Kostroma and other cities contain many beautiful examples of this type of folk art, dating from the 17th-19th centuries. There you can see fabrics, as well as the carved boards themselves from which the drawings were printed.

Both described methods of decorating fabrics still exist.

The ancient Russian printed material was very close to batik in its technical techniques - a heated reserve (various mixtures of beeswax, resins and other components) was applied manually to the fabric using so-called kvachas (tampons), stamps or carved boards. After the reserve had hardened, the fabric was dipped into a vat, usually with blue dye - indigo. At the end of the dyeing process, the fabric was dried, the reserve was removed, after which a white pattern remained on the blue background. The vat in which the fabric was dyed was called a cube; hence this method received the name cube heel.

Bright red polka dots were often applied with oil paint. These fabrics were used mainly for sewing sundresses, and often men's clothing.

Later, at the end of the 17th century, they learned to perform the so-called white earth heel. In this case, the design was printed using carved boards on undyed fabric. The number of boards corresponded to the number of colors forming the design. The carved pattern on the boards was often complemented by metal inserts in the form of nails without heads, which printed “small peas,” or metal strips, curved according to the pattern, with the help of which the pattern was enriched with a subtle contour pattern, giving grace to the fabric.

Canvases decorated in the manner described above were used not only in costume, but also in the interior.

At the end of the 19th - beginning of the 20th centuries. printed fabrics were produced in factories and were widely used not only in rural, but also in urban interiors. The drawings have become more varied and richer in color. The magnificent Ivanovo and Kostroma prints gained fame.

Over the course of the centuries-long development of printed matter, master draftsmen and engravers selected and polished patterns, the main decorative motifs of which were flowers and leaves. In each plant, these craftsmen were able to find the main decorative characteristic, draw and color the pattern in such a way that it merged with the fabric without destroying its plane.

Decorative prints often contained images of scenes of rural and city life, birds and animals. The skill of the draftsmen and engravers is amazing, as they created decorative compositions that were unusually harmonious and rhythmic, where even the background between the elements of the ornament was perceived as a pattern. Therefore, we strongly recommend studying

ancient samples of printed material, without understanding the decorative patterns of which, it is essentially impossible to master the art of decorating fabrics.

In our country, artistic painting of fabrics has existed since about the 30s. XX century and during its existence has received widespread development and recognition. Artistic painting methods are used mainly to decorate items that complement a suit (headscarves, neckerchiefs, kerchiefs, scarves, ties), as well as coupons for women's and children's dresses, items for interior decoration - curtains (large and small), tablecloths, napkins, etc. .

When engaged in artistic painting of fabrics, it is necessary to remember that this is one of the types of decorative and applied arts, therefore teaching should not be limited to mastering technical techniques; studying the subject should contribute to the development of taste.

Like all types of decorative and applied art, textiles have their own principles for the design of products, which are determined by the place of this art in human life, a certain range of artistic tasks, means and techniques that enable the artist to most fully express his idea in a thing for a specific purpose, to reveal the beauty and properties of the material.

The basic principle of textile design can be called the principle of a generalized solution of the ornament and its individual visual elements. A scarf or scarf, tied on the head, around the neck or draped over the shoulders, neither by its compositional division, nor by the interpretation of the design, should not violate the natural roundness of the head or the smooth lines of the neck and shoulders; in addition, the fabric can gather in folds, and the elements of the ornament are often not may be preserved in their original form. Thus, the passion for conveying space contradicts the tasks of creating a composition on a plane. An equally incorrect technique would be an illusory image of embroidery, weaving, or wood carving patterns on light transparent fabric, where the desire to convey the interweaving of threads and convexities of seams or the volume of wooden carvings is clearly visible. It will always look like a cheap and unnecessary fake.

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