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RUSSIAN LACE
1. HISTORY OF THE ORIGIN AND DEVELOPMENT OF THE FISH
In Russia, the term "lace" did not immediately acquire a modern meaning. Initially, in Russian life, this word was understood as a variety of finishes, with the help of which they “circled”, i.e. decorated the edge of clothes or any other things made of fabric. It could be embroidery, braid, low pearls or gems. A new type of needlework - weaving a pattern from threads on bobbins - was brought to Russia from Western Europe at the beginning of the 17th century.
The introduction by Peter I of Western European costume in Russia at the beginning of the 18th century greatly contributed to the spread of lace. In 1725, 30 craftswomen from the monasteries of Brabant were even sent to the Novodevichy Convent in Moscow, who organized a workshop where they learned to weave lace.
By the end of the 18th - beginning of the 19th century, almost all types of lace known in European countries were produced in Russia
By the middle of the 19th century, lace-making on bobbin in Russia began to take the form of a folk art craft.
By the end of the 19th - beginning of the 20th century, there were more than 100 thousand lace makers in 17 provinces of Russia.
The largest centers of lace craft
Sh Vologda lace
Ш Lipetsk lace
Ш Kirov (Vyatka) lace
Ш Ryazan lace
Sh Leningrad (Kirish) lace
Vologda lace- occupies the first place in Russia in the production of lace. They are distinguished by a clear division into a background and a pattern, a clear construction of geometric patterns, the edge ends in a smoothly outlined tooth.
Lipetsk (Yelets) lace has existed since the beginning of the 19th century. Yelets lace is distinguished by clear small forms of ornament, graceful lattices; in the coupling lace, large forms of floral ornament prevail: flowers, leaves.
Kirov (Vyatka) lace- lace-making in the Vyatka province arose at the beginning of the 18th century. The patterns are distinguished by light openwork forms, ending with sharp teeth, enriched with pico loops. Coupling Kirov laces are characterized by complex patterns and originality in the weaving of the “velushka” braid.
Ryazan (Mikhailovsky) lace- lace craft reached a special development in the 70s of the XIX century. Laces are characterized by simple lace patterns with the names "bells", "toes", etc. They are distinguished by rich colors, and they are also characterized by a combination of lace with embroidery.
Leningrad (Kirish) lace have been known since the 18th century. Coupling weave is characterized by a rare weave and a mesh woven from bleached threads with the addition of blue and red. Lace designs are dominated by generalized forms of plant and geometric motifs.
lace craft hand machine
2. MACHINE METHODS FOR MANUFACTURING LACE
a The most complex artistic designs are obtained on multi-shuttle lace machines. They allow you to make lace not only of different widths, but also of different density and thickness.
a Braided lace is made on bobbin braiding machines, working on a principle similar to manual bobbin weaving
a Embroidered lace and guipure fabric are made on automatic embroidery machines
a An increasing share falls on laces made on warp knitting machines of the “Supergarant” type
3. MANUAL METHODS FOR MANUFACTURING LACE
Handmade lace can be made by knotting:
Macrame-- technology is tying knots in combination with weaving elements. The patterns of this lace are mostly geometric
Lace tatting does not have a reverse side. Its main elements are circles and arches from nodal chains.
Weaving is the most common hand lace making technique.
The most famous weaving method is bobbin. A large number of threads are involved in the weaving process. The technology of weaving lace is based on two methods: interlacing and weaving.
4. TECHNICAL EQUIPMENT FOR CREATING HAND LACE
1. Roller has a cylindrical shape. For manufacturing, you will need a piece of dense fabric, which must be stuffed with hay or small dry sawdust.
2. Stand used during operation to stabilize the roller. It can be placed on a table or on the floor.
3. Bobbins- these are wooden sticks, thinner in the "neck", that is, in the part on which threads are wound for weaving lace.
4. pins are intended for fixing weaves of threads or bobbins.
5. Awl is a thin needle set in a wooden handle, used to puncture a lace pattern into a chip.
6. crochet hook always used when working in the coupling technique of weaving.
5. Skolok-- this is a drawing showing the points of the pricks, in which the pins are placed, braided with threads
5. ELEMENTS OF LACE
In lace weaving, there are 4 main elements: braid, linen, mesh and backing. In addition to the main elements, additional weaves are used that decorate lace: filigree, various types of lattices, spiders, chains, unwind loops, etc.
Weaving lace is very difficult. But with all the complexity of woven patterns, everyone can learn how to make lace.
Today, lace decorates different types of clothing, and it is very beautiful! The ancient crafts of lace weaving have been preserved.
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Lacemaking, as a craft, has existed in the Vologda province since 1820. During the time of serfdom, all significant landowners' estates in the province had lace "factories" that supplied lace products to St. Petersburg and Moscow. And one of these factories was founded by the landowner Zasetskaya three versts from Vologda in the village of Kovyrino no later than the 20s of the 19th century. There, the serfs wove the finest lace for trimming dresses and underwear, imitating Western European patterns.
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In 1960, in connection with the abolition of industrial cooperation and the transfer of lace artels to the state system - the local industry, 5 lace factories were formed in the Vologda region, and in 1964 the Vologda specialized lace association was created, which became one of the leading traditional crafts in Russia.
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slide 1
slide 2
Vologda lace, one of the types of Russian lace, woven on bobbin. A continuous and non-crossing smooth line that forms the pattern of Vologda lace acts as a woven braid ("vilyushka") against the background of a thin openwork "lattice" ("coupling" technique)
slide 3
The history of the appearance and development of lace is full of mysteries and contradictions. There is a legend that in 1725 Peter I ordered 250 lace makers from the Brabant monasteries to teach lace weaving to orphans in the Novodevichy Convent. How long this training existed in the monastery is unknown. But what is interesting, in the samples of lace, preserved in different parts of Russia, and in the names of these laces, many old lace-makers pointed to the “draban (ie Brabant) thread”.
slide 4
Lacemaking, as a craft, has existed in the Vologda province since 1820. during the time of serfdom, all significant landlord estates of the province had lace "factories" that supplied lace products to St. Petersburg and Moscow. And one of these factories was founded by the landowner Zasetskaya three versts from Vologda in the village of Kovyrino no later than the 20s of the 19th century. There, the serfs wove the finest lace for trimming dresses and underwear, imitating Western European patterns.
slide 5
Over time, lace weaving moved from the landowner's workshops to the folk environment and became one of the types of folk art that reflected the needs and tastes of the broad circles of the local population. In 1893, 4,000 craftswomen were engaged in lace craft in the Vologda province, in 1912 - 40,000.
slide 6
In 1919-1921, the lace-makers of the Vologda region were united in artels, in 1928 a professional lace school was restored in Vologda, which began to train lace-makers under the new conditions. The school did a lot to revive the traditional methods of lace-making, to restore the ornamental solutions typical for this center.
Slide 7
In 1930, the Volkruzhevosoyuz was created in Vologda, which united 50 artels scattered throughout various villages with a number of 40,000 lace makers. The form of labor organization in the artels was mainly home-based. In the premises of the artels, the craftsmen came to receive the assignment and hand over the finished product. And only in 1932 the Union created collective workshops, which made it possible to improve the technology of making lace, to strengthen control over the quality of lace products.