Village wooden world presentation. Lesson with presentation on the topic “Village-wooden world. V. Independent work of students

Lesson type: combined.

Goals:

• Getting to know the origins of our native art.
• Formation of aesthetic ideas about Russian wooden architecture.
• Development of creative abilities in creating an artistic image.

Tasks:

• Introduce the traditional image of a Russian village and the construction of a house.
• Learn to depict the image of a hut.
• Give an idea of ​​traditional hut decorations and their meaning.

Equipment: presentations, illustrations, drawings, art supplies.

Lesson plan:

I. Organizational part:

Checking readiness for the lesson.

II. Updating knowledge:

From time immemorial, people in Rus' lived in harmony with nature. The earth is not only a natural beauty, it retains deep traces of the events of human life.

How were settlements built in Rus'? Villages were built along rivers, on hills with white churches on their tops, with domes glowing in the sun and bells ringing far away. The huts were built from hewn, unpainted logs, which on a cloudy day looked like silver, and in the sun - like warm, glowing honey. All these are signs of the promised world. These settlements were close to nature and decorated it.
But man can spoil nature, and there are many examples of this. The suburbs are built up with various buildings with garden plots that do not meet aesthetic criteria. In the old days, villages had a certain structure and carried the experience of centuries-old traditions.

III. Introduction to the topic: “Image of a traditional Russian house”

Master of Construction helps to understand the wisdom of wooden buildings of old Russian architecture. A hut is a structure in a forest area. The craftsmen built mostly without nails, using an axe.

View the presentation "Russian huts" about the beauty of Russian architecture ( Annex 1)

IV. Practical part

When creating the image of a village, you need to keep in mind the richness of the wooden world: huts, barns, sheds, barns, baths, mills, wells, churches, chapels, fences, gates.
There were many types of huts: barns, a hut on the basement with a “story” (second floor), a porch, a walkway (function, image of hospitality).

Exercise: Work on the image of a traditional Russian house - a hut.

View the presentation "Village" ( Appendix 2)

Demonstration of working techniques (on a board) with gouache paints, wide horizontal strokes with spaces depicting log walls. It is necessary to choose the characteristic color of the wood: silver-gray, golden brown. Adjacent walls are designed in contrast. It is necessary to pay attention to the fact that it is better to depict windows after the walls have been painted. The carved boards of the hut decorations are depicted in contrasting colors with a thin brush. In the course of the work, the problems of depicting space and the coloristic integrity of the image are solved.

V. Summary

Reflection, vernissage.

VI. Exercise: Preparing art supplies.

Educational project in fine art “VILLAGE WOODEN WORLD” 4th grade Introduction Development of an educational project: VILLAGE - WOODEN WORLD Objectives: - To foster love and interest in art - To develop creative and cognitive activity Objectives: - To introduce useful activities; - Develop aesthetic taste and observation skills. -Perceive and aesthetically evaluate the beauty of Russian wooden architecture. -Characterize the importance of the harmony of the building with the surrounding landscape. -Explain the design features of the Russian hut and the purpose of its individual elements. -Depict by graphic or pictorial means the image of a Russian hut and other buildings of a traditional village. -Master design skills - construct a model of a hut. -Create a collective panel (three-dimensional layout) by combining individually taken images. -Master the skills of collective activity, work organizedly in a team of classmates under the guidance of a teacher. Methodological passport of the educational project. Topic: Village - wooden world Class: 4th grade Lesson time: 4 lessons Form of work: lesson Project type: creative Equipment: For the teacher: presentation, drawings and photographs with types of folk wooden buildings, audio recording of bell ringing. For students: scissors, pencil, glue, paper, gouache, brushes. Project work. 1. Research stage - lesson 1 Purpose: to introduce the world of the Russian village; material for the construction of a Russian hut and its forms; explain the purpose of the home; capture the world of Russian housing in a drawing; introduce the terms “hut”, “log house”, “verb”, “purse”, “prichelina”, “towel”, “platband”, “horse”. Planned results: learn about the role of wood in construction; will repeat the specifics of Russian wooden architecture; get acquainted with various types of construction; create an image of a Russian home in a drawing; will practice skills in performing a creative task. Type of activity: drawing with wax crayons. Equipment: wax crayons, album sheet, drawings and photographs with types of folk wooden buildings. Kizhi - getting to know the buildings. Russian folk songs. NAMES OF MASTERS Geniuses of Old Architecture People of unclear fate! What is your name and patronymic, Designer of the hut, Whose hand sketched out its modest estimate? Your glorious name has been planed and hewn from the logs! Why didn’t you embed the name even into the curlicues of the carving? Lord save me! Do I really expect boasting: Here is a hut for you, God’s paradise - and that’s all! What do you care about our names? You are modest, you pretend, Architect of forgotten times, Its mica windows, You, who preceded Bazhenov, his Vesnin brothers! 1967 Leonid Martynov Components of a Russian hut: Types of houses: The verb type of the northern hut is shaped like the letter “G”. Utility premises are located at right angles to the residential premises. Koshel - all residential and utility rooms in such a house are grouped and combined into a single square log house. Its huge mass is covered by a common gable roof, and its top does not pass over the middle of the entire building, as is usually the case, but along the axis of the residential part of the house. Therefore, the roof slopes are different: one is short and steep, and the other is flat and long. The house really becomes like a wallet. A windmill is a complex engineering and technical structure. In order for the mill to start working, its wings must be installed using a yoke parallel to the wind. The movement from the rotation of the wings is transmitted to the central vertical riser, and from it by a transmission system to the millstones. Owning a mill was available only to wealthy peasants who paid for grinding in kind. The poorest peasants used hand millstones. Church. They built churches from pine without using iron nails. The domes were covered with silver aspen ploughshare. The only tool the peasants used was an axe. They not only cut down trees, but also made the most intricate and fine carvings. Well. Since ancient times in Rus', wells were treated with reverence. Various healing properties were attributed to well water. The well was treated as a place where one could renounce worldly worries for a while, and be a little alone with oneself. In Rus' there was even a special day for Fyodor Kolodeznik - June 21. This day was considered the most suitable for finding places where you can dig a well. Introduce the terms. Drawing of a Russian hut (log house), bell tower, well, church, mill. Material: colored wax crayons. Technological stage: lesson 2 Purpose: to repeat the buildings of Russian wooden architecture; consolidate knowledge about the use of wood in construction; identify images for their reproduction in design; master teamwork skills; perform the main and decorative details of Russian buildings in panels; introduce the terms “panel” and “scale”. Type of activity: paper design, applique, creation of panels with the image of a traditional Russian village. Planned results: ability to work collectively, work in groups, mastering design skills, acquire knowledge about different forms of wooden buildings. The class is divided into creative workshops, usually 4 people, 5-6 workshops per class, they come up with the name of the workshop and the work is done by groups of children who construct models of wooden buildings from paper logs and work in an organized manner in a team. Paper logs are prepared - “lumberjacks”, the main ones in the workshop appear and they begin to lead everyone, there is a heated discussion and by the end of the lesson the already pasted works are handed in. The work is signed: the name of the workshop, the participants. Equipment: scissors, paper, PVA glue. Verb Purse Well Bell tower Church Mill 2. Intermediate stage-3 lesson. Goal: to master the skills of collective work, creating the image of a traditional village, a collective panel with the unification of group-made buildings. Type of activity: drawing and creating an image of a Russian village. Planned results: The background of the future collective work is drawn on two sheets of Whatman paper; artists who work with gouache paints are selected from the groups, the rest prepare their work, cut it out and work with gouache. When all the works are ready, they are pasted onto the general background. Equipment: gouache paints, brushes, sponge, PVA glue, jars of water. 3. Final stage.-4 lesson. The image of a Russian person (Russian national costume). Objectives: -Acquire an idea of ​​the peculiarities of the national image of male and female beauty. -Understand and analyze the design of Russian folk costume. -Gain experience in the emotional perception of traditional folk costume. -Distinguish between the activities of each of the Master Brothers (Master of Image, Master of Decoration and Master of Construction) when creating Russian folk costume. -Characterize and aesthetically evaluate human images in the works of artists. -Create female and male folk images. -Master the skills of depicting a human figure. Goal: to study the images of female and male images in the paintings of Russian artists, to repeat the skills of depicting a person with paints, to teach the depiction of elements of folk costumes, to introduce the terms “kokoshnik”, “sarafan”, “dushegreya”, “kichka”, “caftan”. Type of activity: drawing Planned results: depiction of female and male Russian folk images (individual work), development of skills in depicting a person. The cut out works are pasted onto a collective panel. Equipment: gouache, brushes, water, PVA glue. 4. Stage Reflection Lesson 1: -Name the type of work you did during the lesson? -What supplies did you need? -What material was the most common in Ancient Rus'? -What components of a log house do you know? -What other decorations were used when building the hut? -What other buildings, besides the hut, were erected in Rus'? Lesson 2: - What is the name of the island on which the museum of wooden architecture is located? -Name the type of work you did in class. -What supplies did you need? -What is a panel? -What is rhythm in a panel? Lesson 3: -What is scale? -How did the word “street” come about? -What is the role of each of the three Master brothers in creating the image of the Russian village on the panel? Lesson 4: -Name the type of work you did in class? -What supplies did you need? -What rules must be followed when drawing a human figure? -What do the terms “kokoshnik”, “sarafan”, “dushegreya”, “kichka”, “kaftan” mean? -What details of folk costumes did you use in your works? -Did you manage to convey the characters of the people you painted? -What is the role of each of the three Master brothers in creating the image of the Russian people? Result: "What happened?" - the most interesting thing was... - I liked it... - what did we learn... - if I were a teacher, then... - what questions were the most difficult? Collective work of 4th grade students on the project “WOODEN WORLD VILLAGE”

From the memoirs of A. Tvardovsky’s childhood: “For most people, the feeling of homeland in the broad sense - native country, fatherland - is complemented by a feeling of small, original homeland, homeland in the sense of native places, fatherland, region, city or village. This small homeland, with its special appearance, with its even most modest and unassuming beauty, appears to a person in childhood at the time of lifelong impressions of the childish soul, and with it, this separate and personal homeland, he comes over the years to that great homeland that embraces all the small ones and in its great whole is one for everyone.” “For most people, the feeling of homeland in the broad sense - native country, fatherland - is complemented by a feeling of small, original homeland, homeland in the sense of native places, fatherland, region, city or village. This small homeland, with its special appearance, with its even most modest and unassuming beauty, appears to a person in childhood at the time of lifelong impressions of the childish soul, and with it, this separate and personal homeland, he comes over the years to that great homeland that embraces all the small ones and in its great whole is one for everyone.”

My village stands on an unsteep hill, My village stands on an unsteep hill, A spring with icy water is just a stone's throw from us. Everything around me is joyful, I know the taste of water, I love with soul and body everything in my native land... I will see a lot - after all, life is still long, And probably more than one road awaits me; And only wherever I am, and no matter what I do, - You are in my memory and in my heart, dear side! G. Tukay G. Tukay

The author of the presentation is Sharipova Alfina Kasimovna - art teacher; Sharipova Alfina Kasimovna - art teacher; Municipal educational institution "Bardymskaya secondary school 2"; Municipal educational institution "Bardymskaya secondary school 2"; Highest category; Highest category; Teaching experience – 23 years; Teaching experience – 23 years;

VILLAGE – WOODEN WORLD Goals and objectives: to introduce students to wooden temple architecture; consider the variety of rural wooden buildings: huts, gates, wells, etc.; reveal the role of art in understanding the harmonious connection between Russian housing and nature; learn to identify the means of artistic expression used in the works of landscape artists; develop constructive, graphic skills; to cultivate in children a love of nature, the need to focus on the spiritual values ​​of folk art; strengthen interdisciplinary connections. artistic taste, EQUIPMENT: for the teacher - reproductions, methodological tables; for students - graphic materials. SPECTATORY ROW: photographs of northern wooden architecture, the Kizhi ensemble; reproduction of the painting “The Village of Khmelevka” by N. M. Romadin. Literary series: A. Tvardovsky “Memories of Childhood”; poems by S. Yesenin, N. Yazykov, L. Martynov. Musical series: recording of folk instrumental melodies. I. Organizational moment. Walking Honor the sciences, love the arts, take on your work without regret. Children! Then noble feelings will find noble soil in you! II. Conversation on the topic of the lesson. Teacher. To find out the topic of the lesson, you need to read the rebus: Pupils (read the topic of the lesson). The village is a wooden world. Teacher. Today we will visit a Russian village, get acquainted with various types of huts, and admire the beauty of wooden temple architecture. A recording of an instrumental Russian folk melody is playing. The teacher reads an excerpt from the memoirs of A. Tvardovsky’s childhood: “For most people, the feeling of homeland in the broad sense - native country, fatherland - is complemented by a feeling of small, original homeland, homeland in the sense of native places, fatherland, region, city or village. This small homeland with its special appearance, with its even the most modest and unassuming beauty appears to a person in childhood, at the time of lifelong impressions of the childish soul, and with it, this separate and personal homeland, he comes over the years to that big homeland, which embraces all the small ones and in its great whole is one for all.” Where does the homeland, fatherland begin? Students. From a house, street, village or city, that is, from a small homeland. Teacher. Thin birch trees, Russian huts and vegetable gardens surrounded by a simple fence - all this is so close and dear. This is all a small homeland, which is lovingly described in the landscape painting “The Village of Khmelevka” by N. M. Romadin. Nikolai Mikhailovich Romadin was born in 1903 into the family of a railway worker. The artist writes: “My childhood was full of hardships and adventures. No benefits could force my father to live and work peacefully in one place... He traveled to almost all the cities of Russia.” From the age of eleven, Nikolai Romadin began to earn money himself and help his large family. He studied and worked at the same time - he was a newspaper seller, served as a bookbinder, then as a baker. As a young man, he volunteered for the Red Guard to defend the gains of the October Revolution. Romadin received his art education in Moscow, at Vkhutemas (higher artistic and technical workshops). He painted a lot of landscape paintings. They all speak of the artist’s deep love for Russian nature with its wide distances, rich rivers, hills and forests. The teacher invites students to consider the landscape “The Village of Khmelevka” by N. M. Romadin. Questions about the painting: – What feelings does this painting give you? – Where is the village of Khmelevka located? – What time of year is shown in the picture? Can we say that these are the golden days of autumn? Why? – Compare the color of the autumn forest with the color of the water, shores and sky. What mood is expressed in this picture? – Why did the color of the far bank of the river change? – Can we say that the landscape is illuminated by the sun? Why? – How are the image of Russian nature and the image of the Russian village connected? – What impression does the picture as a whole give you? Teacher. The artistic language of the painting “The Village of Khmelevka” is very expressive. On the banks of the Volga, the large village of Khmelevka is picturesquely located, freely located among the wide Russian expanses. A ravine descending to the river reveals the blue surface of the Volga, the distant banks, emphasized by haze, merge with the horizon. It's farewell time, when summer is replaced by golden autumn. The trees are still in a crimson yellow robe, but the leaves have already thinned out and, falling, cover the browned ground. The breath of autumn gives rise to sad feelings about something past and irretrievably lost. Closer to the river the forest is denser with golden brown crowns. The gray huts, sometimes covered with planks and sometimes with straw, and beams scattered along the slopes, leave the impression of a kind of lonely and gentle bitterness. The village is quiet, almost deserted, only two women leisurely walk along the slope. And yet, the landscape of the picture speaks of the life of courageous and hardworking people in a difficult time for the Motherland - the war with Nazi Germany. Through an alarmingly lyrical perception of nature, the artist expresses his ardent love for the Russian people. The landscape is imbued with a deep sense of nature. He is laconic, nothing here distracts attention to particulars. There is a lot of air and light in the picture. The sun is soft, without shine, but clearly illuminates the village and the surrounding landscape. The sky is clear and clean, without a single cloud. The expanse of the Volga, its power and greatness are consonant with thoughts about the freedom of the Russian people. The artist seems to be saying with the picture: the Volga cannot put up with the enemies who invade the Russian land. Here she is, the beautiful Volga, turning blue in the distance, so calm and majestic, stern and unapproachable. The picture organically merges Russian nature and the life of the village of Khmelevka. During the years of military trials, huts, vegetable gardens surrounded by a simple fence, and lonely birch trees, young bushes, and the majestic river are united by a common mood - sadness and sadness. So the artist showed the unity and harmonious connection of Russian nature and Russian people. III. An artistic word about the native land, about the Russian village. Students read poems prepared at home. Favorite region! The heart dreams of stacks of sun in the waters of the bosom. I would like to get lost in the greenery of your hundred-bellied greens. S. Yesenin Unspeakable, blue, tender... . My land is quiet after storms, after thunderstorms, And my soul - a boundless field - Breathes the smell of honey and roses. This street is familiar to me, And this low house is familiar. Wires of blue straw fell over under the window. I see a garden dotted with blue, August quietly lay down on the fence. The linden trees are held in their green paws. Bird noise and chirping. I love this wooden house, the formidable power glowed in the logs, our stove howled somehow wildly and strangely on a rainy night. The voice is loud and sobbing, like talking about someone dead, alive. What did he see, a brick camel, in the howling of the rain? The light of the moon, mysterious and long, The willows are crying, the poplars are whispering. But no one, under the cry of a crane, will stop loving his father’s fields. And now, when fate has touched my life with a new light, I still remain the poet of the Golden Log Hut. S. Yesenin My friend, what could be nicer than the priceless native land? There the sun seems brighter, There the golden spring is more joyful, The light breeze is cooler, The flowers are more fragrant, There the hills are greener, There the stream sounds sweeter, There the nightingale sings more sonorously. N. Yazykov Teacher. What feeling unites these works of art and the painting by N. M. Romadin “The Village of Khmelevka?” Students. A feeling of pride and love for the Motherland, for Russian nature and the Russian people. Physic al m in u tka Zhurazhurazhuravel! He flew over a hundred lands. (Waving his arms.) Flew around, walked around, Wings, strained his legs. (Walking in place.) We asked the crane: “Where is the best land?” He answered as he flew by: “There is no better native land!” (Circular rotations with the head.) IV. Acquaintance with wooden temple architecture. The teacher shows photographs of northern wooden architecture and the Kizhi ensemble. Teacher. The Russian North is beautiful. This is a land of dense forests, endless lakes and clean transparent rivers. Since ancient times, villages, monasteries, and cities arose here. The North was famous for its skilled carpenters. Forests provided an abundance of the most accessible material for construction - wood. The main tool in the hands of the master was an ax. With his help, peasant huts, churches, and boyar mansions were left behind. Russian masters knew how to build in such a way that the creations of their hands seemed inseparable from the surrounding nature. The Church of the Transfiguration, which stands on the island of Kizhi in Lake Onega, is called a miracle. You look at her and it seems like you are in a fairy tale. It was as if the master had carved the temple from one whole piece of wood. There is not a single nail in the building! Everything is light, weightless, openwork: 22 onion-like domes, and porches with turned columns. This is what the legend says. The master built the Church of the Transfiguration, and threw his ax into Lake Onega, saying: “There has never been and will never be like this again!” V. Independent work of students. 1. Repetition of the components of a Russian hut:  log house - part of a building consisting of four or more walls of a log structure;  outlets - ends of logs protruding from the frame, supporting roof overhangs, porches;  roof - the upper part of the building, serving as its covering and protection from the weather;  ridge - the upper joint of two roof slopes, this joint is covered with a hollowed out log - a ridge;  pier - a board covering the ends of the under-roofing layers, it is usually covered with carvings, it is an integral part of plank roofs;  towel - a short carved board covering the joint of the piers;  ridge - a carved board standing on the ridge of the roof along its entire length;  forehead (forehead) – the upper part of the building under the roof;  front board - covering the transition of the wall logs to the boards of the hut gable, usually covered with carvings;  platband - decorative framing of the “face” of the hut - a door or window opening. 2. G roup work. In a playful form, a panel depicting a Russian village is performed by a group of children on large sheets of gouache. Before starting the task, the teacher draws attention to the most difficult task - conveying space and perspective. By drawing the attention of the class to the demonstration tablet on which the hut blanks (made by the children in the previous lesson) are located, the problem is solved through joint efforts: how to depict houses more expressively, more naturally, more beautifully, to achieve their harmonious inclusion in the surrounding nature. By moving house blanks along the plane of the tablet, children themselves draw a conclusion about the arrangement in which the houses look disconnected. They object to the clear alignment of buildings in a row. As the most successful location, students choose one in which there are near and distant houses, some blocking the others, that is, a natural composition is created. As a result, children easily remember the rules that they will rely on when creating panels: houses should block one another; what is further away is smaller in size, and what is closer is larger and is located lower on the sheet. Option for constructive work. Collective panel “Image of a Russian village” The next difficult task is the coloristic solution of the panel. Before starting work, the teacher should draw the children’s attention to the characteristic color of village huts (silver-gray, golden brown, like a fairy-tale Khokhloma), show techniques for working with color to convey the expressiveness of a log house, and pay attention to the contrast between the edges of the hut. The teacher places wide, horizontal strokes, leaving narrow spaces between them. Adjacent walls are designed in contrast. The teacher recalls the meaning of the terms: Composition (Latin compositio - composition, compilation, connection, connection) - the construction of a work of art, determined by its content, purpose, arrangement and interconnection of its parts, forming a single whole. Perspective (French perspective) is a way of depicting three-dimensional bodies on a plane in the visual arts. VI. Lesson summary. Express exhibition, evaluation of works. A pre-prepared student reads a poem. NAMES OF THE MASTERS Geniuses of Old Architecture – People of Uncertain Fate! What is your name and patronymic, Designer of the hut, Whose hand sketched out its modest estimate? Your glorious name has been planed and hewn from the logs! Why didn’t you embed the name even into the curlicues of the carving? Lord save me! Do I really expect boasting: Here is a hut for you, God’s paradise - and that’s all! What do you care about our names? You are modest, you pretend, Architect of forgotten times, Creator of the five-walled log house, Its mica windows, You who preceded Bazhenov, his Vesnin brothers! Leonid Martynov Cleaning workplaces. Homework: select reproductions of paintings depicting the image of a Russian woman.

Where does the homeland, fatherland begin?

That's right, that is, from our small homeland.

Thin birch trees, Russian huts and vegetable gardens surrounded by a simple fence - all this is so close and dear. This is all a small homeland, which is lovingly described in the landscape painting “The Village of Khmelevka” by N.M. Romadin.

Nikolai Mikhailovich Romadin was born in 1903 into the family of a railway worker. From the age of eleven he began to earn money himself and help his large family. He studied and worked at the same time. As a young man he volunteered for the Red Army. Romadin received his art education in Moscow at the Higher Art and Technical Workshops. He painted a lot of landscape paintings. They all speak of the artist’s deep love for Russian nature with its wide distances, deep rivers, hills and forests.

Consider the landscape “Village Khmelevka” by N.M. Romadin. (slide 3)

What feelings does this picture give you?

Where is the village of Khmelevka located?

What time of year is shown in the picture? Can we say that these are the golden days of autumn? Why?

Compare the color of the autumn forest with the color of the water, shores and sky. What mood is expressed in this picture?

Why did the color of the far bank of the river change?

Can we say that the landscape is illuminated by the sun? Why?

How are the images of Russian nature and the Russian village connected?

What impression does the picture as a whole give you?

The artistic language of the painting “The Village of Khmelevka” is very expressive. On the banks of the Volga lies the picturesque village of Khmelevka, nestled among the wide Russian expanses. The gray huts, sometimes covered with planks and sometimes with straw, and beams scattered along the slopes, leave the impression of some kind of lonely and gentle bitterness.

Ineffable, blue, tender...

My land is quiet after storms, after thunderstorms.

And my soul is a boundless field -

Breathes the scent of honey and roses.

This street is familiar to me

And this low house is familiar.

Wires blue straw

She fell over under the window.

I love this wooden house

A formidable power glowed in the logs,

Our oven is somehow wild and strange

Howled on a rainy night.

And now, when the new light

And my life was touched by fate,

I still remained a poet

Golden log hut.

S. Yesenin

The center of the village has always remained the church (temple), and in the village - accordingly, the chapel. Even if the center of a large village became a shopping area,

then the church was always built on the edge of bargaining. (slide 4)

Let's listen to the poem

about the temple, which was prepared by the students of our class.

TENT TEMPLE

Crowning the picturesque peak,

Rising on the holy island,

Nikolsky Skete, like a giant,

Frozen in the blue sky.

The tented temple stands so lonely!

Sparkles with a golden dome in the darkness

At the entrance to the deep Ladoga Bay

Shows off in the foggy silence.

Sacred corner of earthly paradise,

Where are the centuries-old pines reaching to the skies,

And the waves splash, washing the rocks,

There is a worship cross at the pier.

Moss spreads in wide carpets,

Harmony is present in everything

Sometimes you can’t feel the ground with your feet,

For a while you forget about the past.

The soul will find complete freedom here,

Gaining faith and peace,

And, inspired by marvelous nature,

He will take a piece of happiness with him!

N. V. Votintseva