Interior doll Baba Yaga patterns. DIY Baba Yaga from scrap materials for home and garden. Crafts from pine cones
 Those who have experience in making textile dolls will easily understand the presented patterns and be able to make this wonderful witch doll. Well, by changing the doll’s outfit, you can make not an overseas Halloween witch, but our dear Baba Yaga. All you have to do is lengthen the dress, replace the flirty boots with wicker shoes, and replace the pointed hat with a scarf with knots on the forehead. Oh, and don't forget the apron! |
And you can also sew such a Yagushka 0, the most charming, attractive and not at all scary.
The hanging doll “Baba Yaga” from the “Doll” series is kind and sweet, and not at all harmful. It carries the magic and beauty of the holiday. Create an atmosphere of fun and joy in your home.
Dear customers! A custom-made doll may differ slightly from that shown in the photo.
Dear Clients! A custom-made product may differ slightly from the photograph, but the general appearance remains the same.
The unique author's rag dolls of the artist Lyubov Lavrentieva, which have won many awards at international exhibitions, are now available to everyone on the pages of this book! What makes them unique? They are very simple, even primitive, but incredibly positive, joyful, sincere and very modern. A unique combination of simplicity of execution, fashion, the most modern style and ancient traditions of Russian protective dolls makes these dolls unique! Detailed step-by-step illustrations and master classes, a gallery of fairy-tale characters and great pleasure from both the process of creation and the result. Dolls that create a mood, infect with positivity, bring joy, warm, funny, stylish! And at the same time carefully preserving the tradition of the Russian folk doll! These are exactly the kind of dolls that famous puppet artist Lyubov Lavrentyeva offers to learn how to sew on the pages of this beautiful book! Multi-colored scraps, scissors, needle and thread, acrylic paints, and your home will be protected by an amazing creation that you sewed with your own hands, bearing your features, your character, your individual taste! Such a doll will delight your guests, comfort and lull your child to sleep, and will become an unforgettable gift for loved ones.
Sewing them is very simple, even for beginners, but only the most creative people can breathe soul into them. Good luck in your creativity!
The charming soft toy Magic Bear Toys “Cat Amantis”, made of high-quality non-toxic materials in the shape of a black cat with a bow, will bring tenderness and a smile to everyone who sees it. This amazingly soft toy will bring joy and give its owner moments of tender hugs and pleasant memories.
Excellent workmanship makes this toy a wonderful gift for any occasion.
MASTER CLASS: Sew a little Baba Yaga For work you will need: - printed cotton fabrics and flesh-colored; - padding; - yarn for hair; - felt; - beads; - sewing accessories; - cardboard, glue. We print the pattern on sheet A-4. We transfer the details of the head, torso, arms, and nose onto a flesh-colored fabric folded in half. We sew, leaving the holes for stuffing unsewn (indicated by dotted lines on the pattern). Cut with an allowance of 2-4 mm. We also sew and cut out the details of the hat, and duplicate the brim of the hat with padding polyester. On the head and crown of the hat we baste the allowances along the bottom edge, this will make it easier to connect them with the brim of the hat. We turn the head, nose, crown, and stuff it. In the brim we make a slit for turning inside out at the place where the head is sewn on, turn it inside out, iron it, and trace the inner circle. We sew the head and crown to the brim of the hat, focusing on the marked inner circle. We sew on the nose, you can shape the face at this stage. We fix the thread on the back of the head, bring the needle to the place where the eye will be located, sew on the bead, bring the thread to the mouth, make the first cross stitch, bring the thread to the location of the second eye, return to the mouth, make the second cross stitch, slightly tightening it. We bring the thread to the back of the head and secure it. At the same stage, think over the hat accessories and sew them on. I remembered this when the doll was ready and sewing it on was not very convenient. Let's start with the legs. We sew stockings. We cut two pieces of wire, 20 centimeters longer than the height of the legs and torso. At the end of the wire we make loops for the foot. If the stockings are made of knitwear, then we wrap the wire with padding polyester tape to the height of the stocking and put it on. If the stockings are made of fabric, then we put the stocking on the wire and stuff it so that the wire is surrounded on all sides by stuffing. We cut out the parts of the shoe from felt and sew it with a buttonhole stitch. From cardboard we cut out the insole a couple of mm smaller than the sole around the entire perimeter. We insert the insole into the shoe and stuff it. We put the shoe on the foot and sew it in a circle. We close the seam with a strap with a buckle. At the bottom of the body we sew the corners and turn it inside out. We use an awl to pierce holes in the bottom of the body. We insert the legs and sew them in a circle. We stuff the body, cut off the excess wire, and sew the hole in the neck over the edge. We sew pantolons, first we sew the side seams, then the step seams with one line. For the dress, we cut out one part of the bodice with a fold in the center and the shoulders, two parts of the skirt measuring 25x14 cm. We gather the parts of the skirt, sew them to the bodice, and sew the dress along the sleeves and side seams with one line. We put pantolons on the doll. Sew to the legs and torso. We stuff the hands, sew up the holes for stuffing with a hidden seam. At the back of the head we make a slot for the neck. We strengthen our hands. At this stage it is better to put a dress on the doll, do not repeat my mistake. The dress, of course, will fit, but with difficulty. We insert the neck into the slot prepared for it. Sew on the head. We shape the face and bring it to life. Let's do our hair. For braids, insert a thin wire into a thick needle and stitch it through. We wrap the yarn around the finger and attach it to the ends of the wire. We sew the end of the yarn on the back of the head and begin to wind the yarn onto the wire until we close the back of the head, then we wrap one pigtail back and forth. We wind the yarn onto the wire again, but we make several turns in front. We wrap the second braid and make a few more turns around the hat. We fasten the thread. We sew along the parting at the back and front. Let's move on to the raven. We trace the details onto the fabric without cutting. We sew, cut out, stuff the body and beak tightly, the wing and tail lightly. We sew feathers on the wings and tail. We sew everything to the body. For the eyes, we cut out two circles from white knitwear, pull them together with a thread over the edge, stuff them, and sew on a bead. Sew the eyes over the beak. Raven is ready. For the book, cut out two rectangles from cardboard measuring 8.5x15.5 and 20.4x2.5. We bend the long rectangle, departing 6.2 cm from the edge on both sides, slightly rounding the edges. We cover the rectangles with fabric and glue them together.
Today, various dolls and figurines made by hand are very popular. They can serve as interior decoration or an excellent souvenir for connoisseurs of this type of art. Most often, craftswomen make amulets and fairy-tale characters. For example, Baba Yaga can be made from different materials. Moreover, there are techniques available for preschool children, but there are also more complex executions of such figures.
On the Internet you can find many video tutorials on making various dolls. Baba Yaga is the most interesting character and textured in terms of execution. We bring to your attention several options for making this figurine.
DIY Baba Yaga from pine cones
Baba Yaga, made from natural materials, looks quite original. For this we need:
Paper cup;
Twigs;
Pine and fir cones;
A piece of fabric;
Plasticine;
Knitting.
We cover the outside of a paper cup with twigs - this will be Baba Yaga's stupa. Then we will make a broom from a twig and several pine needles, tie them to each other with a thread. Now let's start making the head. Take a cone with a tail, where the tail will be the nose. We place knitting threads (hair) between the scales of the cone. The eyes must be drawn on paper and glued to the face.
We put a scarf on our head, which we will make from a piece of cloth. Hands are twigs. Now we attach the head and arms to the body (fir cone) using plasticine.
We seat our Baba Yaga from cones in a mortar, at the bottom of which we put paper. We glue the broom to the hand and our Baba Yaga in the mortar is ready. Photos of this craft can be easily found on the Internet.
DIY Baba Yaga using stocking technique
Baba Yaga, made using the stocking technique, looks very naturalistic. Typically, such dolls serve as interior decoration. There are collectors of such figurines who greatly value exhibits made using this technique. To make it you need to take:
- Nylon material;
- Sintepon;
- Pieces of fabric;
- Wire;
- Gray knitting threads;
- Eyes.
Description of work
We start work from the head. First, we make it from padding polyester (a ball of the required size). Now a nose blank is made from wire, which is wrapped in padding polyester and attached securely to the head in the right place. Now we cover this blank with nylon (from tights or stockings), form the chin and cheeks (protruding places).
Then we proceed to the screed. First we form the nose, then the cheeks and lips. Lastly, we tighten the area of the eyes and forehead, forming wrinkles on it. For the screed, we select threads that match the color of the nylon and a needle of the required size.
We decorate the eyes with pieces of nylon, thereby creating wrinkles around the eyes, and glue them to the face. We make hair from knitting threads. You can watch a master class that shows in detail the technique and diagrams of the screed.
For the hands, we make a wire frame, which we wrap with padding polyester, paying special attention to each finger. Now we cover this blank with nylon and stitch the spaces between the fingers. For the torso and legs, you can take stockings and stuff them with padding polyester. We form a hump on the body. We shape and stitch the foot. Now you need to put all the parts together.
Sew clothes for the doll from pieces of fabric and don’t forget about the headdress; a vest made of burlap will look very good; you can make a broom from twigs. The nylon doll is completely ready.
Baba Yaga from plastic bottles
We bring to your attention a description of how to make a large doll that will look very good in your home area. It can be any size you need. What do we need:
- Plastic bottles of 1.5 and 5 liters.
- Polyurethane foam.
- Glue.
- Paints.
- Boots.
- Broom.
- Bandage.
Let's start making the doll's frame from plastic bottles (torso and legs). The joints between the bottles are secured using polyurethane foam. We put boots on our feet. We put foam scraps into the bag and form the head. Now the entire figure needs to be covered with polyurethane foam. We cut out the face on the head, and give the body the necessary outlines of the figure and clothing.
We make hands using stockings or tights made of nylon. We stuff them and attach them to the body.
The entire workpiece must be wrapped in a bandage and covered with a mixture of adhesives (PVA and tile). After which you need to paint the figure and create a hairstyle for it or simply tie a scarf. A doll made from plastic bottles must be varnished. Give her a broom. The large figure is ready. Now you can install it anywhere.
We have offered you several examples of making Baba Yaga from scrap materials that will undoubtedly interest a creative person.
Video on the topic of the article
Whether you braid your hair or create tousled hair depends on the image of Baba Yaga you are creating. We tie the scarf on the head so that the knot is in front.
If desired, Ezhka can wear a vest and hang beads around her neck.
In this master class, the fairy-tale heroine was given a broom in one hand and a bag with the inscription “Luck” in the other. The whisk was made from ordinary thin branches wrapped with twine around a sushi stick.
The bag is very easy to sew. A rectangle is cut out of a piece of fabric, sewn along the edges, filled with padding polyester, and pulled together at the top. The inscription (“Luck”, “Happiness”, “Wealth”, etc.) is written on a separate piece of fabric, which is then glued or sewn onto the bag.
So we sewed a charming and youthful Baba Yaga:
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V.Ya. Propp. Historical roots of fairy tales (fragments)
Yaga is a very difficult character to analyze. Her image is made up of a number of details. These details, put together from different fairy tales, sometimes do not correspond to each other, do not combine, do not merge into a single image. Basically the fairy tale knows three different forms of yaga. She knows, for example, the giver yaga to whom the hero comes. She questions him, from her he (or the heroine) receives a horse, rich gifts, etc. Another type is the kidnapping yaga. She kidnaps children and tries to fry them, followed by escape and rescue. Finally, the fairy tale also knows a warrior yaga. She flies to the heroes' hut, cuts a belt from their back, etc. Each of these types has its own specific features, but in addition there are features common to all types. All this makes research extremely difficult.
Walking “wherever they look,” the hero or heroine ends up in a dark, dense forest. The forest is a permanent accessory to the yaga. Moreover, even in those fairy tales where there is no yaga (for example, in the fairy tale “Kosoruchka”), the hero or heroine still certainly ends up in the forest. The hero of a fairy tale, be it a prince or an exiled stepdaughter, or a runaway soldier, invariably ends up in the forest. This is where his adventures begin. This forest has never been better described. It is dense, dark, mysterious, somewhat conventional, and not entirely believable.
Here, a whole ocean of materials related to ideas about the forest and its inhabitants opens up before the researcher. In order not to get lost here, you must strictly adhere to only those ideas that are associated with the fairy tale. Thus, goblin and mermaids are almost not reflected in the fairy tale. The mermaid appears only once in the entire Afanasyev collection, and then in a saying. The goblin is always nothing more than a renamed yaga. The closer the connection between the fairytale forest and the forest that appears in initiation rites. The initiation ceremony was always performed in the forest. This is a constant, indispensable feature of it throughout the world. Where there is no forest, children are taken at least into the bush. 
The forest as a separate isolated element does not prove anything. But that this forest is not entirely ordinary can be seen from its inhabitants, and can be seen from the hut that the hero suddenly sees in front of him. Walking “wherever his eyes look” and accidentally raising his gaze, he sees an extraordinary sight - a hut on chicken legs. This hut seemed to be familiar to Ivan for a long time: “We’ll climb into you, eat bread and salt.” He is not at all surprised by her and knows how to behave.
Some fairy tales say that this hut “spins,” that is, it rotates around its axis. “In front of her stands a hut on chicken legs and constantly turns around” (Aph. 235). “It stands and turns” (K. 7). This idea resulted from a misunderstanding of the word “turns.” Some fairy tales clarify: when necessary, it turns. However, it does not turn by itself. The hero must make her turn, and for this he needs to know and say the word. Again we see that the hero is not at all surprised. He doesn't mince words and knows what to say. “According to the old saying, according to my mother’s saying: “Hut, hut,” said Ivan, blowing on it, “stand with your back to the forest, with your front to me.” And then the hut turned to Ivan, a gray-haired old woman was looking out of the window” (Af 560). “Hut, hut, turn your eyes to the forest, and turn your gates to me: I will not last forever, but last a night. Let the passerby in” (K. 7).
What's going on here? Why do you need to turn the hut? Why can't I just log in? Often in front of Ivan there is a smooth wall - “no windows, no doors” - the entrance is on the opposite side. “This hut has no windows, no doors, nothing” (17). But why not go around the hut and enter from the other side? Obviously this is not possible. Obviously, the hut stands on some kind of visible or invisible edge that Ivan cannot step over. You can only get to this edge through the hut, and the hut needs to be turned “so that I can get in and out” (See 1).
The open side of the hut faces the thirtieth kingdom, the closed side faces the kingdom accessible to Ivan. That is why Ivan cannot go around the hut, but turns it around. This hut is a guard post. He will not cross the line until he is interrogated and tested to see whether he can go further. Actually, the first test has already been passed. Ivan knew the spell and managed to blow on the hut and turn it.
We will continue to follow the actions of the hero. The hut has turned, and the hero enters it. He doesn't see anything yet. But he hears: “Fu, fu, fu! Before, the Russian spirit was unheard of, unseen; today the Russian spirit sits on a spoon and rolls into its own mouth” (Af. 137). “The Russian spirit came to my forest!” (North 7). Or in short: “Ugh, how Russian bone stinks” (Af. 139). We need to dwell on this detail. It is very significant.
However, as soon as we turn to comparatively earlier stages, we immediately receive the key to our motive. This material shows that Afanasyev was not mistaken in asserting that Ivan’s smell is the smell of a person, and not a Russian. But his statement can be clarified. Ivan smells not just like a person, but like a living person. The dead and incorporeal do not smell, the living smell, the dead recognize the living by their smell.
The smell of Ivan is the smell of a living person trying to penetrate the kingdom of the dead. If this smell is disgusting to the yaga, then this is because the dead generally experience horror and fear of the living. No one alive should cross the cherished threshold.
The canon of the fairy tale requires that the exclamation “Fu, fu, fu,” etc. be followed by an inquiry about the purpose of the trip: “Are you torturing for business or flying for business?” We expect the hero to now reveal his goal. The answer he gives must, however, be recognized as completely unexpected and not resulting from the threats of the yaga. First of all, he demands to eat. “Why are you shouting? First, give him something to drink and feed, take him to the bathhouse, and then see him out and ask questions” (Af. 105). And, what is most extraordinary, the yaga completely humbles herself with such an answer: “Baba Yaga gave them something to drink, fed them, and took them to the bathhouse” (105). “She got down and bowed low” (137).
Note that this is a constant, typical feature of yaga. She feeds and treats the hero. Let us also note that he refuses to speak until he is fed.
What is this? Why do heroes never eat, for example, before leaving home, but only at the yaga? This is not an everyday, not a new-realist trait, this trait has its own special history. Food has a special meaning here. By demanding food, the hero thereby shows that he is not afraid of this food, that he has the right to it, that he is “real.” That is why the yaga submits to his demand to give him food.
We now turn to consider the yaga itself. Her appearance is made up of a number of particulars, and we will consider these particulars first separately, and only after that we will consider her figure as a whole. The yaga itself appears in two forms: either when Ivan enters, she lies in the hut - this is one yaga, or she flies in - this is a yaga of another type.
Yaga the Giver is in the hut when Ivan arrives. First of all, she is lying down. It lies either on the stove, or on a bench, or on the floor. Further, she occupies the entire hut. “There is a head in front, a leg in one corner, another in the other.” (Aph. 102). “Baba Yaga lies on the stove, a bone leg, from corner to corner, her nose rooted in the ceiling” (137). But how do you mean “your nose has grown into the ceiling”? And why does the yaga take up the entire hut? After all, she is nowhere described or mentioned as a giant. And, therefore, it is not the hut that is big, but the hut that is small. Yaga resembles a corpse, a corpse in a cramped coffin or in a special cage where they are buried or left to die. She is a dead man.
The Russian yaga does not have any other signs of a corpse. But Yaga as an international phenomenon possesses these characteristics to a very wide extent. “They are always characterized by the attribute of decomposition: a hollow back, softened meat, brittle bones, a back, pitted
eaten by worms" (Guntert). 
If this observation is correct, then it will help us understand one constant feature of the yaga - bone-footedness. To understand this feature, we must keep in mind that “awareness of a corpse” is a very late thing. In the earlier materials from America that we have already cited, the guardian of the kingdom of the dead is always either an animal or a blind old woman - without signs of a corpse. Analysis of the yaga as the mistress of the kingdom of the forest and its animals will show us that her animal form is her oldest form. She sometimes appears like this in Russian fairy tales. In one Vyatka fairy tale by D.K. Zelenin (3B 11), which is generally replete with extremely archaic features, the role of a yaga in a hut is played by a goat. “The goat lies on the beds, the legs are on the beds,” etc. In other cases, it corresponds to a bear, a magpie (Aph. 249, 250), etc. But the animal never has a bone leg, not only in Russian material (which could be explained by phenomena of language - “yaga” rhymes with “leg”), but also in international material. Consequently, the bone leg is somehow connected with the human appearance of the yaga, connected with its anthropomorphization. The transitional stage from animal to man is a man with an animal leg. A yaga never possesses such a leg, but Pan, fauns and a motley line of all evil spirits possess such legs. All kinds of elves, dwarfs, demons, devils have animal legs. They retain their animal legs just as the hut preserved them. But at the same time, yaga is so firmly connected with the image of death that this animal leg is replaced by a bone leg, that is, the leg of a dead person or skeleton. The bone-footedness is due to the fact that the yaga never walks. She either flies or lies, that is, she outwardly manifests herself as a dead person.
Yaga gradually becomes clear to us as the guardian of the entrance to the thirtieth kingdom and at the same time as a creature associated with the animal world and the world of the dead. She recognizes the hero as a living one and does not want to miss him, warns him of dangers, etc. Only after he has eaten does she show him the way. She recognizes Ivan as if he were alive by his smell. But there is another reason why the yaga perceives Ivan by smell. Although this is never said in the Russian fairy tale, it can still be established that she is blind, that she does not see Ivan, but recognizes him by his smell. This blindness was, by the way, already suggested by Potebnya. He explains this blindness as follows: “Yaga seems, by the way, to be blind. One can guess that Baba’s blindness means ugliness. The idea of darkness, blindness and ugliness are akin and can replace one another.” This is proven by analysis of the root “lep” in Slavic languages (Potebnya). This conclusion of Potebnya is incorrect simply because she is blind not only on Russian or Slavic soil. The blindness of creatures like Yaga is an international phenomenon, and if we were to take the path of studying the etymology of a name or word for the phenomenon denoting it (which is always very dangerous and often incorrect in essence, since the meaning changes, but the word remains), then it would be necessary to study a comparative study of the designation of blindness in different languages. None of them will lead to the name of the yaga. But such an analysis might show that “blindness” does not simply mean the absence of vision. Thus, the Latin caecus not only means active blindness (unseeing), but also, so to speak, passive (invisible - caeca nox - “blind” night). The same can be deduced regarding the German ein blindes Fenster.
So, an analysis of the concept of blindness might lead to the concept of invisibility. A person is blind not in himself, but in relation to something. Under "blindness" the concept of a certain reciprocity of invisibility can be revealed. In relation to Yaga, this could lead to a transfer of the relationship of the world of the living to the world of the dead: the living do not see the dead in the same way as the dead do not see the living. But, one might argue, then the hero would also have to appear blind. Indeed, this is how it should be, and this is how it actually is. We will see that the hero who ends up with the yaga becomes blind.
But is Yaga really blind? This is not directly visible, but it can be judged by some indirect signs. In the fairy tale “Baba Yaga and Zhikhar,” the yaga wants to kidnap Zhikhar and flies to him at the moment when his friends and roommates, the cat and the sparrow, have gone to get firewood. She starts counting spoons. “This is the cat’s spoon, this is Vorobyov’s, this is Zhikhar-kova.” Zhikharko could not stand it, he roared: “Don’t touch my spoon, Baba Yaga!” Baba Yaga grabbed Zhikharko and dragged him away,” (Af. 106). So, to find out where Zhikharko is, the Yaga must hear his voice. She doesn’t look out, she listens, just as she sniffs out an alien. 
Another feature of the yaga's appearance is her sharply emphasized feminine physiology. Signs of gender are exaggerated: she is depicted as a woman with huge breasts:
“Tits through the bed” (Onch. 178. The bed is a pole for towels, etc.); “Yaga Yagishna, Ovdotya Kuzminishna, nose to the ceiling, tits across the threshold, snot across the garden bed, raking up soot with her tongue” (Sm. 150). Or: “On the stove, on the ninth brick, lies Baba Yaga, a bone leg, her nose has grown into the ceiling, snot is hanging over the threshold, her tits are wrapped on a hook, she is sharpening her teeth.”
So, Yaga is equipped with all the signs of motherhood. But at the same time, she does not know married life. She is always an old woman, and an old woman without a husband. Yaga is not the mother of people, she is the mother and mistress of animals, moreover, forest animals. Yaga represents the stage when fertility was thought through a woman without the participation of men. Hypertrophy of the maternal organs does not correspond to any marital functions. Maybe that is why she is always an old woman. Being the personification of gender, she does not live the life of gender. She is already only a mother, but not a spouse either in the present or in the past. True, in the fairy tale she is never called the mother of animals. But she has unlimited power over them. 
It is widely believed that the yaga is a character who is typically given difficult tasks. This is true only for women's fairy tales, and even then it can be shown that these tasks are mainly of late origin. A man is given tasks much less often, rarely at all, and they are very few in number. Usually the reward follows immediately after the dialogue. ""You can hardly get it! Shall I help" - and gives him his horse" (Aph. 174). “She fed him, gave him something to drink and gave him Zolotitsa Mare” (Sev. 46). There are many such cases that can be cited; this is a typical form. The question arises: why does the yaga reward the hero? Outwardly, artistically, this award is not motivated. But in the light of the materials given above, we can say that the hero has already passed a number of tests. He knew the magic of opening doors. He knew the spell that turned and opened the hut, he knew the magic of gestures: he sprinkled the door with water. He made a propitiatory sacrifice to the beasts guarding the entrance. And, finally, the most important thing: he was not afraid of the yaga’s food, he himself demanded it, and thereby forever joined himself to the host of otherworldly creatures. Questioning follows the test, and reward follows the questioning. This also explains the confidence with which the hero carries himself. In what he sees, not only is there nothing unexpected, on the contrary, everything seems to have been known to the hero for a long time, and is exactly what he expected. He is confident in himself due to his magical weapons. This armament itself is really not motivated by anything. Only occasionally do we meet such characters as an aunt instructing a girl on how to behave with a yaga. The hero knows all this because he is a hero. His heroism lies in his magical knowledge, in his strength.
About Baba Yaga from other sources