Murals of Northern Dvina. Traditions and modernity. Severodvinsky painting Severodvinsky painting History
Severodvinsky painting on the tree - general designation of Russian peasant crafts for painting products from wood, existing in the late XVIII - early XIX century. In the villages for the river Northern Dvina, flowing into the White Sea. In the Arkhangelsk and Vologda provinces in the north-west of Russia, the dishes were made from wood, children's toys, strands, tools, furniture, decorated with carvings and painting. They painted tever divorced on egg yolk. Initially, the pen was applied a black contour, and then filled the drawing with bright colors - red, green, yellow. The main motifs of painting are plant shoots, shamers and a small pattern, more often on the white background. The concept of "Painting Severodvinsky Type" includes independent varieties: Permogorskaya, Rakulsky and actually Severodvinskaya. The first named after the village of Permogorier, near Solvychyodsk. The center of the second variety is the village of Ulyanovskaya at the river shell. North-Dvina painting is divided into three subspecies: Puchuga, Boretskaya and Totemskaya (see Totma). They are close in compositional techniques, but differ by the motifs and features of the flavor. For the masters of the village of Puchuga, the motive of the "Big Tulip" is typical. The most interesting is a wrestling painting (from the name of Boyar Boreletsky). Painted wrestlers, the most ancient, are different white background, the predominance of red and gilding. Compositions line up on the "principle of iconostasis", Yarazno (in the receptions of painting is obvious with the icon-painting). They wrote rustic masters on the soil from egg protein. After graduation, the painted was covered with oil varnish. For late wrestling painting is characterized by the use of natural wood. The Master of Permogoria was usually written in red, green and yellow in white soil, as well as on the passAll and Bereste.
Severodvinsky painting is one of the largest directions of Russian painting. The painting includes the influence of the archaic peasant, pagan art and the motives of neighboring Northern Europe. Each of the doves of the painting includes a plurality of symbol elements. And the compositions of these elements create a unique openwork painting.
Severodvinsky painting features graphitres and brightness. Frequently used motifs and symbols: a tree of life, a bird Sirin, Leo, Griffon, Bear, Mermaid ... The painting resembles the North Summer - a short, long-awaited and very warm. Mostly Severodvinsky painting was decorated with strawberries. The spanking blade was divided into three areas in accordance with the ideas about the world's device: underground, terrestrial, heavenly.
The shores of the Northern Dvina have long become a refuge for all dissatisfied, as well as the land of privacy for those who were looking for a quiet place of life in their rules.
Old Believers and the Poles, peasant immigrants in the Russian north, the merchants, and those who moved to the place of commerce - everyone contributed to the size of Severodvinsky life.
One of the important contributions was the fairly active spread of the art of census of books. Monasteries and deserts, as well as the Old Believer communities, were actively writing, rewriting, decorated books.
And one of the most important places in this process was given to master writing. The arts of painting in Severodvinsky villages developed from the traditions of the book handwritten publication. Handwritten books were not just text censuses, they were drawn up with various decorative techniques, were supplied with illustrations, beautiful vignettes, capital letters. The Masters-Catakers brought this decorator spirit into everyday life, starting to paint utilitarian items, giving the ease and festiveness of the harsh in general by everyday life. The decoration of utensils and everyday items originated simultaneously with humanity.
Even on the first clay plates, prehistoric civilizations left scubons and wavy patterns. The connection of the book graphics technology with the creative ideas of Severodvinsky masters created unique paintings, recognizable and not released from fashion even a century later. Severodvinsky paintings are customary to be divided into three large groups. This is Permogorskaya, Boretskaya and Rakulsky painting.
Boretskaya painting includes two more pipes (except for the actual wrestler) - this is a Puzhuzhskaya painting and the Physical Painting. The names of the paintings occur from the name of the villages, which were a kind of art centers of the painted. All these centers are relatively close to each other, but each village sought to develop their style, their letter manner.
In the XIX century, painting turned into a family case, which were engaged in whole clans, the subtleties of the artistic style were transmitted from the older generation to the younger. And some masters became so famous that their painted products were ordered in advance, wishing to certainly get the author's work of this artist.
Speaking about Russian northern fisheries, it should be noted that a tree or berson became the usual material for the painting. Wooden dishes, wooden ribbons and household items, Berevian Taues, Berevian lari and chests, caskets - all that women and today love to choose "with flowers", manufactured from two most affordable and cheap (darm) materials. The painting on wood and Bereste has its own specificity, which is primarily in the color of the material. Both bark and wood give various shades of yellow, beige tones.
A number of paintings workshops preferred the basis of BELION (cellphone painting). Perhaps this is also a kind of reference to handwritten books, to creativity on paper. Other artists worked directly on the tree and Bereste, which were already ready, toned and textured background for drawing. In addition to purely aesthetic purposes, some practical calculation was covered in the brightness of the figure and choosing the prevailing red color. In daily operation and berson, and the tree is exposed to water, friction, moisture drops, mechanical loads. To preserve the decorativeness of the item in such conditions, it is preferable to bright, contrast patterns that even a slightly erased remain noticeable and allow the object of painting to remain elegant for a long time.
It should not be forgotten that in the harsh climate of the Russian north, especially in winter, cold white-gray-black tones prevail, so in everyday life I wanted warm, bright colors, reminiscent of the summer, about the sunlight.
The shores of the Northern Dvina have long become a refuge for all dissatisfied, as well as the land of privacy for those who were looking for a quiet place of life in their rules. Old Believers and the Poles, peasant immigrants in the Russian north, the merchants, and those who moved to the place of commerce - everyone contributed to the size of Severodvinsky life. One of the important contributions was the fairly active spread of the art of census of books. Monasteries and deserts, as well as the Old Believer communities, were actively writing, rewriting, decorated books. And one of the most important places in this process was given to master writing.
The arts of painting in Severodvinsky villages developed from the traditions of the book handwritten publication. Handwritten books were not simply text census, they were drawn up with various decorative techniques, were supplied with illustrations, beautiful wins, capital letters. The Master-Catakers brought this decorator spirit into everyday life, starting to paint utilitarian objects, giving the ease and festivity to the harsh in general.
The tradition of decoration of utensils and everyday items originated simultaneously with humanity. Even on the first clay plates, prehistoric civilizations left scubons and wavy patterns. The connection of the technology of book graphics with the creative ideas of Severodvinsky masters created unique paintings, recognizable and not released from fashion even a century later.
Usually, Severodvinsky paintings are customary to divide into three large groups. This is Permogorskaya, Boretskaya and Rakulsky painting. Boretskaya painting includes two more pipes (except for the actual wrestler) - this is a Puzhuzhskaya painting and the Physical Painting. The names of the paintings occur from the name of the villages, which were a kind of art centers of the painted. All these centers are relatively close to each other, but each village sought to develop their style, their letter manner.
In the XIX century, painting turned into a family case, which were engaged in whole clans, the subtleties of the artistic style were transmitted from the older generation to the younger. And some masters became so famous that their painted products were ordered in advance, wishing to certainly get the author's work of this artist.
Speaking about Russian northern fisheries, it should be noted that a tree or berson became the usual material for the painting. Wooden dishes, wooden ribbons and household items, Beresty Taues, Berevian lari and chests, caskets - all the fact that women and today love to choose "with flowers", made from the two most affordable and cheap (darm) materials. The painting on wood and Bereste has its own specificity, which is primarily in the color of the material. Both bark and wood give various shades of yellow, beige tones. A number of paintings workshops preferred the basis of BELION (cellphone painting). Perhaps this is also a kind of reference to handwritten books, to creativity on paper. Other artists worked directly on wood and Bereste, which were in this case ready, toned and textured background for drawing.
In brightness of the picture and choosing the prevailing red color, in addition to purely aesthetic purposes, some practical calculation was covered. In daily operation and berson, and the tree is exposed to water, friction, moisture drops, mechanical loads. To preserve the decorativeness of the item in such conditions, it is preferable to bright, contrast patterns that even a slightly erased remain noticeable and allow the object of painting to remain elegant for a long time. It should not be forgotten that in the harsh climate of the Russian north, especially in winter, cold white-gray-black tones prevail, so in everyday life I wanted warm, bright colors, reminiscent of the summer, about the sunlight.
All Severodvinsky paintings are primarily complex and simple stylized floral patterns, ornaments, borders. Leaves and flowers, shoots and whole bushes are intertwined, creating a decorative and elegant, but compositely verified carpet. Quite often in the vegetable pattern turns on the image of fairy birds. In painting, a significant place is given to various household and genre scenes. First of all, these are images of horsemen and riding in carts and sleigh. Some pieces of splinters are complemented by glass and mirror inserts.
The earliest to us the painted severodvin products dated the middle of the XVIII century, and the existing style and skill of artists are already traced in these products. It can be assumed that by this time art crafts already existed for a while. In a number of drawings and ornaments, especially geometric - with the use of triangular and rhombic elements - specialists see the connection with traditional wood thread patterns known on Dvina from ancient times. Masters of painting used old art ideas for a new way, trying to keep the symbolism of previous eras.
Permogorsk painting
The village of Permogorier.
For Permogorsk painting is characterized by white background. The basis was first elevated, then the pattern was applied. The main color of the drawing is bright red. Images details are driven by black contour. The stroke was performed by a goose pen - and it is desirable to one move, into one natural free line. A supplement to the pattern is yellow and green colors.
Beetroot. Permogorsk painting. 1811.
Beetroot. Permogorsk painting. Start of the 20th century.
Master Egor Maksimovich Yarygin.
Beetroot
Permogorsk painting. Mid 19th century.
Fragment of the painting of the buura. Permogorsk painting. Mid 19th century.
Boretskaya painting
The center of art fishery - the village of Borok.
White painted with a predominance of red patterns. War Master used to decorate a number of items, mostly, of course, sniffing, tinted gold, it is known that such spindles were quite expensive and sometimes bought as an expensive and long-playing gift. In wrestlers, the characteristic shape of the spindle blades is two round earrings and an elegant curly leg. The plot painting of such snags is very traditional - gold windows with flowers, fabulous birds in the center and at the bottom of the riding scene. In addition to the spiker, a large number of a wide variety of items covered with a wrestling paint are preserved. This is not only desktop dishes and utensils, not only boxes and caskets, but also spacious lars, head restraints, even massive chests, completely covered with wrestling patterns.
Beetroot. Boretskaya painting. 1823.
The front side of the straw. Boretskaya painting.
The center of art fishery - Puffuga village.
Puzhuzhny paintings are most likely "bombarded" from the Bores, becoming a kind of artistic experiment, but subsequently transferring found innovative techniques to traditional. At the end of the XIX - early XX century, the Puzhuzhsky masters were known to be known. The most famous masters were artists Kuznetsov Philip Fyodorovich and his son Kuznetsov Fedor Filippovich.
FRANIA MARPISIY DISKINGS "Skating".
Puzhuzhskaya painting. Start of the 20th century.
Splinker blade. Puzhuzhskaya painting. Start of the 20th century.
Master Fedor Filippovich Kuznetsov
The center of the art fishery is the village of Lower Toyma.
Music painting is primarily a strawberry. The peculiarity of skin painted spanks is a turning point. As well as the use of mirrors on the blades facing prime. Toem fishery was least developed, but still distinguishing recognizable features of the Temian painting make it possible to allocate it in a separate type of Severodvinsky paintings.
Splinker blade. Music painting. Start of the 20th century.
Master Vasily Ivanovich Tretyakov
The main place in the Rakulsky painting is occupied by a noble little muffled yellow. This color is combined with natural color not a white background. In addition to the ubiquitous red, dark forest green color is widely used in the Rakulsky painting. Strict color harmony and restraint - a distinctive feature of the Rakulsky painting.
Nabinum for berries and fragments of its painting.
Rakulsky painting. Mid 19th century.
Master Dmitry Fedorovich Vityazev.
Text: T. Syelinova, 2010, especially for the site
Literature and photos: "People's Painting of Northern Dvina." Author-compiler Kruglov O.V.
Moscow. "Art". 1987.
Page \\ * MergeFormat 43
Introduction …………..………………………………………………………………3
- The history of painting ....................................................7
- Pozhuzhskaya and Rakulsky paintings .................................................. 11
- Boretskaya and Permogorsk painting .............................................. ..14
- Mezensky painting .................................................................. .18
Chapter 2 Mural Technology
2.1 Ornament signs ................................................................................... 25
2.2 Technology of Severodvinsky painting ............. ... .............................. 32
Conclusion ………………………….…………………………………………..40
Bibliography……………………………………………………………41
Introduction
Artistic processing of wood belongs to an exceptional place in the history of Russian peasant creativity. In the Forest Arkhangelsk Territory, the art of carving and wood painting has always been actively developed. The study of paintings on the tree of the Russian North, is of particular interest among art historians and ordinary people. The interest of people is understandable and justified. Of particular interest is the murals of the Northern Dvina.
Permogorier is a marina at the highest, mountainous bank of the Northern Dvina. A large Bereznik village spread out 4 kilometers from her. These villages, combined by the common name of the wet EDUOM, were the center of Permogorsk painting. The basis of the Permogorsk painting is a vegetable pattern. On the flexible shoots of the trunk-sandy, slightly curved leaves with sharp tips and tulip flowers resembling an ancient flower of Krina. Among them, bushes from rounded leaves, Sirins, elegant fabulous birds. In the People's Painting of the Permogoria XIX century in the plant pattern, there are usually almost all of the objects of life, more varied genre scenes from peasant life fits.
In the color scheme of Permogorsk painting, white color of the background and red is predominant - the main color of the pattern. Yellow and green colors are like
would be additional concomitant. Of great importance in the painting has a subtle black outline, which was applied by a goose feather freely, running, always Masovito.
The earliest products with Permogorsk painting, which came to this day are dated XVIII - the beginning of the XIX century. Many of these items and form, and in the nature of painting, retained the tradition of the art of previous centuries.
The peasant murals of the Northern Dvina are the colorful and distinctive phenomenon of Russian folk art. Back in the XIX century, rich collections of the objects of the peasant life, crowned with this painting, were collected in the museums of Moscow and St. Petersburg. They were collected and brought to the museums of the buyers. The demand for them was great. Therefore, they were kept secretly clear addresses, where many generations have been engaged in this craft for a long time, where at the end of the XIX - the beginning of the 20th century there were creators of beautiful works of art. So they entered museum documents with the general address - Northern Dvina.
Relevance the chosen topic is that the painting on the tree is one of the most picturesque fishes of our country. Her roots go far into archaic times, when our pagan ancestors believed in many gods and worshiped the sun, thunder, forest, river and other natural elements. Every product painted by folk masters carries the wishes of health, happiness, good luck, blessing to the house printed by ancient forces.
Colorful patterns of folk festivities or floral ornaments are not only signs of high mastery of folk artists, but also carry a positive charge of joy and positive energy. Now interest in old folk artistic fields is increasing in connection with the growth of interest in the folk culture and the appearance of the spirit of patriotism in modern youth. All new and new schools
artwork, where anyone can learn to the art of painting on a tree. The works of our artists on artistic painting on a tree are currently widely known not only in our country, but also far beyond its limits around the world.
The history of the opening of the country of Severodvinsky painting has a long history. Another 19 centuries in the museums of St. Petersburg and Moscow, rich collections of the objects of peasant life, decorated with this painting, were collected. The demand for them was great. Therefore, the exact addresses were kept in secret, where many generations were held, which had long been engaged in this craft, where at the end of the XIX beginning of the 20th century, the creators of beautiful works of art lived and worked. So they entered museum documents with the general address - Northern Dvina. For a long time, this painting has not been studied. The first researchers A.A. Bobrinsky and V. S. Voronov introduced the general name "Severodvinsky painting", which subsequently entrenched in the future. Only in the middle of the 20th century it was possible to make a complete clarity in the generally accepted, very vague term "Severodvinsky type painting".
Researchers of the Zagorsk Museum O. V. Kruglov and the Moscow Historical Museum of S. K. Zhegalov discovered during their expeditions in the Russian North (in the summer of 1959) interesting data on the place of creating most things decorated with the so-called "Severodvin" painting and masters names Her at the end of the XIX - early XX century. The found rifts based on the motives and compositions of their ornament completely repeat older samples, saying that this wonderful art survived to this day. Mosts of production of these paintings were the villages of Wet Undoma, Pazakino, near Permogoria on the North Dvina, as well as the village of Zabolotskaya Top on the river Wakkulka. The type of so-called Shenkurian splash was discovered in the Vinogradov district (in the past Shenkur district). Lumping early things with later, which belong to the first half of the XIX century, and maybe can be dated and 60-70 months, says that by the end of the century the style of these paintings began to develop towards greater loading patterns, and in motifs of figures Less expressive, however, retaining all the noble features of Severodvinsky art.
The purpose of the studyit is a comprehensive analysis of the historical and artistic aspects of Severodvinsky wood paintings.
Tasks:
1 Study of the history of the tree painting.
2 Study of species in the Northern Dvina Tree.
- Consideration of technologies for the implementation of various types of wood painting.
Object of study:murals of Northern Dvina.
Subject of study:ornamental and technological features of Severodvin paintings on a tree.
Research methods:
Generally
Historical and theoretical
Terminological
Course work consists of introduction, two parts, six paragraphs, conclusions and a list of used literature.
Chapter 1 The History of the Mural of Northern Dvina
1.1 History of painting
The origins of the origin of art education at the Arkhangelsk north are originated by ancient times, with the appearance of folk crafts and learning reading and writing. Approximately XI to the XVII century, diploma and drawing took place at churches and monasteries, and sometimes at home. Knowledge of the Father was transferred to the son, the skills not only to read and write, but also successfully create the necessary things with a decorative decoration with family art traditions. In the monasteries and churches, and sometimes in the peasant yards, the doctrine took place no more than 1 year, without a plan and curriculum, the teachers - the diplomas taught what they knew - to read, write, count. The training of drawing was carried out at the discretion of the teacher and its capabilities and was often reduced to redrawing letters and pictures from church paintings, and even it was completely absent. In the XVII century, with the advent of several discharges of schools and schools, there were classes related to the visual activities: schools in church arrival, schools of diplomas on the village, private schools in cities. Drawing as an item has not yet existed, children were asked to copy samples of letters and drawings from church books. After writing and remembering the letters, words, the children were redrawn from the sample or in memory of the objects of life or peasant utensils and signed them. At the end of the XVII century, small folk schools appear in the Arkhangelsk province, in Onega and Holmes. Small folk schools were two-year, training took place for two years, a little later, both three-year, four years of study are opened. Classes in folk schools were carried out in three offices at the same time: 1 Department - Junior Schoolchildren, 2 Office - Middle Schoolchildren, 3 Branch - Senior Schoolchildren. At the lesson of reading and writing, each department received a task, for example, 1 branch - are engaged in drawing a pen, mugs, sickles and arcs from Paulson's book with a signature under each subject, excluding the word "arc", after which the children dealt with the words "arc" on syllables And sounds. In the younger branch, the shapes from the sample on cells were drawn, on average and senior branches were engaged in expressive reading. how
we see, drawing was used for the ability to write, read and have an idea of \u200b\u200bthe structure of items used in everyday life and work.
By the beginning of the 20th century, there were many educational institutions in the Arkhangelsk province, in which visual arts were taught: schools of diplomas, church-parish schools, parish schools, folk schools, city schools, gymnasiums, men's and women's, commercial and nautical school, mechanics and technical school . In 1908, the teacher's seminary opens, which in our day the Pomeranian State University. M.V. Lomonosov, where visual arts are taught at the faculties of primary and labor learning.
Currently, there are workshops with educational training classes of young masters in the city of Akhangelsk and the area under centers of folk crafts. In the city of Arkhangelsk, a number of circles and studios for folk crafts are working. In 1990, the "School of Folk Crafts" was opened, founded by Master Burchevsky N.M. The artistic lyceum and college of culture are preparing masters on the people's decorative and applied arts of the Russian North and teachers of fine art for art schools, studios, circles. In the pedagogical colleges of Arkhangelsk and the city of Kargopol, teachers are preparing teachers for teaching the subject "Fine Arts" in secondary schools.Severodvinsky painting is divided into three large, completely independent speciesmural . The first type of painting is called Permogorsk. It includes work masters from Cherepanovo villages,Large Bereznik and Gregory, they are four kilometers from Permogorier's pier. The basis of the Permogorsk painting is a vegetable pattern. On the flexible shoots of the trunk sandy, slightly curved leaves with sharp tips and tulip flowers resembling an ancient flower of Krill. Among them are bushings from rounded leaves, Sirins, elegant fabulous birds. In the People Painting Permogoria XIXcentury in the vegetable pattern is usually almost onall Life objects fited a variety of genre scenes from peasant life. In the color scheme of Permogorsk painting prevailwhite color background and red The main color of the pattern. Yellow and green backgrounds are as if additional, concomitant.Great The importance in painting has a thinthe black The contour, which was applied by a goose pen freely, fluently and always Masovito. First, the black contour is applied on the white ground, as on paper, then it was filled with color. The circle of household items, which were painted, was very large - in large quantities they decorated with wooden and bark dishes, painted many large items - cradles, strains, chests, head restraints. But most of all sketches. For eachpeasants The gingerbread, with which she did not part all his life, was not only necessary in everyday life, but the best memories of youth contacted it, a wedding rite was always connected with a hill.
Another, no less large view of Severodvinsky painting was the painting of Worec. The painting sparkle white background, on whichburned Brightly red vegetable pattern. Sustal gold, which loved to decorate the strawberries of this center, gives them a large festive and elegacity. The composition of the spindle blades as it were shared by three parts. At the top are drawngolden. Windows with flowers, in the center a fabulous bush with birds, and at the bottom there was a scene of riding.
The third type of Severodvinsky painting is Rakulskaya. It is absolutely not like Permogorskaya and Boretsk. In painting, golden-ocher and black colors play the main role, and they are most often deep green and brown-red. The ornament is very large, mainly consists of decorative leaves. Black is made not only the contour, but also many doctors, curls and streaks. Covering a bright outfit painting Conventional household items, folk artists turned them into worksart Which still bring joy to us.
Severodvinsky painting is characterized by graphism and brightness. Often used signs of traditional painting: a tree of life, a bird Sirin, Leo, Griffon, Bear, Mermaid ... The painting resembles the North Summer - a short, long-awaited, very warm. Mainly painted sniffers. Typically, the field of straps Launched into three areas. Perhaps this tradition tribute to the ideas about the device of the world: underground, terrestrial, heavenly. Over time, crafts change. New compositions appear, techniques. Painting Square lost its preferential position to other subjects: kitchen boards, barrels, solonkov.
The decor of each thing is individual, the arrangement of the ornament is subordinate to the form of the subject. The usual objects of the peasant life painting turned into genuine works of folk art.
Obviously, all types of Severodvinsky paintings leave their roots in Old Russian art: monumental painting, iconography, miniature and ornamentaries of books. Many techniques and motifs of book miniatures Folk masters were postponed.
Very close to miniatures manner image of clothes of characters, flavor, simplicity and laconicity pattern. Many composite techniques are also taken from book miniatures and icon painting: narrative, connection in one composition of the draft scenes. The technique of execution and dyes also have a lot in common with ancient Russian miniature. First, a black contour was applied to the ground, which was then filled with color. Initially, the paints were divorced on egg yolk, and later replaced with other dyes. However, the ideas, the sound, the music itself of the population is quite different than in the book miniature. The leading theme of Severodvinsky painting is an opoethized life of the people and the native nature. The basis of the Permogorskaya, Rakulsky and wrestling painting is plant motives. Based on the vegetable pattern of Permogorsk painting - a flexible escape, on which the three-bladed, slightly curved leaves with sharp tips and tulip flowers. In the center of the painting sometimes depicted a bird of Sirin or Great Fish. The most popular stories: riding a triple, wedding, gatherings.
1.2 Pouchuzhskaya and Rakulsky painting
Puzhuzhskaya painting
One of the many types of paintings found on the banks of the North Dvina River. This graphic painting has been preserved on a bark. In the structure of Puffy, Puffy, were traditional for the north. They were made about a meter high, with a large bladder from one piece of wood. For the manufacture of splices in the north, a whole tree (spruce or pine tree) was often cut: the leg was cut down the leg with a bladder, and from the horizontal branch - the donation seat. The name of such a strawberry is "hoop", that is, the root. The strands were made skillful carpenters of the North, so in their form it reflected the originality of the northern architecture. The top of the blades decorate rounded protrusions - the heads, repeating the contours of the roofs of the northern wooden churches, and the figure leg and rounded skes at the bottom of the liner resemble the elegant columns of the porch, balasink and earrings of the facade of hut.
In the Zagorsk State Historical and Art Museum-Reserve, there are several snakes painted by Masters Kuznetsov Filipp Fedorovich and his son, Kuznetsov Fedor Filippovich. Puffy puffy puffy late XIX century. - Nach. XX century Very similar to the wrestling ribbons and the facade side almost exactly repeat them. Shielding lopes are divided into three parts. The upper part is occupied by windows and flowers, in the center - Arch with lush plants and birds. Below is a scene of riding: a couple or one horse, harvested in a sosiest with a kibit. But there are its own features of the painting, whom the masters of Puffs strictly adhered to. Unlike wrestling, ribs on ribs Puffy dressed in peasant, in the trip and black felt cap with bent edges. On the back of the bladder repeats the scene of riding, which adorns the front side of this spindle. The vegetable pattern consists of three types of leaves. And characteristic of all kinds of northern painting a shadownik in the Puzhuhnsky painting has its own option - a thinner, bent
to the stem, the bottom of the sheet and the top, moving in the circle
lya berry. Puzhuhnaya spinning lines can be distinguished from the wrestler and by the pattern on the leg. Instead of a straight stem that on a wrestler is a splicer, the leg of the puffwaters is decorated with a flexible, curly stem with leaves. The stem runs from the base of the legs of the strapping to the liner and ends with a round outlet.
Rakulsky painting
Comparatively not far from Permogoria, wet etern and upper Emitting, in the Krasnoborsky district of the Arkhangelsk region, there is another bush of villages with a kind of painting. These are villages along the river Wakkula, which flows into the Northern Dvina, with the center in the village of Ulyanovsk.
Pain in Ulyanovskaya was engaged in the family of the Old Believers of Vityazev. Vityazev painted strawberries and nabinahs (bodywork, berry luxury). Their craft was transferred from generation to generation (approximately from the middle of the XIX century). The basis of the mural was a floral ornament consisting of decorative leaves. The elements of the pattern were combined into bundles, twigs, bushes, garlands. Birds made by black contour were poured black paint, and sometimes we were cleaned with red and green flowers. Golden-ocher and black colors played in the painting, the blue, green and brown-red were accompanied. Black was performed not only contours, but also many details, as well as "Ugings", curls, streak ...
In the middle of the XIX century, Dmitry Fedorovich Vityazev was considered the best draftsman in the village of Ulyanovskaya. Excellent signed nabium in the Foundations of the Museum of Ethnography in St. Petersburg is characterized by an original pattern, completely different in character than in any of the other places of the Russian North. From above on the red background of the apparatus feathering grazing festons. In the center - ornamental circles with roosters on the sides. All elements - both the circle, and roosters, and curls are sharply contternated and graphic. The lid from the round box, stored in the funds of this museum, carries the features of the same style.
The basis of the ornament on the Rakulov bidding is a curved stem, from which both sides go like large rounded multicolored drops. The background of Yellow Pucks, on the front side in five ornamental frames on a white background, a conditional black graphic image of a bird resembling a rooster is placed on a white background. Pucklinks from Ulyanovsk - bright, with bold use of local colors - white, red, green.
The shape of snacks from Ulyanovskaya is also original and unique, as the painting itself: this is a wide and long blade with four spearheads, almost without legs (instead there are several pairs of adequate seizures, tapering down the book).
The decorative painting of Severodvinsky Centers of the XIX century discovers large professional skills of masters in the composition, drawing, painting. In a thin feeling of color, in the character of the ornament itself, in the interpretation of genre scenes affected the deep traditions of this art, a certain artistic "school of generations" and the brilliant skill of the performers.
Covering a bright outfit painting. Ordinary household items, folk artists turned them into genuine works of art, which still bring joy to us, force to admire the talent of the creators of these products and talk about the spiritual beauty of the Russian man.
1.3 Boretskaya and Permogorsk painting
Boretskaya painting
The roots of the wrestling paintings go deep into the centuries and have common origins: the ancient Russian art of the Great Novgorod and the Northern School Icon, especially in the earliest works. In the People's Painting Borka there are many moments that bring it closer tothe ancient Russian art of census and design books, Russian hand drawn lobc, icons of "Nordic letters": the clothes of the characters, sparkling with pearls, women's hats, a composite solution to horse riding plots, where the rider resembles George the Victorious, and is also always a hot painting flavor. The composition of the painting of wrestle spanks of the XVII-XVIII centuries can be compared with the iconostasis. However, from iconopysis - only external signs. The content of People's painting Borka is pretty. From the rectangular frames instead of the saints, funny birds, radiant sun look at us. Sometimes the Terma shows lions and unicorns.
All burghers are bored, like Puffy and Lower Toyma strands, are distinguished by special grace and uniformity. The painting of the Borestoke itself, the spindles always sparkled on a white background, on which the red leading color of the plant pattern was bright, and the tin gold gave her festive and elegacity.
It is possible to distinguish between the wingspin painting of the splash, first of all by the pattern on the leg. Through the whole leg, the strawberries are stretched straight stem with symmetrically located traditional shafts, which often ends in the rosette of a lush tulip. In the upper circle of wrestler snacks, besides sockets, sometimes a bird, flower or "pen" were placed. The configuration of the legs is of great importance. They loose in the form of four or five circles, interconnected by smooth curly transitions.
The circle of plots of the wrestling painting is quite wide. Basically, they reflect the work and life of northern peasants and artisans. Sometimes there is such a plot on bidding - a rider on horseback or two horses under the arc ("Rainbow-Arc"). But also decorate grooves plant motifs, thin curly branches with small red curls and bushes with large buds or opened petal sockets, solar signs. On the revolving side of the spindles - the scene of the frontal departure of the bride and groom, Prince and Princess. The bride and groom - in red clothes, rejected by gold belts; Around the gate, on the sleeves and hemp - the Golden Cimea, embroidered with pearls.
In the murals of the chests and head restraints of the late XVII-early XVIII centuries, you can meet tulip flowers. Characters painting the chests are dressed in the festive clothes of Novgorod boyar XVII century. The influence of the Novgorod school is felt.
Over time, new characters and new compositions appear, although the ancient themes are also traced. On the wizard, the masters loved to write birds, which also changed over time. In the first bark, what they reached us from the XVII-XVIII centuries, it was a chicken, simple birds, that is, the master wrote them as she saw them. In the future, birds became more and more colorful, elegant, bright motley colors; The tails lengthened them, many additional decorations appeared. They have already become sweet-haired paradise birds, which sat on the "Tree of Life." "Tree of Life" with birds was one of the favorite plots of Russian folk art. The idea of \u200b\u200bthe power of the forces of nature and the dependence on her well-being and happiness is connected with him. A tree as a symbol of life was always depicted with roots and was called "a tree of life." That part of the spindle blade was called "becoming with a tree."
Among other favorite motives of the wrestling painting - Sani. Santers in Russia used in winter and summer. By off-road, at the fair, for the Yaman ride, for festive rides and wedding treasures. And on a bark, we see such scenes, as, for example, an elegant official sits in a kibitake, smoke the phone, and the spanning rumper rises.
Permogorsk painting
Permogorier is a group of the villages of the Krasnoborsky district of the Arkhangelsk region, more or less close to Northern Dvina. The center of Permogorsk painting is a bush of villages called the wet etern.
Wooden splash blades are narrower here than in other places of production on the northern doubt, the transition from the blade to the leg is made either in the form of several pairs of circles going down by narrowing ledges, or with one circle. At the top - four, five, or even more round "heads". The painting blade on the white background is divided most often into two parts. On the top - more - a bird of Sirin in a circle, on the bottom - smaller - departure to the horse, harvested in Sani, one horse or horse with a foal. Usually, the horses are black, without the parts shown rather well, than solemnly stylized, as in the bottom tooth and a booce.The basis of Permogorsk paintingA characteristic decorative ornamental element of Permogorsk painting is red grass curls. V. Vasilenko suggested that this pattern moved from the decorative decoration of the ancient Russian solvic year finifsty. In addition, in Permogorsk painting there are traditionsancient Great Great Distribution of Household Objects. People's master artist, combining curls with red, black and white cloths (graphic residues of geometric thread), boldly fills the plane free from plot topics.
Plots with the image of Sirina and Kathania on horsebacks prevail in Permogorsk painting, but there are many other topics. Obviously, the masters in this respect existed complete freedom, and they used household topics, easily linking them with the events of personal life. The splicer, which shows the tea party scene. In Nabinaukha (Lukoshka) from the village of Zhigalovaya (Pogorelova) Alekseevsky village council, an artist, next to the bird of Sirin and decoratively in the same style with a painted rooster, depicted scenes (plots) in the forest: the cutting of the trees, riveting berers, the cutting and receiving birch juice.
In the color scheme of Permogorskmural white color background and red is dominated - the main color of the pattern. Yellow and green colors are as optional, accompanying. Of great importance in the painting has a subtle black outline, which was applied by a goose feather freely, running, always Masovito.
Analyzing the performance of the genre scenes, the nature of the plant pattern, the principles of the composition and the color decision of Permogorsk painting, it can be concluded that all this goes its roots in Old Russian art. Domestic scenes of Permogoria can be viewed as a peculiar continuation of the line of folk art, which in the XVII century brightly manifested in monumental painting, in icon painting and in the miniature of ancient Russia, where you can find a lot of compositions with scenes of sieves, havists, hay, with images of pastures and many others Plots from rural life. In the Liordy Stamps icons and in miniatures, these plots especially attracted masters the opportunity to express their thoughts, feelings and observations related to the surrounding real reality. However, they here only accompanied the thematic religious cycle of images. In Severodvinsky painting, they acquire the importance of the main leading motives.
The proximity of the topics of the handwritten miniature and the People's Rospissa Permogoria is definitely due to the fact that the authors and those and others were masters from the people. In all likelihood, the creators of Permogorsk painting were in workshops, where miniaturist artists decorated manuscripts, and perhaps that they themselves worked in these workshops.
One of the main families of Permogorsk painters is the Harpunov brothers who lived in the village of Cherepanovo. With the community of their style, individual features are noticeable: a cooler flavor of the works of Dmitry Andreevich, the predominance of red in painting in Peter Andreevich and saturation in the work of the younger of the brothers - Vasily Andreevich.
1.3 Mezensky Painting
Mezen painting on a tree, type of painting of wooden spanks and utensils - buckets, boxes,bratin beholdXIX. in. In the lower reaches of the river Mezen. The most ancient dated spinning wheel with mesensky painting belongs to 1815, although the visual motives of such murals are found in handwritten booksXVIII c., performed in the Mezen region.
In style, the meznsky painting can be attributed to the most archaic species of painting, which lived toXX in. Objects are thickly made by fractional pattern - stars, crosses, thoughts made in two colors: black - soot and red - "earthy paint", ocher. The main motifs of the geometric ornament are solar discs, diamonds, crosses - resemble similar elements of the triangular-laid thread.
Among the ornaments - friezes with stylized sketchy images of horses and deer, which begin and break on the boundaries of the subject. Made by black and red paints, animal figures as if arising from a geometric ornament. All images are very static and only thanks to the repeated repeat, a feeling of dynamics occurs. As a rule, on Mezen bilks, one row of deer and below row of horses are depicted, but there are products with a large number of friezes and a more complex, condensed ornament. In the upper part of the splashing, sketchy images of birds applied with one smear of red paint are placed. The reverse side of the spindles were less saturated with ornaments, more free in the plot. Here you can see in kindergarten naively written genre scenes: hunting, steamer, the same horses, just frolish on the will. Next to the image are often found signatures with the name of the author, customer or the date of manufacture.
The finished product was painted in a pure tightly torn tree first with the help of a wooden wand with a stimulated on the end of the wooden stick, then the bird feathers were made by a black stroke and applied the pattern. The painted object was covered with oil, which prevented paint from erasing and gave a golden color product.
At the end of XIX in. Mezensky painting focuses in the village of Palazel, which, as the center of the wood painting, is first mentioned in 1906. Thanks to the signatures on a branch, the Family of Palachel masters can be distinguished, which is unique for, as a rule, anonymous peasant art: Aksen, Novikov, Fedotovy, Kuzmini, Shishov - those who worked back in the 1920s, during the period of fisheries.
In the mid-1960s. The mesensky painting was revived by the descendants of the old Palachel masters: F. M. Fedotov in the village of Palazuel and S. F. and I. with Fatyanov in the village of Selishche. In Arkhangelsk, souvenirs with traditional Mezen painting are produced in Arkhangelsk at the experimental enterprise.
Tree with birds on the branches- One of the favorite plots in folk art is not only Slavic, but also other peoples of Eastern Europe. In particular,tree motive with several raised up branches and birds sitting on them are widespread in the embroidery of Karel Kalininskaya region. and Karelian ASSR. World tree in the form of oak with birds upstairs or birch withbird-Sun. the branches are one of the bright images of the Karelian epic. In the visual art of the Russian North, such a tree was reflected in the famous three-part composition depicting a goddess-mother with the figures of people or animals surrounded by her. It is known that the figure of the goddess often combined with the image of the Tree of Life or replaced by him. On mezzani, this composition is traced in the paintings discussed above with lions on the sides of the tree on the front of the houses. Drawn near the bird tree indicate that this tree is nothing more than a tree of life.
On Mezen Brokeens, the tree is most often depicted with a large bird on top. Probably, a similar image of the Tree of Life is not accidental. It has analogies in the most recent past among neighboring Komi customs to hoist near bird houses on the poles. Although the researchers concerned about the origin of the images of birds on the poles did not always associate them with the tree of life, this connection is undoubtedly due to the comparison of ethnographic material. For example, Yakuts "Shaman's trees", in which L. Ya. Sternberg sees the "world tree", were depicted in the form of high poles, on the top of which the bird-eagle was placed. In turn, the "Shaman trees" of Yakuts, as well as similar images of all the Ural Altai nationalities, for a whole complex of features are associated with the ideas about the global tree among the peoples of Mediterranean culture and, further, among the peoples of Scandinavia and Western Finns in Europe. Very brightly plot of the world tree and eagle as the pilot of the Supreme God of Odin, who lives on the top of this tree, developed in the Scandinavian mythologists. The connection between the tree of life and the bird as the embodiment of the Divine is traced in the folklore of the eastern Slavs.Bird's motif at the top of the tree, bringing good news or gifts, takes place in the calendar and wedding poetry of the Western and Eastern Slavs. A bird on the top of the tree can be seen in the drawings on the Mezen Beresian Tuesa. With similar ideas, obviously, it is necessary to bind and famous images of wooden chopped birds on the Russian north.
The world's plots can be attributedimage of trips in sleighor carts harvested by one horse or a pair of horses.This common motivefound not only in images on household items, but also in the architecture of many countries from ancient times. He took a considerable place in Russian art, having received special development in folk art, in particular in painting on a bark. It is especially commonly found in Severodvinski bush, less often - on Gorodetsky, even less often - on Mezensky. Often this plot in the painting of the Hutsul masters. It is noteworthy that in them often one of the two horses is dark, and the other is a bright color. A similar motive is also available in Mezen paintings, including those fixed by us. On the Mezen Brokeens painted alone in black, the other in red horse is often followed by each other, personifying, apparently, afterwards and in the world. The basis for such an assumption can be the mythological representations of this kind, which have many nations of the world, including Slavic.
About those depicted on bush horses of unearthly origin, they also testify numeroussolar signs Placed by drafts over manems, between the legs and under the legs of the horses, as well as the features of the images themselves of animals. Koni Mezensky Rospise mostly than the images of horses in other peasant paintings, will be distorted from the real prototype. Most of them have a red-orange color, not peculiar, as you know, horses. Black horses were covered with a solid lattice pattern, even more emphasizing their unusual origins. The abnimate the long and thin legs of the horses were completed at the ends of the feature of the feathers, like those who were drawn on the birds of the same snag.
Often, Koni were depicted not as follows with each other, but opposing each other. Sometimes riders are drawn on raised horses. On one of the similar drawings over the riders, the names of Ilya Muromets and Polkana-Bogatyr. It is characteristic that only Mezensky retains an analogies in archaeological ancientities from Severki paintings. In particular, the sled of the simplest design is depicted on Mezen's bilks - from two tree trunks or from Prames, which dragged the horse. Similar Sani Volokusi were in all countries of light. They held longer in hard-to-reach, swampy and mountain places. At the end of the XIX century. Volokushi met in the Valleys of the Alps, Transcaucasia, Carpathians and some deaf corners of Russia. Similar Sanya are mentioned in the Karelian epic. As D. N. Anuchin showed, the sleeves of primitive design, and then dispensed throughout the wheel wagons, were stored as a funeral rite belonging.
The area of \u200b\u200bMezen painting is very extensive. In addition to the Men's pool with yours, it includes in the West areas of Pinegia and the lower course of the Northern Dvina to the Onega Peninsula, and in the East - Izhmai pools and Pechors. In the outlined territory, products with Mezensky painting were revealed not only from the Palashkee, but also from other villages, both both professional (pineneg) and non-professional production. The latter can be attributed to the biller, which was found in the summer of 1976 in p. KONAS Leshukonsky district. Similar spindles, according to local residents, made the peasants of this village in the past. According to the general construction of the drawing, the painting on the Kosnasy splicer resembles Palashiel, but the basis of its ornament is four-pointed cross-shaped outlets. Such sockets are found in the painting of the Palachel boxes, and not sniffing; Similar figures are characteristic of Pechora paintings (in the villages on the Pechora and its influx of the Pijm).
Proximity to art Pechora is not random, since it was through Koenas that a trading tract was held, who connected the village of Mezeni, Pechoras and Pijmas. In the West, this tract walked through pingie to Northern Dvina. It is possible that he contributed to the spread of the painting on Pinege and in the upper reaches of the church, which, in particular, is evidenced by strains recorded by us in p. Calora on Pinege and in with. Courage on the river of the same name, very similar on the ornament to Koenas. It is legitimate to assume that such a painting served as the basis for Palashkel's painting. On Palashkel bilks, the decor of the type under consideration is complemented by elements made in a different picturesque manner, for which not only geometric, but also plot and silhouette images are characteristic. It is appropriate to remember that this kind of painting housed both in large (Holmogora, Veliky Ustyug, Solvychygodsk) and in small (Ustyug, Borok) of commercial centers of Northern Dvina. Their influence affected the Decor of Mesen's dwellings exactly those villages that have long been associated with the Northern Dvina.
It is important to note that the considered painted was known only in the villages and villages of the Leshukonsky district; On the bottom of mesen, they did not know her. Here, wooden products are ornamed differently, as evidenced by the available and now almost every house has ruled for skating linen. The basis of their ornament is included in the circle of vortex and six-board sockets. A total of five or six such circles were located on Rubel. Sometimes not one, but six small outlets were cut in the circle, and the seventh, central socket was formed from their six side petals. Large sixiest sockets were often complicated by six rays placed between petals.
As you can see, the number "Six" is characteristic of building the ornament of Rubla. The six-board rosette B. A. Rybakov considers the six-willed sign or "Wheels of Jupiter" - a symbol known for archaeological and ethnographic materials since the Bronze Age and is widespread, in its opinion, in antiquity in Western Europe. In this regard, the similarity of Mezen Rubbles with carved barks of the summer and Lyamest shores of the White Sea, which, in turn, has common features with similar products of the Scandinavian countries, in particular Norway. Economic and cultural contacts of Russian pompers with scandinals are known. The system of these contacts included the population of the lower messen, in the culture of which a lot of analogies are traced with the culture of the population of the north-western regions of the Russian North and the Northern countries of Western Europe.
Chapter 2 Mural Technology
2.1 Ornament signs
Rhombus, triangle, crosses, circles, squares - all these and other elements, symbols, signs of the ornament make up a kind of alphabet, and each sign in this ornament has or has its meaning. Not one millennium was transferred to the signs of this alphabet from the Father to the Son, from the grandfather to the grandchildren, from Mother to her daughter, from the kind to the genus before beforesh lee to us, "today's readers".These generic "letters" are full of meanings and contents accumulated in them for many centuries and the Millennium.Sometimes the graphic sign looked equally, but in different kinds, and then the peoples had a different meaning. Sometimes the same meaning among different peoples was expressed by unlike each other signs.The study of this "alphabet" could be devoted to not one job, there is help - both chronicles, and a huge iconographic - archaeologically and modern observation material: guesses and assumptions of entire researchers. Ornament in its original form is a mute magic spell, which was covered with the surface of ritual caves, figures and dishes. Later, these magical dumb plots and spells will be transferred to embroidery, strainer.
One of the first signs of the ornament is the name of the carpet-meander or rho-meradrovoe - it is a diamond of a different form with interrupted lines suitable one in another. They create on the surface of clay, fabric, a beautiful thick trumpet pattern.The impact of the origin of rhombic meander signs was proposed by V.I.Bibikova, which was associated with rombo-meander marks, fixed in clothing and towels, with a natural ornament, which was clearly visible on a braid or straight cut of the Mammoth's beer. This drawing taken over by folk masters from nature, survived the Millennium and reached our time.The wave of Mammoth is the essence of the power of the beast, his weapon. From here and the drawing of the animal carries the maintenance of power and the power in which a person needs to go hunting. Romatic romance - signs of happy hunting, signs of power, signs of good luck, and man used them, making magical rites. In the time of neolith, there were segments for the body tattoo like a similar ornament.
Priests and priests who decide their body with this ornament, made magical rites. This ornament defended their body from perfumes that could harm them and at the same time rho-merader signs The priest's body was filled with a great force and power obtained by them from the animal in their beyre, having a similar pattern. Rhby-meander signs were decorated with some cult objects of the Times of Neolithic - from women's figures to vessels.Sign of life - this can be called a diamere pattern. It is not by chance that when the time passed and the person became not only a hunter, but also a paham and pastoral, he did not forget this sign, and he became for him and the sign of the Earth and fertility. In order for the fields to be generous to the harvest, and the sky for successful weather, the person embroidered this pattern on the fabric, cut out on the tree, decorated with clay.He repeatedly repeated this pattern, as if silently creating a spell, asking for the sky, the Sun, the Earth - Good luck in the hunt and life, fertility to their fields, rain, sowing. A rhombus sign rumped from the total rho-meradrovaya pattern - became himself with the time symbol and the sign of the sky, the sun, the earth, the universe. In Severodvinsky embroidery, in Belarusian towels, rhombus, rhombus - a sign of fertility, a rhombus of the Sun is repeatedly found. Minerane-carpet pattern can be seen in the total composition on the bodies of the same Severodvinsky paintings.
Interesting detail - in many Yaroslavl bush lines of the last century, the master reproduced the bell tower of the Main Cathedral of Petropavlovka in one of the plots of a two-hour song. So, this bell tower he definitely decorate with different ornaments, including the square-point sign constantly used. The sun for thousands of years received a great many image options. Variants of this sign set. And, above all, all the infinite variety of crosses, both in a circle, and without it. The natural analog of the cross gives the so-called "crusade", the mineral, on the surface of which the crystals form the right four-spin cross.
The sign of the cross in the circle is very similar to the image of the wheel in the chariot of Arii, which three and a half thousand years ago came to India. These wheels are a birch sleeve, rims from Osin - also had four knitting needles, that is, absolutely corresponded to the image of one of the options of solar signs - a cross in a circle. It is not surprising that the image of the wheel and solar sign are similar to each other. Many gods move along the sky on the chariot, and the sun itself, "roll" in the sky, "rolled out" in the evening (from here "Sunset").
The God of Perun, associated with the cult of the Sun, received even his special sign. At the pre-Christian calendar of Kiev origin in July, the "thunder" sign was recorded in July (Perun's Day was celebrated in Russia on July 20 on the old style, like the day of Ilya-Study) - this sign looks like a six-knitting wheel, called a "six-time outlet" . Such signs were embroidered on ritual towels, they were decorated with strands, huts, in order to protect the house from Perun's wrath, and later Ilya-prophet
It is especially worth allocating one of the variants of a cross-shaped solar mark, the so-called "grammimmed cross", a cross consisting of four g-gamps, the letters of the Greek alphabet, although his appearance refers to an earlier period of world history, and the place of its appearance - East, India . In the ornament and on the letter from Brahmanov India, this cross symbolizes Hi and the wish of well-being. Sometimes this cross is viewed as a graphic image of four legs switched at one point. Call a gammed cross also "swastika". We met this sign on embroidery and (especially) on the belts, was distributed in most in the northern regions of Russia. The competence of this sign by the fascists and filling it with the opposite meaning is an example of how the content of the sign changes and depending on what context and with what sense it is absorbed by us.There are also other options for solar signs, except the cross, a circle, cross in a circle - a triangle, square and rhombus are also carrying solar semantics.Of course, it is possible to other reading the solar sign, say, the same cross could not carry solar semantics. For example, there was such a custom from the steppe tribes who lived in our southern lands, to worship a sword stuck in the hill. Of course, the sword stuck in the hill was very similar to the cross (by the way, and on the grave with a cross in our time), but for the tribe it was, first of all, the sign of power, power and human force, which subordinates the tribes and peoples or can serve Protection of native land.But back to solar signs. There is another variety of this sign - the sign of the sun and fire, the flame language, which is called "Butt" and which will go to the flames of Flamers of India (in the spaciousness it is called "cucumbers".)True, in addition to the meaning of the sun and fire, it has several dozen meaning, here is its other values: the hill hryvnia sign, the horse, the tail of the horse, the shadow of a leaf on the sand, rolled grape leaf, flowering almond, podpnoy pepper, poultry, bird wings and More many different values.
Interesting detail: Rhombic grid Another sign and end sign. Light mesh - beginning - left, right - dark mesh - end sign. September in the ancient calendars was the beginning of the new year. December - in our - the end of it. But this thought, of course, only about the chance of coincidence of signs of different eras.The Wavy Lines of July is the signs of rain and water, as well as the "thunder" sign of July, which has already been discussed, is also used by folk masters. The signs of the spike and herbs, which are marks May - the ancient Russian name "Traverse" - and August "Serpen", can also be found in the painting of many folk crafts. Wavy lines parallel to the Earth, which symbolize the month of July, besides this, are still signs of mother of raw land, earth, impregnated with rain, signs of rivers and lakes, and water at all.And vertical wavy and parallel lines - signs of falling rain, magical spell formula and causing this rain.
Images of birds are widely represented in the ornament.
Swans (duck) - The most revered in the north of birds associated with the sky, the sun and the water element. Very often, these images are surrounded by the signs of solar symbols (circles, sockets, rhombus). Their images are also encountered in sculpture, in buckets, clarification-solonitia, in embroidery, in the carving of residential buildings, etc. As a rule, these images in popular painting, in particular in residential architecture, are depicted symmetrically relative to the "Tree of Life" or any other composition. Images of paired swans are very steady in art: they were associated with the submission of the people about the happy marriage, and the remnants of the reverence of these birds in the north were preserved until the beginning of the XX century. The role of a goose as a ritual, wedding dish was noted in many nations: he was considered a symbol of fertility. The bride and groom in the songs are often compared with the spleen and duck, with Swan and Swedes. This is the same attitude of the people to the rooster and the chicken, which has long been worshiped by the Slavs as the pilharoves of the Sun. Their worship in the people was expressed in different forms.
Peacock (Pava Pava) it is found in folk painting in different compositions and in different style solutions. His image was known in the art of ancient world, Byzantium and Kievan Rus. In the folk view, Peacock was understandable as a bird exclusively female. Very often, images of these birds in paints are placed on different sides of a bush or tree, stand against each other or are depicted close-up in the form of a separate figure. Often, Pava in the images of the people are treated as roosters, ducks or cuckoo.
In the parse of the north there are imageseagle, which, as a rule, is reproduced by sitting with folded wings and with a characteristic turn of the head (in the profile). Images are also found in the painting of houses.pigeons. It can be paired pigeons flying together, and most often sitting on branches among floral patterns. Symbols of these birds is also love, marriage.
One of the most important and even honorary places in the peasant art was occupied by paradise birds. BirdsSirin and Alconost. were the most common and favorite images and placed in the center of the image. The bird of Sirin in folk art was portrayed very often and lived longer than other legendary characters.
Ornithitormo the ornament of folk painting along with grass drawings is interesting to be connected with zoomorphic images of horses, deer, Lviv (Bars), unicorns, and sometimes cows. As you know, the horse at the Slavs symbolized the god of the sun of Horsa.This symbolism led his image on many subjects of folk art and in the architecture of the XVIII-XIX centuries, especially since the horse's household life at all times the horse was almost indispensable. The figure of the deer in the northern decorative details of the residential buildings, in particular his head and horns, are found in the jewelry of the roof, as in the pains of splinters, boxes, mainly on the Men River and Komi.
Lion (Bars) widely used in folk painting, in embroidery and in the applied art of the North. The lion and leopard differ mainly by the presence or absence of the mane. The image of a lion, as a symbol of power and power, moved to Russia from the east. Often in the folk Russian painting lion more like a dog than on the predatory beast. They were depicted with standing or lying in a heraldic composition on the sides of the "Drev" or colors in a vase with a slightly raised paw.
Unicorn - Horse with a horn on the forehead is also found in the northern painting. As a rule, it is depicted standing on the hind legs. The earliest information about it and its images belong to the XV century. Unicorn (he is Indrik or Inřog) is a mythical animal, the image of which may be arose under the influence of Eastern cultures. Rhino and horse joined the image of one beast - the unicorn, and according to legend, it was endowed with a special force capable of amazing evil people and heretics. According to other legends, the unicorn is a powerful unknown deity - becomes the king of the underground kingdom. Most often, unicorn and lion are located on the facade on the sides of the vase or wood, sometimes in the pose of contractions, symbolically reproducing the struggle of light and dark forces, day and night. The pose of animal struggle, apparently inspired by the image of the company's sign of the Moscow Print Court - the coat of arms of the XVI century, which was put on binding of books. The symbol of the unicorn has a significant Christian meaning as the image of the Son of God, i.e. Christ, and lion and bull (Taurus) - the attributes of evangelists.
Household scenes are widespread in painting, for example,scenes hunting. These images also have a certain symbolic meaning: the figure of the hunter is the bride, the bird on the tree is the bride, and the whole scene means that the groom hunts for the bride. A hunter with a bird was sometimes placed on a bark in the hands of the scene, symbolizing the prosperous result of hunting. These assumptions are confirmed by the data of folk studies: in the inflation of the bride before the wedding, the words of her farewell to "Devichy Will" sounded; It compares with a bird, and the groom is mentioned in the role of a hunter.
A very wide circle of plots, which painters of Boroksko-Toemsko - Puchuga group villages loved to apply with the painting of splinters. In addition to the wedding katanya (usually in combination with him) here you can meet the scenes of peasant labor - spinning, textile, bird feeding, field work, pasture, slaughter of livestock, work in the forest, in a forge and scenes of recreation, winepathy and tea drinking. On the revolving side of the spindles most often (with different masters in different places of this district) we see in the semicircle multicolor figure of the rider in Petrovsky Kaftane and on a red horse. Sometimes there is a white free space over it, where the mirror could fit. Instead of the rider, other masters wrote a horse or two horses, or even the rider, followed by Lev. On one splicer is an innocently written scene of the fight of two warriors in ancient armor.
Symbols of animals, birds, fertility, harvest, fire, the sky of other elements are still from rock paintings and are the appearance of an ancient letter, transmitting the traditions of the peoples of the North of Russia.
2.2 Technology Severodvinsky Painting
For the reproduction of Severodvinsky painting, it will not be so much - this is a free workplace, paints (mostly three colors: red, green and yellow), any thing from wood, brushes, black paint, or mascara and a little self-imagination. First of all, the thing is taken - the future work of art. The next stage is, of course, the primer of the product can be primed by various kinds of paint, including Guasheva. After priming the board, give dry.And only after that you can proceed directly to work. A sketch of future work is drawn, then it is transferred to a tree. After that, gently draw paints. Severodvinsky painting, has one small secret selection. All small parts and details are driven by black paint. After all this, the thing made is covered with varnish.
Puzhuzhskaya painting
Puzhuzhskaya painted is one of the many types of paintings found on the banks of the North Dvina River. This graphic painting has been preserved on a bark.Puzhuzhskaya painting is performed on a white background of red paint, decorated with bright green leaves and white dots-droplets. Some products occur blue.Puffy punchings are very similar towarfish.Shielding lopes are divided into three parts. The upper part is occupied by windows and flowers, in the center - Arch with lush plants and birds. Below is a scene of riding: a couple or one horse, harvested in a sosiest with a kibit. Unlikeborestors on ribs Pouches dressed in peasant, in the trip and black felt cap with bent edges.The vegetable pattern consists of three types of leaves. And characteristic of all types of northern muralspuffwall painting has its own option - a thinner, lowered to the stalk of the bottom of the sheet and the top, passing into a round berry.
Rakulsky painting
Different with identity, special color scheme.Golden-chicted and black colors play the main role, and the green and brown-red are accompanied. The tree of life is depicted curved with a certain rhythm. Large leaves painted in different colors. Birds are performed in the main black paint, light contour, with pen runs. The "movement" of the pattern is achieved at the expense of black streams, mustaches and spiral curls. Sometimes over the entire ornament "scatter" white semicircles.
The scheme of Rakulsky painting on the spinth consists of three parts. The top, most of the most often occupies a branch with large leaves, the average - a decorative bird, and below, usually already on the leg, also draw a branch. The leaflets of one cooking are sometimes painted in two, and then in three colors, which creates colorful wealth and variety. Of particular importance was attached to yellow and golden colors, because it is the colors of the sun. And with the sun in the life of the peasant is connected very much.
As well as in other centers of Severodvinsky painting, in the second half of the XIX century on the rocker, the main place in the production was occupied by the painting of splash. Raculse spindles are significantly higher than Permogorsk and Borelets. Their leg almost from the base begins to expand the rounded ledges and gradually goes into a rather narrow and high blade completed by the towns.The painting was based on a clear scheme, which is easily traced from the middle of the XIX and to the 30s of the XX century.
Boretskaya painting
The most commonly used colors in painting: red, green, brown, orange, yellow. The ornament consists of diamonds, circles, droplets, triangles. All elements are driven by black contour.
The symbol of the wrestling painting - the tree of life. A huge flower with a straight stem, around which flowers are depicted, birds, berries, elegant leaves. Motives of the composition could serve genre scenes: tea drinking, walking
Characteristic featuresa wrestling painting is considered to be the whiteness of the background, the domination of red, the use of also other main colors - emerald green, ocher. Sustal gold was used to decorate the work of the masters. As for the pattern features, it is vegetative or geometric. Another significant drawback is its composition, which duplicates the composition of the iconostasis. Insofar aswood paintingit has the story, then at the heart of each drawing, the main topic is determined, symbolically dropped in the images of the rider and horse, the bride and groom, Prince and Princess, the pairs of birds on the branches of the life of life, animal pairs (lion and unicorn).
Another significant feature of the painting is its composition, it repeats the composition of the iconostasis.The spreader is divided into tiers, separated by ornaments and containing squares with drawings, like icons or windows.The central part of the composition is a kind of semblance of royal gates or doors - this part contains the main drawing, the main topic. This may be a figure of a person and horse - a rider or a harness (sledge or ride - such a plot is called "becoming with a horse"), couples of people, such as the bride and groom, husband and wife, Prince and Princess; Pair of birds sitting on the branches of a tree (tree of life), couples of animals (lion and horse, lion and unicorn), symbolizing the struggle of two starts or worlds, earthly and other, various scenes - the scene of the matchmaking.Also observed strict symmetry and correctness of geometric forms. The predominance of Number 2 (2 main characters, 2 windows, 2 animals) and 3 (3 tiers, 3 windows).Each element of painting possessed symbols often ambiguous, while the whole composition acquired meaning. So, for example, the tree of life meant "the beginning of all began", fertility, as well as the dual male and female start (it was especially emphasized by two branches on different directions with birds sitting on them). This meant simultaneously and unity, and dual opposition.
Basic elements of the wrestler painting: birds, horse, tree (lush bush with thick stem-barrel, with double trilisters and cranberry berries), tulip, twig with berries, shaded tribal.
Permogorsk painting
In Permogore, the circle of household items, which were decorated with painting, was very large. These are carts, arcs, sleds, weaving machines, chests, ribbons, clothes, dishes. All this seemingly, the usual objects of the peasant life. But the painting turned them into genuine works of art.
The basis of Permogorsk paintingthis is a vegetable pattern. On the flexible shoots of the trunk-sandy, slightly curved leaves with sharp tips and tulip flowers, resembling an ancient flower of Krill. Among them, bushes from rounded leaves, Sirins, elegant fabulous birds. In the People's Painting of the Permogoria XIX century in the plant pattern, there are usually almost all of the objects of life, more varied genre scenes from peasant life fits. Of the Russian centers of the People's Mural, we cannot name a single center, in which the life of the Russian village of the XIX century would be reflected as widely and multifaceted, as in painting wet etern.
Permogorsk painting is called cellphone. This name is associated with the painting technique: at first the treated tree was primed with chalk and glue, covered with legens. Then, on a dried white background, like on paper, a goose pen was made a black pattern, which was then filled with colors - paints divorced on egg yolk. The finished product was covered with oil.
At first glance, the palette used in Permogorsk painting may seem pale. There are only four paints. But red, yellow, green and black on a white background produce a bright, festive impression.
Initially, the permogorsk painting was characterized by the image of Lviv, unicorns, birds, virgins and other mythological creatures. But later they changed with a variety of genre scenes from peasant life, a lush bouquet flung a vegetable pattern. The image of the bird of Sirin became traditional. This sweet-haired Virgin Bird came to us from the east, but turned out to be a close and clear Russian man. In the peasants, her image was associated with well-being. Sirin's bird called "Bird of Happiness", "Paradise Bird".
The painting was created taking into account certain rules. The main patterns of Permogorsk painting are flowers, shoots, leaves, berries, animals and birds. Having a plot, the artist involuntarily received some voids, which filled out the floral ornament. Characterized for this technique and frames that cut one field with the plot from the other. They can be narrow, in the form of a line, and wide, filled with geometric or vegetable ornament.
Mezensky painting
On the example of a mesensky painting, it is clearly visible, as in folk art, the old and modern, new images and ideas are located on the images of distant antiquity. Next to horses and deer, the pictures of which were first discovered on the rocks of the frozen in the second half of the XIX century, images of modern craft masters and people appear on Mezen monuments. So, on one of the splices dated 1874, artists depicted a lady with two cavaliers for a walk.
Traditionally, the objects painted by Mezen painting have only two colors - red and black.The messen was peeled soot and red clay, which was dissolved in the infusion of larch resin. The painting was applied to a neglished tree with a special wooden stick (tailand), a Plukhary feather or TETEREV, which indicates a veryancient traditions as well as tosource of human hair. Then the product Olives, which gave him a golden color. Currently, in general, the technology and technology of Mezensky painting has been preserved, with the exception, except that the brushes have become more often used.
The board had its clear proportions. The width should have been placed three times at its length.Wood impregnated with flaxseed oil. From this, its structure became clearer and brighter. Character of drawingfibers largely determines the ornament itself, which consists ofsymbols as words from letters. Internal content of symbols, accurate origin, mutual relationship is almost lost.
The painting of the egg Temper for the grooved levkas board and the character of the flower ornament make us think that this painting in the origins of its close icon painting, in particular that its school, which developed in these places in the XVI-XVII centuries. And called Stroganovskaya. In Severodvinsky paintings, the interest of masters to all parties to the life of their districts affected brighter and immediately than in Mezen. Severodvinsky artists were more likely to enter human figures into their ornament, scenes from peasant life: these are genuine tea drinking, and gathering with indispensable spinning, and drips on the sleigh, and scenes of hunting, and much more. Surprisingly skill, decorative fantasy and courage, with whom the people's artist gossip the ornament and scene from life. So, in the 1927 height, originating from the village of Puchuga Arkhangelsk region and stored in the State Russian Museum in Leningrad, the artist portrayed the peasants in the sleigh barned by a couple of horses. The flavor of the spindles is somewhat unusual for Severodvinsky painting: instead of red in the flower painting, a thick raspberry tone is introduced in combination with a light background and green. Bright yellow writes the artist in front of the sleigh and, striving to balance the composition in color, he writes a second horse with a white horse, which would seem to do not meet the truth of life, but it fully meets the colorful representation of the Master of the world. Despite the fact that Severodvinski is called spindles of various local schools (Permogoria, Borka, Lower Toyma, Punchugi, etc.), which have their own characteristics, we can talk about the general features of their compositions. Usually, the image on such a sparf was done in two tiers, one of which (more often the upper) depicted a fantastic creature - Syrian bird with a female face. The second tier, decorated with a patterned belt of wonderful herbs and colors, depicted real events of rustic life. All the spiner, as a rule, was covered with a dense vegetable pattern, whose character is close to the nature of the ornamental jewelry of Severodvinian handwritten books. Here and fabulous plants with whimsally bending stems, flowers, berries, and woven into their pattern of birds, often, however, arguing with their ordinary, resembling domestic chicken, appearance with a fantastic garden around.
Researchers in this painting decrypt it from the point of view of agrariansymbols , guessing in the drawn rectangles plowed and sewnpashnya , in the "opener" and horse - signs of the registered and rising sun. By the way to say, behind these animals in folkrepresentation sustainably maintains a connection with the Sun: Salon Dutch (Sol Sun), horse-fire.
Conclusion
Summing up the study of the history of the art education and culture of the Russian North, it can be concluded that the origins of the Northern Folk Art and Education are interconnected and go deeply roots into pagan, and then into the Orthodox culture of Russia, as a result of which the deep and informative culture of the Russian North, which preserved the best traditions of the past. The greatest dawn of people's creativity took the time of the general spiritual lift of the Russian people during periods of liberation from the bargains, serfdom, the neot of the authorities, in the presence of freedom of choice of lifestyle, work, crafts; If possible, enjoy natural resources, earth, forest and others; preservation and continuity of family traditions, crafts; Deep belief and reverence of folk wisdom, how to live, how to create and happy to be happy; Inseparable communication with nature, as a source of well-being, inspiration and contemplation. All of the above far does not exhaust all the wealth and diversity of the People's Culture of the Russian North, there are many relevant discoveries to still make historians, teachers, art historians, artists. North has always been and remains an inexhaustible source.
The murals of the Russian North are a unique phenomenon in Russian culture over several centuries and in our time. And at the moment, the Russian north is not fully studied and there are many hypotheses, the reasons for its occurrence. Today there are no more those who could interpret all that we can see on painting on the tree, there are many reasons for this. But still it can be argued that it was in Severodvinsky paintings that the traditions laid back by their founders were preserved, and only in painting Dvina we can feel and see the true - popular Russian art.
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Ministry of Culture of the Russian Federation
Federal State Budgetary Educational
Establishment of higher vocational education
"Samara State Academy of Culture and Arts"
Institute of Contemporary Art and Art Communications
Department of Decorative - Applied Creativity
Murals of Northern Dvina. Traditions and modernity
COURSE WORK
Artist: Zinoviev Nina Nikolaevna
Student 1 course of group HT - 10 correspondence department
Scientist: Senior Lecturer
Knyazeva Anna Viktorovna
Samara 2013.
