Miniature lackey. Russian folk crafts

During the invasion of Rus' by the Tatar-Mongol conquerors in the 13th century, their capture and destruction of the city of Vladimir, surrounding villages and hamlets forced people to seek salvation and refuge in the wilderness of forests and swamps, where the Mongol cavalry could not pass, in the northeast of Vladimir . People fled to these remote places at that time, seeking salvation. The people are artisans, hardworking and persistent. They settled along the banks of the Klyazma River and its numerous tributaries: the Nerl, Uvodi, Shizhigda, Teza and Lukha, creating settlements and settling in these new places. It is widely known that Vladimir residents are jacks of all trades: excellent carpenters, blacksmiths, masons, foundry masters, icon painters and tillers. They cut down forests, built huts, plowed the land, raised livestock, learned to fish, beekeeping and catch forest animals; everything could be done by their hands. Together with everyday affairs and worries, the Orthodox spirit lived among the people, they began to build churches, cast bells and paint holy icons Rus' is strong and glorious for its spirituality. This is how our distant ancestors gradually settled in the land that had become their home. The beauty of these places is magnificent at any time of the year. It will still captivate many today. The river is a beautiful small, deep, winding Teza, with its wide spring floods that you can’t even glance at, with oak groves and pine forests, mighty elms and willows along the banks, water meadows with a sea of ​​flowers in the summer, with golden autumn leaves and many haystacks, and huge white snowdrifts in winter. Apparently, she did not go unnoticed and became a source of inspiration for work and creativity. It is no coincidence that our ancestors settled here, in this place that became beloved, perhaps not the best on earth, but it was not by chance that it was here. The name comes from the river. In it, for fishing, people set up fences made of twigs called “kholui”, “kholuiniks” - this is how the Russian explains Dictionary V.I.Dalya means the meaning of these words, and there has always been fishing in Kholui. They caught a lot of it, ate it themselves and sold it. People maintained their way of life national customs, high morality, faith and Russian culture in general, here is a truly Russian spirit. We probably didn’t think about the significance of this, but it is truly great.

The first documentary information about Kholuy, an already well-known Russian village, dates back to the 16th century. This is a letter from the Grand Duke of Moscow Ivan Vasilyevich dated 1546 to the Trinity-Sergius Monastery “On the exemption from duties of the Starodub salt pans”, from which it follows that Kholuy at that time was the patrimony of this monastery, where the Kholuyans supplied the salt mined here - a necessary product and dear. In documents dated 1613, Sloboda Kholui is already mentioned as an icon-painting place and was granted to Prince Dmitry Pozharsky for the liberation of Moscow from Polish invaders. From these documentary sources that have come down to us, Kholuy was mentioned quite often in subsequent times. Learned people The icon painting art of Palekh, Mstera and Kholuy is called ancient Russian painting. They also claim that icon painting arose in Kholuy before all of them. Perhaps the first icon painters were the monks of the Kholuy Trinity Monastery, which belonged to the Trinity-Sergius Lavra. The monks of the Lavra could train the lackeys. This is an assumption. And the order of the Archimandrite of the Lavra Afanasy ""Recruit in Kholuy ten children from 12 to 15 years old, keen on concepts and reliable icon painting, and, having given them peace, food and clothing in the Lavra, teach painting to Hieromonk Paul"" already documents Kholuy's priority in icon painting. Students from Shuya and Mstera were sent to Kholui to study icon painting; information from 1672 indicates this. Kholuy became at the end of the 17th century the bearer of the traditions of the Trinity-Sergius style of icon painting. Since the beginning of the 18th century, the art of icon painting in Kholui has been developing quite rapidly. The need for icons grew every year. Kholuy icons were supplied to the northern provinces of Russia, Vologda, Arkhangelsk, Olonets, St. Petersburg and to the capital itself. Siberia was a big consumer of icons; icons were sent there by cartloads and whole convoys. Kholuy receives orders for icons from abroad: Bulgaria, Macedonia and Serbia. Such demand naturally contributed to development. IN Soviet time, painting icons was prohibited. And artists had to look for a way out for their creativity in new conditions. Having gone through many stages of development, they came to painting lacquer miniatures on papier-mâché. In 1934, the artists united in an artel, which later became a city-forming enterprise that educated many talented artists. In the many-sided and diverse Russian decorative, applied and folk art, lacquer miniature painting is given preference for its uniqueness, beauty, talent of artists and their “golden hands”. Lacquer miniature is hand-made, very labor-intensive and complex, both in execution and in understanding, it is the sister easel painting. However, this is an applied art, since painting is inextricably fused with a three-dimensional object, a box, or another type of product and has a utilitarian purpose. Lacquer miniature painting is a chamber art, it is very difficult to look at it in exhibition halls, where it is impossible to carefully examine the details, only careful examination allows one to understand and appreciate it. Kholuy miniature painting is exactly like this, but has its own characteristic distinctive features. It is realistic and at the same time decorative, which is why it is understandable; in Kholuy, like nowhere else, the main attention is paid to the image of a person. He is hyperbolically monumental, be it the image of a harsh "" Prophetic Oleg"" or the graceful "Snow Maiden", the desperate "Stepan Razin" or the mighty "Svyatogor the Hero". This trait is specifically Russian and can be clearly seen in this national art. The beauty of Kholuy miniature painting is also unique, discreet, but convincingly kind and attractive, starting from the shape and proportion of the product itself and ending with the ornamental pattern. Characteristics Kholuy letters continue to appear today in continuous creative process artists, and becomes traditional. In the seventies and eighties, Kholuy miniature painting developed intensively. New works were created, replenishing the funds of the local museum and assortment office, Ivanovsky and Plessky art museums in the Ivanovo region, the Moscow Museum of Decorative, Applied and Folk Art, the Museum of Folk Art, where the most large collection Kholuy lacquer miniatures, department Historical Museum on the Kulikovo field.

The production of products for the market also increased, and the team of artists grew. Every year graduates of the local art school joined the team and, working together with experienced talented craftsmen, gained creative experience, professional skills and became real specialists. These years are characterized by an expansion of the range of manufactured products; the number of samples from which artists produce small quantities of products for the market amounts to more than seven hundred pieces. New types of products in shape and purpose appear in the assortment; traditionally black products are complemented by red, green and cherry ones. In 1961, products with Kholuy miniature painting entered the international market. The first order was from London, then from the USA, Germany, France, Belgium and Italy. Entering the international market and a thirty-year period of supplying products for export contributed to the development of art, strengthened the economy and raised the international prestige of Russian lacquer miniatures, including Kholuy ones. In April 1992 state enterprise The lacquer miniature art factory became the property of the workers through privatization and became known as the Kholuy Art and Production Workshops LLP, and in April 2000 it was reorganized into the Kholuy Art Workshops Production Cooperative. This transformation radically changed the life of the team. This was especially noticeable in creativity. Since artists could more freely choose the shape of the box, the plot and the method of depicting it. But this forced artists to take their works even more seriously, since their work was assessed directly by the buyer. During independent work The enterprise, represented by artists, achieved great success. More and more new works are constantly being created, which are seriously assessed by the "art council" of the enterprise. And if the work satisfies all the requirements for composition, design, traditions and writing, then the work is selected either for a museum or for an exhibition, as well as for a sample for making a small batch, or for sale in salons. The works of Kholuy artists annually participate in exhibitions and sales both in Russia and abroad. Unique works occupy certain places, Grand Prix, etc. Among the artists of Kholuy there are national, distinguished, and also young, but very talented. In 2004, the Kholuy Art Workshops Production Cooperative celebrated its 70th anniversary. Workshops, as well as from their very inception, as an artel, are a city-forming enterprise. The company employs 150 people, of which 115 are artists.

The village of Kholui, the birthplace of the famous lacquer miniatures and icon painting, is one of ancient settlements, located 360 km. from Moscow, currently a village in the Yuzhsky district of the Ivanovo region on the Teza River.

Kholuy in Rus' was the name for fishing dams (nets) woven from willow trees, with the help of which they blocked the river diagonally and not across its entire width. There is a version that the settlement of the Suzdal people who fled from the Mongol-Tatars, where the “kholuis on the Tez” were built, was named Kholui.

Also S.V. Maksimov reported that the name of the village means the bank of a river, to which the current brings sand, various garbage and whole trees, and that in this meaning the word “lakie” was preserved in the North, while in the village itself its meaning was forgotten.

The first mention of Kholuy as a settlement in Suzdal district refer to XVI century. In 1546, the first historical records about Kholuy appeared: “...they have new salts on Kholuy, in the Ryapolovsky Starodub, brewhouses and pipes and courtyards” - mentioned in the charter of Grand Duke Ivan Vasilyevich. From this time on, the local art of traditional icon painting arose, flourishing in the 17th century. Local icon painting was distinguished by the introduction of everyday scenes into the subjects of icons; Tsar Alexei Mikhailovich in one of his decrees prohibited this non-canonical nature. Since the 1930s, icon painting has been replaced by lacquer miniatures. (Wikipedia)

WITH early XVIII V. The art of icon painting and lacquer miniatures in Kholui is developing quite quickly. Kholuy icon painting and lacquer miniatures are supplied to the northern provinces of Russia: Vologda, Arkhangelsk, Olonets, St. Petersburg and the capital itself. Kholuy also receives orders for famous icon painting and lacquer miniatures from abroad: Bulgaria, Serbia, Macedonia.

"Firebird" (Krotov V.A.)

Making a Kholuy box is a long and labor-intensive process, the secrets of which have been preserved since the inception of this art craft and are known only to Kholuy craftsmen.

"Lel" (Baburin N.I.)

On initial stage To create a unique Kholuy lacquer miniature from high-quality wood cardboard, multilayer tubes are pressed, the shape and size of which are very diverse. These tubes are called coils. They are soaked in hot linseed oil, and then dried in special ovens until the oil hardens.

"Feather of the Firebird" (Baburin N.I.)

The Kholuy master makes a blank of a future lacquer miniature from such a material - a semi-finished product on which primer is to be applied.

"Silver Hoof" (Kamorin A.A.)

The boxes are primed with a mixture of linseed oil, soot and clay.

"Savior Almighty" (Kharchev V.F.)

The dried soil is sanded and the box is painted with red and black varnish, after which it falls into the hands of an artist who knows the secrets of creating a unique lacquer miniature of Kholuy.

"Firebird"

The recipe for making paints used in Kholui to create lacquer miniatures has come down from time immemorial. Masters used these colors ancient Rus', creating his famous iconography. Mineral powder is ground together with egg yolk, water and vinegar. Properly prepared paints are one of the components of an artist’s successful work when creating a lacquer miniature.

"Three girls (brooch)" (Starikov N.V.)

The Kholuy artist works with the finest squirrel brushes.


"Crane" (Kharchev V.F.)

The ornament is made with specially prepared gold leaf with the addition of cherry resin, which gives the Kholuy lacquer miniature originality and uniqueness.

"Kiribeevich"

To add shine to lacquer miniatures, gold is polished with a wolf's tooth.


"Sivka-burka"

The painted box is covered with several layers of varnish. The varnish coating is leveled on special cloth wheels.

"M o r o z k o"

The final stage of creating a lacquer miniature is polishing. The varnish is polished until the smallest scratches disappear. High-quality polishing emphasizes artistic merit lacquer miniature, reveals its brightness and depth.

"M o r o z k o"

"Snow Maiden"

"Nikita Kozhemyaka"

"According to the fairy tale The Little Humpbacked Horse"

"By pike command"

"Gift from the Hostess" copper mountain"

"Ruslan's farewell to Ratmir"


"Ruslan and the living head"

"Sadko-guslyar"

Publications in the Traditions section

China is considered one of the most popular lacquer miniatures. In Russia, thanks to trade with eastern state painted trays, fans and screens appeared in the 17th century. Under Peter I, the Peterhof Monplaisir Palace was decorated with 94 lacquer panels “like China,” and soon lacquer work began to be taught at the Academy of Arts. There were many workshops in the vicinity of Moscow and St. Petersburg, but only four centers survived: Fedoskino, Palekh, Kholui and Mstera.

Fedoskino

Fedoskino lacquer miniature. Photo: artsalonrk.ru

Fedoskino lacquer miniature. Photo: patlah.ru

In the village of Fedoskino near Moscow at the end of the 18th century, merchant Pyotr Korobov produced lacquered visors for army hats. Later, the factory’s assortment was expanded to include snuff boxes; varnished engravings were glued onto them.

The fishery began to develop after Korobov’s daughter married Pyotr Lukutin. The enterprising son-in-law not only replaced the pictures with paintings, but also chose subjects close to the Russian heart: troikas, tea parties, fairy tale motifs. Lacquer miniatures began to be used to decorate boxes and snuff boxes, salt shakers and teapots, and the handles of umbrellas and canes.

The Fedoskinos were distinguished by their multi-layered colorful style. The skill of the painters bordered on jewelry: the boxes were also decorated with a pattern - “filigree” made of gold and silver plates. Years passed from the creation of the box to its appearance on the counter: the varnishes were kept in the sun for durability. Craftsmen studied at the factory, and the most talented were sent to the Stroganov School.

Fedoskino. Lacquer miniature

Palekh

Palekh lacquer miniature. Photo: kanon-tradition.ru

Palekh lacquer miniature. Photo: lacquerbox.ru

Palekh lacquer miniature. Photo: palekh.su

The master icon painters of Palekh painted the Faceted Chamber of the Kremlin, the churches of the Trinity-Sergius Lavra and the Novodevichy Convent. It is unknown whether the name of the village of Palekh would have resounded throughout the country after the revolution, if not for Ivan Golikov, a hereditary icon painter, restorer, theater artist. Having seen boxes from Fedoskino in the Handicraft Museum, he painted his own miniature - it attracted the interest of specialists. In the 1920s, Palekh boxes received a diploma from the All-Union art exhibition and became a sensation at the world exhibitions in Venice and Paris. In Palekh they established production, began to train craftsmen and, at the suggestion of Maxim Gorky, opened a museum at the Artel of Painting. So traditional technology tempera painting fixed on lacquer boxes. Written golden colors on a black background, the images “tell” fairy tales and epics, while maintaining the sophistication of the image of a Russian icon.

Palekh painting

Mstera

Mstera lacquer miniature. Photo: istra-da.ru

Mstera lacquer miniature. Photo: istra-da.ru

The village of Mstera in Vladimir region known since the 20s of the 17th century thanks to the craftsmen of the Epiphany Monastery. In the holy monastery they wrote “petty letters” - miniature icons; later they taught the skill to villagers.

Mstera artists began depicting the life of the Russian village in lacquer miniatures in the 1920s, when icons were almost on the verge of being banned. Dictated new subjects to artists October Revolution. They did not start making boxes here right away; first they painted the wooden items with tempera. But they were poorly bought, but buyers liked the painted lacquer boxes from the “Proletarian Art” artel. Masters Mstera observed Old Believer traditions icon painting, painted in Dutch landscape and popular print styles, and depicted Persian ornaments. Mstera artists avoided black backgrounds, which is why the miniature world of the boxes seemed especially clean and festive. This is how my own unique style emerged.

Kholui

Kholuy lacquer miniature. Photo: lacquerbox.ru

Kholuy lacquer miniature. Photo: lacquerbox.ru

The Kholuy lacquer miniature appeared in the Ivanovo region, in a settlement granted to Prince Dmitry Pozharsky for the liberation of Moscow from Polish invaders. Ancestors modern masters painted icons for the Trinity-Sergius Lavra. It was a custom in the monastery to give pilgrims images of the “Vision of the Mother of God” St. Sergius" They were painted by artists from monastery workshops and rural painters of Kholuyskaya Slobodka. TO mid-19th centuries, up to two million icons were created here. After the revolution, local craftsmen, like Palekh artists, began to paint the boxes. But not only them - picturesque bright drawings decorated with antique caskets, powder compacts, and miniature needle cases. The subjects of the pictures were very diverse: Russian nature and architectural landscapes, historical events, folklore stories. Over time, artists developed their own style: laconic and three-dimensional image, close-ups, minimum details. The miniatures were framed with an ornament made of gold leaf with the addition of cherry resin.

Kholuy miniature, born in the Ivanovo region, is a type of traditional Russian lacquer miniature. Being the youngest among similar crafts in Palekh, Mstera and Fedoskina, it occupies a worthy place among them and is highly valued both in the country and abroad.

Icon painters of the village of Kholui

The first documentary mention of the village dates back to the 16th century. The certificate indicates that these lands belonged to the Trinity-Sergius Monastery, where the lackeys supplied the salt mined here. This was in 1546. But half a century later, in 1613, the village was granted to Dmitry Pozharsky for protecting Moscow from the Poles, and it was characterized as an “iconographic place.”

Lacquer miniatures of all four settlements were born on the basis of icon painting. According to experts, Kholui occupied a priority place in this type of painting. Perhaps the first icon painters were the monks of the local monastery belonging to the Trinity-Sergius Lavra; they could teach this art to local residents. Later, education was established here for children “keen to concepts and icon painting,” as well as students from the neighboring villages of Shui and Mstera.

At the end of the 17th century, Kholuy became the bearer of the tradition of icon painting of the Trinity-Sergius Lavra, and due to the growing need for icons, it developed very quickly. Local icon painters received orders from the northern regions of Russia, Siberia, Bulgaria and Serbia.

Transition to varnish production

After the revolution and the ban on icon painting, the lackeys were left without work. Unlike their neighbors, who combined artistic craft With peasant labor, they earned their living only by painting icons. Many left the village in search of work, and those who remained were looking for a use for their strength.

The created artel was engaged in painting “rugs”, as copies were called famous paintings. But the masters sought to realize their creative ideas, and in 1934 they decided to try painting lacquer miniatures.

Few people believed that Kholui would be able to offer something of his own, different from the Palekh and Mstera styles already known by that time. But the artists were supported by Professor Bakushinsky, who formulated the goal to which they should go. This is how the Kholuy lacquer miniature was born.

Features of Kholui lacquer painting

Bakushinsky suggested choosing more for Kholuy works realistic style than its neighbors, but at the same time more decorative. The foundations were laid by the three oldest craftsmen S. A. Mokin, K. V. Kosterin and V. D. Puzanov. These three artists, having the same school of writing, were distinguished by their individual artistic manner. But the first steps were taken with with great difficulty, and recognition did not come to the masters immediately.

Followers of the Kholuy masters strive to concretize the depicted object, bringing the drawing closer to real proportions and outlines. Basics color range The Kholuy miniature consists of two keys: a warm, sandy-orange tone and a cold, blue-green tone. Additional shades are used only to provide contrasting animation to the design. Gold and silver are used to a limited extent, only when depicting metal objects or in ornaments. The ornament itself is strict and restrained. Kholuy miniature painting attracts with its originality and discreet, but kind beauty. To appreciate it, you need to be able to examine all the details of the design, starting with the plot itself and ending with the ornamental pattern.

Development of miniatures in Kholui

The artel subsequently became a city-forming enterprise and nurtured many talents. The first exhibition, which awarded Kholuy miniatures with bronze medals, took place in 1937 in Paris. In subsequent years, artists participated in all international exhibitions.

Over time, the theme of the drawing expanded. Fragments of Russian fairy tales began to appear more often; the landscape could already be an independent drawing, and not the background of the main composition. Figures in motion began to be conveyed more convincingly, attention was paid to great attention facial expressions of the characters. Architectural objects began to appear for the first time, which only embellished the drawing and expanded the theme.

Entering the international market

In 1961, the first international orders for Kholuy miniatures arrived. England, USA, Germany and others European countries they wanted to see works by masters from Kholui. Product output increased and the team of artists grew.

Today, the Kholuy Art Factory of Lacquer Miniatures operates in the village, which supports the long-standing traditions of painting on papier-mâché, not forgetting the rich experience of local icon painters.

Papier-mâché manufacturing technology

Over the years of the fishery's existence, the technology has not undergone significant changes. Most stages of the work are performed manually, when the craftsman transfers his heat and energy to the product. Therefore, things made in the village of Kholui only become more valuable and attractive over the years.

The first, rough stage of work is the creation of a nav. This is a tube made of several layers of pressed cardboard, soaked in linseed oil and dried in an oven. Navigations may be different forms and sizes depending on the intended products.

The craftsman makes a product blank from the hardened fiber, primes it, sands it and paints it with red and black varnish. Such a semi-finished product passes into the hands of the artist.

Product painting

Each factory keeps the recipe for making paints a secret, since it came to them from their icon painter ancestors. The principle is the same: mineral powder is mixed with egg yolk, water and vinegar, but then there are additives that few people know about. Much attention is paid to the correct preparation of paints, as this is a very important component in the successful creation of a miniature. Kholui artists work only with squirrel brushes.

Cherry resin is added to gold leaf to draw the ornament; this is one of the features of the product production process at the Kholuy lacquer miniature factory. The applied gold is then polished with a wolf tooth.

Finished work cover it with several layers of varnish and polish it until the smallest scratches disappear. This final process gives the product depth and brightness.

Museum in Kholuy

Each of the four centers of lacquer miniatures in Russia has its own museum, which houses works oldest masters, who began the difficult task of mastering the fishery, and contemporary artists. It is here that one can understand the dynamics of the development of miniatures in the region, the preservation of tradition, and the transfer of experience from older generations.

The Kholuy Museum of Lacquer Miniatures was created local residents on a voluntary basis and opened in 1959. The village population has been collecting for many years finished goods in their homes, and then, without sparing, donated valuable things to the village museum. Miniatures, sketches of drawings, icons, books, albums, as well as such household items as old banknotes, portraits and globes were brought here.

Famous scientists were involved in the study and inventory of donations, who provided invaluable assistance in creating collections. The most significant of them are the icons of Kholuy writing. This is the basis of the museum, participating in traveling exhibitions, training sessions, seminars. The collection of embroidery is rich; the collection includes works by needlewomen from the 19th century to the present day. Kholuy embroiderers made a curtain for the Kremlin, which speaks of their high professionalism.

The lacquer miniature kept in the museum cannot be classified as an ordinary piece. These are high-quality works by Kholuy artists, each of which is unique. The museum's collection is small, no more than five thousand items, but tourists visit it with pleasure to admire the work of Russian masters.

Since 2005, at the request of guests, an art salon has been operating at the museum, which allows you to take away in memory of these places not only photos of Kholuy miniatures, but also the unique work of art itself.

Kholuy miniature

Literature

• The Art of Kholuy / Compiled by: V. V. Starikov (†), L. A. Vdovina; Artist Yu. F. Alekseeva; Photos by Yu. A. Cover. - Ed. 2nd, rev. and additional.. - Yaroslavl: Verkhne-Volzhskoe book publishing house, 1980. - 160, p. - 25,000 copies.

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See what “Kholuy miniature” is in other dictionaries:

Kholuy miniature- Kholuy miniature. P.N. Sotskov. Blizzard. 1965. Museum of Folk Art. Moscow. KHOLUY MINIATURE, Russian folk miniature painting with tempera on papier-mâché lacquerware. Originated in 1932 in the village of Kholui (Ivanovo region) on... ... Illustrated Encyclopedic Dictionary

A type of Russian folk miniature painting with tempera paints on lacquer items made of papier-mâché (boxes, caskets, etc.), artistic craft. It appeared in 1932 in the village of Kholui (now Ivanovo region of the RSFSR) on the basis of the local icon painting... Art encyclopedia

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A type of folk miniature painting with tempera on papier-mâché lacquerware. It arose in 1932 in the village of Kholui (Ivanovo region) on the basis of icon painting (from 1934 an artel, from 1960 a factory). Subject compositions (modern, folklore,... ... encyclopedic Dictionary

A type of Russian folk miniature painting with tempera paints on lacquer items made of papier-mâché (boxes, caskets, etc.), artistic craft. Originated in 1932 in the village. Kholui, Ivanovo region, based on the local one (known since the 16th century)… …

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RSFSR. I. General information The RSFSR was founded on October 25 (November 7), 1917. It borders on the north-west with Norway and Finland, on the west with Poland, on the south-east with China, the MPR and the DPRK, as well as on the union republics that are part of the USSR: to W. from... ... Big Soviet encyclopedia

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