What is the lubok in the visual arts. Folk Russian Lubok: History, Description, Technique and Photo

Layout and decoration V.Savchenko

Photography B.B. Zvereva

Russian book publishing house 1992

forecasting lubok is one of the varieties of folk fine art. His emergence and widespread existence accounts for a relatively late period of the history of folk art - mid-XVIII and XIX century, when many other types of visual folk arts are painted on a tree, book miniature, print graphic lubok - have already passed a certain way of development.

In the historical and cultural aspect, the hand-drawn lubok is one of the attachment of a folk visual primitive, standing in close row with such types of creativity as picturesque and engraved lubrics, on the one hand, and with painting on bark, chests and art of handwritten books - on the other . It accumulated the ideal beginnings of the folk aesthetic consciousness, high culture of ancient Russian miniature, a chest image based on the principles of naive-primitive creativity.

Hand-drawn lubok - relatively little studied line of development of folk art of the XVIII-XIX centuries. Until recently, there was almost no mention in the literature in the literature. Therefore, familiarity with him can not not be of interest for experts and folk art lovers.

Hand-drawn lobok was not the subject of special collectibles, it is quite rare in library and museum meetings. The State Historical Museum has a significant collection of this rare type of monuments (152 of the subject in the catalog). It was formed from the sheets received in 1905 as part of the assembly of such well-known lovers of Russian antiquity, as P. I. Schukin and A. P. Bakhrushin. In the early 1920s, the historical museum bought certain pictures from collectors, individuals and "on the bargain" ...

1928, part of the sheets was brought by a historical and household expedition from the Vologda region. The collection of the State Historical Museum can give a complete picture of the artistic peculiarities of hand drawn lobcas and reflect the main stages of its development.

What is the art of drawn folk pictures, where did it occur and developed? The technique of execution of hand drawn lobca is originally. Wall sheets were performed by liquid tempera deposited on a light pencil drawing, the traces of which are noticeable only where it was subsequently erased. The masters used paints divorced on egg emulsion or gum (adhesive substances of various plants). As you know, the picturesque papers of Tempera are very wide and with strong breeding it allows working in a transparent painting technique with translucent layers, like watercolor.

Unlike the mass printed phonus, the drawing lobs were performed by masters from the beginning and to the end of the hand. Drawing a picture, its coloring, writing title and explanatory texts - everything was done by hand, giving each product improvisational uniqueness. The drawing pictures are striking the brightness, beauty of the pattern, harmony of color combinations, high ornamental culture.

Wall-mounted feathers, as a rule, were closely related to the circle of folk masters who kept and developed ancient-Russian traditions - with icon painters, miniaturist artists, bookpenters of books. From this contingent and formed for the most part artists of hand drawn lobcas. In places of production and the existence of the cheating pictures often were old-supplied monasteries, the northern and near Moscow villages, which saved the ancient Russian handwritten and iconographic tradition.

Hand-drawn lubok did not have such widespread as printed engraved or lithographic pictures, it is significantly more locally. The production of drawn wall-mounted sheets was concentrated for the most part in the north of Russia - in Olonets, Vologda provinces, in separate areas along the Northern Dvina, Pechora. At the same time, the drawing lobok existed in the Moscow region, in particular in the Huslitz, and in Moscow itself. There were several centers, where in XVIII and especially in the XIX century the art of hand drawn lobca flourished. This is a vomed-lexin monastery and the Skits (Karelia), the Top Toyma area on the North Dvina, the Kadnikovsky and Totemsky districts of the Vologda region, the Great Hostel on the River Pyrvey (Ust-Zilma), Huslitsy in the Orekhovo-Zuyevsky district of the Moscow region. Perhaps there were other places of production of drawn pictures, but currently they are unknown.

The art of hand drawn lobca was laid by the art of hand drawn. Ideologists at the end of the 18th century at the end of the 18th - early XVIII century existed a strong need to develop and popularize certain ideas and plots that substantiated the commitment of the "old faith", which could be satisfied that not only the trustees of old-supplied essays, but also visual information transfer methods. It was in the Old Believers of the Voem-Leksinsky hostel that the first steps were made to manufacture and distribute wall-mounted pictures of religious and moral content. The activities of the Vomego Lexing Monastery represents the most interesting page of Russian history. Briefly remind of her.

After the church reform of Patriarch Nikon, the dissenters of the "Jealous of the Army piety" disagreement, among which were representatives of different segments of the population, mainly the peasants, fled to the north, some began to settle on the Võgo River (Byvsh. Olonetskaya province). New residents cut down the forest, burned him, cleared arable land and sowed bread on them. In 1694, a community led by Daniyl Vikulov, who had settled on Voda, the settlers had made it. The first Pomeranian community of the Skite-Monastic type was at its beginning the most radical organization of the free-watering sense, rejected marriage, prayer for the king, promoting the idea of \u200b\u200bsocial equality in religious principles. The Avigovsky hostel long time remained for the entire Pomeranian old-believe of the highest authority in the affairs of the faith and the religious and public device. The activities of the brothers Andrei and the seeds of Denisovy, the former rebels (filmmarchs) of the monastery (the first - in 1703-1730, W\u003e - -th - in 1730-1741), was solely a wide organizational and educational character.

In the monastery, which took the mass of immigrants, Denisov had a school for adults and children, where students later began to bring students from other places that supported the split. In addition to the literacy schools, in the 1720-1730s, special schools were instituted for scribes of handwritten books, the school of singers, the iconists were preparing for the manufacture of icons in the "old" spirit. Awards gathered a richest collection of ancient manuscripts and old-line books, where there were essays of liturgical and philosophical, grammar and rhetoric, chronographs and chronicles. In the Avigovsky hostel, his own literary school, focusing on the aesthetic principles of the ancient Russian literature, was developed.

Works of the Pechersk Center

Denisov, I. Filippov, D. Viculov. Middle XIX century Unknown ink artist, tempera. 35x74.5

Acquired "at the bargain" in 1898, Ivan Filippov (1661 -1744) is the historian of the Avigovsky Monastery, his fourth kinovyarh (1741 -1744). The book "The story of the heard of the Avlega desert" contains valuable materials on the basis of the dormitory and the first decades of its existence. About S. Denisov and D. Vikulove.

The Brothers of Denisov and their associates left a number of writings, where historical, dogmatic and moral foundations of the Old Believer Teaching are presented.

In the monastery, crafts and needlework were thrilled: copper casting dishes, crosses and folders, leather production, wood dressing and furniture painting, brash products, sewing and sewing silk and gold, and silver decorations. This was also engaged in the male and female population (in 1706, the female part of the monastery was translated into the Lex River). Approximately the member period - from the middle of 1720 to the 1820-1830s - the heyday of the economic and artistic life of the Avigovsky Monastery. Then there was a band of gradual decline. The persecution of the split and attempts to eradicate, repression, strengthened during the reign of Nicholas 1, ended with the ruin and closure of the monastery in 1857. All the prayers were sealed, books and icons are exported, the remaining residents are evicted. So ceased to exist the Literacy Center of the Big Northern Territory, the Center for the Development of Agriculture, Trade and People's Arts.

Another old-supplied community, who played a similar cultural and educational role in the north, was the Great Skit, which arose about 1715 on the Pechora, in the Ust-Tsilma region, and existed until 18542. The internal device of the Glama's hostel was based on the Pomorovsky-Avivaya Charter. It was led by quite significant economic activities, the basis of which was a hospital and fisheries. The monastery was the focus of the ancient Russian book and literacy: the peasant children were trained to read, writing, correspondence of books. Here they were engaged in painting wall sheets, which was usually the lot of the female part of the population3.

It is known that in the XVIII-XIX centuries, the population of the entire north, in particular the peasantry, was strongly influenced by the old-handed ideology. This was a lot of active activity of the Vocome-Lexinsky and Ust-Tslemsky monasteries.

A lot of places held by the "old faith" existed in the Baltic States, Volga region, Siberia, in Central Russia. One of the centers for the concentration of the Old Believer population, which gave Russian culture interesting artworks were Huslitsy. Huslitsa is an old name of the near Moscow area, which received the name of the Gus Persian River, the influx of the nonsense, flowing into Moscow River. Here at the end of the XVII - early XVIII century, the Figured Old Believers of the Popovsky Consent (i.e., recognized the priesthood) were settled. In the Huslitsky villages in the XVIII-XIX centuries, icon-painted, mediality, woodworking were developed. The art of correspondence and decoration of books received widespread, here even developed its own special style of manuscripts, significantly different (as well as the content of books) from Northern Pomeranian. The Huslitz had a kind of focus of folk visual creativity, a great place in it took the production of drawn wallpaper pictures.

The birth and distribution in the environment of the old-handed population of the North and the Center of Russia of the art of drawn sheets of religious and moral content can be interpreted as a kind of response to a certain "social order", if you apply modern terminology. Educational tasks, the need for visual apologetics contributed to the search for the appropriate form. In folk art, there were already tested samples of works, which could satisfy these needs - chest pictures. The syncretic nature of the inhibitory folk pictures connecting the image and the text, the specificity of their figurative structure, which absorbed the genre interpretation of traditional for the ancient Russian art of the plots, as it was impossible to suit the goals that initially stood up in front of old-supplied masters. Sometimes artists directly borrowed certain plots from the printed loggle, adapting them for their purposes. All borrowing belongs to the instructive moral plots, what a lot were in the engraved folk pictures of the XVIII-XIX centuries.

What represented in general hand-drawn lobbs in content, what are his distinctive features? The theme of drawing pictures is very diverse. There are sheets dedicated to the historical past of Russia, such as the Kulikov battle, portraits of split figures and images of old-supplied monasteries, illustrations for apokrifam on biblical and evangelical scenes, illustrations for stories and parables from literary collections, pictures designed for reading and chants, wall calendars-saints .

Pictures related to the history of old-believe, types of monasteries, portraits of splitters, comparative images of the "old and new" churches make up a rather significant group. Interesting images of the Vocome-Lexinsky Monastery, often involved in artists in a complex composition of large pictures. On sheets "Pedigree Tree A. and S. Denisovy" (Cat. 3), "Worship of the Icon of Our Lady" (Cat. 100) Detailed images of male and female monasteries, located, respectively, on the shores of Viga and Lexes are given. All wooden buildings are scrupulously discharged - residential cells, refectory, hospitals, bell tower, etc. The thoroughness of the drawings allows you to consider all the features of the architectural layout, the traditional design of the northern houses with dupled tongs, high indoor porchs, the bulbous heads of chapel, tent completion of the bells. .. On each building, numbers explained in the lower part of the pictures - "Kuznya", "competent", "cook", which makes it possible to get a complete picture of the layout of the monasteries and the location of all its economic services.

On the "pedigree tree A. and S. Denisovy" the species of the monastery takes only the bottom of the sheet. The rest of the space is given to the image of the conditional genealogical tree, on the branches of which in the ornamental round frames are portraits of the ancestors of the genus of Denisovoy-Worthin, ascending to the prince of Myzhetsky, and the first rebels of the dormitory. Plots with a "teacher tree", where the brothers of Denisov and their like-minded people are presented, they were very popular with artists of hand drawn lobc.

Portraits of founders and reels of the Avigovsky Monastery are known not only in the variants of the pedigree, but there are independently individual, pair, group. The most common type of images of old-belt mentors, be it a single or group portrait, is the one where every "old man" is represented with a scroll in the hand, on which the words of the corresponding saying are written. But they cannot be considered portraits in the generally accepted sense of the word. They are performed very conditionally, according to a single canon. All Pomeranian teachers were depicted flat, strictly frontally, in the same poses, with a similar position of the hands. Hair and long beards are also transferred in a single manner.

But despite the following canonical form, artists could convey the individual features of the characters. They are not only recognizable, but also correspond to the descriptions of their appearance, which reached us in literary sources. For example, Andrei Denisov in all drawings of a straight elongated nose, lush hair, curly smooth rings around the forehead, wide beard beard (cat. 96, 97).

Steam portraits are usually made according to a single scheme - they are enclosed in the oval framework, interconnected by a characteristic ornamental baroque decoration. On one of these portraits, Pikifor Semenov, the film of the Avigovsky Monastery from 1759 to 1774, and Semen Titov, which is known that he was a teacher in the female part of the monastery (Cat. 1). Special type of group images were placed in a row of figures on glueds from individual sheets of long papers (cat. 53, 54). These sheets are probably intended for raising in large rooms.

A significant number of works are devoted to the riteness of the "old" and "new" church and the correctness of the gloom sign. Pictures are built on the principle of opposition to the Starrorsian Church of Tradition and Nikonov of Tradition. Artists usually divided the sheet into two parts and showed differences in the image of the Calval Cross, the patriarchal rod, the way of obstacles, the seals on the prosforas, that is, what the Old Believers disappear with the followers of Nikon reform (Cat 61, 102). Sometimes the drawings were not made on one, but on two paired sheets (cat. 5, 6). Some masters were chicken similar images - showed in the interior of the temple of the priests and the public, gave a different appearance to people in the service in the "old" and "new" church (Cat. 103). Some are dressed in an old Russian dress, others - in short new-fashioned phraits and narrow pantalonons.

To the events associated with the history of the Old Believement Movement, also belong to the stories dedicated to Solovetsky rebellion of the 1668-1676 years - the performance of the monks of the Solovetsky monastery against the reform of Patriarch Nikon, against the conduct of the service on new corrected books, which lied during the struggle against the anti-refortion folk uprising. Solovetsky "Seat", during which the monastery had resisted by the precipitated royal troops, continued for eight years and ended with his defeat. The capture of the Solovetsky monastery of the Voevodoy Meshcherinov and the ripple with the recalcitrant monks after the fortress was reflected in a number of wall pictures, two of which are stored in the historical museum (Cat. 88, 94). The dating of sheets testifies that the plot attracted the attention of artists and at the beginning, and at the end of the XIX century, as well as during this time the interest in the book is not dried. Denisova "History on the father's father and the sufferers of Solovetsky" (1730s.), Served as the basis and source for writing these pictures.

Works of the Moscow Center

Image of reprisals Governor Meshcherinova

with the participants of Solovetsky uprising 1668-1676.

The image of the reprisals of the Governor of Meshcherinov with the participants of Solovetsky uprising 1668-1676.

The beginning of the XIX century. Artist M. V. Grigoriev (?) Ink, tempera. 69x102.

There are no names. Explanatory inscriptions (in order of the sequence of episodes): "The siege of the voivoda monastery and set the outfit will be wedged by many, and the stake in the monastery of the fiery dinner and nostano, not the mustache-Pa Yuchi. "Voivode Tsarist Ivan Meshcherinov"; "Howl Tsarist"; "Introduced to the naval ... from the crosses, icons and candles and killing them"; "Muchenniks for ancient value"; "Hegumen and Keler, inhabit the Moalie to Meshryher-Novu on the torment"; "Iii izh in the glory of the lute from the monastery run out in the lip of sea and their in the ice of the frost, and lying the bodies of their 1 summer are impelled, adile to the bone of the bone and the umpovery joints"; "King Alexy Mikhailovichi", sore, and mne, Sin's sin before presenting the punishment of things, and wrote a diploma by hand to the queen of Natalia Kirulovna, but I will send me to Meshcherin, and the abode of the rebound ";" Messenger's messenger ";" Grad Vologda ";" Grad Vologdi "; Ways in town of Vologda of the race from the governor Meshcherinov with a diploma on the possession of the monastery. "Acquired" at the bargain "in 1909. Literature: Icina I, p. 38; Icina II, p. 255

The pictures show the events of suppressing the performance of the monks of the Solovetsky monastery against the reform of Patriarch Nikon. Both sheets illustrate the book of S. Denisov "The story of the father's father and the sufferers of Solovetsky", written in the 1730s. Currently, six options for wall sheets have been revealed for this plot, of which three are directly dependent on each other and go back to the general original and three have arisen independently of this group, although their creators worked, adhering to the general tradition of the incarnation of this story.

The picture (Cat. 88) detects texture and artistic dependence on the handwritten story "Description The facial high siege and ruin of the Solovetsky monastery" written in the late XVIII century. and published from the Moscow workshop, where at the end of the XVIII XIX century. Worked Master M. V. Grigoriev. Presuming attribution of the picture by the artist Grigoriev is made on the basis of the stylistic proximity to its subscription works of the Master. (For detail, see: Icina I, Ikina P.)

On a sheet made at the beginning of the XIX century, the picture is built on the principle of a consistent story. Each episode is accompanied by a brief or lengthy explanatory inscription. The artist shows the shelling of the monastery of three guns, which "Stas Biti around the monastery of the fiery dinner and noskovo", storming the fortress, the exit of the remaining monks from the gate of the monastery towards Meshcherinov with an icon and crosses in the hope of His mercy, a cruel massacre with participants The uprising - the gallows, the torment of the Iguman and the kelary frozen in the Ice of the Inok, the illness of the king Alexei Mikhailovich and sending the race with a letter to Meshcherin about the cessation of the siege, the meeting of the Tsarskoye and Meshcherinovsky messengers at the "Grand Vologda". In the center of the sheet - a large figure with a raised saber in his right hand: "Voivode Tsarist Ivan Meshcherinov". This is the main carrier of evil, it is highlighted and scale, and harsh sacrifices pose. Consciously introduced by the author of estimated moments by the author is noticeable in the interpretation not only the governor of Meshcherinov, but also other characters. The artist sympathizes to tortured defenders of the Solovetsk fortress, shows their inflexibility: even on the galloper, two of them are compressed in a two-mounted sign. On the other hand, he clearly is the appearance of the Streletsky soldiers who participated in the suppression of the uprising, as evidenced by the jester caps on their heads instead of military jackets.

But the emotional saturation of the plot does not obscure the task of creating an artisticly organized picture. In the compositional and decorative construction of the sheet as a whole, the tradition of a rhythmized rhythmic patrony. Space between individual episodes The artist fills images of arbitrarily scattered colors, bushes, trees performed in a typical decorated manner of folk pictures.

A comprehensive study of this picture allows you to express an assumption based on analogy with subscription works, about the author's name and place of creation. In all likelihood, an artist-miniaturist Mikola Vasilyevich Grigoriev, connected with one of the old-supplied workshops on the correspondence of books in Moscow, worked on Lubcom.

Plots related to the specific historical events of the past Russia, in hand drawn club - a rarity. These include the unique wall picture of the artist I. G. Blinova, depicting the battle on the Kulikov field in 1380 (cat. 93). This is the largest sheet among all that have come down to us - its length is 276 centimeters. At the bottom of the artist, the artist wrote entirely the text of the "Tale of Mamaev Boy" - a famous handwritten story, and at the top there posted illustrations for her.

The picture of the gathering of Russian princes, coming to Moscow on the call of the Grand Dmitry Dmitry Ivanovich, to give a resistant to the unseclaid Horde Maama, coming to Russian land. Upstairs depicts the Moscow Kremlin, the people are crowded in the gate, seeking Russian army. The slender rows of regiments, headed by their princes, are moving. Separate compact riders groups should give an idea of \u200b\u200ba crowded rati.

From Moscow, the troops go to Kolomna, where the review was held - the "arrangement" of the regiments. The city is surrounded by a high red wall with towers, it is visible as if from a bird's flight. The artist gave the contour of the constructed troops the shape of an irregular quadrilateral, repeating in the mirror reflection of the outlines of the Kolomna's walls, thus achieving a wonderful artistic effect. In the center of the fragment - warriors, holding banners, trumpeters and the Grand Duke Dmitry Ivanovich.

The composition of the sheet is a duel of the richar of the rebar and the giant Checky, served as according to the text of the legend by the Prologue of the Kulikov battle. The scene of martial arts is largely highlighted, freely posted, its perception does not interfere with other episodes. The artist shows that moment of contractions when the riders are gone towards each other collided, besieged horses and made a spear for a decisive strike. Immediately below, both heroes are depicted killed.

Almost the entire right side of the sheet is occupied by the picture of the fierce battle. We see the riders knocked in a bunch of riders, their fierce fights on the horses, warriors with naked sabers, Ordans, shooting from the onions. Under the legs of the horses outstretched the body of the killed.

Ends the story by the image of the Tent Maoy, where Khan listens to the defeat of his troops. Further, the artist draws Math with four "Dathers", jumping away from the battlefield.

In the right part of Panorama-Dmitry Ivanovich, accompanied by approximately bypassing the battlefield, crushing the great losses of the Russians. The text states that Dmitry, "seeing many deadly loved ones of his Vityaze, began loudly plastered."

In this work, with a large length of the sheet and a multitude of acting persons, the blesshood and the diligence of the author, which are the highest certification of the master. Each character is carefully discharged face, clothes, helmets, caps, weapons. The appearance of the main characters is individualized. In the figure, a folk fluctuation tradition with its conventional, a flat-decorative characteristic of the image, a generalization of lines and contours and receptions of the ancient Russian book miniatures, which affect the elegant elongated proportions of figures, in the form of coloring items, is exceptionally successfully combined.

As a sample I. G. Blinov used for his work created in the 1890s, printed engraved lubok, released at the end of the XVIII century, but significantly rethought him, in some places, for greater harness of the presentation, the order of episodes was changed. Coloristic sheet solution completely independently.

Leaf made in town

The second half of the 1890s. Artist I. G. Blinov. Ink, temperatures, gold. 75.5x276.

Title: "The militia and campaign of Velikago Prince Dimitri Ioannovich the autocrat of Alsisiangago anti-Escholevago and the fearless of the king Tatharskago Mamaama, his own help by the end of the win." Inv. No. 42904 and W 61105 Received from the collection A. P. Bakhrushina in 1905 p.

Literature: Kulikovskaya battle, Il. on plying between p. 128-129; Monuments of the Kulikovsky cycle, Il. 44 Kulikovskaya battle of 1380 - one of the few events of the history of Russia, captured in the monuments of folk art. In the picture, which is characterized by the largest size among hand-drawn lobs, text and fine parts are placed. The text was based on the "Tale of Mamaev's Boy", borrowed from Sinopsis (Sinopsis - a collection of stories in Russian history, published for the first time at the end of the XVII century. And later repeatedly reprinted yasya). The picture was attributed to the artist Blindow based on stylistic and artistic similarity with the second sheet for the plot of the Kulikovsky battle, stored in Gorodetsky Museum of Local Lore (In. No. 603), on which there is a signature I. G. Blinova. The plot "Mamaevo Bow" is known in the engraved Lubka: Rovinsky I, vol. 2, No. 303; t. 4, p. 380-381; t. 5, p. 71-73. Currently, 8 copies of the engraved Lubka are revealed: I "M and and, pp. 39474, gr. 39475; GLM, KP 44817, KP 44816; GIm, 74520, 31555 and W XP 7379, 99497; Yaroslavl Museum-Reserve, 43019. Published Published sheets are based on the engraved original, and it is that focus, as the study of texts shows, which arose before others, between 1746 and 1785. The artist both times enjoyed one engraved sample.

"The tale of Mamaev is a party" is known in the facial manuscripts. Artist I. G. Blinov himself repeatedly appealed to the thumbnails of "Taken", creating several facial manuscripts on his plot (GLB, F. 242, No. 203; GIm, Vosta 234, Bars. 1808). Drawn sheets were created by them regardless of book miniatures.

Cases of processing printed circuitrs with historical themes are part of a part. You can only call one more picture called "About Ho Ho, a serious Russian man and a fist and weight" (Cat. 60). This caricature on the political situation of the 1850-1870s, when Turkey, even with his allies, could not achieve a hand over Russia. The figure shows the scales, on one board of which is a Russian man, and on another board and on the crossbar hanging the numerous figures of the Turks, French, the British, who cannot get the scales to the whole strength.

The picture is a redrawing of the circulation lithographic in Lubka, several times reprinted in 1856-1877. It repeats almost unchanged ridiculous and ridiculous poses of characters crawling through the crossbar and ropes of weights, but here are noticeable to rethinking the physiognomic characteristics of the actors. A Russian man, for example, has lost in the figure that the plenty of lithographs gave him. Many characters look funnuckly and sharper than in printed cheerbags. Appeal to the genre of the political caricature is a rare, but very significant example, testifying to the interest of its creator to public topics and the existence of demand for this kind of work.

Turning away from the plots relating to specific historical events to the subjects associated with illustrating various parables from the teacher and gortgage collections (Catema, Prologi), collections of the "Great Merzor", biblical and evangelical books, it should be said that many myths were perceived As a genuine story, especially those related to the creation of a person, the life of the first people on Earth. This explains their special popularity. Many biblical and gospel legends in folk art are known in the apocryphic interpretations, enriched with details and poetic interpretations.

The drawings illustrating the history of Adam and Eve, as a rule, were placed on large sheets and were built, similar to other multi-story compositions, according to the principle of the story (Cat. 8, 9). On one of the pictures depicted a paradise in the form of a wedded garden, in which unusual trees grow and walk different animals. The master shows how the creator breathed the soul in Adam, made his wife from his rib and commanded them not to try fruits from a tree growing in the middle of the paradise garden. The story includes scenes where Adam and Eve, succumbing to persuasion of the site-tempter, tear an apple from the forbidden wood, like expelled, they leave from the paradise gates, over which hexproiled seraphim boil, and sit in front of the wall on the stone, mourning lost paradise.

Creation of man, the life of Adam and Eve in Paradise, exile them from paradise

On the Lubke, who tells about the murder of Caine Abel, in addition to the scene of the brainideos, are placed episodes, where the suffering of Cain, sent to him for a punishment for a crime: He is tormented by devils, God punishes him with "shaking", etc. (Cat. 78).

Illustration to the "Legend of the Punishment of Cain for Killing Brother."

If the time is connected on this sheet, the events next to each other, then the other picture, on the contrary, is limited to the show of one small plot. Here is illustrated by the famous legend of the sacrifice of Abraham, according to which God, deciding to experience Abraham, demanded that he sacrifice his son (Cat. 12). The picture shows the moment when the angel descended on the cloud stops the hand of Abraham, which brought the knife.

End 18 - early 19th century

Sacrifice Abraham. End 18 - early 19th century. Unknown ink artist, tempera. 55.6x40,3

Paper with Filigree J Kool Sotr. / Seven Provinces (without a circle) Klepikov 1, No. 1154. 1790-1800 -

Evangelical legends in hand drawn pictures are significantly less than biblical. This is explained, apparently, the fact that most of the gospel myths are embodied in icon painting, and the masters of the hand drawn club deliberately refused to remind the icon. In the pictures they were reflected mainly plots wearing the character of parable.

Special love enjoyed the artists of the parable about the prodigal son. On the sides of one of the pictures are the episodes of legends - the departure of the prodigal son from the house, its entertainment, misadventures, returning under the sacrum, and in the center of the oval - the text of spiritual verse on the hook notes (cat. 13). Thus, this picture could not only be viewed, but reading the text and sing it. The hooks are the oldest music signs that indicate the height and longitude of the sound - the frequent component of text sheets. Spiritual verse about the prodigal son was widespread in people's literature, most closely associated with folk art.

Start 19 century.

Parable about the prodigal son. Start 19 century.Unknown artist. Called, tempera. 76.3x54.6. Papers of a bluish gray shade of early XIX century.

Favorite plots of hand drawn lobca are images of Syryna and Alkonosta semi-poles. These stories were walking in printed cheating. They were produced since the mid-XVIII century and throughout the XIX century. Artists of drawn sheets not only repeated engraved pictures using an already ready-made composite scheme, but also developed plots with paradise birds on their own.

Completely original works include images of Sirin's birds accompanied by a legend based on information borrowed from chronograph. According to the text on the sheets of the singing of the poultry, so sweet that a person, having walked him, forgets everything and goes after her, can not stop until it dies from fatigue. The artists usually portrayed a person who was fascinated by a bird, sitting on a huge bush, destroyed flowers and fruits, and just below - he lay dead on earth. To drive a bird, people frighten her noise: they beat into drums, snapped in pipes, shoot from guns, on several sheets we see bell tower with ringing bells. Frightened by "unusual noise and sound", Sirin "is coherent to its resentments of the housing" (Cat. 16, 17, 18).

In the hand-drawn pictures there is a special, "book", understanding of the artists of the poultry painter, not found in other monuments of folk fine art.

Another paradise bird, an alkonost, the appearance is very similar to Syrin, but has one significant difference - it is always depicted with hands. Often in the hand, the alkonost is holding a scroll with a redemption about rewarding in paradise for righteous life on Earth. According to the legend, the alkonost with its impact on a person is close to Sreaty Sirin. "Who in the proximity of the HIE will be, that all in the world will take care of the world, then the mind of him leaves and his soul from the body comes ..." - according to the explanatory text to the picture (cat. 20).

Some researchers, as well as in everyday consciousness, there was a rather sustainable idea that in the folk art of Sirin - a bird of joy, and an alconus - a bird of sadness. This opposition is incorrect, it does not relieve the real symbolism of these images. Analysis of literary sources, where poultrying appear, as well as numerous monuments of folk art (painting on wood, testers, embroidery) indicates that anywhere alkonost is interconnected as a bird of sadness. Probably, this opposition has a picture of V. M. Vasnetsov

"Sirin and Alkonost. The song of joy and sadness "(1896), on which the artist portrayed two birds: one - black, the other is light, one - joyful, the other is sad. There were no earlier samples of anti-symbolism symbols and alkonosta, and therefore, we can assume that it did not go from the people, and from professional art, which, in his appeal to Russian old, used samples of folk art, not always quite correctly realizing their content.

Pictures with edging stories and parables from various literary collections occupy a large place in the art of hand drawn lobc. They are treated with the themes of moral behavior, virtuous and vicious human actions, the meaning of human life, sins are influenced, sins are told about the flour of sinners, cruelly punishable after death. Thus, "a meal of pious and wicked" (cat. 62), "On the young people with a negligence and radium" (cat. 136) demonstrate the righteous and unrighteous behavior of people, where one is rewarded, and the other is believed.

The whole series of plots tells about the punishments in the next world and small forelegations: "The punishment of Ludwig Languch for the sin of the compassion" is to lead him into the eternal flame (Cat. 64); The sinner who did not repent of the "crop" tormented dogs and snakes (cat. 67); "Satana's unlike man, a lovers of this century" Satan orders to soar in the fiery bath, lay on the fiery bed, to ride molten gray, etc. (cat. 63).

Some pictures were interpreted by the idea of \u200b\u200bredemption and overcoming sinful behavior during his lifetime, moral behavior was praised. In this respect, the plot of the "Spiritual Pharmacy", which repeatedly addressed artists. The meaning of parables, borrowed from the composition of the "Spiritual Medicine", - the cure from sins with the help of good deeds - is revealed in the words of a doctor who gives the following advice to him: "Pride and take the root of obedience and the leaves of patience, the color of the purity, the fruit of good deeds And isotley in the boiler silence ... Touch the Lie Repentance and, Takso Coldish, will be absolutely healthy "(Cat. 27).

A significant section of the wall-mounted hand drawn pictures is a group of text sheets. Poems of spiritual and moral content, chasing on hook notes, editing teachings, as a rule, were performed on sheets

a large format, had a colorful framing, bright title, the text was broken by major initials, sometimes it was accompanied by small illustrations.

The most common plots with aspirates, useful tips, so-called "good friends" of man. On typical of this group of pictures "On Good Friends of the Twelve" (Cat. 31), "Tree of Mind" (Cat. 35) All more periods or enclosed in ornamented circles and placed on a tree image, or written on wide curved wood-bush leaves.

Spiritual poems and chants were often placed in ovals in the frame of a flower garland, rising from a vase or basket, put on Earth (cat. 36, 37). With a single manner and general for many sheets of receiving an oval framing, it is impossible to find two identical garlands or wreaths. Artists vary, fantasize, looking for new and peculiar combinations, seeking truly the amazing variety of components components.

The plots of drawn wall-mounted pictures are detected by a certain proximity to the themes found in other types of folk fine art. Naturally, most analogies with engraved fades. A quantitative comparison shows that in the drawing chests reached to our time, the plots common with printed constitute only one fifth part. At the same time, in the overwhelming number of cases, there is no direct copying of certain compositions, but a significant alteration of engraved originals.

When using the plot of the cramping sheet, the masters was always introduced in drawings their understanding of decorativeness. The color solution of handwritten buddies was significantly different from what was observed in printed products.

We know only two cases of the inverse dependence of the engraved and drawn sheets: the portraits of Andrei Denisov and Daniel Viculov were printed in Moscow in the second half of the XVIII century on hand drawn originals.

Wall sheets have analogies in manuscripts miniatures. The number of parallel plots here is less than in printed sheets, only in two cases is obvious the direct dependence of the handwriting club from miniatures. In all other, there is an independent approach to solving the same topics. Sometimes it is possible to establish the overall tradition of the embodiment of individual images, well-known miniaturists of the XVIII-XIX centuries and masters of hand drawn lobcas, for example, in graphics to the apocalypse or in portraits of old-supplied teachers, which explains their similarity.

Several common motives with drawn pictures, such as the legend of the bird Sirin, are known in the painting of furniture of the XVIII-XIX centuries, published from the workshops of the Vocome-Lexing Monastery. In this case, there was a direct transfer of the composition of the drawings on the locker doors.

All the identified cases of general and borrowed plots cannot be observed in an overwhelming number of independent artistic developments in hand drawn rob. Even in the interpretation of the moral parable, the most developed genre, the masters for the most part followed their own way, creating many newly expressive and rich in the articulated content of works. We can assume that the topics of the hand drawn club is quite original and testifies to the latitude of the interests of his masters, about the creative approach to the incarnation of many topics.

For the characteristics of the hand drawn club, the date of dating is very significant. A special study of the time of creating individual sheets allows you to clarify and fully present a picture of their occurrence, the degree of prevalence in one or another period, to determine the functioning of individual art centers.

In some pictures there are inscriptions, directly indicating the date of manufacture, for example: "This sheet is written 1826" (cat. 4) or "This picture of 1840 February 22" (CAT. 142). Great dating help, as you know, can have watermarks on paper. According to millilians, the border of the creation of a work that has previously could not appear.

Dates on sheets and watermarks indicate that the oldest pictures that have come down to us are dating 1750-1760s. True, there are so very few. In the 1790s there are already more drawings. Dating the most early preserved pictures of the middle of the XVIII century does not mean that until this time, the walls did not exist at all. Known, for example, a unique drawing of the XVII century, with the image of the Streletsky troops, departing on boats to suppress Stepan Razin's uprising. But this case is an exceptional and sheet not wore a "lobel" character. On the established production of drawn sheets, you can only speak for the second half of the 18th century.

The time of the greatest feature of the art of hand drawn club - the very end of the XVIII is the first third of the XIX century; In the middle and second half of the XIX century, the number of handwritten pictures is significantly reduced and again increases only at the end of the XIX - early XX century. Those conclusions that follow from the analysis of dated sheets are well coordinated with the overall picture of the development of the art of hand drawn club, which opens in the study of individual centers of its production.

Great assistance in learning hand drawn lobcas is provided by the information contained in the inscriptions on the facial or the back of some sheets.

The content of the inscriptions on the turnover of pictures is to initiate, instructions on the price of sheets, mark for artists. Here are samples of dedications or gift texts: "Higher Ivan Petrovich from Irina V. with a lowest bowl", "Merciful State Superior Fekla Ivanovna" (Cat. 17), "To present these saints Leva SERGEYCH and Alexander Petrovna and a hotel" (Cat. 38) . On the back of three pictures of the scope of their price: "Grivhenik", "Usa Mizmenok" (Cat. 62, 63, 65). This cost, although not very high in itself, exceeds the price on which printed cheating fields were sold.

You can find out the names of artists who worked on the pictures, the social status of the masters: "... Siaia Coruta Mirkulia Nikina" (Cat. 136), "wrote Ivan Solventsikov" (Cat. 82), "Siaia birds wrote (in the picture with the image of an alkonosta .- E.I.) In 1845, Alexei Ivanov Iconpo and the servant of his Ustin Vasilyev, the icon-painter Avsyunsky.

But cases of indicating the name of the artist in pictures is very rare. Most sheets have no signatures. About the authors of hand drawn club, it is possible to learn a little, there are only a few examples when some data about masters have been preserved. So, about the Vologda artist Sophie Calicina, whose drawings brought the historical and household expedition to the historical museum in 1928, something local residents told, and the rest of the crumbs revealed from various written sources. Sophia Calikina lived in the village of Gavrilovskaya Totemsky County Spasskaya Vosti. With early

the age with the elder brother Gregory was engaged in illustrating the manuscripts who rewrite their father Ivan Afanasyevich Calikin8. Drawn pictures brought to GIm, Sophia Calikina fulfilled in 1905, when she was about ten years old (Cat. 66-70). Judging by the fact that her drawings hung in the outstands until 1928 and people remembered who the author of them and at what age she created them, the work was successful for those who were performed.

The fact that the peasant old-supplied families, studying the reservoir of manuscripts (and often both iconography) and drawing of wall pictures, attracted children to this, is known not only from history with Sofia Calicina, but also in other cases4.

The most bright of the currently known examples of the combination of the activities of the miniaturist artist and the master of the chest of chest of lobes seems to be creativity I. G. Blinova (about his picture "Kulikovskaya battle" described above). It is wonderful that I. G. Blinov was almost our contemporary, he died in 1944.

The activities of Ivan Gavrilovich Blinova - the artist, miniaturist and the calligraph - makes it possible to understand the typology of the artist's image is more distant from us, although the pancakes have already been another formation. Therefore, it should be stopped in more detail.

The facts of the biography of I. G. Blinova can be learned from the documents currently stored in the department of manuscripts of HBL "1, to the Central Committee of the USSR" and in the manuscript department of Gima12. I. G. Blinov was born in 1872 in the village of Kudashiha Balah-Nino district of the Nizhny Novgorod province in the family of the Old Believers accepting the priesthood. For a long time, he lived at the upbringing of his grandfather, at one time she studied in the cells in the Inok "in a strict religious spirit." When the boy was ten years old, the grandfather began to teach him reading before icons and acquainted with the porcisite of the Old Russian singing. From twelve years, pancakes began to draw self-taught. Thai from the Father, who did not approve the Son's passion, often at night, he mastered writing letters, various types of handwriting and ornaments of vintage handwritten books. There was seventeen glory, when his works became interested in G. M. Sanidichnikov, a famous collector of the Russian Starny, who kept the town of bookers in his house, rewriting ancient handwritten books for him. The pancokes collaborated with a spindle and with another major collector, Balahninsky merchant P. A. Ovchinnikov, fulfilling their orders.

At the nineteen years, the pancake married, one after another was born three children, but, despite the increased economic responsibilities, the beloved occupation did not leave, continuing to improve the skill of the calligraff and miniaturist. Rounding into the circle of collectors and working on them, Ivan Gavrilovich himself began to collect vintage books. In 1909, the Blinov was invited to Moscow to the Old Believers Typography L. A. Malehonov, where he worked as a corrector of the Slavic font and the artist seven years. By that time, six children were already in his family, a wife, for the most part, lived with them in the village. From several preserved letters of Ivan Gavrilovich to his wife and parents of the service period in the printing house, it appears that he visited many Moscow libraries - historical, Rumyantsevsky, Synodal, was in the Tretyakov Gallery; It was recognized by Moscow Bibliophiles and lovers of antiquity, they gave him private orders for decoration of addresses, tray sheets and other papers. In his spare time I. G. Blinov wrote independently texts and painted illustrations to some literary monuments, for example, to Pushkin's "song about Oleg" (1914, stored in Gima) and to "Word about Igor's regiment" (1912, 2 copies are stored in GBL).

Since 1918-1919, close cooperation of the artist with the state historical museum begins. He used to bring his work before and sold his work, now it was specially ordered miniatures for the works of the Old Russian literature: the leads on Savve Grudtsina "3, about Frol Schever14, about Grief-Zlosta region15. V. N. Shchepkin, who headed the museum's manuscripts at that time, Valued the art of Blinov and willingly acquired his work.

In November 1919, the People's Commissariat of Enlightenment But the proposal by the collegium of the Collegium of the Historical Museum sent I. G. Blinova to his homeland, to the Gorodets, where he accepted the most lively participation in collecting antiquity objects and in creating a local local lore museum. The first five years of the Museum's existence - from 1920 to 1925 - was his director. Then the material circumstances were forced to move pannie to the village. The only original monument made by him after returning to their homeland is the essay of the "City History" (1937) with illustrations weathered in the traditions of ancient miniature.

I. G. Blinov owned almost all types of ancient Russian handwriting and many artistic styles of ornaments and manuscripts. Some works he specifically performed by all the writings known to him, as if demonstrating a wide range of art ancient letters.

By paying tribute to calligraphy skill I. G. Blinova, it is necessary to keep in mind that he has always remained a stylist. The master did not seek the full and absolutely accurate reproduction of the formal signs of the original, and artistically comprehended the main features of a style and embodied them in the spirit of the art of his era. In the books decorated pancake, the artist's hand of the XIX and XX centuries is always felt. Its activity is a sample of deep mastering and creative development of ancient Russian book art. The artist was engaged not only by copying and penwriting of vintage books, but carried out its own illustrations of literary monuments. It is important to remember that the pancakes were not a professional artist, his work is entirely in line with folk art.

The legacy of I. G. Blinova - about sixty facial manuscripts and four hand-drawn wall sheets. The most interesting - "Kulikovsky battle" - fully gives an idea of \u200b\u200bthe scale of the artist's diving. But his creativity is a mansion, it cannot be attributed to any of the famous schools of folk art.

As already mentioned, most of the hand drawn pictures on their artistic features can be identified with certain centers. Consider the main ones.

an appling that the Armchair of the Art of Hand Drawn Lubka was a ydding center. Since in the literature, handwritten books, leaving the Voome-Lexinsky Monastery, is customary to call Pomor, the ornamental style of their design is also referred to as Pomeranian, and in relation to the drawing wall pictures of the Avigovsky Center, it is legally applied to this term. This is justified not only by the general origin of pictures and manuscripts, but also by the stylistic similarity, which is observed in the artistic manner of those and others. The coincidences relate to the very handwriting - Pomeranian semi-consuming, large cinnabar initials, decorated with lush ornamental stems, and the title performed by the characteristic knage.

Thumbnails and drawn sheets have a lot in common in the color decision. Favorite combinations of bright raspberry tone with green and gold were borrowed by artists of wall arts from handwritten masters. In the drawings there are the same as in Pomeranian books, images of vases with flowers, trees with large round fruits resembling apples, each of which is certainly painted in two different colors, fluttering over the trees of birds holding in the beaks of the sprigs with small berries, the heavenly arch With clouds in the form of three-fledged sockets, sun and moon with anthropomorphic faces. A large number of direct matches and analogies make it easy to highlight pictures of this center from the total weight of hand drawn lobca. The collection of the historical museum managed to determine 42 works of the Vygovaya school. (Recall that the gim collection includes 152 sheets, and the total number of pictures currently identified - 412.)

In the receptions and ornamenics from the masters of handwritten books and wall pictures there are many common. But it is important to pay attention to the new thing, which brought Pomeranian artists in drawing a picture. A large wallpaper is perceived by the viewer for other laws than book miniatures. Considering this, the artists have noticeably enriched the patterns of drawings by introducing open blue, yellow, black. The masters sought balanced and finished sheet constructions, given their decorative appointment in the interior. The fragmentation and fragmentation of book illustrations here was unacceptable.

In the wall sheets there is absolutely no icon-painting interpretation of "Faces", characteristic of miniature. The faces of the characters in the pictures are transmitted to a purely cheerful manner. This applies to both portraits of real persons, such as eviganists with their typed appearance and the appearance of fantastic creatures. So, in the plots with Syrin and the alkonost, which the people of their beauty and unearthly singing, both birds invariably depicted in the spirit of the people's folklore presentation about the ideal of female beauty. Poultry has full shoulders, rounded faces with chubby cheeks, straight nose, sore eyebrows, etc.

In pictures, you can observe the characteristic hyperbolicization of individual visual motifs, which is peculiar to the folk ignition. Birds, bushes, fruits, garlands of flowers from pure ornamental motifs, which they were in manuscripts, turn into symbols of blooming nature. They increase in size, achieving sometimes implausible conditional values, and acquire independent, and not just decorative meaning.

Often, in understanding the most plot, a folklore approach is dominated, as, for example, in the painting "Soul pure and sinner" (cat. 23), where good and evil are opposed, where beauty triumphs over the disgrace. In the composition dominates the royal maid - the soul is clean, surrounded by festive radiance, and in the corner of the dark cave sheds the tears of the sinner's sinner - a small pathetic figure.

As you can see, the art of Pomeranian wall pictures, which has grown out of the depths of the handwritten miniature tradition, went to his own way, having mastered the lobal element and poeticity of the world of the people's primitive.

Pomeranian school of drawn pictures, despite the style unity of the works, was not homogeneous. Avigant masters worked in different manners, which makes it possible to identify several directions that differ from each other. One of them, presented by the largest number of pictures, is characterized by brightness, festive, naive chest openness. In these figures, always performed on a white unwrapped background with bright major paints, the world of fantastic, fabulous beauty flourishes. So, in the picture, depicting the moment of the temptation of Eve to paradise, Adam and Eve placed from an unknown tree with a lush crown and enormous fruits, around them - bushes, completely covered with flowers, over which birds fluff over, above them. Blue flat sky with smooth clouds (cat . 10). Harmonized beauty dominates even in such a seemingly sad-moral plot, as the "death of the righteous and sinner" (Cat. 28), where the angels and devils argue about the soul of the deceased and in one case, the angels won, and in the other they grieve, defeated.

The second variety of Pomeranian sheets, despite the little, deserves separate consideration. The pictures of this category are distinguished by an amazingly refined pearl-pink gamut. Lubki necessarily large format, were performed on a tinted background: the sheet was entirely covered with a grayish-pink paint, on top of which drawing was applied. It was used to be used, which, in combination with pink and gray, give a very thin sound.

The most characteristic sheets made in this artistic manner - "Tree of Mind" (Cat. 35) and "Paradise bird Sirin" (Cat. 16). Both include a set of ornamental decorations for the entire Pomeranian school: decorative bushes with birds sitting on them, stylized fantastic flowers, two-color apples, a heavenly arch with clouds and stars, but differ in the thin grace of the flavor and the skill of execution.

A distinctive feature of the pictures of the third category - the use of the motive of the curved artist. Smooth large curls of the acanovoy ornament are dominant in the composition. They are decorated, for example, the "pedigree tree A. and S. Denisovy" (Cat. 3) and "Parable of the Prodigal Son" (Cat. 13). The leaves of the acanta are combined with the same traditional multi-treat flowers, apples-circles, cups of colors, as if filled with a slide berries sitting on the branches with cute birds of Sirins.

All Pomeranian artists, giving preference to the local coloring of objects and parts of the ornament, constantly resorted to the diploma and erosion of the main tone to create a black and white effect, to transfer the game folds of clothing, to give the volume of subjects.

Considering the Pomeranian school of wall pictures in general, it can be noted that inside those directions that were discussed, there are popular drawings and a very high level of execution, and more simple, which indicates a wide distribution of the art of hand drawn lobka, at which the manufacturers of sheets were engaged in the masters of different degree of preparedness.

Regarding the dating of Pomeranian works, the following is known: The bulk of the pictures was performed in 1790-1830; In 1840-1850, the production of them sharply decreased. This is explained by the wave of repressive shares, which collapsed on the Avigovsky and Lexinsky monasteries. Despite the closure of the monastery, the manufacture of wall sheets has not ceased. In secret rustic schools in Pomorie until the beginning of the 20th century, the training of children of the Old Believers, the correspondence of handwritten books and copying wall pictures continued.

The Center for the manufacture of drawn sheets in the north of Russia was in the lower reaches of Pechora and is associated with the activities of the Masters of the Great Monastery. The presence of his own school production in the production of drawn pictures was established by a well-known researcher of the Russian handwritten book by V. I. Malyshev. In the book "Ust-Tsilev's handwritten collections of the XVI-XX centuries." He published a drawing from the Great hostel, which depicts a monastery and two of his rector.

V. I. Malyshev noted the features of the handwritters of the local Ust-Tslemsky correspondencers, indicated that the Pechora semist, in contrast to his prototype - the Pomeranian semi-wool - much easily, less discharged, was not as stored; Simplicity is noticeable in the initials and screensavers. Based on the features of the handwriting and stylistic signs of the drawings themselves, to the hand drawn lipal sheet, which Malyshev definitely connected with the local school, was added 18 more. Thus, the Pechora School has 19 surviving sheets. Apparently, most works of local masters did not reach us. In the historical museum, only 2 drawings of this center are stored, but it is also possible to characterize the originality of Pecora's pictures.

If you trace the interaction of the Pechora Hand Drawn Lubka School with graphic paintings on the subjects of applied art, labor guns and the hunt of the Pières and Pechora centers closest to the places of production of pictures, it will be found that the last and painting on a tree that has come down in some places almost to our Days in the form of painting spoons with its special calligraphy and miniature, there were general origins.

The leading themes of the Pechora works known to us are portraits of Vygovsky Cynoviards, teachers and mentors of Pomeranian consent. With full observance of the unified iconographic diagram of the image differ from those that were drawn in the Vygivsky monastery. They are more monumental, sculptures in the modeling of volumes and are emphasized by the bullshit in the total colors. Some of the portraits are deprived of any framing and were intended for fun in one row: S. Denisova, I. Filippova, D. Viculova, M. Petrov and P. Prokopieva (Cat. 53, 54). Images are almost monochrome, are completely withstanding in grayish brown tones. The manner of the design of the Pechora Pictures of Strict and is simple.

The active role in the composition is played by the contour silhouette line, on which, with almost the absence of decorative elements, the main expressive load is located. Neither brightness, nor of elegacity, no ornamental saturation of the evigan tradition is not here, although some features that relate Pechora and Pomeranian pictures, it is possible to find the way: the image of the crown of trees, herbs in the form of bunny-commas on a horseshoe base.

Analysis of the core sheets of the Pechora school shows that local artists have developed their own creative manner, in something ascetic, devoid of elegacity and sophistication, but very expressive. All preserved pictures are dated the second half of the XIX - early XX century. We do not know earlier monuments, although for what is aware of the activities of the Gloria and Ust-Tslemsky hostels, it is clear that they were also created before.

The recent center of the hand drawn lobka can be called Severodvinsky and localize it in the area of \u200b\u200bthe former Shenkurian district - modern Verprint and Vinogradovsky districts. Severodvinsky wallpapers also managed to determine by analogy with handwritten personal books and painted household peasant objects.

Severodvinsky handwritten tradition began to stand out by archeographers since the late 1950s, its active study continues at the present time.

The number of preserved monuments of this center is small. The historical museum has five sheets.

Comparison of wall-mounted pictures with miniatures of Severodvinian manuscripts sometimes identifies not only general artistic motifs - images of a flowering branch-tree with tulip-like colors or a kind of manner coloring, and direct borrowing of plots from face-writers. Such is the "royal way" (Cat. 59), the main meaning of which is in the conviction of people indulging in worldly joys - dances and games, carnal love, drunkenness, etc. The sinners seduce and lead traits-Murina. A number of episodes of the picture, in particular, the scenes, where demons treat the group from the barrel of the group of gathered men, or seduce young girls with outfits, trying to kokoshnikov and tie a jamb, borrowed from the collection, containing illustrations for the gospel affair about the guests invited to the PI. According to the text, the invited refused to come, for which they were punished and inlets "on a wide path and extensive", where they are waiting for the sly demons. Comparison of the picture and handwritten miniature shows that by borrowing the plot, the artist significantly changed the composite construction of those scenes that served as originals for him. He fulfilled quite independent work, in his own way, placing the characters, giving them a different appearance and, most importantly, making them more common and luffic.

Severodvinsky artistic tradition of folk visual art is not limited to handwritten and luffic monuments. It includes numerous works of peasant wood painting. Severodvinsky painting is currently one of the most surveyed areas of the People's Decorative Art of the North. Numerous expeditions of the Russian Museum, the State Historical Museum, the Zagorsk Museum, the Research Institute of the Art Industry in the middle and upper current of the Northern Dvina, allowed to collect a rich material about artists who painted straps and household utensils, and identify several centers for the production of painted products21. Comparison of the most characteristic producers of separate schools in painting splices with drawn wall-mounted pictures showed that the most close-style execution to the lobby sheets are products from the village of Salabok.

The color structure of the wrestling paints is the contrast of light background and bright tones of the ornament - red, green, yellow, often gold. The prevailing color of the painting is red. Characteristic patterns are stylized vegetable motifs, thin curly branches with opened outlets of flowers, lush tulip-like whites; The genre scenes are included in the lower "becoming".

The richness of the ornament, the poetry of fantasy, the thoroughness and beauty of the painting of wrestling products, as well as the free possession of local masters icon painting and book cases indicate the high artistic traditions of Severodvinsky folk art.

With wrestropsy paintings, the chest painted pictures are related to a special pattern of plant ornament, a weathered and harmonious color coloramic gamma, with predominant use of red tone and skillful use of a light unpainted paper background. Artists of wall sheets loved the motive of the blooming branch with large tulip flowers. So, on two pictures of Sirina birds (Cat. 57, 58), they are not sitting on the lush bushes, fucked by the fruits, as it was on Pomeranian sheets, but on bizarkened stems, from which there are stylized ornamental leaves in both sides, then rounded outlines And large tulip flowers. The drawing of huge tulips in the pictures is given in exactly the same circuits and with the same cutting of the petals and the hearts, as the masters did on the TEMO and Puchuga bush.

In addition to the stylistic community, you can find individual motifs that match the pictures and in wood painting. For example, such a characteristic detail, as an image of mandatory winds with a thorough discharge of binding in the upper part of the wrestler, is repeated on a sheet with a paradise garden (cat. 56), where the enclosing wall has the same windows "into the cell". The artist who created this work discovers the high mastery of possession of the ancient Russian methods of drawing and non-sex fantasy. Unusual trees-bushes of the paradise garden with fabulous flowers are striking the imagination of the viewer, show the wealth and diversity of the perfect world.

The emotional nature of the ornament and the whole system of Severodvinsky pictures are completely different than the remaining chest drawings. The color gamut of Severodvinsky sheets is distinguished by the sophistication of a few, carefully selected combinations that create a sense of multicolor and beauty of the world.

Severodvinsky handwritten and chest school has grown not only on the traditions of Old Russian art, but experienced a strong influence of such major art craft centers as Great Ustyug, Solvychydsk, Holmogora. The bright and colorful art of enamers, decorative techniques painting the chests and head restraints with characteristic light backgrounds, motifs of tulip colors, bent stalks, inspired by local artists in search of a special expressiveness of the vegetable pattern. The combination of these influences explains the originality of the works of the Severodvinsky art center, the uniqueness of their shaped and color system.

The dating of Severodvinsky pictures indicates a sufficiently long period of their production and existence. The earliest of the preserved sheets were executed in the 1820s, the most later refer to the beginning of the 20th century.

The Handwritten Lubka Leding Center is known at the exact place of manufacture of wall sheets. This is a group of Vologda works associated with the former Kadnikovsky and Totemsky vowers of the Vologda region. Of the 35 known pictures of 15 pictures are stored in the historical museum.

Despite sufficient territorial proximity, the Vologda Sheets differ significantly from Severodvinsky. They differ in the stylistic manner, according to the color of the range, in the absence of a patterned ornamentality in the Vologda pictures and addiction of masters to genre compositions with a detailed narrative story.

It is interesting to compare Vologda cheating with other types of folk art. The painting on the tree had quite large distribution in the Vologda region. Of particular interest to us are the art of the 19th century house painting, marked by the lack of petty discharge and laconism of the color building - the features characteristic of another old Vologda tradition. Lions, birds, griffins, found in drawings on the Lubyannye boxes, moved into the painting of individual parts of the inner premises of the peasant hut. With painting on a tree, wall sheets are related to the noticeable gravity of artists to the genre of images, as well as laconium of contour graphic outlines, their expressiveness.

When comparing Vologda cheating drawings with facial manuscripts, it is possible to reveal a number of common stylistic signs in the artists. According to them, by the way, a certain group of facial collections of the XIX century can be attributed to the Vologda handwritten school, which until recently did not stand out by researchers in an independent center. The characteristic methods of drawing and miniatures and pictures include methods of tinting the background with a transparent layer of paint, sorcery of the soil and a slide with a smooth light brown tone with the words of the wings on all lines of a wide strip of a darker color, image floors in the form of rectangular plates or long boards With a mandatory circuit stroke with a darker color, the creation of light gray hair tones and a beard in men in multi-living compositions. Finally, the lobes and miniatures are related to the use of the same and, apparently, favorite artists of color combinations, where yellow, brown tones are dominated, bright red-orange color.

But with all the artistic proximity of the same variety of Vologda visual monuments, we will not meet the plots that would be directly borrowed or transferred from manuscripts in the pictures and vice versa.

All Vologda sheets are characterized by a detailed narration. It is illustrations for parables, legends from the "Great Mental", to the articles from Prolog, Catema. A rare on the subject of a satirical drawing "On Ho Ho, a serious Russian man ...", which was already discussed, also applies to the number of Vologda monuments.

Vologda artists clearly sought to give pictures not so much instructive and asked how much to make them engaged in the form of a fascinating story. As a rule, all compositions are multifigure, saturated with action. Interestingly, in some pictures illustrating legends and parables about the temptation of the righteous, about the punishment after death for sins, the monsters, pursuing a person, are not awesome, but good. Wolves, dragons with a fiery mouth, lions, snakes, although they surround the cave of St. Anthony or, for example, drive a "crap man" in the burning lake, do not look at the ones of hellish forces, and carry some kind of toy character. Most likely, this involuntary transformation stems from the deep connection of masters with the age-old traditions of folk art, which has always been distinguished by the kindness and joyful perception of the world.

Another manifestation of the narrative, entertaining nature of the Vologda works is the abundance of text included in the composition. In addition, the text part here is completely different than in the pictures of the Pomeranian school. The main thing in the Vologda sheets is not the decorative beauty of the font and initials, but an informative load. Thus, in the picture "IKO is in vain, we are guilty of the demon" (Cat. 69) The plot of parables from the "Great Mental" is set out in the exagcration below the image. Text explanations are also made to the composition: the character dialogue, as is customary in the chesting pictures, transferred to pure graphics - the statements of each are written on long stripes greeting to the mouth. The two parts of the figure correspond to the two key moments of the story, the meaning of which is that the demon is changed by the peasant, the leading turnip of the garden in the elder, in lies and in an attempt to shift his guilt to him, in no obeda demon.

Most of the works of the local center, as evidenced by the watermarks of the paper and all the information collected by the researchers belong to the end of the XIX - the beginning of the 20th century. Earlier copies did not preserve or, most likely, did not exist at all. It is possible that the Vologda Center for drawn wall-mounted sheets took shape only at the end of the XIX century due to the development of a local handwritten school. A noticeable revival of the art painting on a tree, which was expressed in the creation of compositions with the image of fantastic animals in the interiors of peasant rally, also contributed to the flourishing of the art of hand drawn lobcas.

uslitsky Center, like others, is closely connected with the local book tradition. Until recently, researchers had a certain opinion about the features of the style of Huslitsky manuscripts. Currently, some articles appeared in which the authors identify his characteristic features. We note those of them that are characteristic of wall-mounted wall decorations. The handwriting of the best Huslitsky manuscripts is characterized by proportionality, beauty and some elongation of letters. From the Pomeranian semi-sufficient, it is distinguished by a slightly noticeable tilt of letters and more thickly.

Huslitsky Center

Illustrations to educate John of Zlatoust about the procession

Mid 19 century

Illustrations for the teaching of John of Zlatoust about the procession. Mid 19th century. Unknown artist

Ink, temperatures, gold. 58x48.7

The initials were performed in an elegant and colorful manner, but also different from Pomeranian. They do not have long ornamental branches - processes, sometimes stretching along the entire field of paper, but only one magnificent stem - a viewer's flower, located near and in the initial himself. The inner part of the letters, always volumetric and wide, decorated with gold or colored ornamental curls. Often the legs of large initials are decorated with alternating multicolored ornamental stripes.

The most characteristic distinctive feature of the Huslitsky ornament is a colored hatching, universally used artists for modeling volumes or when coloring elements of jewelry. The hatching was done in the same color as the main tone of coloring. It was superimposed or on a white background of paper, as if framing the main coloring, or on top of the main tone of the darker color. In screensavers and initials of the monuments of the Huslitsky school, bright blue and blue colors were often used. There are no such shining blue paints in combination with abundant gilding no longer in any of the handwritten schools of the XVIII - XIX centuries.

The historic museum stores 13 pictures of Huslitsky manners. Comparison of these drawings with Pomeranian pictures (by analogy with the universally accepted comparison of the ornamemanics of Pomeranian and Huslitsky manuscripts) makes it deeper to feel their originality. Often in those and others are combined in an equal ratio of text and visual parts - poems, chants, illustrations to literary works. The comparison of them shows that the Huslitsky masters knew the Pomeranian pictures well. But the artistic solution of the Huslitsky pictures is distinguished by complete independence. This concerns the layout of the text, the combination of the font size with the magnitude of capital letters initials, the originality of the decorative framing of sheets as a whole. Here, as if on the contrary, it feels the desire for nothing to repeat the evigan fades. There is not a single case of eating an oval frame of flowers or fruits, there are no vases, baskets, so characteristic of the framing texts on Pomeranian sheets. The names of the sheets are written not to the omse, but a large semi-supest cinema. The initials are highlighted by a particularly large scale, sometimes occupying almost a third sheet. It is felt that the decoration of the initials was the subject of the main concerns of artists - so diverse and beautifully bloomed, decorated with fancy curly flowers and leaves, shine with a gold pattern. First of all, they make the attention of the viewer and are the main decorative elements of the majority of compositions.

What results led to the individual skill of the decorators of the pictures, one can judge two drawings on the topic of the teachings of John of Zlatoust about the right procession (cat. 75, 76). It would seem that the same plot, a similar solution to the stamp, but the sheets are completely unlikely because of a different understanding of the flavor and ornament.

In the Huslitsky pictures, plot episodes are located in separate stamps placed in the corners or horizontal stripes in the upper and lower parts of the sheet. The framing of the central composition of the stamps makes it possible to recall the iconographic traditions, the relationship with which in the Huslitskiy works is quite tangible and in the modeling of clothes of characters, in the image of architectural structures, in the figure of trees with a conditioned mushroom-shaped crown, located in several tiers.

Huslitsky masters of wall pictures, as well as everyone worked with liquid tempera, but their paints are more dense and rich.

In the plots there are the same patterns as in the artistic features of creativity of the masters of this school: borrowing general techniques and trends of the works of other centers, they sought to create their own, different from others, options. Among the hand-drawn wall sheets there are stories found in other places in the production of pictures: "Spiritual Pharmacy" (Cat. 81) or "Look with adjudication, a raised human ..." (cat. 83), but the artistic solution is peculiar. There are entirely original pictures: a sheet illustrating the apocryphic tale of Kain's punishment for the murder of brother (Cat. 78), illustrations to the "Chairman's Stimir", which shows the episodes of the arrival of Joseph and Nicodemus to Pilate and removal from the Cross of the Body of Christ (CAT. 84) .

The time interval of the creation of Huslitsky wall pictures is not very wide. Most of them can be attributed to the second half - the end of the XIX century. The watermark of one sheet gives the date of 1828, which is probably the earliest sample.

eat the local center with which the origin and distribution of the hand drawn lobka is connected, is Moscow. In relation to pictures, performed in Moscow, the concept of school cannot be applied. A group of these sheets is so diverse in artistic and style relations that it is impossible to talk about a single school. Among the Moscow pictures there are no peculiar samples in other places, where the sheets are combined into small series, as did, for example, an artist illustrated by the legends of the biblical book "Esphyr". He posted the main episodes of the biblical story on two pictures, following one after another and in meaning, and in the text located in their lower part (cat. 90, 91). The audience is unfolding the story about the choice of Esphyre into his wife to the Persian king of Artaxerksu, about her loyalty and modesty, about the betrayal of the amena of Aman and Fearlessness Mardochi, about the punishment of Aman, etc. Multi-tier plane placing episodes, characteristic interior alignment and appearance of buildings, a lush baroque The framing of architectural conversion is given in compositions the bizarre interlacing of the ancient Russian traditions and the art of the new time.

Considering the stylistics, the artistic methods of the local centers of drawn pictures known to us, it can be noted that each of them, although he had its own distinctive signs, developed in a single common course of folk fine art. They existed not isolated, but were constantly aware of those achievements that were in neighboring and even remote schools, taking or rejecting some of them, borrowing or engaged in the search for original stories, their own ways of expression.

forecast Lubok is a special page in the history of folk fine art. He was born in the middle of the XVIII century and used the form of printed logbook, which had a widely developed topics and produced by large circulations. The secondary of the hand drawn club in relation to the engraved pictures is no doubt. Artists used some instructive and spiritual and moral plots of engraved pictures. But imitation and borrowing concern mainly the meaningful side.

In relation to artistic methods and stylistics, the hand-drawn lobok has shown originality from the very beginning, began to evolve in an independent way. Based on the high culture of the ancient Russian painting, and especially the handwritten book tradition, carefully stored in the medium of the Old Believer population, artists remembered the finished form of printed pictures in a different quality. It was the synthesis of ancient Russian traditions and a lobal primitive that had its result the emergence of works of a new artistic form. The ancient Russian component in the hand drawn club seems hardly the strongest. It does not feel stylization or mechanical borrowing. Old Believer artists who are hostile to the innovations relied on the usual, cracked Izstari images, built their works on the principle of a visual illustrative expression of abstract ideas and concepts. Sigged by folk inspiration, the Old Russian tradition did not even be closed in the conditional world. In his works, she embodied the light world of humanity for the audience, spoke to them the sublime language of art.

From Icon art, drawing lobs absorbed spirituality and visual culture. A organic combination of textual and visual parts, ways to write and decorate initials, care, and coloring, and objects, came from book miniatures.

At the same time, the hand drawn sheets had the same visual system as the coarse pictures. It was built on an understanding of the plane as a two-dimensional space, allocating the main characters by the method of increasing, frontal placement of figures, decorative filling of the background, on a sampling and ornamental integer construction manner. The hand-drawn chest is fully stacked in a holistic aesthetic system based on the principles of a feature primitive. Artists of hand drawn lobka, as well as masters of other types of folk art, distinguish the rejection of naturalistic believing, the desire to express the external form of objects, but their inner essential principle, naivety and idyllity of the method of figurative thinking.

The art of hand drawn lobka occupies a special place in the system of folk visual creativity in its intermediate position between urban and peasant art. Developing in the medium of peasant artists or in old-supplied hostels, where the overwhelming part of the population was also peasant in its origin, the rustic lubok is closest to the urban artistic art of Posad. As the art of a machine, to some extent, the art of illustration, and not the decoration of things necessary in everyday life, how in the overwhelming majority there were peasant art, the drawing lobby turns out to be more dependent on the art of urban, professional. Hence his desire for "artisticness", a noticeable effect of baroque and rockey techniques in composite construction.

The peasant medium added to the artistic nature of hand drawn Lubka, another layer - folklore tradition, folklore poetic images, always lived in the people's collective consciousness. Special love for the motive of the Tree of Life, Tree of wisdom with useful tips and instructions, to a flowering and fruitful tree - the symbol of the beauty of nature, goes from artists of hand drawn club from an ancient folk representation, constantly embodied on the subjects of applied creativity. The motives of large colors, buds with the power of growth and blossoms in them reflect the popular poetic globility. Enjoy the beauty of the world, joyful worldview, optimism, folk generalization - these features that absorbed the drawing chest from peasant art. It is felt in the whole shaped and color strictly drawn wall-mounted pictures.

History of hand drawn lobka has a little over 100 years. The disappearance at the beginning of the 20th century the art of hand drawn pictures is explained by those general reasons that influenced the change in all lobal creativity.

Chromolithography and oleography, which focused in the hands of such publishers, such as I. D. Satent, T. M. Soloviev, I. A. Morozov, and others, completely changed the appearance of urban phones, turning it into beautiful pictures "for the people " At the end of the 19th - early 20th century, the Moscow Old Believers Typography of G. K. Gorbunov deployed active publishing activities, where in large numbers the chest of religious content of religious content was printed. Hand-drawn lobok, probably, was simply displaced by this sucking cheap pictures. Not directly related to life, with the production of dishes, splashes, toys, peasant fishing in the field of hand drawn lobcas, almost completely unknown to connoisseurs and patterities and therefore not found support, as it was with some other types of folk creativity, disappeared without a trace.

The reasons for the extension in the practice of the beginning of the 20th century art of the chest of chests are worn both private and general. The steady development of the forms of the human dormitory, a change in the psychology and lifestyle associated with the process of urbanization, strengthening the contradictions of social and social development and many other factors led at the turn of the XIX and XX centuries to the transformation of the entire system of folk culture and the inevitable loss of some traditional species of folk art.

Acquaintance with drawn lobs is designed to fill out the space that exists in the study of the folk art of the XVIII-XIX centuries. Nowadays today, the question of the ways of further development of folk artists requires new in-depth research, exploitation of truly national traditions, introducing them into artistic practice. The study of little-known monuments of folk art can help in solving and these tasks.

RUSSIAN RUSSIAN LUBKY (LUBKI, LOURBAL PICTURES, FASTERS, FURNAL LESSES, PERSONS) - Cheap pictures with signatures (mainly graphic) intended for mass distribution, genus graphic art.

I received my name from the Luba (the upper solid wood linden), which was used in the 17th century. As an engraving base of boards when printing such pictures. In 18 V. Lub replaced copper boards, in 19-20 centuries. These pictures were already made by the typographic way, but their name "chest" was saved for them. This genus of uncomfortable and coarse art for mass consumption was widespread in Russia in the 17th - early 20th centuries, even breeding mass luxury literature. Such literature performed its social function, entitled to read the poorest and poorly educated layers of the population.

Former works of folk art, at first carried out exclusively non-professional, the lobci influenced the emergence of works by professional graphics of the beginning of the 20th century, which was distinguished by a special visual language and borrowed folk techniques and images.

The artistic features of the cheerful graphics are syncretism, courage in the choice of techniques (up to the grotesque and intentional deformation of the depicted), the allocation of the thematically important larger image (this is proximity to children's drawings). From Lubkov, former for ordinary citizens and rural residents of 17 - early 20 century. and a newspaper, a TV, and an icon, and the letter, lead modern home posters, colorful flip calendars, posters, comics, many works of modern mass culture (up to the art of cinema).

Like a genre that combines graphics and literary elements, the chests were not a purely Russian phenomenon.

Ancient pictures of this kind were in China, Turkey, Japan, India. In China, they were originally performed by hand, and from 8 century. engraved on a tree, differing at the same time with bright colorful, dull.

In the Russian state, the first lobs (existing as works of anonymous authors) were printed at the beginning of the 17th century. In the printing house of Kiev-Pechersk Lavra. The masters were cut by manually and image, and text on a smooth-stranded, grinding lime board, leaving the convex text and pattern of the pattern. Next, a special leather pillow - Matsa - a black paint from a mixture of burnt hay, soot and boiled flaxseed was applied to the drawing. A sheet of wet paper was superimposed on top of the board and all clapped together in the press of the printing mill. The resulting impression was then painted from his hand into one or more colors (this type of work, often entrusted to women, in some areas was called "Mazni in the noses" - coloring taking into account contours).

The earliest lobeal image found in the East Slavic region is considered to be the icon of the Assumption of the Virgin 1614-1624, the first Moscow bush from the 17th century stored in the collections.

In Moscow, the proliferation of the chesting pictures began with the royal court. In 1635, for 7-year-old Tsarevich, Alexei Mikhailovich in a vegetable row on Red Square was bought by the so-called "printed sheets", after which the fashion came to the boyars choirs, and from there - in the middle and lower layers of citizens, where the lobok gained recognition and popularity About 1660th.

Among the main genres of the chests, only religious was initially existed.

Among the artists who worked on the manufacture of engraving foundations for these Lubkov were the famous masters of the Kiev-Lviv Typographic school 17 century. - Pamma Bernda, Leonty Zemka, Vasily Root, Ieromona Elijah. The printed prints of their works were painted in four colors: red, lilac, yellow, green. Are thematically all the cheating, created by them, were religious content, however, the biblical heroes were often depicted on them in Russian folk clothes (as arable land Cain on the Lubke Vasily Koreni).

Gradually, among the cheating pictures, in addition to religious plots (scenes from the life of the Saints and the Gospel), there are illustrations for Russian fairy tales, epics, translation of knightly novels (about Beauvai Korolev, German Lazarevich), historical legends (about the founding of Moscow, about Kulikovsky battle).

Thanks to such a printed "fun leafs", the details of the peasant labor and the life of the Dopurerovskaya time are reconstructed ("The old Agafon of Napti ribs, and his wife is angina threads hang"), scenes of plowing, harvest, forest harvesting, baking pancakes, family cycle rituals - births, weddings funeral. Thanks to them, the history of everyday Russian life was filled with real images of household utensils and setting.

Ethnographers still use these sources, restoring the lost scenarios of folk festivities, rounds, fair-acting, details and tools of rituals (for example, fortunenesses). Some images of Russian chests of the 17th century. For a long time they entered the source, including the image of the "Life Stairs", in which every decade corresponds to a certain "step" ("The first stage of this life is to take place in a germ ..."). But why is the lubok called "fun"? But why. Very often on the cheating pictures, such funny things were depicted that at least stop, even naday. Foggies with the image of fair holidays, bolagan ideas and they were called that the people were raised by hurried voices to visit the presentation:

"I have a beautiful wife. Under the nose blush, all the cheek snot; As in Nevsky rolling, only dirt from under the leg flies. Its name is Sophia, which three years on the stove dried. From the stove, I removed her, she bowed to me and it collapsed. What should I do? I took the urine, sewed yes for another three years with her lived. I went to the hae, bought a friend for a penny, and with a cat. Cat is in penny, yes my wife is in the lady, that you will give, so the rose. "

"But robets, it is a parasha.
Only mine, not yours.
I wanted to marry her.
Yes, he remembered, with living wife it is not suitable.
Everybody would be good, and it hurts the cheek.
That's the brick in St. Petersburg lacks. "

Rosseful lubric caricature about the girl Rodionov:
"The maiden Rodionova, who arrived in Moscow from S. Petersburg and was awarded the favorable attention of S. Petersburg public. She has 18 years old, her growth of 1 Arshin 10 cameras, the head is quite large, the nose is wide. It embroiders different patterns through lips and languages \u200b\u200band fits bead bracelets. The food also uses without the help of outsiders. Her legs serve instead of hands, she takes the plates with the dishes and makes her lips. The maiden Rodionov in all probabilities and the Moscow public will not leave her to make sure that the maiden was provided by the girl of Yulia, especially since to see Rodionov and her arts were much more interesting than to see the disgrace of Yulia's maidens. "

Russian Lubok ceased to exist at the end of the XIX century. It was then that old colored sheets began to store and protect the relics of the past. At the same time, the study and collecting of the Lubka begins. The large collection of Lubka was collected from the famous compiler of the "intelligent dictionary of the living Great Russian language" Vladimir Ivanovich Dalya. Lubki interested artists Repin, Vasnetsov, Kustodiev, Kandinsky, Konchalovsky, Dobuzhinsky, Lentulov.

Lubk's artistic motives influenced the national decorative creativity of the XX century. Communication with aesthetics Lubka is traced in some works of Fedoskino and Palen artists. Some Lubki traditions were used in creating animated films on the topics of folk fairy tales.

The first who took up serious learning and collecting Lubka was Dmitry Alexandrovich Rovinsky. In his collections, there were all the united Russians that were released by the end of the XIX century, and these are almost 8 thousand copies.

Dmitry Alexandrovich Rovinsky - a historian of art, a collector and a lawyer by profession - born in Moscow. The first copies for their meeting acquired more in his youth. But at first he was fond of collecting Western engravings, Rovovinsky had one of the most complete assemblies in Russia by Rembrandt. In search of these engravings, he traveled all of Europe. But in the future, under the influence of his relative, historian and collector, M. P. Pogodina, Rovinsky begins to collect all the domestic, and first of all Russian folk pictures. In addition to the cheating pictures, D. A. Rovinsky collected vintage illustrated chubvari, cosmography and satirical sheets. All his money is Rovinsky spent on collecting a collection. He lived very modestly, surrounded by countless folders with engravings and art books. Every year, Rovinsky went on travels in the most deaf places of Russia, from where new sheets brought to their collection of chest uphill pictures. D. A. Rovilsky wrote and issued at his own expense "Detailed Dictionary of Russian Engraving Portraits" in 4 volumes, published in 1872, "Russian folk pictures" in 5 volumes - 1881. "Materials for Russian iconography" and "Full Collection of Rembrandt Engravings" in 4 volumes in 1890.

Thanks to their research in the field of art, Rovinsky was elected an honorary member of the Academy of Sciences and the Academy of Arts. Rovinsky established award for the best writings on artistic archeology and for the best picture with the subsequent reproduction of it in the engraving. I gave my cottage to Moscow University, from the received income established regular awards for the best illustrated scientific essay for popular reading.

Rovilovsky bequeathed all his assembly of Prambrandt engraving, and this is over 600 sheets, the Hermitage, Russian and folk pictures - the Moscow Public Museum and the Rumyantsev Museum, about 50,000 Western European Engravings - the Imperial Public Library.

In contact with

Initially, the kind of folk art. It was performed in the technique of xylography, engravings on copper, lithography and complemented by coloring from hand.

Lubka is characterized by simplicity of technology, laconicism of fine funds (rude barcode, bright coloring). Often in the Lubka contained a detailed story with explanatory inscriptions and additional to the main (explanatory, complementary) images.

History

The most ancient buddies are known in China. Until the VIII century, they drew out hands. Starting from the VIII century, the first chests performed in the wood engraving are known. In Europe, the lobok appeared in the XV century. For the early European Lubka, the technique of xylography is characteristic. Later, engraving on copper and lithograph are added.

Due to its accountability and focus on the "wide masses", the lobok was used as a means of agitation (for example, "volatile leaves" during the peasant war and the Reformation in Germany, the inhibit images of the Times of the Great French Revolution).

In Germany, factories for the production of pictures were in Cologne, Munich, Neuruppin; In France - in the city of Tru. In Europe, the books and pictures of obscene content are widely common, for example, "Tableau de L'Amur Conjual" (picture of a married love). In Russia, "seductive and immoral pictures" got out of France and Holland.

Russian Lubok XVIII century is characterized by a flattened composite.

Eastern Lubok (China, India) is distinguished by bright colorful.

At the end of the XIX century, the lobok was revived in the form of comics.

In Russia

History

In Russia, the XVI century - the beginning of the XVII century was sold to the ethambi, which were called "Fryazh Sheets", or "German funny sheets".

At the end of the XVII century in the upper (court) printing house, a Fryazhsky Still was installed for printing FRACE sheets. In 1680, the Master of Athanasius Zverev cut for the king on the copper boards "all sorts of Fryazhsky Razi."

German funny sheets were sold in a vegetable row, and later on the Spassky Bridge.

Censorship and prohibitions

The Moscow Patriarch Ioakim in 1674 forbade "buy sheets, the German heretics, Lutra and Calvins, in their damned opinion, was printed. The faces of the honored saints were to be written on the board, and the printed images were intended for "Sittening".

Decree March 20, 1721 forbade the sale "on the Spassky Bridge and in other places in Moscow, composed by various officials of people ... Estamps (sheets), printer who printed than typography." In Moscow, the Isgraft Chamber was created.

The Chamber squeezed the permission to print phobs "Challenitally, except printing houses." Over time, this decree stopped being executed. There was a large number of low-quality images of saints.

Therefore, by decree of October 18, 1744, it was commanded "to represent drawings of pre-approbation of diocessed archives."

Decree January 21, 1723 demanded "Imperial person skillfully writes testified in good skills to painters with all danger and diligent care." Therefore, there are no images of the reigning persons on the chest paintings.

In 1822, the censorship of the police was introduced for the printing of the Lubkov. Some cheerbags were forbidden, the boards were destroyed. In 1826, all the ethambi (and not only the lobcas) were censored charter (and not only phlebia).

Picture plots

Initially, the plots for the internal paintings were handwritten ledges, waters, "delicate writings", oral legends, articles from translation newspapers (for example, "Kurats") and so on.

Plots and drawings borrowed from foreign almanacs and calendars. At the beginning of the XIX century, the plots are borrowed from the novels and the leader Goette, Radcliffe, Cotten, Chateaubrian and other writers.

At the end of the XIX century, pictures on themes from the Holy Scriptures, portraits of the Imperial Family, were prevailed, then genre pictures were walking, only more often moral and instructive nature (about the disastrous consequences of increasing, drunkenness, greed).

Facial editions of Erulan Lazarevich and other fairy tales, images in the faces of folk songs ("drove the boyars from Nova-Cities", "Bila Winch Washing"), female heads with bother inscriptions, images of cities ( Jerusalem - Earth PUP).

Lubkov production

The engravers were called "Fir-carved masters" (as opposed to Russian "ordinary" woodcutters). In Moscow, at the end of the XVI century, the first engrave was allegedly Andronic Timofeev Nevezhi.

The banner was called drawing and painting. In about the XVI (or in the XVII) century, the banner was divided into banning and engraving. The signman struck the drawing, engraving cut it on a blackboard, or metal.

Copying boards was called translation. Boards are originally lime, then maple, pears and palm.

Lubok was made as follows: the artist struck a pencil drawing on a lime board (Lube), then in this drawing a knife made a deepening of those places that should remain white. Lubricated by paint board under the press left on paper black contours of the picture.

Printed in this way on gray cheap paper were called face paintings. Provischy was taken to special artel. In the 19th century, special artels existed in the Moscow region and Vladimir villages, which were engaged in coloring Lubka. Engaged in the coloring lubkov women and children.

Later, a more perfect way to produce a chest painting appeared, artists-engravers appeared. With a thin cutter on the copper plates, they engraved hatching drawing, with all small details, which could not be made on a lime board.

One of the first Russian figured factories arose in Moscow in the middle of the XVIII century. The factory belonged to the merchants of Ahmethiev. In the factory worked 20 machines.

Prostovakov, that is, the cheapest pictures, the cost of ½ kopecks, was printed and painted in a Moscow county about 4 million annually. The highest price of the core patterns was 25 kopecks.

Popularity

Lubks loved in Russia immediately and without exception. They could be found in the royal chambers, in the holopena hill, at the inn, in the monasteries.

There are documents, testifying that the Patriarch Nicon was two hundred seventy pieces, mostly, however, still Fryazhsky. And the Tsarevich Peter already bought quite a few and domestic, they had about a hundred in his rooms. The reasons for so rapid and wide popularity of unacceptr seem to be two pictures.

First, the lubks replaced the simple man inaccessible to him: textbooks, starting with alphabet and arithmetic and ending with Kozmography (Astronomy), fiction - in the firmware, a series of consecutive pictures, as in the stamps of zhitsky icons, the episodes were retended or published, .

Adventure translations of novels about Beauvais Korolev and Eczalan Lazarevice, fairy tales, songs, proverbs. There were Lubki like newsletters and newspapers that reported the most important state events, about wars, about life in other countries.

There were antenaturing sacred speech, depicting the largest monasteries and cities. There were Lubki-hospitals and about all sorts of folk beliefs and signs. There were worst satirs.

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Helpful information

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origin of name

The name happened from special sawing boards, which were called Lub (deck). They are still in the XV century. wrote plans, drawings, drawings. Then there were so-called "Freaky Sheets", and later, small paper pictures began to call just a lubok (the chest folk film).

In Russia

In Russia, folk pictures were widespread in the XVII-XX centuries. They cost cheap (even low-income people could buy them) and often performed the function of decorative design. The chest sheets performed the social and entertainment role of the newspaper or the station. They are the prototype of modern calendars, posters, comics and posters. In the XVII century, painted luban cortic were widely distributed.

Types of Lubkov

• Spiritual and religious - in the Byzantine style. Image of icon type. Life of saints, parables, morals, songs, etc.
• Philosophical.
• Legal - images of lawsuits and judicial actions. The plots were often met: "Shemyakin Court" and "Yursch Ershovich Shchetnikov".
• Historical - "Uming Tale" from the chronicles. An image of historical events, battles, cities. Topographic maps.
• Fabulous - fairy tales Magic, Bogatyrs, "Tale of removed people", everyday fairy tales.
• Holidays - saints.
• Connection - Lubka with the image of riders.
• Balagenic - fun robes, satires, caricatures, bait.

Method of color

Artelers accepted from publishers-kernels orders for coloring hundreds of thousands of copies. One person as a week painted up to one thousand Lubkov - one ruble paid for such work. Profession was called a colorful. The profession disappeared after the appearance of lithographic machines.

Advantages of the printed image

The first advantages of the printing picture were diverged in Moscow all the same regulars of the Spassky Bridge, or Spassky's sacrum, as then more often called this place. Book trafficking there and to Lubka flourished - the main bargaining of Russia was in this part. But only the books sold more handwritten and very often the most poisonous properties, such as Satyric Popes of Savvah - Big Glory and Cabacter Services. The writers themselves and their friends are artists from the same simpleness - painted to these books and pictures-illustration, or sewn them into pages, or sold separately. But do you draw much of your hands?!

Manufacture

These writers and artists and drew attention to the lobs, who brought ingenus first as a gift to the Moscow King and Boyars, and then on a wide sale. It turned out that it was not so difficult to produce them, moreover, you can print from one board with many thousands of paintings, and even together with the text that cut in the same way next to the pattern. Someone from the ingenians or from Belarusians, apparently, and the first machine in Moscow built and the finished sample boards brought.

I.D. Sitin

In the second half of the XIX century, one of the largest manufacturers and distributors of the printed Lubka was I. D. Satent. In 1882, the All-Russian artistic and industrial exhibition was held in Moscow, at which the production of sink was marked by a silver medal. I. D. Sitin about 20 years collected the boards from which the phobs were printed. A collection worth several tens of thousand rubles was destroyed during a fire in the printing house of Sotin during the 1905 revolution.

Style formation

The young russian lubok, of course, borrowed from other arts, and first of all, and book miniatures, a lot and therefore for artistic terms soon became a kind of alloy, the synthesis of all the best, which developed Russian art for the previous centuries of their existence.

But only what kind of luffickers sharpened and exaggerated all the forms, to which the contrast was strengthened and the paints were rolled, they rolled it to such an extent that each sheet literally burns, splashes merry multitouch.

Nowadays

In the modern world, the Lubka style is not forgotten. It is widely used in graphics, theatrical scenery, painting and interior design. Dishes, posters, calendars are available.

In modern fashion, Lubok also found a reflection. In the framework of the 22nd "Textile Salon" in Ivanovo, the collection of Egor Zaitseva was presented, "Ivanovo. Splint".

It received its name from the Luba (Upper Solid Wood Linden), which was used in 17 V. As an engraving base of boards when printing such pictures. In 18 V. Lub replaced copper boards, in 19-20 centuries. These pictures were already made by the typographic way, but their name "chest" was saved for them. This genus of uncomfortable and coarse art for mass consumption was widespread in Russia in the 17th - early 20th centuries, even breeding mass luxury literature. Such literature performed its social function, entitled to read the poorest and poorly educated layers of the population.

Former works of folk art, initially carried out exclusively non-professionals, the phoney influenced the emergence of works of professional graphics of the beginning of the 20th century, which was distinguished by a special visual language and borrowed folk techniques and images.

Lubki has always been available at the price even in the most insolvent buyers, differed in the intelligence of texts and the visual series, the brightness of the paints and the complementarity of the image and explanation.

The artistic features of the cheerful graphics are syncretism, courage in the choice of techniques (up to the grotesque and intentional deformation of the depicted), the allocation of the thematically important larger image (this is proximity to children's drawings). From Lubkov, former for ordinary citizens and rural residents of 17 - early 20 century. and a newspaper, a TV, and an icon, and the letter, lead modern home posters, colorful flip calendars, posters, comics, many works of modern mass culture (up to the art of cinema).

Like a genre that combines graphics and literary elements, the chests were not a purely Russian phenomenon.

Ancient pictures of this kind were in China, Turkey, Japan, India. In China, they were originally performed by hand, and from 8 century. engraved on a tree, differing at the same time with bright colorful, dull.

European chest is known from 15 V. The main methods of production of pictures in European countries were xylography or copper engravings (from 17th century) and lithography (19th century). The appearance of Lubkov in Europe countries was associated with the production of paper icons spreading at fairs and in places of pilgrimage. Early European phones had only religious content. With the beginning of the new time, it quickly wondered, retaining the shade of vividly moral enormity. From 17 century Lubks were extended in Europe everywhere. In Holland, they were called "CentsPressEN", in France - "Canards", in Spain - "Pliegos", in Germany - BilderBogen (the closest Russian version). They commented on the events of the 16th century Reformation, war and revolution in the Netherlands of the 17th century, at 18 - early 19 century. - All French revolutions and Napoleonic wars.

Russian buddies 17 in.

In the Russian state, the first lobs (existing as works of anonymous authors) were printed at the beginning of the 17th century. In the printing house of Kiev-Pechersk Lavra. The masters were cut by manually and image, and text on a smooth-stranded, grinding lime board, leaving the convex text and pattern of the pattern. Next, a special leather pillow - Matsa - a black paint from a mixture of burnt hay, soot and boiled flaxseed was applied to the drawing. A sheet of wet paper was superimposed on top of the board and all clapped together in the press of the printing mill. The resulting impression was then painted from his hand into one or more colors (this type of work, often entrusted to women, in some areas was called "Mazni in the noses" - coloring taking into account contours).

The earliest lobeal image found in the East Slavic region is considered to be the icon of the Assumption of the Virgin 1614-1624, the first Moscow rover from the late 17 V collections is considered.

In Moscow, the proliferation of the chesting pictures began with the royal court. In 1635, for 7-year-old Tsarevich, Alexei Mikhailovich in a vegetable row on Red Square was bought by the so-called "printed sheets", after which the fashion came to the boyars choirs, and from there - in the middle and lower layers of citizens, where the lobok gained recognition and popularity About 1660th.

Among the main genres of the chests, only religious was initially existed. On the wave of the beginning split, the Russian Orthodox Church on Old Believers and Nikonian, both opposing parties began to print their sheets and their paper icons. The images of saints on paper sheets were sold in abundance at the Spasski gates of the Kremlin and in a vegetable row of the Moscow bargaining. In 1674, Patriarch Joakim in a special decree of people that "cutting on the boards, prints on paper sheets of holy icons image ... which neither the small similarity of the primitive individuals do not have, shock and dishonor do", forbade the production of the cheating sheets "not for reverence saints, but for the Sophiece. " With this he commanded, "so that the icons of the saints are not printed on the paper sheets, they did not sell in the ranks." However, by that time, not far from Red Square, at the corner of Sretenki and Sovr. The christmas boulevard was already based on the printed Sloboda, where not only the printers lived, but carvers of the chest of chests. The name of this craft even gave the name of one of the central streets of Moscow - Lubyanka, as well as next to her area. Later, the regions of the settlement of the masters of the lobal business were multiplied, the near Moscow Church, now standing within the city, - "Protectors' Assumption" retained the name of the production (as well as the "Trinity in Sheets" in the architectural ensemble of the Sretensky Monastery).

Among the artists who worked on the manufacture of engraving foundations for these Lubkov were the famous masters of the Kiev-Lviv Typographic school 17 century. - Pamma Bernda, Leonty Zemka, Vasily Root, Ieromona Elijah. Printed prints of their works painted in four colors: red, purple, yellow, green. Are thematically all the cheating, created by them, were religious content, however, the biblical heroes were often depicted on them in Russian folk clothes (as arable land Cain on the Lubke Vasily Koreni).

Gradually, among the cheating pictures, in addition to religious plots (scenes from the life of the Saints and the Gospel), there are illustrations for Russian fairy tales, epics, translation of knightly novels (about Beauvai Korolev, German Lazarevich), historical legends (about the founding of Moscow, about Kulikovsky battle).

Thanks to such a printed "fun leafs", the details of the peasant labor and the life of the Dopurerovskaya time are reconstructed ("The old Agafon of Napti ribs, and his wife is angina threads hang"), scenes of plowing, harvest, forest harvesting, baking pancakes, family cycle rituals - births, weddings funeral. Thanks to them, the history of everyday Russian life was filled with real images of household utensils and setting. Ethnographers still use these sources, restoring the lost scenarios of folk festivities, rounds, fair-acting, details and tools of rituals (for example, fortunenesses). Some images of Russian chests of the 17th century. For a long time they entered the source, including the image of the "Life Stairs", in which every decade corresponds to a certain "step" ("The first stage of this life is to take place in a germ ...").

At the same time, the obvious disadvantages of early lubkov are the absence of a spatial perspective, their naivety was replenished with the accuracy of graphic silhouette, the equilibreence of the composition, conciseness and the maximum simplicity of the pictured.

Russian russions 18 V.

Peter I saw a powerful tool for propaganda in the fours. In 1711, he founded a special engraving chamber in St. Petersburg, where he gathered the best Russian drawers who had passed the western masters. In 1721, he issued a decree prescribing to observe the manufacture of chest portraits of royal specialists demanding not to miss the focus from under state control. From 1724, the focus in St. Petersburg began to print with copper plates by the xylographic method. These were panoramas of the city, images of victorious battles, portraits of the king and his approximate. In Moscow, however, the seal with wooden boards continued. The products were sold not only "on the Spassky Bridge", but also in all major "rows and on the streets", the works of the rigging graphics were delivered to many provincial cities.

Scenepring and Moscow chests began to vary noticeably. Made in St. Petersburg reminded official ethambi, the Moscow were mocking, and sometimes not very decent images of the adventures of foolish heroes (savings, paramows, chests and eroma), favorite folk festivals and fun ( Bear with Goat, Delat Well done - Nice Fighters, Bear Hunter Cole, Hunting Zaitsev). Such pictures rather entertained than the audience was found or passed.

A variety of topics of Russian buddies 18 V. continued to grow. Evgeneal theme was added to them (eg, Parable of the Prodigal SonAt the same time, the church authorities tried not to produce the publication of such sheets from under their control. In 1744, His Holiness Synod issued an indication of the need to carefully check all the fades of religious content, which was the reaction of the church to the unemployment of the visual styles and the plots of the cheating pictures. So, on one of them a repentant sinner was depicted in a coffin with a skeleton. The signature read "I cry and sob when I think about death!", But the image framed a cheerful multicolored wreath, who visited the viewer for the idea of \u200b\u200bthe struck of the existence, but about his fun. On such chests, even demons were depicted good-natured, like trained bears; They were not frightened, but rather mixed people.

At the same time in Moscow, deprived of Peter the title of the capital, the anti-government lobcs began to spread. Among them - images of a sassy cat with huge mustes, externally similar to Tsar Peter, Chukhona Baba Yaga - a hint of a native of Chukhony (Liflandia or Estonia) Catherine I. Plot Shemyakin court Criticized judicial practice and Volokut, and not overcome by the age after the introduction of cathedral deposits (from 1649). So the folk satirical lubok marked the beginning of the Russian political caricature and the visual satire.

From the first half of the 18th century. The existence of calendar (Bryus Calendar) began, from the second - biographical ( The lives of a glorious Basinist Ezopa) Lubkov.

In St. Petersburg in the form of chest sheets, geographical maps were published, plans, drawings. In all cities and provinces, the Moscow production sheets were perfectly bought out, which reproduced everyday-educational periods on the love topic ( Ah, black eye, kiss at least once, Rich to take, will blow. Take a good, much people will know. Clever take, will not give words to say ...). Foreign buyers preferred editing pictures about the benefits of moral family life ( I am obliged to take care of the camps about my wife and about children).

Genuine popularity won humorous and satirical sheets with literary texts containing short stories or fairy tales. At them, the audience could find something that did not happen in life: "Failed man", "the peasant maiden Marfa Kirillov, having long been under the snow of 33 years and the remaining unharmed", strange creatures with clawed paws, a snake tail and a human bearded person, allegedly "found In Ishpania on the banks of the Uler's River 27 Genvarya in 1775. "

The "folk grotescom" is considered to be depicted on the cheating of the time of the time of that time and all sorts of miracles. So, it is in the top images that the old women and elders, hitting the inside the mill, turned into young women and brave wellms, wild animals launched hunters, children of Pelhenali and baucly parents. Known tools "Perevils" - a bull that has become a man and hung the butcher behind the foot on the hook, and the horse, driven by rider. Among the "reversal" on the gender topic - lonely women looking at the trees of "drawing" men, unknown as they found themselves; Streets, take away from men, pants, fighting with each other for the cavaliers, so no one and not getting.

According to the illustrations to translated adventurous stories, lyrics, aphoristic expressions, jokes, "predictions of oracles" and interpretation of dreams in the clubs of 18 V. You can judge the then moral, moral and religious ideals of the people. Russian chest paintings condemned rampage, drunkenness, married infidelity, unmanifested wealth, praised the defenders of the Fatherland. In St. Petersburg, pictures disamerated large circles with stories about remarkable events in the world. So, Whale caught in the White Sea, Miracle Forest and Miracle Marine Repeated posts of the newspaper "St. Petersburg Vedomosti". In the years of successful fighting of the seven-year war (1756-1763), pictures with images of domestic equestrian and hiking grenadiers were created, with portraits of famous commander. Many Lubkov with scenes of victorious battles appeared during the Russian-Turkish wars 1768-1774 and 1787-1791. Thus, the St. Petersburg Lubok became a kind of illustrated newspaper for wide circles of small-scale readers.

The epic heroes on the cheating pictures were often depicted at the time of their triumph over the opponent. Tsar Alexander Macedonsky - during the victory over the Indian king sometimes, Eruzlan Lazarevich - who had overwhelmed the seminal dragon. Ilya Muromets was painted by the striking boom of the Robber, and Ilya looked like a king Peter I, and the nightingale - on the Swedish king of Charles XII. Large popularity was very popular about the Russian soldier who overcomes all enemies.

Kochuya from the workshop in the workshop, ideas and plots of Lubkov turned out to be innovations, while maintaining their originality. By the end of the 18th century, the main distinctive feature of the cheating sheets was formed - inseparable unity of graphics and text. Sometimes the inscriptions began to enter the composition of the drawing, making it part of the part, most often turned into a background, and sometimes it was just an image. Typical for the cheating graphics was the breakdown of the plot into separate "footage" (similar to the living "stamps" in the old Russian icons), accompanied by the appropriate text. Sometimes, like on icons, the text was located inside the stamp. The graphic monumentality of flat figures surrounded by lush decorative elements - herbs, colors and different small details, forcing modern viewers to recall the classic frescoes of Yaroslavl and Kostroma masters of the 17th century, lasted as the base of the luffed style until the very end of the 18th century.

At the turn of 18-19 centuries. In the production of lobkovy pictures began the transition from xylography to metal or lithography (printing from stone). Monochrome, and the trace and multicolor pictures began to paint the typographical way. The decorative unity of the composition and coloring occurred while maintaining independence from the techniques of professional graphics. Sustainable color attributes have been developed in the most popular images (Yellow Cat Kazan, Blue Mice in Flushing with Cat burial, Multicolored fish in Tale of the Yersh Ershovich). There were new techniques of expressiveness in the transfer of clouds, sea waves, wood foliage, grass, folds of clothing, wrinkles and features of the face that began to draw with great thoroughness.

At the same time, the Old Believers in the deaf monasteries on the recreation and lex rivers in Karelia mastered their techniques for the production and reproduction of ingredients. The original, approved by spiritual fathers, they were transferred to dense paper, then a lot of holes were gaped with a needle pattern on the contour. The new sheets were put up under the fried needles, and the master patted the bag with coal dust on it. Dust through the holes penetrated the blank sheet, and the artist remained only to circle the resulting strokes and dashes, then to gently paint the picture. This method was called "soup".

RUSSIAN FURNAL PICTURES 19 V.

At 19 in. Lubok even more strengthened its role as "illustration of Russian reality." During the Patriotic War, 1812 has published many patriotic lubkov with drawings and signatures. Under the influence of sustainable techniques of the image of folk fun, during the years of that war, the author's imitation of folk lubs, made by professional artists in a lobal style, appeared. Among them are the etchings of I.I.Tebaneva, A.G.Veetsianova, I.A. Ivanov, who displaced the expulsion of Napoleon's troops from Russia. Realistic images of Russian warriors, the peasants-partisans adjacent to them with fantastic, grotesque images of French invaders-Grenadiers. There was a parallel existence of the author's etchings "under the lubok" and actually folk, anonymous chesting pictures.

In 1810, in order to quickly respond to the incident and offer to buyers painted by the lithograph "on the evil of the day", publishers have already been required no more than two weeks. Production remained inexpensive: the cost of 100 printed sheets of sheets was 55 kopecks. Some of the sheets were printed in large - 34 × 30 or 35 × 58 cm; Among them, the painted portraits of fairy-tale heroes were most often met - Ecrolan, Guidon, Korivich's bow, Saltan. The people of the sheets were distributed by stray merchants (offices, boxes), who broadcast them in the villages in Lubyannye boxes; In the cities of the sheets could be found in the markets, bidding, fairs. Fair and entertaining, they used constant and non-decreasing demand. They decorated with huts, increasingly placing next to icons - in a red angle or simply hanging them on the walls.

In 1822, the young Moscow scientist I. Snegrev began to collect and study the folk pictures, but when he suggested members of the Society of Russian Literature his report about them, those were laughed, could be subject to scientific consideration "such a vulgar and an area, which was granted to the car." For a report on Lubki, a different name was proposed - . The assessment of this type of folk art was very gloomy: "Rough and even ugroen the sinks of a lobcker, but simply cooked with him, as with the usual cover of its gray caftana or with a naked coat of homemade sheepskin." However, Snaging had followers, among them was D.A. Rovinsky, who became the largest collector of the Lubkov and then left his collection as a gift from the Rumyantsev Museum in Moscow.

Their increasingly significant place in the folk lists began to occupy the criticism of rich, greedy, vain people. The new meaning was acquired by the famous from the 18th century. Sheets France and selling Frantha, Mazomets-Rosovshchik, Son Bogita. Lubks finely criticized officials, landowners, representatives of the spiritual estate ( Cheerful Kalyazin monks).

In 1839, at the time of the action of a strict censored charter (censored by contemporaries), censorship was also undergoing censorship. However, the government's attempts to terminate their production production did not bring, among them - the disposal of the Moscow authorities from 1851 to pour all copper boards in the "Old Capital" to the bell. When the authorities became clear that it was impossible to prohibit the development of this form of folk creativity, the struggle began for the transformation of the Lubka in the instrument of exclusively state and church propaganda. At the same time, the split (steel-proof) lobok was banned by Nikolai I in 1855, and the monasteries themselves on Veda and Lex were closed by the same decree. Fashing publications of short lives of Russian saints, paper icons, types of monasteries, the gospel in pictures began to be printed on a single approved by the church-based basis and were distributed free among the people "to strengthen faith".

The number of lithographs, producing phobies in Russia, has steadily grew. Alone of the Lithographic workshop of the publisher I. Hollyshev, founded in 1858, produced up to 500 thousand implications per year. However, the development of the mass production of these pictures affected their quality, coloring, led to the loss of individuality in the visual manner, content. At the same time, in the middle of the 19th century, not only Proverbs A.P.Sumokova and illustrations for Basnya I.A. Krylov, but also the fairy tales of V.L. Krylov, not only Works A.S. Pushkin, M.Yu.Lermontova, A.V. Koltsova, N.V. Gogol. Often converted and distorted, which lost the name of the author, they are in virtue of vast circulation and incredible popularity brought huge income to publishers. It was then that the Lubka's art began to relate to pseudoism, kitch.

Sometimes the author's works were obtained in the club not only a kind of graphical interpretation, but also the plot continuation. Such Lubki. Borodino on the poems of Lermontov, In the evening, in the fall of rainy Pushkin poems released called Romance, illustrations to the plots of Koltsov songs.

From 1860, the chest sheets have become an indispensable attribute of the household house of an educated peasant. They formed the concept of a "mass reader", which emerged, as one of the researchers in the journal "Domestic Notes", from Nyanyushki, Matushek and Kormilitz. Performing, according to the publisher I.D. Sitina, the role of "newspapers, books, schools", the cheating sheets became increasingly becoming the first travelers in which the peasant children learned a diploma. At the same time, the fake "under the nationality" in some typographic buddies caused the indignation of literary critics (V.G. Belinsky, N.G. Chernyshevsky), reproached publishers in oblivion, unwillingness to develop and improve the worldview of people. But since the cheating editions were sometimes the only one affordable peasants reading, N.Aneekrasov dreamed of time:

When the man is not Blucher,

And not Milorda stupid

Belinsky and Gogol

From the bazaar incur...

Mentioned by the Poet Blucher and Milord Georg were the heroes of the Lubkov, who have existed since the end of the 18th century. Western European themes of such "sheets for the people" easily turned into Russian. Thus, the French legend of Gargantua (Lishe in France is based on the book of F. Problem) turned into Rus to the chest of lobes Nice smoking and cheerful poured. The sheet was very popular Money devil - Criticism of universal (out: western) worship before the power of gold.

In the last third of the 19th century, when chromolithography appeared (printing in several colors), even more having cheaper chesting fluid production, was installed hard censored control over each picture. The new lubok began to focus on official art and the topic asked. True, old lubok as a kind of visual folk art almost ceased to exist.

Russian Lubok in the 20th century. and its transformation.

Many masters of the brush and the words of Russia were looking for in the chest of chest, their accounting and popularity of their sources of inspiration. To learn this called students I.E. Pepin. The elements of the chest graphics can be found in the work of V.M.vasnetsov, B.M. Kustodieva, a number of other artists of the beginning of the 20th century.

Meanwhile, folk pictures continued to bother the auction throughout the country. At the turn of the 19-20th centuries, during the English-Board War, the famous lobel hero was smoked in the form of a Giant Bura, who was called the British. In 1904, with the beginning of the Russian-Japanese war, the same united was depicted in the form of a Russian soldier-hero, devouring Japanese soldiers.

Illustrators of satirical magazines in the years of the first Russian revolution 1905-1907 also turned to folk club.

The artistic experience of the people, his feeling of beauty and measures had a considerable influence on famous artists Mikhail Larionov and Natalia Goncharov. It was they who in 1913 arranged the first exhibition of the core pictures in Russia.

In August 1914, Avangandists K. Malevich, A. Fantulov, V.V. Majakovsky, D.D.Burlyuk created a group of today's Lubok, reviving the old traditions of Batal Lubka 19 century. This group has released using the tradition of a luffic primitive, a series of 22 sheets to military plots. In them, the patriotic rise of the beginning of the First World War combined the specifics of a naive-primitive artistic language with an individual manner of every artist. The poetic texts to the sheets were written by Mayakovsky, who were looking for inspiration in the ancient traditions of rhymes:

Eh you, German, when so with the same!
Do not stop, so that there is in Paris!
And Brantz, Wedge Wedge:
You're in Paris - and we are in Berlin!

Massively published buddies typography Sytin praised at the time the exploits of a fictional delete - the Russian soldier Kryuchkov's goat.

The chest sheets as independent graphic works stopped producing in Russia in 1918, when everything printed became state and fell to a single ideological control. However, the genre of the Lubka, that is, who understand the simple people of the sheets with pictures, influenced the work of many Soviet artists. Its influence can be found in the history of the 1920s "windows" posters included in the history of world visual art. This influence made popular early Soviet posters, made in the lobal spirit - Capital V.I. Deni (1919), criticizing the imperialist oligarchy, as well as Are you among the volunteers? and Wrangel is still alive D.S.Morov, called for the protection of the middle name. Mayakovsky, M. Hard specially searched for the opportunity to strengthen the artistic expressiveness of these "Soviet Lubkov" (Soviet campaign art). Images of the cheating sheets were used in the poetic work of Demyan poor, S. Jenin, S. Rodetsky.

With traditional Russian Lubcom, the rod of the work of Russian artists-avant-gardeists and constructivists laconism of the means of expressiveness, monumentality and thoughtful composition. In particular, its influence in the creativity of I. Balina, M.Larionov, N. Balovarova, P. Filonova, V.Lesteva, V. Kadinsky, K. Malevich, later - V.Pavorsky, N. Madlova, A.Radakova.

During the Great Patriotic War of the Lubok as the type of folk graphic was again used by Kukryniks. Evil caricatures on the fascist leaders (Hitler, Goebbels) were accompanied by the texts of sharp front chastushki, ridiculed "oblique Hitler" and its minions.

In the years of Khrushchev "thaw" (the end of the 1950s - the beginning of the 1960s), exhibitions of popular pictures were organized in Moscow, which united in the exhibition the best samples from the collections of the museum of the arts. A.S. Pushkin, Literary Museum, Russian National Library. M. Sealtykova-Shchedrin in St. Petersburg, Russian State Library in Moscow. From this time, the systematic scientific study of the inhibitory images in Soviet arts is originated.

In the years of the so-called "stagnation" (1965-1980), the artist T.A. Mavrina used rigging techniques to illustrate children's books. Later, at the time of "Perestroika", attempts were made to launch children's comics on the reversals of the journals "Crocodile" and "Murzilka" in the spirit of traditional chesting pictures, but they did not find popularity.

In modern Russia began 21 in. Attempts have repeatedly been made to revive the lost traditions of the production of ingredion pictures. Among the successful attempts and authors - V.Penzin is the founder of the new Lubka workshop in Moscow. According to many artists and publishers of Russia, the Lubok Nationalenne, Orientile, has no equal on the numerous and wealth of plots, versatility and the ability of responses to events. His elegant, colorful sheets with an outdoor, cognitive or joking text entered the folk life, having existed in Russia much longer than in Europe, competing with professional graphics and literature and interacting with them.

The old chest sheets are kept in the region of the Estams of the Russian State Library in the composition of the collections of D.A. Rovinsky (40 thick folders), V.I. Daly, A.V.olsufyeva, M.P.Pogodina, as well as in the Russian state archive of ancient Acts and Engraving Cabinet of the Museum of Fine Arts. A.S. Pushkin.

Lev Pushkarev, Natalia Pushkarev

Literature:

Snegirev I. About common images. - Proceedings of the Society of Russian Literature Lovers at Moscow University, h. 4. M., 1824
Rovinsky D.A. Russian folk pictures, t. 1-5. St. Petersburg, 1881.
Ivanov E.P. Russian folk lubok. M., 1937.
Russian Lubok XVII-XIX BB. M. - L., 1962
Lubok: Russian folk pictures of the XVII-XVIII centuries. M., 1968.
Russian Lubok.. M., 1970.
Drenov N.A. From Lubka to Cinema Role of Lubka in the establishment of a mass culture of XX in. - Traditional culture. 2001, № 2

Lubok is, in fact, engraving, printed from a wooden basis, and later - metal. The origin of the lobok leads from China, from where he later got to Europe. Of course, in each country this type of art had its name and features.

Where did the name "Lubok" happened, is not known for certain. Versions Many: remember the lime (loobes) boards on which the first pictures, and the Lubyanny box of merchants who sold chests at the fairs, and Muscovites are still confident that the lubki went with Lubyanka. However, Lubok is the most mass art of the Russian people from the XVII to the 20th century.

At first, black and white and "elite", which served to decorate the royal and boyar chambers, later Russian buddies become massive and colored. Black and white print painted women, and they used for this instead of grinding their paws. These "coloring" were often inept and infratching, but there are real little masterpieces with harmoniously selected paints.

Lubka's plots differed in a rich diversity: this is the folk epic, fairy tales, and morals, these are "notes" on history, jurisprudence and medicine, these are religious topics - and everything is pretty competed by humorous signatures telling about the nrules of their time. For the people, these were news leaves, and educational sources. Lubki often overcame huge distances, moving from hand to hand.

Printed the cheapels of self-taper from the people on cheap paper, and they used mad popular with the peasants. Although the highest to know the art of the lubok did not recognize and preserve for the descendants of these drawings, no one specially did, moreover, the power and church elite were also trying to ban it. This is now the Lubok is considered a real folding, which preserved the history of Russia and the People's Humor, which has grown true caricature talents and has become the source of the book illustration. And, of course, it is the lubok - direct ancestor of modern comics.