Treasures of Russian art. Paleh.
History
Palee from Doparyrovsky times was famous for his icon painters. The greatest flourishing Palekh iconography reached in the 18th - early XIX century. The local style was influenced by the Moscow, Novgorod, Stroganovskaya and Yaroslavl schools. In addition to icon painting, Paleshans were engaged in monumental painting, participating in the painting and restoration of churches and cathedrals, including the Granovic Chamber of the Moscow Kremlin, the temples of the Trinity-Sergiye Lavra, the Novodevichi Monastery.
After the revolution of 1917, the iconographic fishery in Palekh ceased to exist. On December 5, 1924, the "Artel of Ancient Painting" was organized in Palekh, on painting products from Papier-Masha. Her founders became I.I. Golikov, IM Bakanov, A.V. Kotukhin, V.V. Kotukhin, I.V. Markachev, I.I. Zubkov, A.I. Teeth. As a result, for long creative searches, former icon painters showed the world overwhelmed rainbow paints and gold pattering virtuoso compositions on papier-mache boxes. Paleshans did not refuse the usual letter of writing with egg paints with the use of creative gold. In the figurative solution of new works, they continued to use medieval stylization techniques, the convention of the forms. The most popular and most successful compositions of the first years of the existence of Palekh's miniatures were "Troika", "Hunting", "Battle", "couples", "Custlians", "Idylliya", "Gulyanka". In these works, there was neither a developed plot, nor a bright image, only a strongly pronounced ornamental principle. Immediateness, sincerity and poetry gave charm and warmth first work Palaneshan.
One of the brightest and talented artists of Phane was Ivan Ivanovich Golikov. He was called the mastery of the horse, battle and troika. Fabulous horses with fragile feet in Golikov miniatures are bloomed by all the colors of the rainbow, and the "battle" and "hunting" is the manifestation of the indomitable fantasy of the Phane artist. Golikovsky "Troika" are dynamic, poushers, but sometimes great and solemn. To this motive I.I. Golikov turned multiple times, drawing winter and summer troops on a variety of items: brooches, foorers, cigarettes, trays.
THEM. Bakanov was considered in Pleum as the best connoisseur of icon painting traditions. He flawlessly owned the original appliances of the imposition of colorful layers. Thanks to the transmission of the lower layers of paints through thin, transparent upper layers, the effect of the inner glow of painting is created, the effect of overflow of one tone to another. Bakanov created many wonderful works that have become a classic Palekh art. He applied to the song topics ("Stepan Razin", "on the street Bridge"), chasing the image of his native Phane. The best of his work is written on the topics of Pushkin works - "Tale of the Golden Cockerel", "From the threshold of my hut", "Bakhchisarai fountain".
Ivan Ivanovich Zubkov was a subtle connoisseur of his native rural nature. In his miniatures there is no developed action, the artist as it may contemplate nature. Figures have smooth, several slow motion rhythms, which gives a feeling of silence and peace. Artistic thinking I.I. Zubkov was picturesque-plastic, and not ornamental decorative. The artist builds a colorful gamut on thin tones, on the delicate transitions of the same color to another. These are his miniatures of the "couple", "at the river", "landscape".
Early romantic works A.M. Gorky, built on a song rhythm, are close and consonant with stylistics Paleh miniatures. Illustrating them, Paleshans practically did not know failure. Among the best works - Basket I.P. Vakurova "Petrel". The red silhouette of the worker with the hammer as if grows out of a stone block. "I wanted this person to look like a worker and on a writer, and on the builder, and so that he could wisely manage the state" - so explained his idea I.P. Vakurov in the book E. Vekhera "Paleshan". In this miniature, like in other dramatic compositions of Vakurov, a black background is of great importance. The artist leaves the large plane of the background unapplied by tying them with tensely sounding color stains.
One of the most original Palekh artists is Aristarkh Aleksandrovich Dydykin. In his compositions, he skillfully combined the ancient iconographic motives and new techniques, mastered during the work on the miniature. For the works of this master, a special interpretation of the landscape is characterized, abundant gold overlay in ornament and spaces. The best miniatures A.A. Dydykina: "You're, Vanya, dusked the head," "Demyanova's ear", "Sweeting a woman", "Volga Russian River" - are in the GMPI collections. Thumbnails "You're, Vanya, descended the head" is written on the theme of the old Russian song. In the center of the composition wearing a crying girl in the city of his groom. Her drooping from Grief Figure invas the trees bowed and gently outlined slides, transmitting smoothness, the title of Russian melody.
In the art of Phaneshish lacquer miniatures as an independent genre develops a portrait. Its founders were the former identity iconophices: Pravdin N.A., Palikin I.F., Serebryakov I.G. Portrait images are created on various pier-mache objects: plates, boxes, brooches, cigarette. Palekh artists write portraits of statesmen, historical individuals and their contemporaries.
In the middle of the 20th century, realistic trends expressed by the desire of many artists to the external truth in the disclosure of the plot and individual images in the art of Palen. For many compositions of those years, the parade, excessive monumentality and decoration.
The following generations of miniaturists sought to revive the traditions created by the founders of Phahi miniatures. The art of lacquer miniatures did not exhaust themselves, he has a huge potential.
Palekh artists show their dating in many species of fine art: monumental painting, book graphics, theater decoration.
Currently, more than 600 artists live in Palekh, every tenth resident of Phane is a graduate of the Palekh artistic school. A.M. Gorky. They work in various creative teams: Cooperative "Association of Palen Artists", JSC "Partnership Palen", LLC "Artist Palen", iconographic and icon-painted workshops.
Cigarette "Battle", 1930
Golikov Ivan Ivanovich 1886 - 1937
Tree, temperature, gold, silver, varnish. 16.2 x 24.7 x 3.2
Casket "Tale of the Golden Petushka", 1934
Paper-Masha, temperatures, gold, varnish. 19,7 x 26.9 x 4.5
Plate "and overboard throws her ...", 1929
Bakanov Ivan Mikhailovich 1870 - 1936
Porcelain, ceramic paints. 22.7 x 35.
Box "Crane and Heron" Casket, 1941
Bazhenov Pavel Dmitrievich 1904 - 1941
Paper-Masha, temperatures, gold, varnish. 9 x 17 x 4.5
Plate "Flewing, Land of Colkhozny", 1955
Kovalev Alexey Viktorovich 1915 - 2000
Paper-Masha, temperatures, gold, varnish. D - 32. H - 2.5
Larz cover "Word about the regiment of Igor", 1956
Kotukhina Anna Aleksandrovna born in 1915
Paper-Masha, temperatures, gold, varnish. 11.5 x 19.
Plate "Palch"
Chikurin Alexander Vasilyevich 1875 - 1965
Papier mache. Television, gold.
Casket "Chikchiki at the box", 1936
Salabanov Vasily Mikhailovich 1902 - 1941
Paper-Masha, temperatures, gold, varnish. 19.6 x 26.7 x 4,4
Basket "Chapaev", 1955
Zaitsev Alexander Vasilyevich 1918 - 2001
Paper-Masha, temperatures, gold, aluminum, varnish. 6.2 x 8 x 4
The casket "Tale of Ivan Tsarevich and a gray wolf", 1984
Buldakov Valery Vasilyevich 1951
Cretage "Wedding", casket 1994
Lopatina Nina Pavlovna 1948
Paper-Masha, temperatures, gold, varnish. 9.5 x 14.5 x 9.5
Plate "Song", 1979
Perekov Valentin Mikhailovich 1942 - 1988
Paper-Masha, temperatures, gold, varnish. D - 26, H - 2.5
Box "Faust", 1957
Golikov N.I.
Paper-Masha, temperatures, gold, varnish.
Plate "Rider on the White Kone", 1984
Yermolaev Boris Mikhailovich 1934 - 2001
Paper-Masha, temperatures, gold, varnish. D - 23,5, H - 2.5
Casket "Russian Len", 1974
Kukuliev Kalery Vasilyevna 1937.
Paper-Masha, temperatures, gold, varnish. 19.7 x 26 x 8
Box "Nastya" 1993 - 1994
Sollyan Ekaterina Fedorovna 1947 R.
Paper-Masha, temperatures, gold, varnish. 9.5 x 12 x 3
Casket "Merchant Kalashnikov", 1972
Morokin Vyacheslav Fedorovich 1945 g.
Box "Winter" 1993
Ivanova A.N.
Casket "Fight of the Checky with Peresvetom", 1945
Chalunin Pavel Fedorovich 1918 - 1980
Paper-Masha, temperatures, gold, varnish. 18 x 23 x 7
Casket "Tale of Golden Petushka", 1992
Kochetov Gennady Nikolaevich 1941
Paper-Masha, temperatures, gold, varnish. 20 x 26.5 x 5.5
Portsig "Gvidon", 1999
Lyubimov Gleb Vasilyevich born in 1945
Paper-Masha, temperatures, gold, varnish. 12.5 x 10 x 2.5
The village of urban type Palee, the center of Palehsky district of the Ivanovo region, could be a regular village, which in Russia a huge amount. However, the special character of Pleehu attaches folk yield, known not only throughout the country, but also far beyond - Palekh's painting (Palekh miniature).
When the fishery is born
Palekhsky painting is primarily called, first of all, a miniature lacquer painting on papier-mâché, applied by temperatic paint (that is, paint manufactured from dyes of natural origin). And looking at the caskets painted in this manner, brooches, panels, ashtrays and other decorative items of everyday life, it is impossible to stay from the temptation to consider this fishery very ancient with its origins in the gray depth of centuries. In part, this is true, but only partly. If you approach the history of Palekhsky painting formally, it turns out that this fishery is not also a hundred years - after all, for the first time, the public was presented with Palenny miniature only in 1923. However, if you dug deeply, it turns out that Phane miniature is a direct continuation of the traditions of the original Palekh school icon painting, and here they are talking about several centuries.
As you know, with all the severity of iconography in the Russian Orthodox tradition, in the Middle Ages and in the new time various schools of icon painting were formed. Following the canons in the main thing, each school brought some of its own features, expressed or in the color range, or in separate details of people, details of clothing or landscapes on icons, and the like. The icons write sources in the village of Pallee, sources are reported at the beginning of the XVII century. However, the special Phane style icon painting, which is distinguished by the filigree subtlety of the letter and abundantly using gold paints for the image of the saints, finally took shape to the second half of the XVIII century. By the beginning of the last century, Paleh's iconographic school was famous for the whole of Russia, there was an extensive workshop with a clear division of labor on icon painting professions. However, the revolutionary events of 1917 and the following large-scale persecution of the church and on all spheres of religious life were made by the Palekh iconography of unclaimed and life-threatening. Palen icon painters had to look for a new sphere to apply their talents.
When history and culture come to life
And the outlet was found as simple, as ingenious. Possessing appropriate abilities and experiences icon painters who also have a production base retrained in painters. Once it was impossible to depict pictures on religious themes, I had to write pictures on the subject of secular. So at the beginning of the twenties and the Palen miniature arose. It turned out that the drawings in the former, almost icon-painted manner, on the theme of Russian folk fairy tales, historical events, as well as portrait images deposited on Paper-Masha, are very in demand by various social status and material capabilities of the population layers. After the demonstration of new articles on a number of exhibitions of 1923 at the end of the next, twenty-fourth, several Palekh artists united in the "Artel of Ancient Painting", which successfully presented his works already at the World Exhibition in Paris in 1925. In 1932, Palekh's painting was supported by the state, and the Artel of Ancient Painting was transformed into the Paleshki partnership of artists.
P. Alyah was famous for his artists-icon painters from Dopurerov times. The greatest flourishing Palekh icon is reached in the XVIII - early XIX century. The local style was influenced by the Moscow, Novgorod, Stroganovskaya and Yaroslavl schools.
Palekh miniature, which arose as a result of social and cultural changes that occurred in Russia after 1917, managed to preserve the age-old traditions of icon painting and transfer them to new forms. From the Iconopy of Paleshans, materials and method of writing by temporary emulsion paints, composite techniques, a manner of stylization of human figures, architecture and landscape, linear pattern skills, creative gold, was embodied in new forms and with new plots of secular content on the themes of modern rural Life, stories, epic, fairy tales, classical Russian literature.
In 1918, former icon painters created Phane art decorative artel, which was engaged in painting on a tree. I. I. I. Golikov, who in 1922, having acquainted with the products of Fedoskin masters in 1922, created the first work in the so-called Phane style.
Paleshan began to master the new material - papier-mâché, which was the basis for the lacquer miniature Fedoskina. Palekh masters moved to papier-mache traditional for ancient Russian icon tempery technology and conditional image style. The costly semi-finished product - the blanks from Paper-Masha - at first purchased in the Fedoskin artel, but they soon settled their own production.
For the first time, Phane miniatures on Paper-Masha, made by order of the Kustar Museum, were presented at the All-Russian Agricultural and History and Industrial Exhibition in 1923. At the end of 1924, Palekh artists united in the artel of ancient painting, and already in 1925, Palekh's miniatures were exhibited at the World Exhibition in Paris, where they produced a real exhibition and enjoyed great success. In 1935, the Artel was transformed into a partnership of Phane artists, in 1954, Palekh artistic and industrial workshops of the USSR Foundation were formed.
Already from the first years of existence, the arteel of ancient painting failed to prepare specialists. In 1928, Proftekhkol ancient painting opened in Palekh. In 1935, she was transformed into an art technical school, which later became known as Phahi Art School named after A.M. Gorky.
The range and shapes of the objects described by Phakhski masters were pretty large: brooches, beads, lari, caskets, cigarette and tobacker, glacial and faders and much more. Palekh miniature of pre-war time has a pronounced ornamental principle, while it does not have bright images and a developing storyline. The most successful and popular compositions of that period were the battles, shepherds, hunting and folk festivities.
In the first post-war decades, many masters of Palekh's miniatures in their works depicted various battle scenes of both the over World War II and other great battles that glorified the Russian army.
In the 1950s, the lacquer thumbnail in Palekh experienced a clear crisis, which was due to the inclination of many artists to excessive realism, pathocence and monumentality, which outlined romanticity and elevated sophistication, characteristic of the works of previous years. In the 1960s, poetic and allegorization returned to Palekh artists. During this period, Paleshan's artists in finding topics for their work turn to folklore sources and works of classical literature, as well as to modern songs. At the same time, socially significant events, such as, for example, a person's flight into space, also find their mapping in the articles of masters.
Having survived the difficult 1990s, Paleshans did not leave their traditional fishery. Palekh art school annually produces young masters, carefully retaining traditions and features that are so interesting Palekh's miniature. Today there are several artels and family enterprises manufacturing traditional varnish products in Palekh.
Palen painting, like any other folk art, formed in one area or another, has its own distinctive features and traditions. From other popular schools of Lacquet painting, Palehsky style is distinguished by the following features: An emission of egg temperatures; use of dark backgrounds; painting gold; variety of color transitions; Common soft tone of the letter; Pattern of the store's letter; a variety of rainbow shine; miniature (petty) multi-member letter; the variety of elements of the composition and their painting; miniature painting; Pattern and ornamental wealth of drawing; thorough detail of each element; the elongation and fragility of human figures; The subtlety drawing the parts of the body of people.
For Palen, a multi-layer pavement painting is characterized by a drawing. First apply color spots, then the miniatures and parts are written, then the gold and the so-called space is introduced when the paint is applied to the bright parts into several techniques, increasing the amount of bleached mainly tone. Paleshan, as a rule, resort to complex picturesque technique - lescing or painting "festers", consisting in a multi-layer letter with transparent strokes, when the lower layers of painting shine through the upper.
Work on the product begins with the creation of the workpiece. The cardboard plates are lubricated with a flour and peckened leaf (a mixture of rye and wheat) flour and paste one on the other on the table or a horizontal board. The number of layers depends on the required thickness of the product and ranges from 3 to 30. The side sides of the caskets, boxes, cases and other items are made by capping cardboard bands on round or rectangular blanks (up to 12 layers).
Then the blanks are crimped with the press. Compressed semi-finished products are dry in a dry, dark room for 3-15 days. After drying, the blank is impregnated with heated linseed oil, in the chamber with which it is about a day. After this billet, the two-three days are dried in a hermetic closet at a temperature of +100 degrees.
Made by this way the semi-finished product becomes durable, as the strongest wood species, and is well amenable to carpentry: it can be cut and plane, from it you can pull on a diverse forms from it, to make sakes and locks in it.
Each workpiece is made at once four products. Then they are cut. Then the blanks are carefully selected and transferred to the joiners that handle the workpiece with the file, and the round products are adjusted on the lathe. The bottom of the products is made separately, pasted on its place and is adjusted by the plane. Then the workpiece is calculated on the rowing circle and bring the sandpaper.
After a joinery processing, the product goes to the preparatory for painting shop, where they are aligned with sandpaper and ground. The soil consists of a river or shaft clay, mixed with a soot and extinguished with boiled oil (olifa) on a stone plate with a smooth stone chistle. The soil is applied three times with a bristle brush and is aligned with a flat planker, spatula. After applying each layer of soil, the products are well dried in the oven, they are cleaned with emery water bars and sucked again. Then all the external sides are painted with soot dissolved on the oil varnish, and the internal parts are a cinnaber, mixed with a carmine dissolved on the same varnish. After that, the black surfaces cover three or four times with black varnish. In the conclusion of the preparation, the product is covered with light varnish: black surfaces once, and red internal - three times. After each operation with varnish, the products are well dried in the oven, and for the last time at least 12 hours. This long processing processing of products for painting creates a durable and even tone on all its planes. In this form, they go to the artist who makes them up with their painting.
When semi-finished products are ready, they are transmitted to artists. Paints in Palek are bred traditionally - on egg emulsion. In the old days, and later in a lacquer miniature, artists prepared paint themselves. They were made on egg yolk, diluted table vinegar or bread kvass (less often - beer or rainwater), and called them "egg" or "yolk". To do this, carefully separated yolks from the protein, since even his insignificant amount will prevent the artist in the work (the protein will hang on the brush and will not allow thin lines). Chicken egg neatly broken from a stupid end, the punched hole was aligned and produced through it the protein. Then the yolks were rolled out into the palm, washed well for the shell and, breaking up the film on the yolk, poured it back into the already clean shell, in which vinegar poured. All together were well cleaned with a round blade. Fluid prepared in this way and is a solvent for dry paints. An egg yolk serves in it with a binder, and the vinegar turns the paint powder into a liquid mass and eats an excessive fattyness of the yolk.
The painting of the product is carried out in several stages. First, the drawing is translated on it. To do this, the reverse side of the pattern is rubbed by the dry powder of chalk or bleel, finger; Then the drawing is applied to the surface of the subject and is carefully translated with a thinly honed pencil. In order to translate the drawing, it was not shifted and did not flip, it can be temporarily to glue the surface of the subject with any light glue. When the drawing is removed, a clear imprint remains on the surface of the subject. The residues of the powder blells are enjoyed by a goose pen so that the contours of the drawing remain clean.
The next stage is a lecherous preparation that is being done so that the color of the paints on the varnish was fixed. The artist, working on the composition, thinks out where and what to put tones, according to this, and leather preparation is made. The brightest places are prepared by thick Belils, the tons of medium brightness is less dense, and more dark - liquid herbals; Might dark places remain without lecherous preparation. It is flowing clean and gently, without roughness, in strict accordance with the pattern. With properly performed lecherous preparation, the work looks like an almost complete, made on the principle of light silhouette. Serious preparation of Bellyl helps speed up the artist's work at its further stages.
Further, the artist starts the plain paints - the imposition of colored spots. For Roskryshi, as for preparing Bellyli, use the brush of medium acuity. Of the prepared paints are drawn up on the palette of the Tone of different men. One of the receptions of Roskryshi - when all the elements of painting are revealed by light, every one with its one main tone. This admission is revealed by a person's clothes, animal figures and some other elements of painting. With such a plating, the smoothness and transparency of the payments are observed, while the disclosed elements do not look like painted pure paint, and each smooth plays a living tone. With melting plating, it creates the impression of the combination of the element. Since the paints have a property set down (the bright parts of them are deposited down, and dark rise on the top of the plating), the more the colorful layer, the more it stands on the surface of the dark parties of the paint, and if the artist swallows the smoke unevenly, then we are placing dark stains. Well-owning floating artist knows how to use this property of paints. Rosple heads and nude parts of the body of a person - Sankur - is drawn up according to the chosen artist as a type: may be light yellow, for a tanned face - brownish, for pale - yellow-greenish, etc. Roskrysh and Sankur are made at the same time.
The next stage is the painting - the drawing on the wanders in the dark tone of all contours and details: the contours of the trunks and the bitch of the trees, the total forms of the leaves, the ledges of the mountains, drawing of the waves, contours and the folds of the man's clothing, the contours of animals, structures and their parts, as well as all other elements Compositions. For painting, a dark tone is compiled, in most cases from Zhigina Umbra, which is bred by an egg diluent, and then an acute squirrel painted painting. The painting is made by the artist not the same, but soft, smooth, dark, alive lines of different thickness and different strength, thereby revealing the volumes of images. It is important that the lines of paintings do not look separately from Roskryshi, and merged with it in the total tone.
After painting, the sewer of the shadow and light parts of all elements of the composition of the medium acute brush with the aim of additional underscore. Shadow parts are charged with tones a little darker, and in the lights of the tones, it is somewhat lighter, so that the tone of each element looks down and painfully. As a result, there are overflows of several different tones, and the overall tone becomes the sound.
The subsequent final finish of the paints of the clothes, the figures of a person and all the objects of the landscape sets the goal even more to strengthen the conditional volume of all the elements and give them completeness. On some clothes, human figures are made by a space - most of them are gold, smaller - paints. The gap with paints is superimposed on the clothes, the highest places of the body of a person (on the shoulders, chest, stomach, knees) or an animal body, which emphasizes their shape. The gap is more often done in three tones, consonant rambry, painting and shadow marks. The gap has a major spot, which is called a silence, from which the strokes are running, which are emphasized by the shape of body parts. The first tone of the gap is wider and slightly lighter than the red, the second is somewhat lighter and already the first, and the third tone, brighter, is made in one line, which emphasizes the second tone and is called a gap a blank. For better sound, the space is put on the warm tones of the plated with cold colors, on cold - warm. The whole decoration with paints is made softly, does not break away from the tones of the plainrs and the smells, it is organically associated with all the surrounding colors and gives the completeness of all painting.
Next, the wave (registered with liquid paints) of the head. Floor is made in several stages with a brush of medium acute. With the first plating (hurry), convex places on the face, neck, ears, hands, legs with such a calculation are induced by corporal tone, so that it will be through the subsequent payments. After drying, the second slope is the imposition of a rumant, composed of a cinnaker, on the cheeks, abrasion strucks, the end of the nose, lips, the urine of the ears, on the folds of the fingers and legs, on the elbows, palms and knees. The third swimming - when the pupils of the eyes, eyebrows, mustache, dark hair are supplied by Zrachny Umbra. Fourth Floor - a shotgling - is made up of ocher and a cinnabar and is designed to combine all previous payments with a sankime so that the light parts of the face and the figures were shrouded in light halftone. The tone of fifth melting - spans - is drawn up according to the chosen by the artist the tone of the face depicted. It must be imposed so that the previous payments shine through it. Finally, the sixth, the last swimming is the imposition of glare. The final finishing of the heads and the naked parts of the body with the recovery of the drawing - inventory. For this, an acute brush is taken, a dark brown tone is compiled (from the burning Umbra) and all the features of the face with thin, alive lines are drawn. The artist identifies these lines a certain image of a person, his psychological condition and character. At the same time, the hair on the head, beard, a mustache of the tone is somewhat lighter than superimposed glare. Pupils of eyes and cilia are prescribed by soot.
It remains only to paint all the work with gold and silver, but it is pre-needed all the work done to secure varnish. On loose painting, it is impossible to write gold: paints absorb gold. The object painted with paints is covered twice with a digital varnish. After each coating is well dry. In front of the painting of gold, the lacquer surface is rubbed with pumice to frosiness, since gold does not stick to lacquer. Pumbe powder with an outstretched surface is enjoyed by a goose feather.
Sheet gold gold is thoroughly crushed and tries with his fingers. As a binder, gummyiabik (transparent resin of acacia) is used. The painting of gold is also made by the thinnest tassel. Sometimes silver or aluminum powder is used. Gold and aluminum spaces are superimposed on clothes in those places where color is not superimposed: on dark tones - gold, in light - silver. They are also performed by all ornamental decorations. The painting of gold and silver on a miniature is used in three types: "in the bristle", inokope and painting ornament.
So that the gold applied to the product acquired brilliance, it must be polished. To do this, the wolf tooth was used because it has a particularly smooth surface.
After the artist put his signature on the product, it is covered with varnish and sucked, and then polished on a mechanical circle, covered with a plush or velvet. The final finishing when polished is performed only by hand. The surface is covered with lard and processed within an hour with palm moistened with water. From friction, the surface of the varnish is heated, it is finally aligned and acquires a mirror glitter.
Palen painting, sparkling by the gesture, as it should be broken on the black stroit of boxes, boxes, caskets, forming a colorful pattern, shown with the finest gold strokes and ornaments on clothes, trees, buildings. In the compositions, reality is bizarrely connected with fantastics. People, houses, trees peeped in kind, but depicted with special plastic sharpness, adjacent to fantastic "slides", "chambers", "woods". Scene compositions on the upper and side surfaces of items are made up with a thin gold ornament of a variety of diverse, never repetitive drawings.
The story of Phane goes into deep antiquity. In the XV century, the village of Palen was part of Vladimir-Suzdal Lands. In the spiritual will of Ivan the Terrible 1572, the village of Palee was in the local ownership of His Son John. In 1616, Paleeh is the estate of Vasily Ivanovich Ostrogubov and the widow of Yuri Ivanovich Ostrogubov. Soon it was granted to the primary ownership of Ivan Bourling "For the Moscow Siege Situation of the Korolevo," that is, for participation in the war against the Polish-Lithuanian intervention. According to the script books, 1628-1630 of the Vladimirsky County of Bogolyubsksky, Paleh is the primary Ivan Bournerlin and his children.
There is a legend - "Palen arose in those brown years of ancient times, looked at the Vladimiro-Suzdal Rus, the inconspicuous Tatar hordes were walking. In the deaf forests and swamps ran away by the ruin population and carried the icons with them. Tatars Zhgli Forests." Was the Great Palich "- Hence And the name of the Palee went.
Describing the lacquer miniature of Phane, the terms rightly use: "world famous", "sophisticated", "exquisite", "precious", and many others.
Creating minor, and often unique, piece works, masters of Palen oppose the industrial production of objects and souvenirs of mass consumption of things created by hand, retaining the individual features of the creativity of the live master and the ancient technologies for processing traditional materials. It is such products that are self-sufficient and self-valued works of applied arts, can satisfy the tastes of a separate person, decorate his life and, at the same time, fully perform their utilitarian functions.
The possibilities of using Palekh art are not limited only to cabinets and lars, icons and jewelry. These include printing and portrait painting, and interior design with lacquer panels and canvas, as well as the manufacture of icons, original business souvenirs, and much more
Turning to the best examples of the ancient Russian and Russian iconographic creativity, Paleh's masters brought into their work decorativeness and bright nature colors, characteristic of traditions of folk art. With the current community of stylistic manifestations, each master has its personal, recognizable handwriting.
The traditional motives of Palekh artists initially considered fabulous and literary stories, historically events and household scenes, folklore. However, after a short time, the topics of industrialization and collective farm movement, the battles of the Great Patriotic War, flights into space appeared in the work of miniaturists.
Every time I inevitably makes its own demands to the artist, forcing the analyzing passed, stimulates to further development. Today, simultaneously with the revival of iconographic, in Palekh, talented artists appeared, creatively comprehending art of modern, Russian avant-garde, the picturesque heritage of the East, other classical and modern destinations.
The name of the fishery comes from the name of the village of Paleh.
The art of Palen painting is still very young, he is just over 70 years old.
Palekh icon painters painted wonderful frescoes of the church and temples throughout Russia. Even in the Moscow Kremlin, in Golden, as it was sometimes called, the Master of Phane was worked with the grain chamber - Brothers Belousov.
But the time went, the art of Palen turned out to be suddenly no one needed. Many artists have been offended and left their native places in search of the best lobe. "Pleeh is already dying or dying out, do not resurrect him," wrote A.P. back in 1901 Chekhov.
The art of lacquer painting was brought to the new glory of Palen on papier-mache boxes. And the traditions of ancient master of icon painters are alive.
A scarlet cloak of the hero, who won the villain; By the sea, Blue is floating on all sails boiled ships of Tsarevich Gvidon; In a high terme, Krasno Girl is waiting for a deleted young man ... Under the brush of the masters, landscapes of the native side are born - and shines the golden sun, the quick rivers flow ...
Palee from Doparyrovsky times was famous for his icon painters. The greatest flourishing Palekh iconography reached in the 18th - early XIX century. The local style was influenced by the Moscow, Novgorod, Stroganovskaya and Yaroslavl schools.
In addition to icon painting, Paleshans were engaged in monumental painting, participating in the painting and restoration of churches and cathedrals, including the Granovic Chamber of the Moscow Kremlin, the temples of the Trinity-Sergiye Lavra, the Novodevichi Monastery.
After the revolution of 1917, Palen artists were forced to look for new forms of implementing their creative potential. In 1918, artists created Phane art decorative artel, which was engaged in painting on a tree.
, CC BY-SA 3.0Paleshan met with the new papier-mache material, which was the basis for the lady of lacquer miniature Fedoskina.
The masters have mastered the new material, moved to it traditional for the ancient Russian icon the technology of tempera painting and conditional image style.
"Snow Maiden" Aut. Polunina On December 5, 1924, seven Palekh artists I. I. Golikov, I. V. Markichev, I. M. Bakanov, I. I. Zubkov, A. I. Zubkov, A. V. Kotukhin, V. V. Kotukhin united in "Artel ancient painting." Later, artists of I. P. Vakurov, D. N. Butorin, N. M. Zinoviev joined them. In 1925, Palekh miniatures were exhibited at the World Exhibition in Paris.
"Palh village". Casket, 1934. I. M. Bakanov Alex Bakharev, Public Domain The Union of Artists Palen originated in 1932. In 1935, the Artel was transformed into a partnership of Phane artists, in 1954, Palekh artistic and industrial workshops of the USSR Foundation were formed.
Typical plots of Phahi miniatures are borrowed from everyday life, literary works of classics, fairy tales, epics and songs. Work is usually carried out by tempera paints on a black background and painted with gold.
How to distinguish from fakes
Each product performed by a manual master is never repeated, and undoubtedly reflect the creative personality of the author.
A peculiar and delicacy of the lacquer Palen, the principles of ancient Russian painting and folk art.
vector-Images.com, Public Domain Palekh miniatures subscribe in a single pattern. On the cover of the subject, the sequence number of the semi-finished product is set, indication of the place (salted), the name and initials of the author.
Since 1934, "Made in UsSr" was installed at the bottom of the box, which in 1992 was changed to "Made in Russia". All signatures are performed by creative gold.
In the late 1980s, a trademark appeared on the works of Phane artists - a fire-bird. A certificate is attached to each job, indicating the authenticity of the work.
For more than ten years, the main gosperary association for the miniature is a miniature.
The presence of a branded sign of this enterprise testifies to the genuine Paleshish lacquer painting.
Travel Guide for Russian Crafts, CC BY-SA 3.0 Briefly about technology
The work of Palekh artist begins with paint preparation. Paints in Palekh are bred on egg emulsion.
Before painting, the surface of the product is treated with pembia. The artist then inflicts the picture to the semi-finished product with a thinly honed pencil.
Then the image is drawn by leaks using the finest squirrel brushes (artists also manufactured themselves).
The layer of Belil is necessary in order to make black stains with a lacquer with a paint cover, black spots have not appeared (the lacquer dissolves the paint).
Brand "Snow Maiden" Mariluna, CC BY-SA 3.0 Having finished the work with paints, the artist is taken for gold. Sheet gold gold (one portion - 10 sheets 12 × 7 cm) is thoroughly crushed and fingers. The painting of gold is also made by the thinnest tassel.
After the artist put his signature on the product, it is covered with varnish and dried.
Then the product is polished on a mechanical circle, covered with a plush or velvet.
Photo Gallery
Helpful information
Palekh miniature
TRANSFER STYLE
The Phaehan-style generators are I. I. Golikov and Alexander Alexandrovich Glazunov, in the Moscow workshop of which Ivan Golikov was written first work in the so-called Phane style.
First recognition
For the first time, Palekh miniatures on Paper-Masha, made by order of the Krasstar Museum, were presented at the All-Russian Agricultural and History and Industrial Exhibition in 1923, where the diploma of the 2nd degree was awarded.
Training Palekh miniature
In 1928, Proftekhkol ancient painting was opened in Palekh, the training in which the last four years lasted. In 1935, the school was transformed into an art technical school. In 1936, the Technical School moved to the All-Union Committee on Arts and became known as the school (Palekh Art School named after A. M. Gorky), where training lasted 5 years. In the 2000s, the training period was reduced to 4 years.
Features of Palekh's letter
For Phane painting style, a thin and smooth drawing is characterized predominantly on a black background, an abundance of gold hatching, the clarity of the silhouette of the flatted figures, sometimes completely covering the surface of the cover and the side walls of the casket. The decorativeness of the landscape and architecture, elongated elegant proportions of figures, coloring, built on a combination of three main colors - red, yellow and green, go up to the traditions of the ancient Russian icon painting. The composition is usually framed by an exquisite ornament made by the creation of gold. Gold in Paleh's miniature is not only a key element of the letter of writing, but also part of the artistic worldview. It is associated with the symbol of light. In a Christian symbolism, the light becomes a prototype of Divine Grace.
Modern artists
Currently, the workshops of the Russian Foundation of Russia continue to work in Palekh, small private workshops and individual artists. Among them T. I. Zubkov, A. A. Kotukhina, N. and Golikov, a. M. Kurkin, K. Kukulieva and B. N. Kukuliev, A. D. Kochapalov, T. Hodova, V. V. Morokin, B. Ermolaev, E. Shchazyna and others.
Application of magnifice
The work of the miniaturist artist requires not only creative inspiration, but also of tremendous accuracy and thoroughness, so the Phane painters often have to resort to the help of a magnifying glass.
Tooth Wolf.
So that the gold applied to the product acquired brilliance, it must be polished. To do this, the wolf tooth is applied - it has a particularly smooth surface. Even with the arrival of new technologies and materials, nothing could replace this exotic tool.
Manual finish
The final finishing when polished is performed only by hand. The surface is covered with lard and processed within an hour with palm moistened with water. From friction, the surface of the varnish is heated, it is finally aligned and acquires a mirror glitter.