Palekh art craft. Palekh - the history of fairy-tale painting. From icon to casket

04.07.2020

Palekh miniature is a type of folk Russian miniature painting with tempera on lacquer items made of papier-mâché (boxes, caskets, cigarette cases, etc.). It arose in 1918 in the village of Palekh, Ivanovo region on the basis of icon painting.

Cigarette case “Battle”, 1930 Golikov Ivan Ivanovich (1886 - 1937) Wood, tempera, gold, silver, varnish. 16.2 x 24.7 x 3.2

Palekh miniatures are characterized by everyday, literary, folklore, historical subjects, bright local colors on a black background, thin smooth designs, an abundance of gilding, and graceful elongated figures.

Box “The Tale of the Golden Cockerel”, 1934 Bakanov Ivan Mikhailovich (1870 - 1936). Papier-mâché, tempera, gold, varnish. 19.7 x 26.9 x 4.5

From the history of folk crafts

Since pre-Petrine times, Palekh was famous for its icon painters, and Palekh icon painting reached its greatest flourishing in the 18th - early 19th centuries. The local style developed under the influence of the Novgorod, Moscow, Stroganov and Yaroslavl schools of icon painting.

Plate “And throws her overboard...”, 1929 Bakanov Ivan Mikhailovich. Porcelain, ceramic paints. 22.7 x 35

In addition to icon painting, Palekh masters were engaged in monumental painting; they participated in the painting and restoration of churches and cathedrals, including the Faceted Chamber of the Moscow Kremlin, churches of the Trinity-Sergius Lavra, and the Novodevichy Convent.

Box “Crane and Heron” Box, 1941 Bazhenov Pavel Dmitrievich (1904 - 1941) Papier-mâché, tempera, gold, varnish. 9 x 17 x 4.5

After the revolution of 1917, icon painting in Palekh ceased to exist. And artists were forced to look for new forms to realize their creative potential.

Plate “Flourish, collective farm land”, 1955. Kovalev Alexey Viktorovich (1915 - 2000). Papier-mâché, tempera, gold, varnish. D - 32. h - 2.5

The founders of the Palekh style are Ivan Golikov and Alexander Glazunov, in whose Moscow workshop Ivan Golikov wrote the first work in the so-called Palekh style. The people of Palestine became acquainted with the new material papier-mâché, which for a century had been the basis for Fedoskin’s lacquer miniatures.

Cover of the casket “The Tale of Igor’s Campaign”, 1956. Kotukhina Anna Aleksandrovna. Papier-mâché, tempera, gold, varnish. 11.5 x 19

Masters have mastered new material, transferring onto it the traditional technology of tempera painting for ancient Russian icons and the conventional style of the image. In 1918, artists created the Palekh artistic decorative artel, which was engaged in painting on wood.

Plate “Palekh” Chikurin Alexander Vasilievich (1875 - 1965). Papier-mâché. tempera, gold.

As a result of long creative searches, former icon painters showed the world paintings on papier-mâché boxes, painted with a rainbow of colors and golden patterns. At the same time, the masters did not abandon the usual technique of painting with egg paints using created gold.

Box “Chichikov at Korobochka”, 1936 Salabanov Vasily Mikhailovich (1902 - 1941). Papier-mâché, tempera, gold, varnish. 19.6 x 26.7 x 4.4

Also, medieval techniques of stylization and conventional forms were still used in the figurative solution of new works. At the same time, the most popular and most successful compositions of the first years of the existence of Palekh miniatures were “troikas,” “hunts,” “battles,” “couples,” “shepherdesses,” “partying” and “idyls.”

Box “Chapaev”, 1955 Zaitsev Alexander Vasilievich (1918 - 2001). Papier-mâché, tempera, gold, aluminum, varnish. 6.2 x 8 x 4

In these works, as a rule, there was neither a developed plot nor a vivid image, but the ornamental principle was strongly expressed. Spontaneity, sincerity and poetry gave charm and warmth to the first works of the Paleshans.

Casket “The Tale of Ivan Tsarevich and gray wolf", 1984 Buldakov Valery Vasilievich born 1951

For the first time, Palekh miniatures on papier-mâché, made to order Handicraft Museum, were presented at the All-Russian Agricultural and Handicraft Exhibition in 1923, where they were awarded a 2nd degree diploma.

Casket “Wedding”, Casket 1994 Lopatina Nina Pavlovna born 1948 Papier-mâché, tempera, gold, varnish. 9.5 x 14.5 x 9.5

On December 5, 1924, the “Artel of Ancient Painting” was organized in Palekh to paint papier-mâché products. Its founders were seven artists: I.I. Golikov, I.M. Bakanov, A.V. Kotukhin, V.V. Kotukhin, I.V. Markichev, I.I. Zubkov, A.I. Zubkov. Later they were joined by artists Ivan Vakurov, Dmitry Butorin and Nikolai Zinoviev. Already in 1925, Palekh miniatures were exhibited at the World Exhibition in Paris.

Plate “Song”, 1979 Valentin Mikhailovich Khodov 1942 - 1988 Papier-mâché, tempera, gold, varnish. D - 26, h - 2.5

In 1928, a vocational school of ancient painting was opened in Palekh, training in which lasted four years. In 1935, the school was transformed into an art college, and in 1936, the technical school moved into the system of the All-Union Committee for Arts and began to be called a school (Palekh art school named after A. M. Gorky), where training lasted five years. (By the way, in the 2000s, the duration of training was reduced to four years).

Box “Faust”, 1957 Golikov N.I. Papier-mâché, tempera, gold, varnish.

In 1932, the Union of Artists of Palekh was created, and in 1935 the artel was transformed into the Association of Artists of Palekh; in 1954, the Palekh art and production workshops of the USSR Art Fund were formed.

Plate “Rider on a White Horse”, 1984 Ermolaev Boris Mikhailovich (1934 - 2001). Papier-mâché, tempera, gold, varnish. D - 23.5, h - 2.5

Without a doubt, one of the brightest and most talented artists of Palekh was Ivan Ivanovich Golikov. He was called the master of the horse, battle and three. The fabulous horses with fragile legs in Golikov’s miniatures are colored with all the colors of the rainbow, and “battles” and “hunts” are a manifestation of the indomitable imagination of the Palekh artist.

Box “Russian Linen”, 1974 Kukulieva Kaleria Vasilievna born 1937 Papier-mâché, tempera, gold, varnish. 19.7 x 26 x 8

Golikov’s “troikas” are dynamic, impetuous, and often stately and solemn. I.I. Golikov turned to this motif many times, drawing summer and winter threes on a variety of objects: brooches, powder boxes, cigarette cases, trays, etc.

Box “Nastya”, 1994 Shanitsyna Ekaterina Fedorovna (b. 1947). Papier-mâché, tempera, gold, varnish. 9.5 x 12 x 3

I.M. was also considered one of the best experts in icon painting traditions. Bakanov. He was impeccable original technology applying layers of paint. Thanks to the transmission of the lower layers of paint through the upper layers, thin and transparent, the effect of an internal glow of the painting is created, the effect of the flow of one tone into another.

Box “Merchant Kalashnikov”, 1972, Vyacheslav Fedorovich Morokin (b. 1945).

Bakanov created many wonderful works that have become classics of Palekh art. He also addressed song themes such as “Stepan Razin”, “On the Pavement Street”. The best works of the master are written on topics Pushkin's works- “The Tale of the Golden Cockerel”, “From the Threshold of My Hut”, “Bakhchisarai Fountain”.

Box “Winter” 1993 Ivanova A.N.

Ivan Ivanovich Zubkov was a keen connoisseur of his native rural nature. There is no developed action in his miniatures; the artist seems to be contemplating nature. The figures have smooth, somewhat slow rhythms of movement, which gives a feeling of peace and quiet.

Box “Chelubey’s fight with Peresvet”, 1945. Chalunin Pavel Fedorovich (1918 - 1980). Papier-mâché, tempera, gold, varnish. 18 x 23 x 7

Artistic thinking I.I. Zubkov's work was pictorial and plastic, and not ornamental and decorative. The artist builds a colorful range on subtle tonal relationships, on gentle transitions from one color to another. These are his miniatures “Couple”, “By the River”, “Landscape”.

Box “The Tale of the Golden Cockerel”, 1992 Kochetov Gennady Nikolaevich (born 1941). Papier-mâché, tempera, gold, varnish. 20 x 26.5 x 5.5

Early romantic works A.M. Gorky, built on a song rhythm, are close and consonant with the style of Palekh miniatures. Illustrating them, the Palesians knew practically no failures. Among the best works is the box of I.P. Vakurov "Petrel".

Cigarette case “Guidon”, 1999. Lyubimov Gleb Vasilievich (born 1945). Papier-mâché, tempera, gold, varnish. 12.5 x 10 x 2.5

The red silhouette of a worker with a hammer seems to grow from a block of stone. “I wanted this person to be like a worker and a writer and a builder, and so that he could wisely govern the state,” this is how I.P. explained his plan. Vakurov in E. Vikhrev’s book “Paleshans”. In this miniature, as in other dramatic compositions by Vakurov, the black background is of great importance. The artist leaves large planes of the background unrecorded, linking them with intense-sounding patches of color.

Cover of the casket “The Tale of Tsar Saltan”, 1934 Kotukhin Alexander Vasilyevich (1886 - 1961) Papier-mâché, tempera, gold, aluminum, varnish. 21 x 27.2

The best miniatures by A.A. Dydykina: “You, Vanya, have gone crazy”, “Demyanov’s ear”, “Emancipation of a woman”, “Russian Volga River” - are in the collection of the GMPI.

Powder box “Guslyar”, 1932. Alexey Ivanovich Vatagin (1881 - 1947). Papier-mâché, tempera, gold, aluminum, varnish. D-11, h-2.6

The miniature “You, Vanya, have gone crazy” was written on the theme of an old Russian song. In the center of the composition is a crying girl, accompanying her fiance to the city. Her drooping figure from grief is echoed by the bowed trees and softly outlined hills, conveying the smoothness and melodiousness of the Russian melody.

Party in the village. Cigarette case. 1927 Zinoviev Nikolai Mikhailovich (1888 - 1979). Papier-mâché, tempera, gold, varnish. 7.5 x 11 x 2,

In the art of Palekh lacquer miniatures, portraiture develops as an independent genre. The founders of this genre were former personal icon painters: N.A. Pravdin, I.F. Palikin, I.G. Serebryakov. Portraits were created on various papier-mâché objects: plates, boxes, brooches, cigarette cases. Palekh artists paint portraits of statesmen, historical figures and their contemporaries.

Box “Hunting” 1989 Gribov Nikolay Borisovich (b. 1948) Papier-mâché, tempera, gold, varnish. 3 x 9 x 3

In the middle of the 20th century, realistic tendencies intensified in the art of Palekh, expressed by the desire of many artists for external verisimilitude in revealing the plot and individual images. Many compositions of those years are characterized by pomp, excessive monumentality and decoration.

Box “Volga - Russian River”, 1943 Dydykin Aristarkh Alexandrovich (1874 - 1954) Papier-mâché. tempera, gold, aluminum, varnish. 23.2 x 18.5 x 8.5

The following generations of miniaturists sought to revive the traditions created by the founders of Palekh miniatures. The art of lacquer miniatures has not exhausted itself; it has enormous potential.

Box “There is a cliff on the Volga”, 1935 Alexey Ivanovich Vatagin (1881 - 1947). Papier-mâché, tempera, gold, aluminum, varnish. 22 x 15.5 x 4

Palekh artists show their talent in many forms fine arts: monumental painting, book graphics, theatrical scenery.

Plate “At the Spring” 1992 Livanova Irina Vadimovna (b. 1937). Zotov Vadim Grigorievich (b. 1936). Papier-mâché, tempera, gold, varnish. 40.5 x 39

Currently, about 600 artists live and work in Palekh; every tenth resident of Palekh is a graduate of the Palekh Art School. A.M. Gorky. They work in various creative groups: the cooperative “Association of Palekh Artists”, JSC “Partnership Palekh”, LLC “Artists of Palekh”, icon painting and iconostasis workshops.

“The Tale of the Little Humpbacked Horse” Nikolai Zinoviev

Vase “Collective farm abundance”, 1952 Zubkova Tamara Ivanovna. Porcelain, ceramic paints

O. A. Kolesova, Deputy Director State Museum Palekh art

Palekh is a small picturesque village located in the heart of Central Russia. In the 14th century, Palekh became the center of the appanage Paletsky principality, the feudal fiefdom of the Paletsky princes, who later became related to royal family. However, having gone into the service of the Moscow princes, the Paletskys lost their ancestral lands, receiving other estates in return. In his spiritual will of 1572, Ivan the Terrible designated the village of Palekh as a local estate for his son Ivan. In 1627, Palekh was granted by Tsar Mikhail Romanov to the steward Ivan Matveevich Buturlin and his sons, who participated in the militia of Kuzma Minin and Prince Dmitry Pozharsky, “for the Moscow siege seat of the king.”

Palekh became famous due to the icon painting craft that arose here in the 17th century. Many Palekh residents, being serf peasants of the Buturlin landowners, maintained Yamsky yards, were engaged in the manufacture of sheepskins, and trade, but, as a rule, in the winter, from November to April, someone in the family certainly earned money by “writing images” both in Palekh and beyond. The Buturlins willingly gave their peasants permission to travel to Moscow, St. Petersburg and more remote provinces. Palekh icons were exported abroad - to the Serbs and Bulgarians, to Turkish and Austrian possessions.

The Paleshans were famous not only as icon painters, but also as craftsmen monumental paintings. Their work on the restoration of ancient frescoes in the Vladimir cathedrals - the Assumption and Dmitrievsky, Sophia of Novgorod, in the cathedrals of the Moscow Kremlin and the Trinity-Sergius Lavra is known. The Belousov family of Palekh icon painters painted the Faceted Chamber in the Moscow Kremlin in 1882. The Paleshans also decorated modest provincial churches in neighboring towns and villages with frescoes: Kineshma, Vichuga, Lezhnev, Yarlykovo, Mugreevsky.

Despite the proximity of busy roads, Palekh lived in seclusion, maintaining a patriarchal peasant life, ancient traditions of oral folk art and folklore. Numerous reviews, notes, and essays by researchers of the Russian province noted the special way of life of the Paleshans, their high morality and spirituality. IN mid-19th century, the famous expert on ancient Russian painting G.D. Filimonov, having visited Palekh, called it “a village-academy of the people.” This definition has not lost its significance to this day.

The October Revolution of 1917 interrupted for a long time the development of traditional icon painting crafts in Russia, including in Palekh. In December 1924, the Artel of Ancient Painting for painting papier-mâché products was organized here. Its founders were former icon painters: I. I. Golikov, I. M. Bakanov, A. V. Kotukhin, V. V. Kotukhin, I. V. Markichev, I. I. Zubkov, A. I. Zubkov. This gave rise to the new art of Palekh, which became a significant phenomenon in world artistic culture.

As a result of successful creative searches, the Palesians showed the world masterly compositions on various papier-mâché objects, painted with a rainbow of colors and “golden patterns”. Talented craftsmen skillfully used the decorative possibilities of the background, material, and shape of objects. Palekh artists maintained a strong connection with the traditions of ancient Russian painting. They did not abandon the usual technique of writing with egg paints and painting with “created gold”. A distinctive feature of Palekh lacquer miniatures were medieval techniques of stylization of natural and architectural forms, conventions in the depiction of human and animal figures.

The most numerous and most successfully designed compositions of the first years of the existence of Palekh miniatures were “troikas”, “hunts”, “battles”, “couples”, “shepherdesses”, “idyls”, “revelry”. They are characterized by the absence of a developed plot and eventfulness, but at the same time they have a clearly expressed ornamental element.

Unique and extraordinary talented artist Ivan Ivanovich Golikov is rightfully considered. Golikov’s “troikas” are dynamic, impetuous, sometimes stately and solemn. The Palekh master turned to this motif many times, painting winter and summer threes on a variety of objects: brooches, powder compacts, cigarette cases, trays. His “battles” and “hunts” with fabulous thin-legged horses and fancy riders are a manifestation of truly indomitable imagination.

Ivan Mikhailovich Bakanov was known in Palekh as the best expert on icon painting traditions. He flawlessly mastered the original technique of applying paint layers. Thanks to the transmission of the lower layers of paint through the thin, transparent upper layers, the effect of mobility of the color spot, the effect of the flow of one tone into another, is created. Bakanov created many wonderful works that have become classics of Palekh art. He turned to song themes - “Stepan Razin”, “On the pavement street” - he sang the image of his native Palekh. But his best works were written on the themes of Pushkin’s works - “The Tale of the Golden Cockerel”, “From the Threshold of My Hut”, “The Bakhchisarai Fountain”.

Ivan Ivanovich Zubkov was a keen connoisseur of rural nature. There is no developed action in his miniatures; the artist seems to be contemplating nature. The figures have smooth, somewhat slow movements, which creates a feeling of peace and quiet. The artist builds a colorful range on subtle tonal relationships, on gentle transitions from one color to another. These are his miniatures “Couple”, “By the River”, “The Tale of the Fisherman and the Fish”.

One of the most original Palekh artists is Aristarkh Aleksandrovich Dydykin. In his compositions, he skillfully combined ancient iconographic motifs and new techniques mastered in the process of working on miniatures. The works of this master are characterized by a special interpretation of the landscape, abundant application of gold in the ornaments and spaces. The best miniatures by A. A. Dydykin - “You, Vanya, have gone crazy”, “Demyan’s ear”, “Emancipation of a woman”, “Volga - Russian River” - are in the collection of the State Museum of Palekh Art.

Terrible wartime, a time of testing the moral strength of the people, led to the appearance in the art of Palekh of numerous works on historical topics. In 1945, P. Chalunin painted a wonderful miniature, one of the best in his work - “The Battle of Chelubey with Peresvet.” The absence of everyday details and furnishings gives the miniature a symbolic sound. The rearing horses represent the forces of dark and light, eternal struggle good with evil. But allegory and symbolism are combined here with a reliable description of the images. The face of a Mongol warrior with wide cheekbones and slanted eyes expresses a whole range of feelings: anger, hatred, intoxication from battle. The calm, enlightened face of Peresvet speaks of monastic meekness, kindness, and moral strength of the disciple Sergius of Radonezh. Only the formidable appearance of the horse Peresvet and the fluttering monastic schema, reminiscent of the wings of a fantastic bird of prey, make it clear how great the desire of the monk-warrior to hit the enemy.

The miniatures by N. M. Zinoviev “Battles of the Ancestors for the Russian Land”, A. M. Kurkin “Our Ancestors”, A. A. Dydykin “History of Moscow”, A. I. Vatagin “Russian Generals” depict the victories of Alexander Nevsky, Dmitry Donskoy, Dmitry Pozharsky. Since military operations during the struggle against the Poles and Lithuanians, who captured Moscow and other Russian lands, also affected our region, the events of that historical era were widely reflected in the art of the Palesans. The museum collection contains miniatures by A. A. Dydykin “Minin Calls for the Fight against the Polish Interventionists”, A. I. Vatagin “Kozma Minin”, N. M. Parilov “For the Fatherland”, N. I. Golikov “Ivan Susanin”. The Russian people mythologize the images of their defenders, giving them features epic heroes. This is how Palekh artists see them too.

The portrait is developing as an independent genre of Palekh lacquer miniatures. Its founders were former personal icon painters: N. A. Pravdin, I. F. Palikin, I. G. Serebryakov. On various papier-mâché objects - plates, boxes, brooches, cigarette cases - Palekh artists paint portraits of statesmen, historical figures and their contemporaries.

A new stage in the history of Palekh art began in the 1980s, which were characterized by the amazing creative rise of many masters. The soul of the team of Palekh artists at this time was the Honored Artist of the RSFSR V. M. Khodov (1942–1988). The decorative plate “Song” is iconic in his work. IN pine forest, on the banks of the Paleshki River, a friendly company of artists gathered. They sing soulfully. But this simple plot contains a deep symbolic meaning: V. M. Khodov simultaneously presented artists of different generations. In the center is I. I. Golikov, on the left are his contemporaries I. M. Bakanov, I. V. Markichev, A. V. Kotukhin, I. I. Zubkov, D. N. Butorin, on the right are the miniaturists of Khodov’s era G. M. Melnikov, N. I. Golikov, B. M. Ermolaev, senior contemporaries, as well as V. F. Morokin, A. N. Klipov, who began their creative path together with V. M. Khodov.

Continuity of generations and loyalty to traditions have become the main criteria in the creative search for young talented masters. Among iconic work Those years there were many small caskets of simple shape. The idea of true miniature as the art of small forms is given by the works of E. F. Shchanitsyna, I. V. Livanova, N. B. Gribov. Small boxes, beads, tiny caskets decorate compositions by many authors on song, historical, and folklore themes.

In the turning point years of the 1990s, Palekh artists poeticized peasant labor, turned an everyday action into a symbol, an ideal of harmony and beauty, and painted the image of their native land.

IN lately More and more compositions appear that are devoid of any plot action. They clearly predominate symbolic beginning, reflecting the process of spiritualization of earthly existence. In the miniature “Melody” by A. N. Klipov, the most ordinary signs of autumn - bright clusters of rowan berries, fallen leaves, ripe apples, a bouquet of chrysanthemums - turn into lines of a slightly sad elegy or into the sounds of quiet and tender music.

One of the directions in the art of Palekh last decades – religious painting. This is either the actual icon or a miniature of a religious subject. Modern Palekh icon painters carry out orders for the production of iconostases, painting of churches, and painting small images. Palekh as the most consistent custodian stylistic features The art of icon painting plays a special role in the process of its revival.

Currently, more than 600 artists live in Palekh; every tenth resident of Palekh is a graduate of the Palekh Art School named after A. M. Gorky. They work in various creative groups: the cooperative “Association of Palekh Artists”, JSC “Partnership Palekh”, LLC “Artists of Palekh”, icon painting and iconostasis workshops.

Of great importance in the preservation and development of a unique craft is the State Museum of Palekh Art, where the best examples of Palekh icon painting and lacquer miniatures are located. A sample room was created in the Artel of Ancient Painting, which marked the beginning of the museum collection. In the 1930s, its formation was continued by the famous art critic, the first director of the State Museum of Palekh Art G.V. Zhidkov with the participation of A.M. Gorky, P.D. Korin, E.F. Vikhrev, A.V. Bakushinsky. The opening of the State Museum of Palekh Art took place on March 13, 1935, during the celebration of the 10th anniversary of the Artel of Ancient Painting.

Palekh is an ancient settlement on the Vladimir-Suzdal land, the first mention of which dates back to beginning of XII century. The glory of Palekh began with icon painting, when mid-17th century In the 1st century, an independent Palekh style of icon painting was formed in the craft. Palekh icons of this time are included in the golden fund of Russian icon painting.

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The traditional skill of ancient Palekh icon painting combined with the art of everyday objects, forming new look decorative creativity- Palekh lacquer miniature. The rich experience of icon painting with its linearity and patterning was translated into decorative - applied arts.

Cooperative "Association of Palekh Artists", Copyright

In 1989, after the liquidation of the only organization of artists in Palekh, the Palekh Art and Production Workshops, by decision of the Council labor collective, the cooperative “Association of Palekh Artists” was organized, which included most of the artists, support workers and engineering personnel.

Cooperative "Association of Palekh Artists", Copyright

Having started its activities practically from scratch, the cooperative has become a leading fishing enterprise. Today, the association employs masters in the production of traditional semi-finished papier-mâché and about 120 artists of lacquer miniatures, among whom there are many members of the Union of Artists of Russia.

Cooperative "Association of Palekh Artists", Copyright

The team has formed many family dynasties of hereditary artists, such as the Kukulievs, Kochupalovs, Paramonovs, Kurkins, Petrovs, Sivyakovs, Krivtsovs, Lebedevs, Fedotovs, Bokarevs, Zhiryakovs and others. Leading masters are regular participants in exhibitions. The association is headed today by the hereditary artist Viktor Vladimirovich Paramonov.

The association today is the only enterprise in Palekh where the unique traditional technology for producing papier-mâché has been completely preserved. Absolutely all of the association’s products are original, and each of them is marked with the artist’s name in gold.

All works of the enterprise are assessed by the Art Council, are protected by a trademark and have a quality certificate, which allows them to be distinguished from all kinds of fakes and other low-quality products. The list of product samples is registered with the Ministry of Industry, Science and Technology Russian Federation December 20, 2001 for No. 147.

The spirit of the times did not pass by the artists of Palekh. Masters of lacquer miniatures from the Association of Palekh Artists again began painting icons. Today, OHP is ready to accept orders for the production of not only lacquer miniature products, but also for painting various icons with any subjects.

Products

The Association of Palekh Artists produces a wide range of papier-mâché products with a wide variety of shapes: boxes, spectacle cases, cigarette cases, powder compacts, caskets, writing utensils, panels, plates and much more. The products are distinguished by the strict beauty of proportions and the correspondence of the form to the material.

Photo gallery

Contacts

Name: Production cooperative "Association of Palekh Artists"
Supervisor: Viktor Vladimirovich Paramonov
Address: Ivanovo region, Palekh, st. Lenina 23
Tel: +7 (49334) 2–20–76
Email mail: [email protected]

Production technology

The technology for making papier-mâché boxes came to Palekh from Fedoskino, where the craft of miniature painting existed since the 18th century oil paints based on realistic painting. Since then, this technology has not fundamentally changed.

The process of making papier-mâché itself and products made from it is very long and labor-intensive, including several stages.

Sheets of cardboard cut to specific sizes are glued together with flour paste into multilayer plates, or wound onto special blanks and pressed to form tubes of various shapes and sizes. After drying, these plates and tubes are soaked in hot linseed oil and subjected to heat treatment according to a certain regime for at least 20 days. All work is done manually.

From ready-made tubes and plates, craftsmen directly make the products themselves, called “linen”. All carpentry techniques are used in relation to papier-mâché. This is the most labor-intensive process, requiring the highest skill, precision and experience working with this material from the performer. At this stage, equipment is used: sanding machine, milling and sawing machines, but 90% of the work is manual labor.

The next stage is preparation. The products are oiled, primed, puttied, coated on the outside with black varnish, on the inside with red enamel, and polished. After each operation - oven drying for 24 hours. All work is done manually.

The technology of tempera miniature painting was completely adopted from former icon painters and did not change throughout the existence of the craft. The same materials are used: egg tempera and melted gold leaf. The artist independently chooses the theme of the future work and a suitable semi-finished product.

A drawing of the future work is applied to the pumice-coated box, bleaching preparation is done, coloring is done, and paint is applied. The painting is varnished and dried, and then painting with melted gold leaf is applied to the varnish. The gold is polished and re-fixed with varnish.

Unlike related crafts (Kholui, Mstera), copies are not written in Palekh. The method of creative variation within the traditions of Palekh art is widely used; the artist, within the same theme, in combination with a variety of semi-finished products, creates unique unique works.

Each painted product undergoes an expert assessment by the artistic council of the enterprise for compliance with traditions, canons, execution techniques and determination of artistic merit.

The product, approved by the artistic council, is sent for final finishing.

Its surface is covered with 6 layers of varnish, cleaned, rubbed and polished on special wheels, and then polished by hand. The final polishing is done directly with the palm of the hand, which gives reason to consider this work truly unique.

Palekh painting is one of the most recognizable artistic crafts of the Russian people. Palekh painting takes its origins from post-revolutionary central Russia. The current Ivanovo region was then the Vladimir province, and the fishery took its name from the village of Palekh, which was in the Vyaznikovsky district. Earlier, in the pre-revolutionary period, the masters of Palekh were more famous for their skill in painting icons and decorating churches, so we can assume that Palekh painting has its origins in icon painting.

History of the fishery

Initially, the artists of Palekh were most famous for their church painting, but in the post-revolutionary period, the Palekh art artel was created in Palekh, whose masters began to engage in wood painting. And in 1925, the works of the artists of this artel were exhibited at an exhibition in Paris and gained worldwide fame.

(Palekh)

Special boom Palekh painting typical for the late 1960s - early 1980s:

a huge number were produced Soviet postcards with miniatures made in Palekh technique;
stamps with Palekh painting were issued;
souvenir and gift cosmetic sets were sold in boxes with Palekh painting and with the same images on the labels;
Decorative trays and jewelry boxes, which depicted not only the plots of epics and fairy tales, but also the stories of the achievements of the Soviet people, were very popular.

Elements of Palekh painting

(drawing)

The most important difference between Palekh painting and other native Russian painting crafts is the drawing of miniature compositions - images that tell a certain plot. Unlike ornamental painting and character images, Palekh painting requires drawing the smallest details of the design to convey the subtleties and character of all characters or phenomena. The following are chosen as the basis: plots of epics, fables and legends; everyday scenes.

Black is chosen as the main color for the background, and gold tones and their variations are considered the main colors for painting.

(painted work)

Other important differences are:

multi-tone shadow painting;
somewhat elongated images of the characters;
accurate drawing of elements, for example, the foliage of trees is written in accordance with the natural image;
large number drawn nuances and details.

Even now you can find books in which, for illustration classical works great Russian authors, use subjects made in Palekh painting.

Execution technique

Carrying out Palekh painting on a box, casket, tray or compact requires compliance with certain sequential stages. First, they prepare the necessary item that will be painted, for example, a box.

(Palekh miniature)

The blank is carried out by layering sheets of cardboard until the required density of the product is achieved. Next, the entire workpiece is covered with primer in several layers (applying each layer in turn) and at the end putty is applied, which is left until completely dry. At the next stage, the workpiece is rubbed with pumice to achieve a structural surface on which it is better to apply varnish and paint. For the whole outer surface black varnish is applied to the workpiece, and most often red varnish is applied to the inner part.

After preparatory work The future drawing is painted over with white, and the details are drawn with a thin pencil.

Then they prepare tempera paints, or rather egg emulsion, with which the dry pigment of the paint is diluted. To do this, the egg yolk is separated from the white, and then beaten with a whisk with the addition of vinegar. After mixing the emulsion with pigment, the consistency becomes plastic, so the paint goes on more softly. A special nuance when making egg emulsion in Palekh is diluting it not with water, but with vinegar or bread kvass.

(Palekh boxes)

Paint is applied to a black varnish base using squirrel brushes, which are most often created by the masters themselves, to obtain the necessary strokes for painting.

Often, when painting, masters use a magnifying glass or magnifying glass.

Finally, the design is fixed with several layers of transparent varnish (5 to 10 layers) and polished to a shine.

Palekh painting is a very labor-intensive craft that requires a lot of time from the artist. Therefore, products with Palekh painting are very valuable and are quite expensive.

One of beautiful views folk arts and crafts is Russian lacquer miniatures, the modern centers of which are located in Palekh, Fedoskino, Mstera and Kholuy.

The oldest center of this art is the village of Palekh, Ivanovo region, where artists for centuries not only painted icons, but also painted walls in Orthodox churches and restored ancient churches and cathedrals. Palekh miniature, which arose as a result of social and cultural changes that occurred in Russia after October Revolution 1917, managed to preserve the centuries-old traditions of icon painting and transfer them to new forms and fill them with other content that was in demand by society.

History of Russian varnishes

In Russia, lacquer painting has existed for more than two centuries. Its beginning is considered to be the end of the 18th century, when the Moscow merchant Korobov founded a factory for the production of lacquered visors intended for Russian army hats. Lacquer miniatures appeared somewhat later, when the custom of snuffing tobacco became fashionable at the Russian imperial court. Korobov managed to quickly organize the production of miniature lacquer boxes - snuff boxes. Over time, such things began to be used to decorate rooms. Accordingly, the requirements for them decoration became taller. Subsequently, the works of Russian masters began to differ noticeably from Western samples both in execution technique and in plots that had a pronounced meaning. Thus, heroes and scenes from folk epics and tales of classical and ancient Russian literature, showing Russian traditions and life, reproducing the beauty of the surrounding nature.

Centers of Russian lacquer miniatures

IN modern Russia there are four centers where they actively develop the preserved ancient traditions of Russian miniature art lacquer painting: Fedoskino, Palekh, Kholui and Mstera. Before the revolution of 1917, all villages, except Fedoskino, were known in Russia as large centers of icon painting, in which not only icons were created, but also restoration and wall painting masters were trained. Each of these centers created icons in a single Orthodox traditions, but at the same time had its own characteristic differences. The masters from Kholui, as far as possible in icon painting, were close to Russian traditional realism, the residents of Mstera followed the traditions of Old Believer communities of different Russian regions, and Palekh artists created the most canonical Orthodox icons.

How icon painting began in Palekh

In the 16th century, the Palekh residents, under the influence of the earlier icon painting centers in Shuya and Kholui, began to try their hand at painting icons. There were few attempts, and they couldn’t be called particularly successful.

In the middle of the 17th century, the fame of Palekh icon painters reached Moscow, and masters began to be invited to perform works at the royal court. If in the 17th century icons were painted in almost every large village, then in XVIII century Three main centers of icon painting remained: Kholui, Mstera and Palekh. Paleshans, in contrast to the residents of the more industrialized Mstera and Kholuy, up to early XIX centuries combined the maintenance of traditional agriculture with painting icons in free time from working in the field. Carefully drawn and traditional icons were created slowly and were expensive.

The beginning of the 19th century is considered the heyday of Palekh icon painting. Icons created in Palekh were sold not only in the capital and major Russian cities, but also abroad.

By the middle of the 19th century, the first workshops were organized in Palekh, owned by Safonov, Korin, Nanykin and Udalov. By the beginning of the 20th century, the production of icons became mass-produced, cheaper and of lower quality. The appearance of cheap printed images led to the decline of icon painting and the liquidation of a number of well-known workshops. At the beginning of the twentieth century, in Kholuy, Palekh and Mstera, to preserve traditions, the Committee for the Trusteeship of Russian Icon Painting created educational workshops that existed until 1917.

After the October Revolution, until 1923, most craftsmen in Palekh were left without work. Some went to the city in search of work, some tried to make toys, dishes or weave bast shoes. Until 1923, several attempts were made to adapt former icon painters to painting caskets, children's toys, etc. However, things did not work out, since the need to produce large volumes at low prices, and the very nature of the products led to the production of low quality products.

The date when the Palekh lacquer miniature was created, in the form in which we know it, should be considered the end of 1922, the beginning of 1923. It was then that theater artist Ivan Ivanovich Golikov created the composition “Adam in Paradise” on black papier-mâché blanks. This work interested the management of the Handicraft Museum (today the Museum of Folk Art), which began to supply the artist with materials and pay for his work. Subsequently, I.V. Markichev, A.V. Kotukhin and I.P. Vakurov joined the process. The works created by these masters were presented in 1923 at the All-Russian Art and Industrial Exhibition in Moscow and were awarded a 1st degree diploma. In 1924, the artists' works were presented at an exhibition in Venice, and in 1925 - in Paris, where they created a real sensation and enjoyed great success. All this led to the fact that on December 5, 1924 in Palekh V.V. and A.V. Kotukhin, A.I. and I.I. Zubkov, I.V. Markichev, I.M. Bakanov and I.I. Golikov created the Artel of Ancient Painting.

Newborn Palekh miniature faced a number of problems: first of all, a new material was needed - papier-mâché, the technology of which was not known to the Paleshan artists; in addition, it was necessary to move from painting flat canvas icons to the design of things and objects with volume and shape.

And the assortment and shapes of objects painted by Palekh masters was quite large: brooches, bead holders, chests, boxes, cigarette cases and snuff boxes, eyeglass cases and powder compacts and much more. The Palekh miniature of that time has a strongly expressed ornamental beginning, but it lacks vivid images and a developing storyline. The most successful and popular compositions of that time were battles, shepherdesses, hunting, parties and troikas.

We can safely say that it was in the 20s of the twentieth century that lacquer miniatures in Palekh were formed under the influence of both the ancient Russian icon-painting tradition and the entire world art.

Post-war years

In the first peaceful decades, many masters of Palekh miniatures depicted various battle scenes, both the recently ended World War II and other great battles that glorified the Russian army. In the fifties, according to many art historians, lacquer miniatures in Palekh were experiencing a clear crisis, which was caused by the tendency of many artists towards excessive realism, which displaced from their works the romance and sublime sophistication characteristic of the works of previous years. The Palekh miniature, the photo of which is presented below, clearly shows the influence of Soviet ideology of that time on artists.

Excessive realism, monumentality and pathos characterize most of the works created during these years, although there were some masters who preserved romanticism and the traditions of the old school.

The sixties are characterized by the fact that monumentality and excessive naturalism are disappearing, and sublimity and romantic haze are returning to Palekh, lacquer miniatures are once again becoming poetic and allegorical. During this period, Paleshan artists turned not only to folklore sources, but also to works classical literature, as well as to modern songs. At the same time, socially significant events, such as, for example, human space flight, are also reflected in the works of masters.

The seventies and eighties of the 20th century became the heyday of Palekh painting. Palekh artists are invited to develop scenery for various concert programs and decorative design for children's and cultural institutions.

Modernity

Having survived the difficult 90s, the Paleshans did not abandon their traditional craft. The Palekh Art School annually graduates young masters who carefully preserve the traditions and features that make Palekh miniature so interesting. Today there are several artels and family businesses who produce traditional lacquer products in Palekh.

Distinctive Features

Palekh painting, like any other folk art formed in a particular area, has its own distinctive features and traditions. As already mentioned, icon painting has glorified Palekh for centuries. Lacquer miniatures have adopted many features from icon painting, such as, for example, the construction of a composition and careful elaboration of every detail. We can say that Palekh miniature grew out of the centuries-old traditions of icon painting.

From others public schools varnish painting Palekh style is distinguished by the following features:

drawing integral compositions and plots;
miniature painting;
patternedness and ornamental richness of the design;
careful detailing of each element;
elongation and fragility of human figures;
the subtlety of drawing parts of people's bodies;
various color transitions;
use of dark backgrounds;
using egg tempera;
gold painting.

But in order for the artist to begin creating a miniature, it is necessary first of all to create a product from papier-mâché that will be painted.

How is papier-mâché made?

It is made from cardboard, which is pre-cut into strips, smeared with paste made from wheat flour, and overlapped on a wooden form (blank). After the desired thickness has been obtained, the blank along with the cardboard is fixed in a special press. Under pressure they turn into tubes various shapes and size. The glues pressed in this way are dried at room temperature for about two weeks. Then the dried blanks are dipped in warm linseed oil for impregnation for a day, after which they are dried for four days in a special oven, the temperature in which is maintained at 120 0 C. At the next stage, the blank is primed and sanded. After sanding, several layers of black varnish are applied to its outer surface, and oil varnish with cinnabar is applied to the inner surface. At the end of the process, the entire surface is varnished with several layers of light varnish. After applying each layer, the workpiece is dried at a certain temperature in an oven. Only after all these manipulations will the artist be able to begin painting.

Techniques and techniques

As already noted, one of distinctive features lacquer miniatures of Palekh painting are characterized by writing with egg tempera paints.

To prevent paints from rolling off a smooth varnish surface, it is specially treated with pumice. The outline of the future drawing is applied to the product with a sharp pencil, and underpainting is done. It is on this that the master will apply many transparent and thin layers of painting. There are five main stages in creating an image:

1. Opening - outlining the main silhouettes and contours.

2. Registration - clarification of contours and shades of color.

3. Float - applying liquid glaze paint with thick strokes.

4. Glare - a notch made with created gold.

5. Framing the painting with a gold pattern.

After this, the ornament made in gold is polished with an agate in the form of a cone or a wolf’s tooth, and then the entire product is covered with 6-7 layers of varnish. After applying each of them, the work is dried, polished on a special polishing wheel, and then undergoes a finishing process by hand polishing. The varnish surface, polished to a mirror finish, gives the image additional depth and makes the colors “sound” more richly and softly.