Russian Folk Art
Traditional folk art has always played an intrinsic part of domestic culture across Russia and represents the rooted artistic perceptions, traditions and practices of the citizens. The creative improvisation and stylistic peculiarities of Russian folk art make pieces recognizable and often represent the spiritual connection between peasants and their surroundings. The subject matter often encompasses the values and traditions held by the multinational population as well as the beautiful, vast landscape.
Matryoshka dolls– One of the most recognizable symbols of Russian culture is the Matryoshka, a set of nesting or “babushka” dolls, which were invented by a Russian artist more than 100 years ago. These dolls that fit inside one another are now made by artisans all over Russia, and they often tell a story about the country’s history, culture and customs.
Wood Carvings- Boxes, toys and useful household items have been elegantly carved from the abundant birch and pine trees across Russia’s landscape for hundreds of years. Everyday items such as containers and tools were carved to resemble common animals or objects found in the artisan’s surroundings. By the 19th century, painting was combined with pyrography, a decorative element produced by burning wood carvings, by traditional Russian artisans to create vivid images.
Khokhloma- Khokhloma originated more than 300 years ago in an old village located in the Volga forest region. Pronounced “hawch-low-ma,” the colorful and exotic woodenware was bought and sold by artisans at the annual trade fairs in Nizhni-Novgorod. The pieces are made to be both beautiful and functional, being tolerant of heat, cold and other wear. The secrets of creating the coveted Khokhloma pieces have been heavily guarded and passed down through the generations.
Lacquerwar – The art of painting miniature lacquer images on boxes originated almost 400 years ago in four towns north of Moscow: Fedoskino, Palekh, Kholui and Mstera. Paper mache boxes are the preferred medium, as the end product is lighter than wood or plastic and it stands up to the elements very well. Subject matter for lacquered boxes and other pieces typically depict folk tales, local heroes and historical scenes.
Korov Clay Figures- Small and picturesque, Korov was founded in western Russian in 1778. The clay whistles and figurines produced by artisans in this town have been coveted for their beautiful example of Russian folk art. Clay figurines and instruments are often playfully painted and depict whimsical themes, and they serve as excellent examples of traditional Russian folk art.
“No national culture can be fully understood without such a phenomenon as the folk print” (Alla Sytova, The Lubok, 5).
The lubok, simple printed pictures colored by hand and often called broadsides, popular prints, folk prints, folk etchings, or folk engravings, are a vivid and fascinating page in the history of Russian culture. Folk prints were known in many other countries (in the Far East as early as the eighth century and in Western Europe from the fifteenth); in Russia they appeared in the middle of the seventeenth century and survived until the beginning of the twentieth.
A contemporary viewer is amazed and surprised by the lubok’s bold colors, expressive lines, balanced composition, a certain naive simplicity of the drawing, the encyclopedic scope of the topics and the inclusion of large amounts of text in many of the pictures. The specific lubok style is a combination of Russian icon and manuscript painting traditions with the ideas and topics of western European woodcuts. Western prints proved to the Russian artists that print-making was an effective way of disseminating multiple copies of images, and provided them with many subjects and compositions. From icon painting the lubok inherited the tradition of making the most important figures disproportionately large in relation to the others, using no aerial or mathematical perspective but rather a perspective based on multiple points of view, and called, for the lack of a better word, inverted or reversed. Moreover, the unity of time was as easily violated in lubok as in icon composition. One picture often showed several moments of the same story with the hero or heroes appearing in several places. Finally, the lubok was bright and cheerful like many Novgorodian and Northern icons influenced by folklore. The prints were colored with tempera, the paint used by icon painters; but in the print coloring, tempera was thinned out to the consistency of watercolor, which allowed the drawing to show through. The favorite four colors were red, yellow, green, and purple. The earliest prints were pressed from wooden boards. Because the material did not permit the artists to include in their pictures extensive details or large amounts of text, compositions of woodcuts were monumental and clear, uncluttered and expressive. The introduction of copper engraving early in the eighteenth century dramatically extended the ability of the prints to inform, teach, and amuse since the copper plates were a much more precise vehicle to render complex subjects with many figures and many lines of explanatory text. However, in the process of transition from woodblocks to copper plates, the prints lost their compositional clarity, balance of design, and brightness of color. At the same time, the quality of the coloring decreased; dealing with many copies of the same print, the colorists sometimes used broad patches of paint to cover elaborate designs without regard to the outlines and details.
Throughout its relatively brief existence, the lubok responded to the changes in the life of the country and became a popular way of expressing people’s feelings about daily events, beliefs, customs, mores, and ideals. It was aptly called “a kind of mirror of the people’s soul” (Ovsiannikov 5).
Covering such a great variety of topics, the lubok cannot be divided easily into thematic categories. The greatest collector and cataloguer of the prints, Dmitrii Rovinskii, developed a very detailed classification. According to him, the major categories of lubki were icons and Gospel illustrations; the virtues and evils of women; teaching, alphabets, and numbers; calendars and almanacs; light reading, novels, folktales, and hero legends; stories of the Passion of Christ, the Last Judgement and sufferings of the martyrs; popular recreation including Maslenitsa festivities, puppet comedies, drunkenness, music, dancing, and theatricals; jokes and satires related to Ivan the Terrible and Peter I; satires adopted from foreign sources; folk prayers; and government sponsored pictorial information sheets, including proclamations and news items (after Hilton 110). To facilitate this overview of the rich lubok material, Rovinskii’s categories can be condensed into following broader lubok subjects: religion, satire, everyday life, clowns, jesters and fools, information and news, literature, and miscellaneous topics that include astrology, images of animals and birds, advertisements, fortune-telling, and pictures of the world turned upside-down. This classification is not exact; sometimes the borderline dividing the subjects is rather thin.
For instance, The Moneylender’s Pleasant Dream can be classified as a satire on loan sharks and pawnbrokers. On the other hand, if one keeps in mind how widespread and common the business of pawning and lending money at high interest had become by the middle of the nineteenth century in Russia (cf. Dostoevsky’s Crime and Punishment), and if one pays attention to various “realistic”details in the picture, the print can also be considered a scene from everyday life.