Arts and Crafts(from lat. decoro - I decorate) - a section of decorative art, covering the creation of artistic products that have a utilitarian purpose.

Works of arts and crafts meet several requirements: they have an aesthetic quality; designed for artistic effect; serve for decoration of everyday life and interior. Such works are: clothes, dress and decorative fabrics, carpets, furniture, art glass, porcelain, faience, jewelry and other art products. Since the second half of the 19th century, scientific literature has established a classification of branches of decorative and applied arts according to material (metal, ceramics, textiles, wood), execution technique (carving, painting, embroidery, printing, casting, embossing, intarsia, etc.) and according to the functional features of the use of the object (furniture, dishes, toys). This classification is due important role constructive-technological beginning in arts and crafts and its direct connection with production.

Batik, hand-painted on fabric using reserve compositions. On the fabric - silk, cotton, wool, synthetic fabric - the paint corresponding to the fabric is applied. To obtain clear boundaries at the junction of paints, a special fixer is used, called a reserve. There are several types, such as hungry and hot.

Tapestry, a lint-free wall carpet with a plot or ornamental composition, woven by hand with a cross-weave of threads.

"Offer of the Heart" Arras. OK. 1410. Cluny Museum

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Thread graphics(name options: isothread, thread image, thread design), a technique for obtaining an image with threads on cardboard or other solid base.

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Artistic carving:

by stone:

Acrolith is a mixed technique used in ancient sculpture, in which the naked parts of the statue were made of marble, and the clothes were made of painted or gilded wood. The body (the main hidden frame of the statue) could also be made of wood.

Glyptic is the art of carving on colored and precious stones, gems. One of the most ancient arts. Also apply to jewelry.

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Artistic carving:
on wood:

One of the oldest and most common types of artistic processing of wood, in which a pattern is applied to a product using an ax, knife, chisels, chisels, chisels and other similar tools. With the improvement of technology, wood turning and milling appeared, which greatly simplified the work of the carver. Carving is used in home decor, when decorating household utensils and furniture, for making small wooden plastic and toys.

The through thread is subdivided into the through thread itself and the consignment note, it has two subspecies:

slotted thread- (through sections are cut with chisels and chisels). Saw thread (actually the same, but such sections are cut with a saw or jigsaw). A slotted or sawn thread with a relief ornament is called openwork.

Flat serrated thread carving is characterized by the fact that its basis is a flat background, and the carving elements go deep into it, that is, the lower level of the carved elements lies below the background level. There are several subspecies of such a thread:

contour thread- the simplest, its only element is a groove. Such grooves-grooves create a pattern on a flat background. Depending on the chosen chisel, the groove can be semicircular or triangular.

FROM cob (nail) carving- the main element is a bracket (outwardly it looks like a trace left by a fingernail when pressed on any soft material, hence the name nail-like) - a semicircular notch on a flat background. A set of such brackets of different sizes and directions creates a picture or its individual elements.

G geometric (trihedral, trihedral) thread- has two main elements: a peg and a pyramid (a three-sided pyramid buried inside). Carving is carried out in two stages: tattooing and trimming. First, they prick (mark) the sectors that need to be cut with a cutter, and then cut them. The repeated use of pyramids and a peg at different distances and at different angles gives a great variety of geometric shapes, among which there are: rhombuses, viteiki, honeycombs, chains, lights, etc.

Black varnish carving- the background is a flat surface covered with black varnish or paint. How grooves are cut in the contour carving on the background, from which the drawing is built. The different depths of the grooves and their different profiles give an interesting play of chiaroscuro and contrast between the black background and light cut grooves.

relief carving characterized by the fact that the elements of the thread are above the background or on the same level with it. As a rule, all carved panels are made in this technique. There are several subspecies of such a thread:

relief carving with a pillow background - can be compared with contour carving, but all the edges of the grooves oval, and sometimes with varying degrees of steepness (more sharply from the side of the drawing, gradually, gently sloping from the side of the background). Due to such oval contours, the background seems to be made of pillows, hence the name. The background is on the same level as the drawing.

relief carving with selected background - the same carving, but only the background is selected with chisels one level lower. The contours of the picture are also oval.

Abramtsevo-Kudrinskaya (Kudrinskaya)- originated in the Abramtsevo estate near Moscow, in the village of Kudrino. Vasily Vornoskov is considered the author. The carving is distinguished by a characteristic "curly" ornament - curly garlands of petals and flowers. The same characteristic images of birds and animals are often used. As well as flat-relief, it happens with a pillow and a selected background.

Carving "Tatyanka"- this type of carving appeared in the 90s of the XX century. The author (Shamil Sasykov) named this emerging style after his wife and patented it. As a rule, such a carving contains a floral ornament. A characteristic feature is the absence of a background as such - one carved element gradually passes into another or is superimposed on it, thus filling the entire space.

Artistic carving:
by bone:

Netsuke is a miniature sculpture, a work of Japanese DPI, which is a small carved keychain.

Ceramics, clay products made under the influence of high temperature with subsequent cooling.

Embroidery, a well-known and widespread needlework art of decorating all kinds of fabrics and materials with a variety of patterns, can be satin stitch, cross, old Russian facial sewing.

Knitting, the process of making products from continuous threads by bending them into loops and connecting the loops to each other using simple tools manually (crocheting hook, knitting needles, needle) or on a special machine (mechanical knitting).

Macrame, knot weaving technique.

Jewelry Art.

(from German Juwel or Dutch juweel - precious stone), the manufacture of artistic products (personal jewelry, household items, worship, weapons, etc.) mainly from precious ones (gold, silver, platinum), as well as some precious non-ferrous metals, often in combination with precious and ornamental stones, pearls, glass, amber, mother-of-pearl, bone, etc. Forging, casting, artistic chasing and shotting are used in jewelry art (giving the surface of the metal graininess and haze with the help of a chasing in the form of a blunt awl or tube ), embossing, carving or engraving, armor (a technique in which the background around the pattern is cut out), filigree, granulation, niello, enamel (finift), inlay, etching, polishing, etc., mechanical processing methods - stamping, rolling, etc. .

Artistic processing of leather.

Leatherworking techniques.

Embossing. There are several types of embossing. AT industrial production various stamping methods are used, when the pattern on the skin is squeezed out using molds. In the manufacture of artistic products, stamping is also used, but typesetting stamps and stamps are used. Another way is embossing with filling - cutting out elements of the future relief from cardboard (lignin) or pieces of blinders and placing a layer of pre-moistened yuft under the layer, which is then crimped along the contour of the relief. Small details are squeezed out without lining due to the thickness of the skin itself. When it dries, it hardens and "remembers" the relief decor. Thermal embossing is the extrusion of decor on the surface of the skin with the help of heated metal stamps.

Perforation or die-cutting is one of the oldest techniques. Actually, it boils down to the fact that with the help of punches of various shapes, holes are cut in the skin arranged in the form of an ornament.

Weaving is one of the processing methods, which consists in connecting several strips of leather using a special technique. In jewelry, macrame elements are often used, made from a “cylindrical” cord. In combination with perforation, weaving is used for braiding the edges of products (used for finishing clothes, shoes, bags).

Pyrography (burning) is a new technique, but with an ancient pedigree. Apparently, initially, leather burning was a side effect of thermal embossing, but then it was widely used as an independent technique. With the help of pyrography, very thin and complex patterns can be applied to the skin. It is often used in combination with engraving, painting, embossing when creating panels, jewelry, making souvenirs.

Engraving (carving) is used when working with heavy, dense leather. A pattern is applied to the front surface of the soaked skin with a cutter. Then, with any oblong-shaped metal object, the slots are expanded and filled with acrylic paint. When dried, the contour drawing retains its clarity, and the lines remain thick.

Application in leather business - gluing or sewing pieces of leather on the product. Depending on which product is decorated, the methods of application are somewhat different.

Intarsia is essentially the same as inlay and mosaic: image fragments are mounted “butt-to-butt”. Intarsia is performed on a textile or wooden base. Depending on this, leather varieties are chosen. To achieve the proper quality, according to a preliminary sketch, exact patterns of all fragments of the composition are made. Then, according to these patterns, elements are cut out from pre-dyed leathers and glued onto the base using bone glue or PVA emulsion. The intarsia technique is mainly used to create wall panels, but in combination with other techniques it can be used in the manufacture of bottles, souvenirs, and furniture decoration.

In addition, the skin can be painted, it can be molded, giving any shape and relief (by soaking, gluing, filling).

Artistic metal processing:

Work in the Filigree technique

Casting. Gold, silver, bronze have high fusibility and are easily poured into molds. Castings follow the model well. Before casting, the master makes a wax model. Those parts of the object that must be particularly durable, such as handles of vessels, handles or latches, as well as ornaments and figures, are cast in sand molds. Complex pieces require several models to be made, as the different parts are cast separately and then connected by soldering or screwing.

Artistic forging- one of the oldest methods of metal processing. It is carried out by hammer blows on the workpiece. Under its blows, the workpiece is deformed and takes the desired shape, but such deformation without ruptures and cracks is mainly characteristic only of precious metals, which have sufficient ductility, toughness, and malleability.

Chasing is a very original, most artistic and at the same time labor-intensive production technique. Precious metals can be rolled into a thin sheet, then the shape of the object takes on its shape in a cold state with the help of accelerating hammers. Often an artistic product is processed on a base (lead or resin pad), which is selected depending on the degree of malleability of the metal. With short and frequent hammer blows with constant pressure and rotation, the metal is tapped until the desired shape is obtained. Then they move on to chasing (knocking out decor). The decor is knocked out with the help of chasers (steel rods of a certain profile). Products forged from a single piece of workpiece are the highest works of art. It is easier to work with two or more pieces of workpiece, which are then soldered to each other.

1. Chasing from a sheet.
2. Chasing by casting or defense.
In the first case, a new work of art is created from a sheet blank by means of embossing; in the second, they only reveal and complete an art form that was previously cast in metal (or cut out of metal using the defensive technique).

Metal-plastic. Works of art made in this technique resemble chasing from a sheet in appearance, but in essence they differ significantly, primarily in thickness. sheet metal.
Sheets with a thickness of 0.5 mm or more are used for embossing, and foil up to 0.5 mm is used for metal-plastic. However, the main difference between metal-plastics is in the technological process itself and the set of tools. In embossing, the form is formed by hitting the embossing with a hammer, and in metal-plastic, the form is molded by smooth deformations carried out by special tools resembling sculptural stacks.

Engraving is one of the oldest types of artistic metal processing. Its essence is the application of a linear pattern or relief on the material using a cutter. In the technology of artistic engraving, one can distinguish between:
– flat engraving(two-dimensional), which processes
surface only; Its purpose is to decorate the surface of the product by applying a contour drawing or pattern, complex portrait, multi-figure or landscape tone compositions, as well as the execution of various inscriptions and type works. Engraving is used to decorate both flat and three-dimensional products.
Plane engraving, also called gloss engraving or engraving for appearance, also includes niello engraving, which technologically differs from ordinary engraving only in that it is performed somewhat deeper, and then the selected pattern is filled with niello.
—armor engraving(three-dimensional).
Engraving engraving is a method in which a relief or even a three-dimensional metal sculpture is created. In frontal engraving, two options are distinguished: convex (positive) engraving, when the relief pattern is higher than the background (the background is deepened, removed), in-depth (negative) engraving, when the pattern or relief is cut inside.

Etching. This is another technique related to graphics. As in etching, the object was covered with resin or wax, and then the decor was scratched onto it. When the product was immersed in acid or alkali, the scratched places were etched, and the surface around them, often damaged by the intervention of the tool, became dull. So there was a very shallow and gently emerging relief.

Filigree is a kind of artistic metal processing that has occupied an important place in jewelry since ancient times.
The term "filigree" is more ancient, it comes from two Latin words: "phylum" - thread and "granum" - grain. The term "scani" is of Russian origin. It originates from the Old Slavic verb "skati" - to twist, twist. Both terms reflect the technological essence of this art. The term "filigree" combines the names of the two main primary elements from which the typical filigree production is produced, namely, that the wire used in this art form is twisted, twisted into cords.
The thinner the wire and the tighter, steeper it is twisted, the more beautiful the product, especially if this pattern is complemented by granulation (tiny balls).

Enameling. Enamel is a vitreous solidified mass of inorganic, mainly oxide composition, formed by partial or complete melting, sometimes with metal additions, applied to a metal base.

Decorative processing
The description of the decorative finish of the product should contain information about the location, individual dimensions, quantity, and characteristics of the elements of artistic processing. Typical elements included in the general description are given below.
1. Matting.
2. Blackening.
3. Oxidation.
Matting
A matted, or textured, surface of products is considered a surface that differs from polished, bearing a decorative load.
The texture of the surface can be small-pitted, small-hatched, matte. The effect of combined texture processing with gloss is most often used. Textured surface areas are obtained using a casting crust of products, a polished surface (after sandblasting the working surface of the stamp), using etching in various acid compositions, mechanical matting (with a burr, ground pumice, brushing).
blackening
Niello (a fusible alloy of composition: silver, copper, lead, sulfur) is applied to a product prepared for niello, that is, with recesses with an engraved pattern. The depth of the pattern within 0.2-0.3 mm depends on the size of the product. The surface of the product, not covered with black, must be polished, without scratches, scratches and other defects.
Oxidation
Products made of silver and silver-plated are oxidized (treated) both chemically and electrochemically. The processes of chemical and electrochemical colorless oxidation are carried out in solutions and electrolytes, the main component of which is potassium dichromate. In the process of color oxidation, products are dyed with a variety of shades: blue, black, gray, dark brown, etc. Oxidized products are brushed with soft brass brushes to give the films a beautiful shine. The oxidized surface must be evenly matt, without any difference in color shades.
Electroplating
In the jewelry industry, gold, silver, and rhodium are used as electroplating coatings. On electroplated coatings there may be slight traces of contact points with conductive devices that do not disturb the coating layer and do not worsen the appearance of the product.

Pyrography, wood burning, leather, fabric, etc.

A stained-glass window is a work of decorative art made of colored glass, designed for through lighting and designed to fill an opening, most often a window, in any architectural structure.

Top half of the Poor Man's Bible Window, Canterbury Cathedral, UK

Currently, there are several different types of stained-glass windows, depending on the manufacturing technique:

Classical (typesetting or mosaic) stained-glass window- formed by transparent pieces of glass held by partitions made of lead, copper, brass. Classical stained glass is divided into lead-soldered (assembled on a lead profile) and stained glass using Tiffany technology (assembled on a copper tape).

Lead-soldered (soldered) stained-glass window- the classic stained glass technique that appeared in the Middle Ages and served as the basis for all other techniques. This is a stained-glass window, assembled from pieces of glass in a lead frame, soldered at the joints. Glasses can be colored and painted with fusible glass and metal oxide paint, which is then fired in specially designed furnaces. The paint is firmly fused into the glass base, forming a single whole with it.

Facet stained-glass window - a stained-glass window made of glass with a chamfer removed along the perimeter of the glass (facet, facet) or volumetric, ground and polished glass with a cut. To get a wide chamfer (this enhances the effect of light refraction), thicker glass is required, which increases the weight of the stained glass. Therefore, finished bevelled parts are assembled into a stronger (brass or copper) frame. It is better to place such a stained-glass window in interior doors, furniture doors, since such a frame is able to withstand the loads of opening / closing, and lead sags in this case. The golden hue of a copper or brass frame gives things a precious look, being visible not only through the light, but also in reflected light, which is especially important for furniture stained-glass windows.

Painted stained glass- a pattern is applied to the surface of the glass with transparent paints.

Combined stained glass- is formed by a combination of various technologies for creating a stained glass window.

Sandblast stained glass created with special equipment

Sintered stained glass window (fusing)- a stained glass technique in which a pattern is created by joint baking of multi-colored pieces of glass or by sintering foreign elements (for example, wire) into the glass.

Etched stained glass- a technique based on the ability of hydrofluoric acid to interact with silicon dioxide (the main component of glass). In this interaction with acid, the glass is destroyed. Protective stencils make it possible to obtain a pattern of any complexity and the required depth.

Cast stained glass - Each module of glass is hand-cast or blown. Glass, whose thickness varies from 5 to 30 mm, is also given a surface texture, which, by refracting light, enhances expressiveness. Cement mortar and metal fittings are used to fasten the glasses.

Type-setting stained-glass window is the simplest type of stained-glass window, usually without painting, which is created on a type-setting table from pieces of immediately cut or pre-cut glass.

Stained glass imitation.

Film stained glass- a lead tape and a multi-colored self-adhesive film (English technology) are glued onto the glass surface.

Contour stained-glass window- a pattern is applied to the surface of the glass with acrylic polymers in two stages: the contour imitates the vein of a classic stained-glass window, in the closed areas formed by applying the contour, colored elements are manually filled (English technology).

Overhead stained glass- obtained by gluing elements to the base.

Mosaic, a work that involves the formation of an image by arranging, setting and fixing on a surface (usually on a plane) multi-colored stones, smalt, ceramic tiles and other materials.

The symbol of the soul - a bird - on a Byzantine mosaic of an Orthodox church of the 6th century. Chersonese.

Technique. Styling methods.

With direct dialing mosaic elements are pressed into the ground. When dialing back the mosaic is assembled on cardboard or fabric, then transferred to a primed surface.

Mosaic Laying: The technique is similar to tiling, adhesive and grout for mosaic joints are available at every hardware store.

The base is examined for strength, all defects are identified - cracks, cavities, gravel nests, reinforcement or other foreign objects not included in the project, as well as problem areas, such as oil stains, loose or insufficiently strong base, voids. The substrate must be sound, load-bearing, dry, even and free from adhesion-reducing agents (e.g. additives that reduce adhesion and facilitate the dismantling of formwork), without traces of laitance, dust, dirt, paint residues, worn rubber, etc. • If necessary, clean the substrate mechanically, eg by sandblasting. Before laying the mosaic, the surface must be visually even, without sags, pits and cracks, as well as dry and primed.

Mosaic on paper. Laying begins with applying glue to the prepared surface, after which it is evenly distributed over the entire surface. In most cases, it is recommended to use latex-based adhesives. The mosaic is glued with the back side to the paper. Laying must be neat, so the distance between the sheets must correspond to the distance between the tiles, excessive pressure is unacceptable. At the end of laying, the sheets must be fixed with light blows of the platform with a rubber base. After a day, the paper can be removed - moistened with a damp sponge, it lags behind. Before grouting, the mosaic surface must be cleaned of paper and glue residues, after which grouting can be done with a rubber float. For grouting, it is advisable to use the composition recommended by the mosaic manufacturer. When grouting is complete, you can clean the mosaic and polish the mosaic surface.

Laying a mosaic on a grid. Unlike mosaics on paper sheets, mosaics glued to mesh are glued face up. For the technology of its laying, it is characteristic that after the glue has dried, you can immediately start grouting the joints.

In Arts and Crafts, there are many more different kinds. With each year of discovery of new technologies, there are more and more of them.

More detailed information, with visual material, can be found on the pages of well-known search engines.

The development of wood processing is directly related to the development of Russian art and architecture. There are few ancient monuments of the art of artistic woodworking, so they are studied according to literary sources, images in painting, as well as monuments of folk art of a later time. The Russian art of artistic woodworking is a unique phenomenon that has given the world magnificent architectural monuments, unique rich carvings and household utensils.

Like wooden architecture, the art of carving goes back to the life of the ancient Slavs, who settled in ancient times along the banks of the Volga, Don, Dnieper, Lake Ilmen. On the walls of Slavic sanctuaries, people, birds, animals were depicted, which, according to myths and fairy tales, “lived” in those distant times. The pre-Christian religious ideas of the ancient Slavs led to the widespread use of mythological pictorial motifs. The most popular images of those times that adorned the huts were various fantastic animals, mermaids and female figures next to horses and many others. The same motifs are preserved in decorative and applied arts.

Our ancestors have always known that wood is like construction material has valuable qualities: thermal insulation, good water resistance, low density, a variety of texture patterns, beautiful color and, of course, the convenience of harvesting and processing. Almost all residential buildings and outbuildings, city walls, bridges and temples, strategic fortifications were built from wood. In addition, wood was widely used in everyday life: craftsmen made ships, boats, sledges, carts, dishes (bowls and goblets, spoons, ladles, salt shakers, buckets, tubs), tools for agriculture and household work (spinning wheels, spindles).

The people skillfully used all its parts of the tree in the economy, nothing was wasted. For example, the roof was covered with birch bark because it does not absorb moisture, and sheaths for storing carpentry and carpentry tools were also sewn from its strips to protect it from rust. The tradition of making tuesca for food storage, which has survived to this day, also comes from those times. Well, what can we say about the emerging writing - the famous Novgorod letters were written on birch bark. But craftsmen did not use birch bark alone - they made various thin-walled dishes from burl (burrows on deciduous trees), since burl has hardness, elasticity and a rare beauty of texture. Large and small baskets and cradles were woven from a well-bent willow rod. Trunks of trees, of course, went to the construction of houses and palisades. It was impossible to find material more convenient in those days. The tree was cut down and processed quite easily. Massive logs of the walls served as reliable protection from enemies and bad weather.

The choice of woodworking tools, in particular woodcarving tools in those days was no less than today. Of course, the number of chisels and chisels produced at that time cannot be compared with modern production rates, but the range of tools was quite extensive - from many types of axes alone for different cutting to countless options and types of chisels, knives and chisels ... However, talking about the tool - this is a separate issue.

In Russia, there have always been various ways of artistic processing of wood, but the most common was, of course, carving, which was used to decorate any building: from palaces to simple huts, furniture, various household items and small crafts. There are a great many types and directions of woodcarving. Even house carving is singled out as a separate direction, in which there are laws and canons of exactly how, with what ornament and where to decorate this or that part of the house! Russian craftsmen perfectly knew and felt wood as a material, they had such a lively amazing imagination that it allowed them to create genuine works of art in every work, whether it was a prince's palace or a simple wooden spoon.

Story wooden spoon in Russia

An item of household utensils used in calendar and family ceremonies, in traditional medicine and divination. The spoon usually symbolizes the family member to whom it belongs, as well as the person in general. In the Vyatka province. at the wedding they tied the spoons of the bride and groom together, saying:
“As these spoons are tightly connected, so the young ones would be connected with each other.”

The spoon was one of the few personal belongings of a peasant; spoons marked, avoided using strangers. The spoon was usually associated with the feminine: according to a sign known among the Eastern Slavs, if a spoon or fork falls, a woman will come, if a knife is a man. Nevertheless, special significance was attributed to the man's spoon:
sometimes it was opposed to the rest in size and shape;
A man's spoon was not allowed to interfere with food, so that the husband would not get involved in women's affairs and would not quarrel with his wife.

In Ukraine, it was believed that with the help of a spoon of a deceased owner, you can get rid of a birthmark, wart, abscess, swelling in the throat. In the Poltava province. such a spoon was called "witch"; she was highly valued and believed that by touching her sore throat, you can instantly cure a sore throat. A spoon of a guy or a girl was used in love magic: they burned it to bewitch a person they liked.

Before eating, spoons were usually placed upside down, which meant an invitation to eat; after the meal, the spoons were turned over. However, in the Oryol province. it was not allowed to put a spoon "face up" before a meal, otherwise you would die with your mouth and eyes open. According to the belief of the Belarusians, during the funeral meal, after each meal, the spoon must be placed on the table so that the “grandfathers” eat it, and the spoon must be placed with the notch up, otherwise the dead will turn face down in the graves.

During the commemoration, an extra device (including a spoon) was placed for the deceased. In Poland and Belarus during Christmas dinner and New Year it was not allowed to lift the spoon, as it fell due to the intervention of the dead, invisibly present at the table.

Belarusians, after the commemoration, put the spoons in a pile and left them on the table until the morning, so that they could all be together in the “other world”. In the same place, on the “grandfathers”, spoons were piled at night around a bowl with a memorial dish, and in the morning, according to the position of the spoons, they judged whether the ancestors came at night; if in the morning the spoon turned upside down, it means that the deceased used it.

In Ukraine and Belarus, on the night before Christmas, the participants of the dinner also left their spoons on the table, putting a whisk on the side of a bowl with the remnants of kutya, or stuck them into kutya; it was believed that if the spoon fell or turned over overnight, then its owner would die that year. The Hutsuls used to tell fortunes on New Year's Eve: after dinner, they set up spoons on a bench, leaning them against the wall; if one of the spoons fell, then this promised death to its owner. The Moravans, after supper on Christmas Eve, threw a spoon over their heads; if she falls with a handle to the door, then this portends a person a quick death. In the Russian North, spoons filled with water were taken out into the street at night: if it froze with a dimple, then this promised death to the owner, and if with a tubercle, then life.

The spoon, constantly associated with food and mouth, was associated with the mouth of a wild animal, rodent, bird spoiling crops, etc. Therefore, in order to protect the fields from birds and field pests, and livestock from predators, on certain holidays the use of devices, especially spoons, was limited. In Serbia, the hostess before St. George's Day crossed spoons and tied them with the words: "We bind the wolf's mouth." The Serbs often did not use spoons and forks during the meal on Christmas Eve and in the first weeks of Great Lent; spoons were tied, hidden, hung near the chicken coop so that birds of prey would not attack poultry; tied with a rope so that "the crows would not peck at the corn." In Poland, when they ate porridge on Christmas Eve, they hit the cover with a spoon or hit their neighbor on the forehead with the words:
“Away, pigeons, from millet, sin, away!”

In various ritual situations, spoons were thrown, stolen and even broken. In the Kaluga province. On Ascension, women went to rye, cooked scrambled eggs there, and after eating they threw spoons up, saying:
"How high the spoon flies, so high would the rye be."

In the Kostroma province. in Semik, the girls cooked porridge, and then threw spoons through a curled birch: in which direction the spoon falls with a handle, the betrothed will be from there. In Poland, on Christmas Eve, spoons were not placed on the table, but held in the teeth so that the sacrum would not hurt; the owner tossed peas with a spoon, "so that the bulls and heifers kicked."

In folk medicine, water was widely used to rinse spoons. In the Vyatka province. before bathing, the child was doused with water obtained from three spoons, forks and knives, and sentenced:
“Like spoons, forks and knives lie quietly, so, servant of God (name), be quiet and calm.”

The handling of the spoon was regulated by a number of household rules and prohibitions:
The Ukrainians made sure that there was not an extra spoon on the table, otherwise the “sinisters” would eat it;
it was not allowed to “hang” a spoon on a bowl, so that “sinisters would not climb into the bowl.”
You can not leave a spoon in a pot overnight, as the unclean one will touch them and rumble, which is why the children will not be able to sleep.
You can’t use someone else’s spoon, because of this, “jams” will appear in the corners of the mouth or gluttony will attack a person.

The history of the spinning wheel in Russia

Distaffs are a unique phenomenon of folk art culture. They most fully reveal the artistic flair of the Russian peasant, who knew how to turn a household item into a work of art. The spinning wheel was one of the favorite gifts of a man to a woman, especially the bridegroom. For a small spinning wheel donated by her father or brother, the girl sat down from the age of five to seven, and then did not part with her all her life. The plentiful and varied decor of the spinning wheels is a kind of repository of people's memory. More than 30 types of artistic spinning wheels are known in Russia.

Columnar composite spinning wheels with through-carved legs in the form of a multi-story turret are unusually elegant. The number of floors with arched windows sometimes reaches fifty. This form of the spinning wheel is an imitation of the architectural images of tent churches and bell towers of the 17th century.

The Vologda spinning wheel sometimes turned into a whole carved panel. It was believed that the wider her blade, the more beautiful she was. On carved spinning wheels from Russian. In the north, you can see a large rosette, which since ancient times symbolized the sun, and it is no coincidence that a tow was tied behind the paddle in this very place. In folk poetry, the rays of the sun were called golden curls and golden threads, and the spinning woman, as it were, twisted her thread from the rays of the sun itself. Distaffs also testify to the fact that until recently a Russian peasant imagined the sun in human form: on one unique bottom of a Yaroslavl columnar distaff, a carved face of the sun surrounded by a halo of rays is depicted.

How spinning wheels were made

Standing on the edge of the forest is a wide-legged stump. We stump. It stands, basks in the sun, and, as it were, says with all its appearance: "No one needs me now, it's time to rest." But it was not there. The sharp eye of a peasant passing by. He stops the horse, takes an ax: “You will still serve me, grandfather.” He chopped off all the roots, left only two long ones on opposite sides, uprooted the old man, and then, as he chopped with all his might right in the center, the stump split along into two equal halves, and each had a bent leg. The man affectionately touched the almost smooth surface: “The spinning wheels will be good for my wife Avdotyushka and daughter Maryushka, otherwise her old daughter has become quite small for her, the girl is growing.” I loaded both halves onto a cart and drove home.

This is how the manufacture of a spinning wheel, which was widespread throughout the Russian North, once began. Its blade was cut from the trunk, and the bottom for sitting the spinner was cut from the root of the same tree. There is only one way, and the spinning wheels in each locality are different, special, you can’t confuse them, because the masters decorated them the way their fathers and grandfathers taught. Each master made his own, but the general appearance of the product, the nature of its decoration did not change. And yet you will not find two identical spinning wheels.

The image of the Russian spinning wheel in art

Not all scientists see only the image of the sun in the rosette-circle. Academician B. A. Rybakov suggested that this is an expression of the broader idea of ​​“white light”, which was separated in the popular worldview from the concept of the sun: “Light to the entire Universe is light that is intangible, inscrutable, and no one can place it anywhere ...». A small rosette inside this circle, according to Rybakov, depicted the sun itself, and two earrings with small rosettes at the bottom of the sides of the blade conveyed the idea of ​​the morning and evening sun, its movement from sunrise to sunset. On the towns crowning the Pomeranian spinning wheels, five rosettes are located, as it were, in an ascending and descending movement, and the central one is the largest.

Pomeranian spinning wheels, which existed along the shores of the White Sea, were richly decorated with geometric carvings, and in the 19th century, carvings were also painted using a joyful multi-color palette of colors. On them we already see not one, but three complex rosettes, located one under the other, and a rhombus or square is necessarily inscribed in the central one, often with shading. (Now it has already been proven that the image of a rhombus from ancient times symbolized the idea of ​​fertility, the fruitful earth. And the vortex socket under it is the night “underground” sun, making its way from west to east, in order to again illuminate and warm the earth in the morning.) It turns out that a schematic picture of the Universe is recreated on the spinning wheels, which, according to the worldview of our ancestors, consists of three main worlds - heavenly, earthly and underground.

Symbolism of the Russian spinning wheel

On the spinning wheels of each type, the elements of this picture of the world are conveyed in their own way. The line of the earth is often depicted by a strip of geometric carving at the bottom of the blade, and the underground sun is a small rosette on the stem of the spinning wheel. On the Tarnog and Nyuksen spinning wheels from the Vologda region, a carved snake stretches to such an outlet along the bend of the leg from behind. The serpent of almost all peoples of the world, including the Russians, personified underground forces, and on the Tarnog spinning wheel, the ancient myth of the struggle of the solar deity of good with the serpent, the deity of evil, darkness, is retold in the language of ornament.

In the images of spinning wheels, one can find echoes of the common Slavic myth about the creation of the universe, according to which the world was created by two birds, who took the first piece of earth from the bottom of the primordial sea-ocean, and then the sun, month, stars. And on the blade of a totem carved spinning wheel, from the Vologda region, we see two birds standing on a rhombus - as if on a newly created earth - an island, and above them rises a huge semi-rosette of the sun, as if emerging from the primordial ocean. There is a similar plot on the Tver spinning wheel: two carved birds stand in front of a crossed circle, and a schematic image of a tree is carved below.

How Russian spinning wheels were decorated

Wood is generally one of the main motives for decorating spinning wheels, especially in painting. And not by accident. These are traces of archaic ideas about the legendary and mysterious Tree of Life, which have evolved and developed over many millennia. At the dawn of the formation of mankind, a tree was one of the first shelters of a person, it stood in the center of the first primitive dwelling - a hut (the Lapps had such dwellings at the beginning of the 20th century). Its crown was the first roof under which the hearth burned, new members of the family were born, the tree in the mind of primitive man became an integral part of everything. life cycle tribal team. Many peoples of the world once had ideas about a family tree with birds - the souls of people on the branches. Apparently, there was once such ideas among the ancestors of the Eastern Slavs. This is evidenced by folk beliefs, monuments of applied art. A tree with birds is one of the favorite motifs of Russian folk art. It is often found on spinning wheels. So, the carved kokoshnik of the Yaroslavl "teremkovy" spinning wheel is a schematic representation of a tree with birds on the branches and two horses at its base.

Peasant furniture is inextricably linked with urban samples of Russian furniture, the prototype of which was European tables, cabinets, benches, chests, etc. For example, the 17th century was marked by the enormous influence of German furniture makers on the style and form of Russian urban furniture. Of course, the Russian peasantry, going to work in the city, brought from the city to their native village not only material objects, but also fresh ideas peeped from their townspeople, including furniture. Naturally, it was beyond the power of the peasant to convey the ideas of a professional urban furniture maker in his own product, there were simplifications in the design, decisions aimed at reducing the cost of furniture ... Thus, original peasant furniture was formed, which never ceases to amaze us with its reliability and beauty.

Over time, such an original and static culture of furniture was formed that sometimes there are problems with dating the production of furniture in appearance - the secrets of furniture art were passed down from father to son, and for some time remained unchanged. This is especially true for the settlements of the Old Believers - their culture is static, and furniture has practically not changed for several generations.

material for Russian countryside inexpensive types of wood served, such as pine, spruce, birch, oak, aspen, linden, larch ... The material of the furniture, of course, differs depending on the region in which the furniture was made - naturally, no one traveled to distant lands for the forest . So, for example, in the north of Russia, furniture made of coniferous wood prevailed, in other regions, too, there was no particular choice for furniture makers - they used the wood, the source of which was closer to the village, in their work.

However, the impact on Russian furniture traditions is not limited to Europe alone - for example, such a common piece of furniture in Russia as a chest begins to be found among the furniture of Ancient Egypt, and traces its history from there. According to the Egyptian canons, this piece of furniture was produced almost until the 13th century, when the proto-chest, which is a solid piece of wood, was replaced by a chest made of planks knocked together. Thus, the chest became much more accessible to the masses, and soon many modifications of this item appeared - folk fantasy combined a chest with a bed, money chests appeared - a kind of old safes, as well as various modifications of the chest for storing dishes, clothes and other utensils.

The chest in Russia was treated as the main piece of furniture in the hut, without which it is impossible to imagine the existence of an ordinary peasant family.

In addition to the chest in the old Russian hut, of course, there was also such a piece of furniture as a table - of course, without it, neither eating nor evening gatherings by the light of a torch is possible ... The table also traces its history from Ancient Egypt, which became the birthplace of many furniture concepts . The Egyptian table was much lower, but the table acquired more or less modern proportions in antiquity.

In the Russian tradition, the table took on different forms, sometimes so bizarre that it is difficult to imagine. An example of such a concept is the Karelian wedding table, in the design of which skis were included. This table was used once - during the wedding ceremony, and then the bride dragged the table to the barn (that's why skis were needed), where it was kept all the time while the marriage bond existed. Of course, back in ancient times, there were two main types of tables - dining and kitchen.

Another interesting form of furniture in Russia - a stowage - served as a kind of sideboard, however, mainly things of cultural value were stored there, as well as various kinds of family heirlooms ...

The logical continuation of this furniture form was the buffet we are used to - in it the peasant family kept ordinary items that were used quite often and had no cultural or ritual value. It would seem that a buffet - it is a buffet, but the people adapted the furniture for a single hut, which differed not only in geometry, but also in the number of people living in it, and the wealth in the family was very different, so the shapes and sizes of buffets ended up being the most various, from elongated in height to low and long sideboards.

By the end of the 19th century, wardrobes began to appear in peasant everyday life, which serve to store various kinds of linen - underwear, table and sleeping ... This furniture form did not take root in high society, but was gladly accepted by the urban population, from where it soon migrated to Russian villages. This piece of furniture was quite unified, the main difference in design is the optional plinth with drawers.

Russian folk carving and painting on wood

Among the largest collections of Russian folk art, the collection of artistic woodwork in the Zagorsk Museum is one of the richest and most complete. It was collected in Soviet times. In the late 1930s, the Museum of Folk Art Crafts in Moscow, on the initiative of 3. J. Schwager, collected the first, literally single, objects of Russian peasant life made of wood. In the same years, a rare collection of Volga house carvings was also brought to the museum, in the acquisition of which MP Zvantsev, already well-known in those years, an expert and researcher of folk art of the Volga region, took part. In 1941, the collection of this museum was transferred to the Zagorsk State Historical and Art Museum-Reserve, where work on completing the collection was continued. Over the past two decades, the museum has conducted more than 50 scientific expeditions to collect and study Russian folk art. Most of the works presented in the album were collected during these trips.

The works of this collection date mainly from the 19th and the first decades of the 20th century. Some examples date back to the 18th and 17th centuries. The territory, which was surveyed in the 1950s and 1960s by the Zagorsk Museum, is extensive. It includes the entire Russian North (Arkhangelsk and Vologda regions), the lands lying along the upper and middle reaches of the Volga (Gorkovskaya, Kostroma, Yaroslavl and Kalinin regions) and further to the west (Smolensk, Pskov, Novgorod and Leningrad regions). The collection of wood products collected in this area is of great interest, primarily due to its great artistic significance. In addition, studying the art of one area for several years often made it possible to open completely new centers of folk art. The collection of the Zagorsk Museum not only makes it possible to supplement the classification of many sections of Russian folk art begun by researchers even before the revolution, but in many cases it is the only source that makes it possible for the first time to annotate individual works of many pre-revolutionary collections, the collection of which did not attach importance to scientific certification. The Russian North and the lands of the upper and middle Volga regions are the most forested regions of the European part of Russia. Larch, pine, spruce, birch, maple and many other tree species have long been used by man to make everything that was necessary in his life. From wood, they cut down a dwelling and all outbuildings around the house, created sculptural images of the gods, erected temples, built large and small ships, made furniture, almost all tools, made dishes and children's toys. It was the most affordable, durable and easily processed material. Not the last place among the listed advantages was played by the beauty of the material - its varied color and natural pattern of wood, which the craftsmen were so excellent at using in their crafts. From time immemorial, man has sought not only to surround himself with objects necessary in his life, but also to decorate them. The sense of beauty in him developed inseparably from the process of labor, it was born from the need for creativity, reflecting the aesthetic ideals and spiritual culture of man. So, from century to century, absorbing all the best that was created before, the national culture, the art of the Russian people took shape. Folk art is beautiful because it is the brainchild of the whole people. Its mighty current absorbed all the sources of beauty and carried through the centuries the life-giving fresh waters of innumerable springs of folk art. It was in folk art that the national taste was most clearly manifested. In it, the people reflected their dreams of beauty, their hopes for happiness. In creativity, in an irresistible flight of fantasy, folk craftsmen were transferred to the wonderful world of beauty. Every peasant house was filled with works of genuine great art, which itself very often was a wonderful monument of wooden architecture. Sledges and arcs, chests and cradles, spinning wheels and sewing machines, rolls and ruffles, ladles and salt boxes were skillfully decorated with carvings and paintings. In the forest regions of Russia, carpentry was especially developed. Great importance in Russian wooden architecture was attached to the carved decoration of buildings. The most striking page of this art in the 19th century was the house carving of the Volga region. The huts, elegantly “dressed” with carvings, resemble fairy-tale towers (I.i. I). Patterned boards with rich, high relief carvings with a deep background emphasize and reveal the design features of the structure. Contrasting with the log building, patterned boards already from a distance reveal the main volumes - the depth of the pediment falling into the shadow is emphasized by brightly lit wings, the light opening is bordered by a relief frame of the casing, under the frontal board there are a wide ornamental strip of window trim, end boards clearly limit the edges of the log house, carved gate frames and wickets, hanging over the leaves, complete the façade of this expressive architectural complex.

A lush vegetative pattern runs in round curls along the carved boards, braiding into its shoots either large heads of flowers resembling daisies, then bunches of grapes, then decorative fruits that look like huge cones of some fabulous trees. And in the density of a lush and rhythmic floral pattern, lions with humanized heads seem to pose, coastlines in the form of mermaids, sirens in royal crowns. And finally, on closer examination, they delight us with a different, new beauty - the perfection of carving, the fine cutting of which the craftsmen of the Volga region attached great importance to. We admire not only the artistic imagery and craftsmanship of carving, but also the material itself - carved wood. Weathered for many decades in the open air, the tree now plays not only with color, but also with the pattern of fibers. One of the traditional decorations of a peasant house throughout almost the entire 19th century was a patterned frontal board, which, as it were, crowned the log house, separating it from the pediment. Very rarely, the vegetative pattern went in a continuous continuous ribbon, evenly filling the entire frontal board from edge to edge. Usually, the compositional center was clearly marked, which was sometimes served by the date enclosed in a relief frame. On either side of her were lions, mermaids and sirens. Sometimes it was a flowerpot from which the stems of a garland came out. And very rarely - the name and initials of the master, as on the frontal board of the house by the famous master of the Volga region Mikhail Malyshev, whose imagination knew no bounds, as if his chisel was endowed with magic (ill. II). Patterns applied to ordinary pine boards turned this simple and cheapest material into a jewel. M.P. Zvantsev, the largest researcher of Volga house carving, called Malyshev “a classic of Nizhny Novgorod carving”. His work is distinguished by the clarity of the ornament, the juiciness of moderately high relief, and the careful modeling of a very plastic carving.

Along with the rich ornamentation of the frontal boards, the red windows of the house were decorated with great splendor under them, that is, windows that were large in size, in contrast to the small ones - portage, which were cut down in the Volga region in the first half of the last century on both sides of one large red window. The shape of the platband of the red window reproduced in the album, with slightly elongated proportions and a loosened casket, was borrowed by folk craftsmen from the decor of stone architecture. This is evidenced by clearly readable capitals that support the sandrik, and a slender row of croutons bordering it. But the folk carver adapted all these elements to the new material, creatively rethought them, and therefore they so organically merged into the decor of the peasant hut. The author showed great skill in interpreting the pattern with the image of birds, they are subject to a common ornamental solution. The density and splendor of the pattern is perfectly emphasized by the smooth wood of the shutters and the vertical bars of the casing. The platbands of the light windows were especially elegantly decorated by the craftsmen of the Volga region. Occupying the strongly recessed space of the pediment, the architrave of the light was its decorative center. He decided very sculptural, voluminous and was always brightly lit. In the carving of the light windows, the creative imagination of the craftsmen is striking: here are elements of classical architecture, perfectly inscribed in the overall composition of the casing, and fairy-tale creatures, and twisted wooden columns, and birds in the halo of the rays of solar rosettes. The beautiful and lively texture of the wood draws attention when considering the details of the carving - fragments of a floral pattern and images of various fairy-tale creatures. The rhythmic living pattern of wood fibers sometimes perfectly reveals the plasticity of relief images, emphasizes the expressiveness of the mysterious sirens and coastlines looking at the viewer, and helps to convey the lively mimicry of the cat's muzzle of a lion. The natural pattern of fibers either cuts through the forehead with wrinkles, then scatters in thin rays from the eyes along the roundness of the cheeks, then emphasizes the laughter line of the nose, then lies around the mouth folded into a grimace. The master subtly felt the material and almost always forced him to enhance the expressiveness of his images. That is why the fairy tale characters in the wooden carvings of the Volga region, which may have arisen under the influence of the white stone reliefs of the ancient Vladimir-Suzdal architectural structures, are perceived in a completely new way and acquire their own features inherent only in wooden folk plastic.

One of the most interesting and most common images of the Volga house carving is the image of the coast, which is not found in any other form of Russian folk art. The name "beregina" leaves no doubt that once this creature was supposed to protect. Apparently, the “amulet” in the form of a mermaid was first cut on ships, and this image arose back in those distant times when they believed in the good power of a deity that protected people during voyages from evil spirits of the elements. The Nizhny Novgorod "deaf" carving on peasant houses with a deep background is believed to have appeared at the beginning of the 19th century, and in the middle it flourished. Such a short path of development testifies to very ancient traditions. Most likely, the "blind" carving was borrowed from the decorations of the Volga ships. If there is some cozy intimacy in the wooden architecture of the Volga region, then the villages of the North produce a completely different impression. At first glance, they amaze with the grandeur of buildings, the severity of forms and the restraint of decor. Under the roof of one northern two-story house, sometimes there were up to 10 residential huts (cages or log cabins). Four of them, located on two floors, and a light above them, faced the facade, the main street, which ran parallel to the road or river. Two huts, set on two floors, faced one side facade, two - on the other. The log cabin of the rear hut crashed with its volume directly into the cattle yards. It was used to heat water for livestock and bring calves for the winter. Under the same roof with these huts, there were cattle yards, directly adjacent to the back of the residential complex. Above them, across their entire length, on the second floor, there was a story - a huge, unfenced-off room for hay and peasant implements. The tale sometimes had four or five log cabins, with independent gates on the second floor, where a horse with a hay cart drove along a log flooring. Carved decor in the northern houses was given a very small place. Apparently, it was difficult to "dress" the entire building with carvings. Here they liked to decorate the porch of the outer staircase to the second floor, which ran along the wall of the hut. Much attention was paid to the design of a massive pillar, on which a porch was held, resembling a fabulous house. The porch had twisted columns, a small ridge on the roof, and a valance that, like narrow lace, ran down the canopy of the stairs. A narrow lace pattern was also cut on the boards of the chapels of the huge pediment. Sometimes they were finished with "towels" - hanging boards - also with through carvings. The pediment window often had a small balcony decorated with the same narrow wooden lace and twisted columns. He crowned this entire slender, grandiose northern building with an okhlupen - a huge log of larch, the rhizome of which was given the appearance of a horse, a duck, and sometimes a deer. They were once considered here as sacred animals, good deities. Long centuries made the form of these ancient idols so perfect and beautiful that, no longer remembering the protective meaning of these ancient sculptures, people placed them not only as a necessary detail of a complex wooden structure, but also as an obligatory decoration of the whole house (ill. III).

Even now far in the North, in remote places on the Mezen River, villages with such huts have been preserved. On the high bank, above the expanses of the huge northern river, there are strict giant houses, and clear, proud silhouettes of horses and ducks rise into the sky, which flaunt their refined expressive form. In the Tar-noga town of the Vologda region, horses are still being transferred from old buildings to new huts. The okhlupni reproduced in the album were removed and taken to the museum during the 1959 expedition to the Northern Dvina.

The image of a horse in Russian folk wooden sculpture was the most common. And next to the large, monumental works, which should include the coolness of the North, children's toys - skates - are of great interest. In the 19th century they were widespread both in the North and in the Volga region. Each region developed its own forms and character of the decor of this small wooden sculpture. But whether it is a skate from the northern Mezen River or from the Volga, they are invariably brought together by the features inherent in all Russian wooden sculpture: conventionality in the solution of the image, generalization of form, extreme expressiveness. With big plans, the toy maker from Mezen cut his wooden skate, with several blows of an ax they chopped a toy on the Volga. Brightly, tersely painted wooden skates in Gorokhovets. But despite the conventions of carving techniques, forms and paintings, the image of a horse, sometimes powerful and motionless in its majesty, sometimes violently cheerful and swift, appears before us in all its expressiveness. The techniques of carving, the peculiarities of the form of works from these centers have centuries-old traditions. In Russian folk art of the 19th century, there are individual unique works made by masters out of touch with established traditions. Such works of great artistic value include a beehive in the form of a bear reproduced in the album and two birdhouses - “old man” and “old woman”. The sculptural image of a bear deserves special appreciation. Large size, the bear is decided very conditionally. The carver almost retained the shape of a massive log. These objects, rare in the life of the people of the 19th century, are a clear evidence of how wide and unlimited the creative possibilities of the people are, how great is their desire for beauty.

A large place in the design of facades and interiors of houses was occupied by painting. Her techniques, as well as in carving, are diverse. Of artistic interest are the decorative paintings on the facades of the huts of the Russian North. The parts of the house that were usually protected from rain and snow were covered with paintings: the lower side of the wide roof sheds, the balcony of the room and the pediment (ill. IV). The painting was very large, decorative, bright in color. A pattern in a colored checker was often used, they were very fond of writing flowers, and sometimes the surface of the pediment turned into an image of a lush garden. On both sides of the light window, decorative figures of lions fit in, and sometimes the owner and mistress of the house were depicted, as if standing on a balcony. But many of these decorative paintings were destroyed by time, and only a few fragments have come down to us. The painting of peasant interiors is better preserved. It was especially widespread in the regions of the Russian North. In the 19th century, and often also in the first decades of the 20th century, painting covered almost the entire interior of the northern hut. It was made without a preliminary drawing with free pictorial strokes of the brush, which were then emphasized with spaces (animations). The motifs of this painting are various flowers. They painted golbets (a covered enclosure next to the stove, with a door to the stairs to the lower crate), a pod with doors (where the tongs were hidden), a ladle for dishes, a vessel with several doors (which went from the stove along the side wall), a voronets (a beam for shelves ), a shelf for icons in the red corner, the front door. And in the center of a bright, cheerful, painted hut, also decorated with paintings, hung a cradle. This whole complex of wall and furniture painting was complemented by painted chests; in winter, a collar was hung at the entrance on a special ledge of the bench, the wooden parts of which were also covered with paintings; on the bench, illuminated by the light from the window, was a spinning wheel; on the shelves above the windows stood wooden utensils with a painting:

Nowadays, one can only mentally imagine this elegant interior from the surviving parts of it in the few houses of the North and household items from museum collections. The album contains fragments of samples of peasant painted furniture. Their painting is very decorative, laconic, the color palette is limited, but harmonious in color. For the painting of the entire interior, the background was made in one color, the pattern is usually floral. Some surviving fragments of such painting have the signatures of the masters and the date of execution. Usually in the villages they rarely remember the names of these masters, since they were most often aliens. Brush painting, found in all areas of the Russian North and the Upper Volga region, is similar in nature.

Of the wooden household items and tools, the best preserved spinning wheel is an object on which a person has long been making thread. The spinning wheel was a constant accessory of the life of a Russian woman - from youth to old age. A lot of heartfelt warmth has been invested in its artistic design. Very often a spinning wheel was made by a young master for his bride. And then, not only skill and talent, but also all those lofty thoughts and aspirations, dreams of beauty that youth is capable of, were invested in decorating this item, which the guy brought to his betrothed as a sign of love and respect. Sometimes a spinning wheel was made for a young wife, sometimes a famous and highly experienced craftsman decorated a spinning wheel as a dowry for the happiness of his daughter. And in each of them, most often, the master unknown to us put a particle of his soul as an artist.

The spinning wheels were kept all their lives and passed on as a memory to the next generation. That is why this item is still preserved in the peasant houses of the North of Russia, as a memory of the mother. This has made it possible today to collect the richest collection, which includes almost all varieties of spinning wheels of the Russian North and the Upper Volga region. Speaking in general about the Russian spinning wheel, it should be noted that not only for each region, but also for each district, and sometimes even for several isolated villages, there was a special, traditional, different type of spinning wheel, which usually existed only here, in place. The bright features of the various centers of production and existence of Russian spinning wheels were noticed by researchers even before the revolution. The founder of the classification of Russian spinning wheels was A. A. Bobrinsky, whose summary album is the first serious publication on Russian folk art wood products. Bobrinsky divided all Russian spinning wheels into eight types. Soviet researchers continued this work. Currently, more than 30 varieties of Russian spinning wheels are known. Many of the previously unknown art centers were discovered by the expeditions of the Zagorsk Museum. The album shows a variety of Russian spinning wheels with their striking design and shape features, carving techniques and writing techniques, coloring and compositional solutions. By design, spinning wheels can be divided into solid (or root) , made entirely of rhizome and "straight" (trunk of a tree), and detachable, consisting of a comb and a bottom. Research in recent decades makes it possible to determine the territory of existence of these two structures. A solid or root spinning wheel existed in the north of the European part of Russia up to the Volga. The classic the center of composite spinning wheels - a comb with a bottom - was the Gorky region. In the Upper Volga region there was a comb with a bottom, but next to it, repeating its prefabricated design, an elegant columnar spinning wheel appeared in ancient times. Instead of a comb for flax, it has a small blade on a high leg , which was inserted in the bottom.And throughout the Upper Volga and its tributaries this fragile columnar spinning wheel is shaking. Thus, two large massifs fall on the map: the North of Russia, where a solid root spinning wheel existed, and the Volga regions, where they spun on a comb or on a columnar spinning wheel, repeating the comb in design.

The northern spinning wheel, always made from a monolithic piece of wood, is called differently in different regions and regions of the North. So, for example, in the Vologda and Arkhangelsk regions, most often the spinning wheel is called "presnitsa" or "preslitsa". In the north of the Kostroma region - "spin", in the Kalinin region - "kopanets", in the Yaroslavl region the ancient name of the spinning wheel is "crooked hoof", but more often these spinning wheels are called "teremkovy", "terem", "terematye", "teremanya" and " teremovye". The individual parts that make up the spinning wheel are also called differently. So, for example, the lower part of the spinning wheel, on which the spinner sits, is called not only “bottom”, but also “gut”, “diaper”, “hoof”. The leg of the spinning wheel - "riser" and "column". The upper part of the root spinning wheel is called “blade” or “blade”, “shovel”, “mask”, “head”, “feather” and even sometimes “comb”, as in the Volga region they call the vertical part of the spinning wheel, which was inserted into the bottom. One of the most ancient and archaic forms of the northern root distaff should probably be considered a spinning wheel, the stem of which rises like a wide board from the very base and ends after a narrow interception with a small blade on which flax was attached (ill. V). The Yaroslavl Terem distaffs (a tower was depicted on their stem) and the neighboring Gryazovets and Bui ones have such a shape of the legs. They differ primarily in the shape of the blade. Yaroslavskaya ends with a high pointed kokoshnik, at Gryazovets the upper part of the kokoshnik seems to be cut off, and the Bui spinning wheel is crowned with three protrusions - three horns.

The wide legs of these similarly shaped spinning wheels were also decorated differently. Yaroslavl teremok distaffs were always cut from birch and decorated on the front side, facing the viewer, with the so-called contour carving, which was based on a thin, slightly indented line. This technique made it possible to perform complex compositions. The ancient origin of the spinning wheel is evidenced by the ornamental motifs decorating it: symbolic images of horses, birds, wickerwork - a symbol of water, a rosette - the personification of the sun god. Later, on the Yaroslavl spinning wheels, apparently, already in the 18th century and especially in the 19th century, images appear in which the themes of folk life occupy a large place. These are, first of all, scenes associated with the wedding ceremony: the groom's trips to the bride, the bride, walks of the young, tea parties, festive feasts, folk dances. The technique of fine contour carving seems to have been created especially for a wide, slightly bent, plastic-shaped leg, slightly bent forward. The carving is very decorative. The carver never violates the plane of the tree. To understand the discreet beauty of this carving, it must be viewed at close range.

The Gryazovets spinning wheels decorated their spinning wheels in a completely different way. masters. Very massive, cut down from a thick board, as if for centuries, Gryazovets spinning wheels have a decor that emphasizes the monumentality of their shape. The blade is usually decorated with a geometric pattern, filled with trihedral carving. This carving is considered one of the most ancient. In the distant centuries of paganism, each geometric figure and their various combinations had their own symbolic meaning. Centuries passed, concepts of beauty developed, geometric elements formed into harmonious patterns. And by the 19th century, the semantic meaning of these geometric figures had already been forgotten and only their decorative effect was appreciated. The innumerable variety of compositional solutions, the technical perfection of geometric carvings on household items made of wood still delight our contemporaries with their original beauty. Apparently, already in the 19th century, the wide risers of archaic Gryazovets spinning wheels began to decorate, in addition to the ancient trihedral pitted carving, through slotted patterns, which did not disturb the impression of its monumentality. Bui spinning wheels from the middle of the 19th century began to be decorated only with brush painting, before that they were covered only with carvings.

The classical center of large decorative triangular marsh carving in the Vologda Oblast can be considered the remote area of ​​Tarnogi, located north of the Sukhona River along the Kok-Shenga. The shape of the Tarnog spinning wheel is archaic. A huge rectangular blade, apparently, once reached the bottom, but was later broken in its lower part by a low leg. This form formed the basis for many varieties of Vologda root spade-shaped distaffs and, first of all, distaffs with a large blade, such as, for example, the distaffs of the Nyuksensky and Nikolsky districts (I.-I. VI). Probably, first of all, the size of the Tarnog spinning wheel predetermined the decorativeness of the large and rich carving on it. The huge canvas of the blade gives scope for the imagination of the master. Sometimes the carver applies only a few large elements of the pattern to the smooth surface of the blade, emphasizing the beauty of the wood texture by carving, sometimes densely, without leaving even a centimeter of smooth wood, covers the entire front side of the spinning wheel with a dense pattern. Such rare specimens include the spinning wheel made by the peasant Stepan Ogloblin reproduced in the album. The artist turned a piece of wood into a real gem. Masterfully he cuts a decorative panel of a blade from large and rich in execution elements of a geometric ornament, reveals the shape of a leg with a dense pattern. A carved embossed comb on the inside of the spinning wheel emphasizes the solidity and plastic transition of the bottom into the stem. With a sense of proportion, slightly touching with a chisel, he decorates the inside of the blade, where flax was tied. To the south of the Sukhona, in dense forests along the banks of its tributary, the Pechenga, we come across a completely different character of trihedral-notched carving. The large blade is literally strewn with the smallest, masterfully executed pattern, which shimmers with many facets of its complex compositions (ill. VII). These spinning wheels were cut from birch and never covered with painting - they took care of the beauty of the tree. The technical perfection of carving and decorative craftsmanship speak of the deep traditions of this center of folk art. There are several more varieties of Pechenga spinning wheels. Their form was apparently influenced by the neighboring centers - Sovega, Tolshma, and especially Totma. The totem spinning wheel usually has a thin and high leg, which carries a rather large square blade with large earrings at the bottom and a wide through lattice instead of towns at the top. Trihedral carving, the basis of the pattern of which was a rosette, decorated not only the blade and the front side of the leg, but also its edges. On top of the carving, totem spinning wheels were usually covered with painting. The shape of the Totma spinning wheel formed the basis for the spinning wheels of many centers located around Totma. Similar in shape, they differ in the nature of the carved decor. In some places, in the manufacture of spinning wheels, great importance is attached to the shape and completion of the blade. The spinning wheels of the Mezhdurechensky district are crowned by a number of domed towns. On the Tolshma River, spinning wheels have only three large round towns on the blades, and in the villages of Sovegi this simple completion has turned into decorative curls of a horseshoe shape. The fanciful shape of these spinning wheels is complemented by a bright painting on the carving (ill. VIII). Another group of spinning wheels, the shape of which was also based on the Totma spinning wheel, is distinguished by very simple and strict lines of the blade and the excellent technique of trihedral carving. These are the spinning wheels of Pogorelov, Biryakov and Chuchkov. The decor of the legs of Chuchkov's spinning wheels deserves special attention. The subtle rhythm of the ornament, the beauty of the natural color of the wood puts these items among the unique beauty of works of art. In addition to carving, Russian spinning wheels were often decorated with paintings. Often, especially in the second half of the 19th century, painting was applied over the carving, as if toning, highlighting it. For example, Totma's spinning wheels can no longer be imagined without color - so these two different decor techniques organically merged here. Their coloring is very restrained, muted. But in some centers, they liked to paint spinning wheels in a colorful, “vociferous” way. From Totma downstream of the Sukhona, on the picturesque banks, Nyuksenitsa is located. Her spinning wheels, in addition to ringing "necklaces" (friezes made of embedded beads), had a bright painting. They were covered with a bright background on the carving and large and small solar rosettes were painted, stars and small flowers were applied. And the painting gave the impression of a colorful chintz. On the Vychegda River and along its tributaries, flowers were applied using the technique of brush painting against a single-color background, which was used to cover the carving of the spinning wheel. All this created the impression of saturation and richness of the decor (ill. IX). Even further north, already in the Arkhangelsk region, along the entire course of the Vaga River, a tributary of the Northern Dvina, there was a spinning wheel, which, in terms of the sonority of the painting, perhaps no other species can compare with. This is a Shenkur spinning wheel (ill. X). A composition of three flowers, almost always ocher-yellow, arranged one above the other, was applied against an orange-red background. The color of Shenkur's spinning wheel in brightness can be compared with the fire of a blazing fire.

An outstanding phenomenon was the painting of wooden objects of the Northern Dvina. Previously, the concept of this painting included all its types. But in 1959, the expedition of the Zagorsk Museum found and clearly demarcated its centers. These are the Permogorie, Rakulka and Borok with the late centers Puchuga and Toima close to it in style (ill. XI). In Permogorye, in contrast to very many areas where only spinning wheels were mostly painted, ladles, bowls, dishes, cradles, sledges, napkins, bread bins, beetroots, jugs were decorated with painting. But even here the main attention was given to the decoration of the spinning wheel. The basis of the white-background paintings of the Permogorye spinning wheels is a clear black contour of the image applied on a flat background. This drawing was then painted over inside, or rather, filled with color. This technique is called graphic. In addition to the vegetative pattern that covers the surface of the object with a thick carpet, scenes of folk life J4 are of particular interest in the Permogorsk paintings. This is the scene! village gatherings, stagnations, horseback riding, peasant labor. In the traditional schemes for painting Permogorsk spinning wheels, individual plots were given as a sequential story, consisting of separate scenes. The most common among them was the scheme, where on the front side of the spinning wheel a scene of girl gatherings in an elegant chamber with patterned windows was depicted. Often among the young spinners sits a boy with a talyanka. Below is a wedding train scene. And on the inside of the spinning wheel they wrote a feast scene that glorified the hospitable young hosts. All these compositions are surrounded by small floral ornaments, and they themselves, without violating the bright patterns, are perceived as its elements.

Products with Permogorsk painting have been preserved only in the 19th century. But its traditions are undoubtedly older. The origins of this painting, apparently, should be sought in ancient Russian art. Comparing miniature manuscripts of the 17th century with scenes of harvest, sowing, plowing, haymaking and grazing with genre paintings in Permogorye, one can directly speak not only about the closeness of the plots, but also about the closeness of their interpretation. This is probably due to the close communication between the masters who made paintings on household items and the artists who worked on the creation of handwritten books. One of the clearest pieces of evidence is the Permogorsk spinning wheel from the Museum of Ethnography (No. 693-3), where a hand-written workshop is depicted in place of the gathering scene. The author himself probably worked in such a workshop. Masters of Permogorye in their murals mastered many techniques of writing ancient miniatures: the interpretation of images of people, the basic principles of building a composition - narrative and a combination of episodes of different times on one sheet, a coloristic solution. The technique and dyes of the Permogorsk paintings have much in common with the old Russian miniatures. First, the spinning wheel tree was primed with chalk and glue and covered with white paint. On a dried white background, as on paper, a black drawing was made, and then the contour was filled with color. Only in the last decades of the existence of the craft, the artists of Permogorye began to use glue paints, which replaced egg paints, which have been used in icon painting and book miniatures since ancient times. No less interesting analogies could be drawn between the paintings of the Boretsky spinning wheels and the iconography of the “northern letters”. Bork has long had its own scheme of construction and its own character of painting a spinning wheel. The front part of the spinning wheel is divided into three equal, one above the other, parts, which were called staves. At the end of the 19th century, they were painted like this: at the bottom there is a scene of riding in an elegant cart, above - a lush flower and fabulous birds, and at the top there are golden windows. On the back of the spinning wheel they liked to write a running horse, shepherds with a herd, hunting scenes. The background is usually bright white, and sometimes gold, there is a lot of red in the ornament. In the paintings of Boretsky spinning wheels, the clothes of the characters, women's headdresses and the compositional solution of the riding scenes, where the rider resembles George from the icon, attract attention. In the folk painting of Boretsky spinning wheels there are a lot of moments that bring it closer to the icons of the "northern letters".

In contrast to the white background, very small and fractional paintings of Permogory and Bork, the spinning wheels of the third Severodvinsk center, located on the Rakulka River (a tributary of the Northern Dvina), have a yellow-ocher background and large painting. There are no genre scenes. The upper part of the spinning wheel is always occupied by a curved branch with large spear-shaped leaves surrounded by tendrils of black outline. And below it, a bird is inscribed in a square. It is filled with one black outline. Its expressive silhouette, decorative solution, artistry of a cursory drawing - everything speaks of the traditional nature of this motif. The coloring of the painting is distinguished by great nobility. At the beginning of the 20th century, it lost this color harmony;

Mezen spinning wheels and boxes were widely known in the 19th and 20th centuries. They painted them in the village of Palashchelye (ill. XII). This craft seems to have very ancient traditions. This is evidenced by the theme of painting Mezen spinning wheels. Among the various geometric patterns, the central place in the composition is occupied by friezes with images of deer and horses. The mural drawing strikes with rhythm. Its coloring is also unusual, it seems to radiate the golden radiance of the tree. Against this background, the brownish-red painting with a black outline sounds noble and intense, the manner of applying which is typical only for Mezen. The craft for painting spinning wheels in the village of Palaschelye in the 19th century was very large. Its products reached Pechora and Onega. The elders of the village still remember the leading artists of the craft. In 1961, the expedition of the Zagorsk Museum collected a lot of valuable information about the masters of the Mezen painting, who worked in the village of Palaschelye in the late 19th and early 20th centuries. Their list consists of 24 names. One of the most famous craftsmen was Mikhail Novikov. Among the large spade-shaped spinning wheels of the Russian North, graceful vesdo-shaped spinning wheels with thin legs, like leaves on stalks, that exist on the coasts of the White Sea and in Karelia (ill. XIII), stand out for their unusual shape. Their form is connected with the origins of the local ancient Finno-Ugric culture. The beauty of the pattern and the subtlety of the carving distinguish the spinning wheels of the Onega Peninsula, which in the initial classification of Russian spinning wheels were called Pomeranian.

In the west of the Arkhangelsk region, along the Onega River, there are spinning wheels of the usual spatulate shape, decorated with carvings and paintings. The shape of spade-shaped spinning wheels is especially peculiar in the upper reaches of the Onega, near the ancient city of Kargopol and to the west of it at Kenozero and in Lyadiny (ill. XIV). Their leg is even lower than that of the Tarnoga spinning wheels, and the canvas of the wide board of the blade sank to the base. In this regard, a rare specimen taken from Lyadin (a group of villages near Kargopol) is of great value. The foot of this spinning wheel is very small, and the long blade of the blade is very discreetly decorated with a geometric pattern. Here the craftsman uses the carving with great care, and it, excellently contrasting and emphasizing the untouched surface of the wood, reveals its natural beauty and emphasizes the unusual shape of the object. The distaffs of Kenozero, close in shape to them, were decorated not only with geometric carvings, but on top of the carvings they were densely covered with brush painting. The small painted floral pattern harmonizes well with the carved pattern. These spinning wheels look very elegant.

In the upper reaches of the Onega, near Kargopol and along the shores of Lake Lacha, a spinning wheel with a large canvas blades on a low small leg was most often decorated only with brush painting, large, decorative, with bold strokes of white animation. Its blade with a vertical composition of flowers resembles a picturesque panel. Recent studies show that this shape of the spinning wheel is not at all an accidental phenomenon. And to the south, in the Novgorod region, and in the Kalinin region bordering it, and even in Pskov, this original form of the spinning wheel is found, the continuous canvas of which descends almost to the base, and only its decor varies in each region or district (ill. XV). The greatest number of variants of this form existed in the southern part of the Kalinin region. Her spinning wheels, very monumental in shape, were decorated only with carvings, where huge solar rosettes were given such a significant place that it is hard to believe that people did not remember their original meaning - the symbol of the sun. Entire spinning wheels are replaced in the regions of the Upper Volga region by elegant fragile columnar spinning wheels. The forms of these spinning wheels in different regions are very diverse. So, for example, in the northern part of the Kalinin region, there were several types of columnar spinning wheels. Here one can clearly see not only the evolution from the most archaic form of a spinning wheel with a solid board instead of a riser to a spade-shaped spinning wheel, but also a gradual decrease in the blade. The most common type in these areas was the spinning wheel, which in the original classification of Russian spinning wheels was called "Tver" - with a round, turned-made leg and a small blade, usually decorated with bright brush painting. It is interesting that in some areas even root spinning wheels have the shape of a riser in the form of a turret with openings. Often in the regions of the Kalinin Volga region, the legs of the spinning wheels were made in the form of flat columns and, together with the blade, were covered with small bright colored painting (ill. XVI).

Varieties of the columnar spinning wheel are also characteristic of the eastern part of the Novgorod region, where the tributaries of the Volga begin, from which the ancient portages went to the rivers flowing into Lake Ilmen. Therefore, it is no coincidence that during the excavations of ancient Novgorod, in addition to spinning wheels with small blades, combs and bottoms were found, the shape of which is typical for areas associated with the Volga. A leg in the form of a high flat column and a small blade are also characteristic of spinning wheels in the Sheksna regions, located north of the Rybinsk reservoir. These are “gilded” spinning wheels, the painting of which resembles the headpieces of handwritten books; spinning wheels with chintz painting from the village of Gayutina and, finally, Sogozhanka spinning wheels, occupying almost the entire Poshekhonsky district of the Yaroslavl region along the Sogozha River (ill. XVII). Sogozhanka decor is a rare phenomenon in Russian folk art. A very fine pattern was applied to a smooth surface with a sharp chisel, and then black paint was rubbed into the deep stroke. In the graphic ornament of spinning wheels, as well as in the carving of many other centers, very old motifs have been preserved: rhombuses, rosettes, ducks with lumps of earth in their beaks. Among the varieties of the Volga columnar spinning wheels, perhaps one of the most common was a spinning wheel with a turned column (ill. XVIII). Some researchers consider it a late phenomenon that appeared only at the end of the 19th century. Monuments of ancient icon painting testify to the antiquity of this form. In the collection of the Yaroslavl Museum there are icons depicting a spinner spinning on a columnar spinning wheel with round balusters. They date from the 16th century. In the Zagorsk Museum, you can see the image of a columnar spinning wheel on a monument with an even earlier date - the royal gates of Andrei Rublev's school. Separate elements of patterns of columnar spinning wheels, which exist in the Seredsky and Nekrasovsky districts of the Yaroslavl region, speak of even deeper traditions of these centers. One of the early Yaroslavl columnar spinning wheels has a stem, the carved decoration of which includes horse heads, and the decor of the blade includes birds. The silhouette of the spinning wheel resembles a slender multi-tiered architectural structure. One of the artistically perfect varieties of the Volga "column" is a columnar multi-tiered spinning wheel with windows. The number of "floors" of these miniature tent structures sometimes reached 46 and consisted of up to 500 windows. And not only the beauty of the graceful slender silhouette is admired by the Yaroslavl columnar spinning wheels. They are surprising in the perfection and virtuosity of the carving technique. Each tiny window has an elegant sandrik, and the walls between the windows are decorated with voluminous twisted columns.

The bottoms of the spinning wheels are decorated with trihedral carving, the rounded shape gives grounds to consider them of the Volga origin, or rather Yaroslavl. Where they spun on combs, it was customary to hang the bottom on the wall after work as a decoration. That is why it continued to be decorated with special attention in the 19th century. As an ornament, as a kind of “picture”, the Donets was also perceived in the Gorky region. The famous Gorodets donets have long been decorated with nail-like carvings and inlaid with bog oak (ill. XIX). Folk craftsmen introduced motifs from modern life, and in the middle of the 19th century, the Gorodets Donets began to be decorated only with decorative painting.

No other items of peasant life, except for spinning wheels, make it possible to trace local art schools and manufacturing centers with such completeness. As mentioned above, not all items of peasant life were kept with such attention as spinning wheels. Not everywhere and not all wooden things were covered with a pattern. Therefore, even the largest collections of wood products give the impression of being incomplete. All this does not reduce interest in a variety of household items and makes them even more valuable. They are like rarely surviving milestones by which we can now judge the nature of the artistic processing of wood in peasant art. Many of the items were related to the processing of linen: from cleaning the fiber for yarn, from weaving and, finally, from sewing clothes from linen fabric. Ornamentation and sculptural images on these objects, with the loss of the semantic significance of the symbols, reached the limit of decorativeness in the 19th century. Almost in all districts of the Vologda Oblast, great attention was paid to the design of flax ruffles. This is a very elegant, thin and fragile object, resembling a feather in its shape, which was due to the requirements for the use of ruffles. With measured light blows, flax was cleaned and turned into a silky thin fiber. The end of the loop-shaped ruffled handle was very often shaped like a skate, and its thin plane, gradually expanding towards the end, was covered with a very shallow trihedral-notched carving, in the pattern of which the rosette almost always occupied the main place. She, like a small star, adorned its narrow part, and then, like a blossoming sunny flower, spread out on the wide end of the ruffle. Sometimes, in addition to the trihedral-notched carving, emphasizing the elegance of the form and the fragility of the object, the carver used through carving, then these were openwork stripes of a rhythmic, very simple pattern, then rosettes, to which the through carving gave the lightness of snowflakes. In one case, the ruffle was generously decorated with carvings, in the other, the craftsman very sparingly carved on the smooth plane of the tree, emphasizing its natural beauty, just one small element of the pattern. Trepalas, decorated with trihedral carvings, are also found in the Arkhangelsk region. But it is not possible to trace the characteristic local features of the decor on them, since these are rare, almost single items. The forms of rattles are varied and the existence of each of them has clear territorial boundaries. After processing the fiber in autumn and in the winter months, closer to spring, the spinners began to weave canvases. A weaving mill was installed in each hut. Judging by the excavations of ancient Novgorod, the design and appearance of the weaving mill have not changed at all since the 13th century. Fine, very fine carving covered shiny polished shuttles, blocks were sometimes given the shape of a goose's head, very often a sculpture of a stylized skate, resting its chest against a gear, served as a pusher. But the stuffing was decorated most elegantly - a large detail that the weaver almost never let go of, nailing every thread passed by the shuttle. The stuffing was sometimes decorated with one or more rosettes, made with trihedral carving, sometimes with a geometric pattern densely covering its entire front part, and sometimes its ends were shaped like horse heads, sometimes the upper part of the stuffing, where the weaver's hands lay, was cut in the form of figures of two horses. Their interpretation and, finally, the traditional nature of the composition speak of the centuries-old traditions of artistic design of this part of the weaving mill. The findings of archaeologists confirm that the image of a horse was a specific female adornment, since ridge pendants (decorations of the 7th-13th centuries made of metal with paired horse heads) were found only in female burials. And on the weaving mill, horse heads were once cut as “amulets”, protective signs of a weaver woman. In addition to the loom, the spinning wheel with a wheel, where the thread was twisted mechanically, became almost universal in the 19th century, in contrast to the usual root spinning wheel or comb with a bottom, on which the spindle was spun. That's why she was called "self-spinning". But it did not supplant the ancient method of spinning until the 20th century. They made a "self-spinning" from parts turned on a lathe, and nowhere was decorated with a carved pattern. A rare exception is the Seredsky district of the Yaroslavl region, where the blade for flax and the pendulum for turning the wheel were skillfully covered with trihedral marinated carvings. These traditions were apparently brought here from the Baltic states, where it was customary to decorate the blade of a spinner with carvings and make it curly.

Canvas clothes were sewn by hand. For convenience and speed, a sewing machine was used in the work - an object somewhat reminiscent in shape of columnar Volga spinning wheels. A seamstress sat on the bottom, and a fabric was pinned to a low column, which made it possible to stretch it while sewing. Therefore, a sewing machine, like a spinning wheel, once existed in every peasant family. Almost everywhere they tried to decorate and make them smart. But still, much less attention was usually paid to the decor of a sewing machine than to the design of a spinning wheel. Separate unique specimens, such as, for example, a seamstress reproduced in the album, amaze with the richness of their carved decoration. The shape of the seamstress resembles a fabulous bell tower placed on a cube (where a box for threads was usually arranged). A variety of columns of each tier, decorated with carvings at the bottom, make the thing an object of art. Its shape, carving techniques, polished wood finish, the nature of the ornament and the refinement of each carved detail make it possible to almost unmistakably attribute this work to the work of the craftsmen of the Yaroslavl columnar spinning wheels of the Seredsky and Nekrasovsky regions. In the Arkhangelsk and Vologda regions, the seamstress was more miniature and was usually made folding, on a swivel. Here they liked to give the seamstress the shape of a goose neck.

When getting acquainted with the objects of peasant life of the 19th century, one is struck by an unusually wide range of elegantly decorated items that were made of wood. Almost all the processes of women's labor were accompanied by objects of art. So, for example, in some areas, rolls were extremely elegantly decorated, with which they went to the river to wash clothes. Archaeological finds in ancient Novgorod show that the main form of the roll of the 10th century was completely preserved until the 19th century, only its details were improved over the centuries. The roll bending line was clearly defined, dictated by the movement during the impact. The sculptural quality of the object and its volume were beautifully emphasized by folk craftsmen with carvings. It was applied to the non-working part of the roll - to the tip of the 20th handle and to the upper, slightly concave surface. Trihedral carving is especially traditional for the decoration of rolls. Sometimes it consists of one, two or three separate rosettes, and sometimes a carved composition densely fills the entire surface, as on a roll from the village of Savino, Gorodetsky district, Gorky region. A small, very elegant, shallow pattern does not violate the plane of the object. From the handle, where the fan of a small rosette begins, the pattern seems to unfold and lie freely on the wide end of the roll. Aspen wood, silvery in color, emphasizes the elegance of fine carving and beautiful, harmonious shape with its nobility of color. And finally, it is interesting to pay attention to one more item that, as it were, completes the entire laborious and long cycle of work related to the creation and care of peasant clothes - this is a ruble for rolling and ironing the canvas. In shape, it somewhat resembles a roll, but is almost twice as long and its lower plane has a ribbed surface. We can talk about some centers, which are characterized either by a certain form of rubel, or a kind of decor. So, for example, in the Vladimir region, rubels decorated with a geometric pattern are distinguished by their extraordinary length. In the Gorky region, a narrow and straight canvas of a board without widening towards the end was very often decorated with relief carving. The rubels of the Rybinsk district of the Yaroslavl region are very small in size, very narrow at the handle, noticeably expanding towards the end. On the Mezen River, the rubels were cut very wide, slightly expanding towards the end, they were covered with large and rich carvings. In the Yaroslavl region, on the Volga, in addition to geometric carving, the rubel was sometimes decorated with a three-dimensional sculpture of a horse, which, towering above the carved surface, served at the same time as a very convenient second handle. All of the above rubels have the same carving technique, the same elements of the pattern and almost the same shape of the plane intended for the carved ornament. But each of them is striking in its originality. artistic techniques, novelty and originality of ornamental compositions.

In peasant life until the end of the 19th century, even the production of patterned fabric for clothes depended on the carver, who had to first make a “manner” - a board with which a colorful pattern was stuffed onto the canvas. In the 19th century, the printed board was small and all the small details for drawing on the canvas were made of metal. The manners of the 17th and early 18th centuries were only of wood. Their multi-layer boards, sometimes up to 50 cm square, were made from the hardest woods and were carved on both sides, in contrast to the printed boards of the 19th century. Manners of the 17th century are a rarity in collections of artistic woodwork. These are real masterpieces of ornamental carving art. Many of them are distinguished by the extraordinary simplicity of design, which is typical for stuffing of the 17th century. Others amaze with the regal splendor of the pattern, whimsically spread over the wide plane of the board. An example of such a pattern is the manner of the late 17th century reproduced in the album, brought from the Kalinin region. Decorative large tulips, surrounded by small ornaments, densely fill the entire space, and the recessed background emphasizes the smoothness of untouched wood with narrow and fractional gaps. The richest fantasy, an excellent sense of rhythm distinguish the author of this work of art, rare in beauty.

A lot of invention, craftsmanship, artistic taste and spiritual warmth were invested by Russian carvers in the carving of gingerbread boards (ill. XX). Since ancient times, printed gingerbread in Russia was baked for festive feasts, for meeting guests, for fun folk games, as well as for children. Huge and very small, with lush patterns and rhythmic inscriptions, they surprise with a variety of shapes and decor. Flowers, leaves, fish, birds, skates and cockerels - all these real images taken from life, the folk carver retold in the language of ornament in wood, decorated them with patterns, transferred them to the world of fantasy and fairy tales.

Birch bark occupied a very large place in the life of a peasant, especially in the regions of the Russian North. From it weaved feet (lightweight bast shoes), baskets, pesteri - shoulder bodies for mushrooms and berries, variously shaped road soloniks, in which they took salt for mowing and into the forest, shovelers for whetstones, boxes for unpretentious women's jewelry, beetroots of various sizes and even children's toys. The surface of birch bark, already very beautiful in color and texture, was decorated with carving, embossing and painting. Excellent knowledge of the properties of the material, very traditional forms that have been improved over the centuries, allowed these simple and unobtrusive at first glance things to turn into real works of art.

Among household items, things curved from a bast were very widespread in ancient times - boxes, baskets, bread bins, urinals, napkins. The smooth, shiny surface of the thin walls of bast products seems to have been specially prepared by nature for painting. Particular attention was paid to the decor of the breadbaskets. The thrifty attitude to bread in the Russian countryside, respect for every slice obtained by hard work, was the reason for a kind of ritual every time the family sat down at the table. Bread was brought in a special bread box - a round or slightly oblong box made of bast. On Mezen, like spinning wheels, bread bins were decorated with traditional painting. The pattern was made up of the simplest elements: dashes, circles, crosses and stripes. First, a black outline was applied, and the middle was filled with red lead. A simple pattern of slightly inclined alternating black and brownish-red stripes gives great decorative effect to Mezen boxes. The painting was covered with linseed oil, the golden tone of which gave the whole color of the bread box a composure and nobility. The extraordinary simplicity of writing techniques, the childish naivete of the patterns, and the extremely limited palette make this object, characteristic only for Mezen, uniquely charming. On the Northern Dvina, in Permogorye, the old center of white-background painting, bread bins were decorated cheerfully. A small floral pattern runs like a wavy branch along the oval of the lid and along the walls of the box.

Warm red, which is the leading color in the painting, blends softly with the white background. The plot compositions are very interesting, which fit perfectly into the floral pattern and do not disturb its color rhythm. The general meaning of all these genre scenes is the wish of happiness and well-being to the owner of the breadbasket. Bread bins were usually painted as a dowry for the bride-daughter. Permogorsk craftsmen placed genre images on many household items, the meaning of which was associated with the purpose of the thing. So, for example, it was customary to depict various scenes from a person’s life from the moment of his birth on a cradle as a wish to grow up strong, kind, hardworking and successful. On festive patterned plates, the hostess was often depicted with a glass in her hand as a sign of hospitality and hospitality. On a bast-shaped nabiruh for berries, next to the image of a sirin bird, which was painted “for good luck”, colorful village roosters were often depicted. They are surrounded by flexible shoots of fabulous plants, as if descended here from ancient miniatures, and then cranberries naively and ingenuously blush.

Few of the household items, except for spinning wheels, have been preserved in another center of Severodvinsk painting - Rakulka. They allow you to highly appreciate this folk craft. Bast nabiruha, reproduced in the album, which was made in the middle of the 19th century by the leading master of rakul painting Dmitry Vityazev, is a work of folk art of extraordinary beauty. The painting, which is based on a black contour with strong pressure and fine strokes, is executed on an ocher background with cinnabar and emerald green with white accents. With the nobility of color, the sparkle of colors, the painting resembles precious enamels. These are some kind of fabulous flowers, spreading black placers of antennae and shoots, and birds, decided very decoratively. Plastically, easily the pattern runs along the curved shape of the nabiruha, sparkling, like gems, with deep rich colors. In the peasant life of the 19th century, great attention was paid to the decoration of the table, the decoration of festive dishes. Salt shaker has always occupied the central place on it. In many areas they were woven from birch bark or from roots, but more often they were cut from wood. In the decor of the salt cellar, the main attention was usually given to its shape, its sculptural appearance (ill. XXI). In the regions connected with the Volga - Gorky, Kostroma and Yaroslavl - there was a form of salt shaker in the form of an armchair. Its back served as a comfortable handle, and the seat served as a lid. In the Gorky region, a salt shaker-chair was tied with a flexible rod. The harness was made in the form of a spiral, and everything else was covered with Gorodets painting, in which the main motive was a magnificent rose. Bright in colors, bold in color contrasts, confident and masterful in technique, the painting was very decorative. The wide scope of the production of Gorodets salt shakers is evidenced by their existence in remote areas, where Nizhny Novgorod people went to sell their goods. Salt shakers with Gorodetsky roses are still found in the Kostroma and Yaroslavl regions, despite the fact that they had their own production of salt shakers and were decorated with excellent trihedral marinated carvings. Geometric fine pattern densely covered all the walls of the Kostroma and Yaroslavl salt pits. The back of the chair was especially elegantly cut, where often a through carving was introduced next to the three-sided serrated one. Every detail of complex and varied compositions is masterfully executed. All this makes an ordinary item of peasant life a small "wooden jewel".

To the north of the Volga, salt-cellar in the form of a duck was widespread. Salt-ducks are real sculptures made of wood, each with its own peculiarities of form, individual methods of sculpting volume, each with its own character. Salted ducks are still found in the Russian North. Once the duck was perceived by people as the patroness of the house, family. On the tablecloth of the wedding table, the salt shaker-duck was placed first. The festive peasant table was filled with a variety of wooden utensils, among which the main place was given to ladles for honey and beer. How much imagination, skill and talent the craftsmen have invested in the creation of these beautiful wooden vessels-sculptures. Their forms have come down to us from ancient times. Ladles of various shapes found during excavations of ancient Novgorod, hollowed out from the root of a tree, can serve as evidence. Some of them had handles ending with dragon heads. Buckets with two handles - skopkari - were also found. Similar buckets still exist in the Russian North. The album reproduces a skopkar from the Northern Dvina, decorated with Permogorsk painting. This vessel was intended for carrying intoxicating drinks to the table. They cut it in the form of a huge bird, the body of which was a wide squat bowl, and the head and tail of the duck served as comfortable handles. Its proud form is emphasized by the painting, which spreads out in flexible shoots over the rounded volume of the vessel. Of the large external vessels, the valley had a wide distribution in the regions of the Russian North. This is a huge vessel, reminiscent of the shape of a brother on a pallet, but it has a small spout for pouring a drink. Bright, but very simple in pattern, the painting goes around the vessel in a wide strip, emphasizing its volume. Inside the bottom of the valley is also decorated with paintings. A round bratina and a valley close to it in shape with a spout of various sizes existed in many areas (ill. XXII). Small endovkas with a drain were very elegantly painted by the masters of Permo-mountain. The round brother can often still be found in the upper reaches of the Volga. In general, vessels of medium size, in which beer or kvass was served to the guest, were widespread everywhere. Their shape is not only beautiful, but above all very convenient to use. In the Kostroma region, these buckets were cut deep. Handles were the main decoration of such ladles. The shape of the well-known Tver ladles "groomsmen" seems to be literally molded into the palms of the hands, they lie so comfortably in them. Slightly flattened on the sides, a wooden bowl with the weight of two handles lies in the recesses between the thumb and forefinger on the edge of the palms. But not only convenient, but also very beautiful bucket-groom. In the shape of its bowl, four planes, as if cut down with an ax, are clearly visible, which are only then slightly rounded at the corners. This clarity of form gives his image some special significance. The impression of monumental form is enhanced by the contrast between the size of the bowl and the small heads of the horses, whose powerful and wide chest is adorned with a solar rosette. From large external vessels, honey and beer were poured into smaller vessels in small wooden ladles, the shape of which in some areas is surprisingly beautiful and original. The names that they have retained to this day speak eloquently of their purpose. These are liquor ladles from the Vologda Oblast with a round, very plastic bowl that smoothly turns into a magnificent decorative carved handle, and ladles-scoops from the Volga with a clear and strict silhouette. Unlike the Vologda ladle-liquor, the scoop has a bottom clearly cut for stability and a high handle that rises from the body almost at a right angle. The decor of both ladles - a scoop and a liqueur - retained very ancient elements in the carving: a rosette, an image of a duck, a horse. Both types of buckets have a hook on the handle, by which they were hung either on the edge of a large bucket or tub.

Giant buckets were not uncommon, which would be incorrectly called remote. They, apparently, were first installed on the table, and then filled. Otherwise, during the transfer, its thin walls, hollowed out from the root, would not have sustained the weight of the contents. A bucket for a festive table from the museum's collection has a capacity of about one and a half buckets. This is a huge round bowl with widely spread edges, with one handle in the form of a loop, which, apparently, could only turn the ladle on the table, but not lift it. The body of the ladle was once covered with bright cinnabar, and along the edge, like a golden ornament, there is an inscription in ligature: “This ladle of the Cheboksary district of the village of Minin, Mikhail Leksandrov Maslov, was given for the daughter of Anna Mikhailovna.” Such a handsome giant ladle, of course, was the decoration of the festive table. He was the legitimate pride of the hospitable host, he was an expensive and rare gift. Made by a folk artist for the joy of people, to this day he delights with his noble beauty, simple and clear form.

Great was the craving of the Russian people for the beautiful. It is no coincidence that from birth to old age he was accompanied by art all his life. For the newborn, rejoicing at the firstborn, they painted or decorated the cradle with carvings, then the father cut out a toy for the boy - a skate, for a girl a doll - a "punk". Thus began a life filled with work and lavishly decorated with art. Many items made from the simplest and cheapest materials were decorated by folk artists with bright paintings and virtuoso carvings. They have always been highly valued by the people. They brought joy and beauty to life. For a long time people will admire the objects of folk art and draw from its inexhaustible source of spiritual wealth created by the genius of the people.

Pediment of a peasant's hut with a light window 1882

Gorky region, Kstovsky district, the village of Malye Vishenki. Master Mikhail Malyshev

The entire decor of the hut came in 1941 from the MNHR

The carved decor of the house was made by the outstanding master of the Volga region Mikhail Malyshev. More than 140 linear meters of boards for decorating this house were covered with a carved pattern. Under the light window, the initials of the author of the carving are carved: “M M M”. A light window on both sides borders a curved stem with a bunch of grapes at the top and a spiral curl at the bottom. On the boards of the pediment running parallel to the wings of the roof, chamomile flowers and buds are inscribed in large decorative curls of leaves. Above the light window, the pattern ends with huge clusters of grapes. On the frontal board, the same brushes complete the smooth and at the same time rhythmic movement of the floral pattern on both sides. The carving of the pediment is distinguished not only by its plasticity, beauty of the composition, rhythm, but also by the careful modeling of every detail. The value of the work increases because it is signed.

Frontal boards of peasant huts 1882, 1867.

The frontal board was one of the main decorations of the Volga house. It was attached above the windows to the upper logs of the log house. A pediment rose above the frontal board. The main place in the composition of the frontal boards was given to a floral pattern, which included the dates of the creation of the carving, images of fantastic animals and birds, flowerpots (often resembling a samovar in shape), and sometimes the surname or initials of the author of the carving. The floral ornament of that time was very characteristic of a wide, juicy, plastic-shaped curl, which, repeating in a calm unhurried rhythm, filled the entire frontal board. Either large chamomile flowers, or fruits, or bunches of grapes fit into the curls. The frontal boards, made in these years, look very decorative, their pattern is perfectly readable at a great distance. This ornament, as M.P. Zvantsev notes, was widespread in all regions of the Nizhny Novgorod province, but it received its classical solution in the right-bank villages of the Volga.

Second half of the 19th century

Gorky Region

Blind carving. 173 x 113.
A wide ornamental strip of several architraves with shutters was part of the decoration of the hut in the Volga region. Based on regional differences in the design of window frames in the Volga region, which was established by MP Zvantsev, this window frame with elongated proportions should be attributed to the northwestern regions of the middle Volga region. Moreover, the unraveling of the cornice-top hanging over the board of the headpiece, and the presence of capitals that terminate the side beams supporting the unraveled side parts of the cornice, make it possible to date it no earlier than the 1860s. The ochelia board is densely filled with carvings. A double-headed eagle, a crown, birds - all this, intertwined with curls, makes up a rich pattern. On the lower board of the casing there is an image of a bird - its plumage, wings, tail are also ornamented and are perceived as a single whole with a pattern around it.

Mid 19th century

Gorky Region

Blind carving. 136 x 129
The platband of the light window repeats the shape of the portico, which was influenced by the urban or manor architecture of classicism. Eight twisted columns are equipped with Corinthian capitals, the pediment is bordered with croutons. The "entablature" and "podium" of this classic portico are decorated with images of fantastic animals, which were once considered amulets by the people. The banks and lions with curls around their heads fervently look at the viewer, with a dashingly thrown tail, the brush of which the master turned into a leaf. The ancient meaning of pagan idols had already been forgotten by this time.

Mid 19th century

Gorky Region

Blind carving. 180 x 125.
All the main elements of a classical portico are clearly visible in the architraves of the luminaire. The light room window occupied the central part of the pediment. The lower board is decorated with a three-part composition with two lions and a coastline in the center. Four twisted columns support an unraveled entablature with a round arch. Its western part and two side protrusions are decorated with images of birds. Based on the classification proposed by M.P. Zvantsev, this casing comes from the northern or northwestern regions of the Volga region and dates back to the 1880s, when fairy-tale creatures began to occupy the main place in the decor.

Fragment

The image of a bird is in the arch, in the center of the pediment of the light architraves. The bird is bordered by fantastically curved leaves. The movement of the leaves is echoed by the graceful inclination of the head with a tuft, the shape of the wings and the ornament with which the carver adorned the plumage of the bird.

Second half 19

Blind carving. Painting. 70 x 45.
Received in 1955 from the State Historical Museum
Lions were often depicted on the edges of the frontal board with a floral pattern, closing the composition. Here, a figure that is rare in its dynamics is reproduced. The head with open mouth and protruding tongue is sharply turned towards the tail, which is twisted into an elastic loop. The movement is emphasized by the strands of the mane. On the fragment, the painting was preserved, which was applied on the carving, which was a very rare occurrence in the design of houses in the Middle Volga region. The artist used red, yellow and green colors here.

Second half of the 19th century

Gorky Region

Blind carving. 215x40.
Received in 1942 from the Abramtsevo Museum
The gate and gate of the covered courtyard adjoining the side of the house faced the street, and therefore great importance was attached to their decoration. This board served to decorate the gate verandah. With great skill, the carver builds a vertical composition. Its top and bottom are decorated with rosettes of an unusually complex pattern. In the center of the board is a flowerpot from which grape stalks rise. The ornateness of the ornament, the complex interweaving of branches, leaves and fruits of grapes, the fine workmanship of details give the pattern splendor.

Early 20th century

Skate. A toy. Early 20th century. Arkhangelsk region, Leshukonsky

Thread. 16 x 6 x 19.5.

With very sparing means, the carver creates the image of a strong, powerful horse, despite the small size of the toy. A small head, a steep neck, a broad chest and wide-spaced straight legs emphasize the impression of monumentality of the sculpture. The harness is carved.

Skate. A toy. Early 20th century. Arkhangelsk region, Leshukonsky
District, Palaschelye village on the Mezen River
Carving, coloring. 22x5.5x23.5.
Brought by the expedition of the Zagorsk Museum (1961, O. V. Kruglova)
The horse is carved together with the rider from one piece of wood. Apparently, he stood on a stand with wheels. The harness is made of caps driven into wood. The solution of the image has much in common with the stylized skates in the painting of the Mezen spinning wheels.

Skate. A toy. Early 20th century. Vladimir region, city of Gorokhovets
Carving, painting. 24 x 19x6.5.
Collection of the Toy Museum
The painted horse is cut with an axe. The form is solved in a generalized way. Instead of legs, there are wheels without a stand, on which the torso of the skate, painted black, is fixed. On the ridge, the eyes, nostrils, harness, painted with red and yellow colors, are perceived as a bright pattern.

Skate. A toy. Early 20th century. Gorky region, Lyskovo village
Clumsy work, painting. 14 x 11 x 3.
The ridge was cut with an ax from a flat chock. Such a toy in the Gorky region is called an ax. The back of the toy has a sharp ledge, like a fabulous humpbacked horse. This gives it dynamism. Painted with rounded black lines and white polka dots.

squishy duck
Mid 19th century

Arkhangelsk region, Krasnoborsky district, Parfenovskaya village on the Northern Dvina river. Chopped with an axe. 73 x 39 x 51.

Brought by the expedition of the Zagorsk Museum (1959, O. V. Kruglova)

This ducky duck adorned the house, the facade of which overlooked the banks of the Northern Dvina and was visible from the river. A very clear and expressive silhouette of the sculpture was the perfect completion of the building. When processing the rhizome, the master made excellent use of the natural shape of the stump: he intended one of the processes of the root for the neck of the duck, and, completing it with a head with a long beak, also very generalized, he achieved the ultimate specificity of the silhouette. A similar form of okhlupni is extremely rare in the North.

Fluffy Horse
Mid 19th century

Arkhangelsk region, Verkhnetoemsky district, Navolotskaya village on the Nizhnyaya Toyma river

Chopped with an axe. 73 x 92 x 50.

Brought by the expedition of the Zagorsk Museum (1969, O. V. Kruglova)

The sculptural image of a horse completes a massive log from a larch trunk, which was pressed down on the roof board. It was carved from a huge tree rhizome. The northern, large house usually had two okhlupnyas. Their ends hung over the front and rear facades of the house. Up to the present day, the tradition has been preserved to give okhlupny the appearance of a horse, duck or deer. In ancient times, this sculpture had the meaning of protecting the house. This okhlupen was taken from a huge old northern house, cut down in the middle of the 19th century. The high height of the house justified the very generalized forms of the ridge. It appears to have been cut down with a few very precise swings of the axe. The ohlupen horse struck with the expressiveness of a proud silhouette

1870

Moscow region, Yegoryevsky district, Timirevo village. Master Savinov Vasily Timofeevich Carving, painting. 112 x 47 x 77. Inv. No. 381 d; 99 x 47 x 52. Received from the State Tretyakov Gallery in 1939

One birdhouse is made in the form of a sculpture depicting an old man. The mouth served as a tap for starlings. This is a unique work of art, not typical for the life of the peasants of the 19th century. As the employees of the State Historical Museum managed to find out, their author, the peasant Vasily Timofeevich Savinov, made a lot of similar wooden sculptures and a lot of household items with relief and three-dimensional images of a person in his life. Many of them are stored in the funds of the State Historical Museum and arrived there in 1895. The second birdhouse is made in the form of an old woman with a bucket and a stick in her hands, probably conceived as a pair to the first one. The notch for starlings is arranged under the chin. And in both birdhouses, the nests of their former residents are still preserved.

Hive
19th century

Carving, painting. 123 x 64x55. Received from the State Tretyakov Gallery in 1939
The beehive in the form of a bear is carved from a huge thick log. The master has kept its shape, so the figure looks ponderous, static, monumental. On the chest are two notches for bees. The lowered paw seems to cover the hole from which the honey was taken out. The image of a gourmet bear is conveyed with humor.

Early 20th century

Vologda region, Totemsky district, Fedotovo village. Brush painting. 120 x 61.
Brought by the expedition of the Zagorsk Museum (1970, O. V. Krug lova)
Covered with large brush painting on a white background. With a stingy colorful palette, the master achieved the ultimate decorative effect. The door, as a valuable item, was taken out by the owners from the old house, in which the entire interior of the hut was covered with bright painting on a white background. In the new house, the door also closed the entrance to the stairs to the lower crate of the hut (golbets).

Late 19th century

Yaroslavl region, Breytovsky district, Tretyachikha village. Brush painting. 183 x 80 x 39.5. Brought by the expedition of the Zagorsk Museum (1967, O. V. Kruglova)

The cabinet panels and the drawer are decorated with painting. Filled with bold strokes of the brush, it is harmonious in color. The closet blocked off part of the room in front of the stove. Taken out of the village, which was located on the border of the Yaroslavl and Kalinin regions, where brush paintings were widespread. Executed, apparently, not by a local, but by an alien artist.

Distaff. Fragment
Late 19th century

Vologda region, Tarnogsky district, Petrushino village
Brush painting. 100x20x55.5. Brought by the expedition of the Zagorsk Museum (1970, O. V. Kruglova)
This is a very rare case when in the Tarnoga region a spinning wheel was decorated not with carvings, but with painting. It was executed by a foreign artist. The style of writing is sweeping, bold.

Second half of the 19th century

Arkhangelsk region, Krasnoborsky district, the village of Bolshoi Dvor on Tsivozero
Brush painting. 76x41 x28.
Brought by the expedition of the Zagorsk Museum (1959, O. V. Kruglova)
All outer walls of the cradle are painted. The cradle was located in an old house, the interior of which was decorated with the same painting. She, apparently, was painted simultaneously with the interior and occupied a central place in the hut.

Early 20th century

Vologda region, Mezhdurechensky district, Igumentsevo village
Painting. 58x41 x29. Brought by the expedition of the Zagorsk Museum (1969, O. V. Kruglova)
The shape of the chest with a flat, slightly overhanging lid is typical for the Vologda and northern parts of the Yaroslavl region. The painting, divided according to the drawing, is very harmonious in color: on a reddish-orange background there are stripes of black paint imitating iron linings. The chest was used to store clothes and was brought to the husband's house as a dowry. Such brightly painted chests of the matchmaker were stacked on a cart and taken along with other dowry to the groom's house. They were the pride of the bride and testified to her wealth.

Late 19th century

Arkhangelsk region, Leshukonsky district, Zasulye village on the Mezen River
Brush painting. 53 x 38 x 30. Brought by the expedition of the Zagorsk Museum (1961, O. V. Kruglova)
With curved lid. Bound with iron strips and covered with large paintings, the main element of which is a vortex rosette. The painting is extremely simple and very decorative. Clothes were stored in such chests, and they usually stood along the log walls in a cold room, and if they did not fit in one row, then they were placed in pyramids one on top of the other. The motley and elegant painting of chests, chests and boxes made the room bright and beautiful.

Sled for carnival
Early 20th century

Arkhangelsk region, the village of Cherevkovo on the Northern Dvina
Carving, painting. 57x26x28. Brought by the expedition of the Zagorsk Museum (1959, O. V. Kruglova)
Made of wood, bound with strips of iron. Decorated with three squares with embossed carvings and decorative painting, where red and green are the main colors. Such bright, elegant sleds with cheerful painting were made and painted in the villages along the middle reaches of the Northern Dvina especially for girls and boys to ride from the mountains during Shrovetide - a holiday of the meeting of spring and the sun.

Distaff. Fragment "Rider"
First quarter of the 19th century

Yaroslavl region, Danilovsky district, Sanino village
Contour and stapled thread. 78 x 15 x 51. Brought by the expedition of the Zagorsk Museum (1964, O. V. Kruglova)
Two genre compositions, located on the lower part of the wide stem, are connected, apparently, by a common plot. In one - a guy on a sleigh rides to a sweetheart, in the other (already in the tower room) - he is a guest at the table. Yaroslavl tower spinning wheels represent one of the few sections of folk art of the 19th century, where the genre took the main place. The technique of contour and bracket carving made it possible for the carver to create an “engraving” on wood. The plot is executed decoratively. A branchy tree, a carved arc and a sleigh, clothes embroidered with a pattern, a harness covered with decorations - everything is decided ornamentally and is perceived as a beautiful pattern.

Early 20th century

Vologda region, Oberikha village. Master Konovalov Fedor Alekseev
Welt and trihedral thread. 78.5 x 18x48. Brought by the expedition of the Zagorsk Museum (1966, O. V. Kruglova)
Gryazovets spinning wheels with a wide stem were cut from a single piece of wood. The local name for such a spinning wheel is "fresh".

Early 20th century

Tower spinning wheel Fragment "Tea drinking", "Quadrille"
1835

Yaroslavskaya about Lyubimsky district, Makarovo village Contour and bracket carving. 84.5 x 16 x 51.5 Brought by the expedition of the Zagorsk Museum (1966, O. V. Kruglova)
Two genre compositions are carved on the lower part of the leg of the terem spinning wheel, placed one above the other. Below, apparently, a dance is depicted - four girls, holding hands, stand in pairs, between them is a tree. Above is the tea drinking scene. Above the samovar, the dates of creation of the spinning wheel "1835" and "1836" are carved. And on the dial of the tower clock, the letters “M. F. Ch.”, - apparently, the initial letters of the name and surname of the carver. The distaffs of this group differ from the teremok distaffs of other regions of the Yaroslavl region in the unusual depiction of women's heads with a brush of hair, decorated with a comb.

Second half of the 19th century

Vologda region, western part of the Gryazovetsky district, Mokeevo village

Through and trihedral carving, coloring and brush painting in oil.

76x13x53. Brought by the expedition of the Zagorsk Museum (1968, O. V. Kruglova)

Distaff. End of the 19th century. Vologda region, the central part of the Gryazovets district, the village of Gridino

Triangular grooved, through thread. Painting. 74 x 16.5 x 59. Inv. No. 5274 e Brought by the expedition of the Zagorsk Museum (1968, O. V. Kruglova)

Distaff. End of the 19th century. Vologda region, eastern part of the Gryazovetsky district, Orlovo village

Trihedral and through thread. Painting. 72x16.5x58. Inv. No. 5338 e Brought by the expedition of the Zagorsk Museum (1969, O. V. Kruglova)

Gryazovets spinning wheels were sometimes covered with oil paints. It was either a multi-color coloring, or very often a brush painting of a flower drawing. Judging by the dates on the spinning wheels, these works belong to the second half of the 19th century. The spinning wheels of the western part are very multicolored, they are painted with bright open colors. The painting of spinning wheels in the central part of the region is very intense and collected in color. The spinning wheels of the eastern part were most often painted in two or three colors: on a colored, usually red, background, the carved pattern was covered with a yellowish-ocher tone, which made it look like a precious insert. Distaffs decorated with painting over carvings are much more common in the Gryazovets region than unpainted distaffs. The blade of a spinning wheel from the village of Mokeevo is decorated not only with trihedral carving, but also with painting. A red tulip is written in the center of the blade. The figured leg of the spinning wheel looks like an elegant stem, as if supporting a flower. This thing is an exceptionally successful combination of two techniques.

Spinning wheels. brush painting
Second half of the 19th century

Vologda region, Gryazovets district, Zhernakovo village
Through carving and brush painting. 74 x 15 x 51.
Vologda region, Gryazovets district, Slobodische village. Brush painting. 75 x 17 x 62. Brought by the expedition of the Zagorsk Museum (1968, O. V. Kruglova)
Brush painting, where a tulip or rose flower was given in a wide variety of compositions, was typical in the second half of the 19th century for the decor of the Gryazovets spinning wheels. The style of writing is free, the painting is done with large decorative brush strokes.

1890

Vologda region, Tarnogsky district, Denisovskaya village. Master Stepan Ogloblin Trihedral carving. 103 x 30 x 56. Inv. No. 5444 e Brought by the expedition of the Zagorsk Museum (1970, O. V. Krutlova)

A characteristic example of the Tarnoga spinning wheel: on a slender, low leg, there is a huge blade with two round “earrings” and a row of rhombic-shaped cloves - “towns”. An inscription is carved under the townships: "THIS IS STRAIGHT (LKA) PEASANTS (KI) NASTA (SII) ALEXA (EVNA) SHIBA (NEW)". The master turned the blade of the spinning wheel (front side) into a luxurious decorative panel with a clear, slender composition. Its basis is a pattern of small squares. Above it is a complex composition of rosettes, in the center of which is a vortex rosette, which in ancient times was considered a symbol of thunder. On the inner side of the blade of this spinning wheel, the ornament adorns only the lower part, leaving a smooth middle, where linen was attached. On the top of the blade there is an inscription: "SIYU PRYASN (ITSU) SLAB (OTAL) KRE (STYANIN) DER (EVNI) OAK () STEP (AN) OGLOB (LIN) 1890 DECEMBER 29 DAY". This spinning wheel is a unique work of art. Everything in it is harmonious, everything testifies to the great talent of the artist who carved his name. Signature items are rare in Russian folk art.

Late 19th century

Vologda region, Nyuksensky district, the village of Berezovaya Slobidka on the Sukhona River
Trihedral and through carving, painting. 98x26x61. Brought by the expedition of the Zagorsk Museum (1971, O. V. Kruglova)
The blade of a Nyuksen spinning wheel with a pattern of rosettes typical for this region and rows of through round holes, where beads and colored pebbles were inserted, making a sound with every movement of the spinning wheel. The spinning wheel "with necklaces", as it is called in the Nyuksen region, came into fashion in the second half of the 19th century. In addition, Nyuksenitsa's spinning wheels were brightly and multicolored painted on carvings with oil paints. As one of the varieties of the second Vologda type, it was first discovered in 1958 by the expedition of the State Russian Museum (M.N. Kamenskaya).

Spinning wheel leg
1890

Vologda region, Tarnogsky district, Denisovskaya village. Master Stepan Ogloblin Trihedral carving. 103 x 30 x 56. Brought by the expedition of the Zagorsk Museum (1970, O. V. Kruglova)

At the root of the northern spinning wheels of some regions of the Vologda region, the bottom very plastically passes into the stem. The smoothness of the merging of the two volumes is also emphasized by the decor of the spinning wheel. In Totem spinning wheels, the side faces of the stem are usually densely carved, and at the junction of the stem with the bottom, a semi-rosette is unfolded like a fan. In the Tarnoga spinning wheels, in addition to the carving of the side faces, a decorative relief “scallop” is carved inside at the confluence of the stem with the bottom. This element received even more decorative development in the spinning wheels of the neighboring Nyuksenitsa. Here the “scallop” was cut more prominently, in each ledge there was a through hole.

Distaff. End of the 19th century. Vologda region, Totemsky district, Ivakino village near Pogorelov. Master Kuchin Nikolai Vasilyevich Trihedral carving and coloring. 2x 18 x42. Inv. No. 5457 e Brought by the expedition of the Zagorsk Museum (1970, O. V. Kruglova)

Distaff. End of the 19th century. Vologda region, Sokolsky district, Chuchkovo village. Master Shestakov Nikolai Ivanovich Trihedral carving. 84 x 19.5 x 49. Inv. No. 5336 e Brought by the expedition of the Zagorsk Museum (1969, O. V. Kruglova)

Distaff. Second half of the 19th century. Vologda region, Sokolsky district, Biryakovo village

Trihedral carving. 82x 18x47.5. Brought by the expedition of the Zagorsk Museum (1969, O. V. Kruglova)

Pogorelov's, Chuchkov's and Biryakov's spinning wheels are three varieties of Totma spinning wheels: rooted, with a high stem, and with a square blade (northern type of spinning wheel). All three centers stand on the ancient Vologda-Totma road, which explains the closeness of their forms. They were not included in the classification of A. A. Bobrinsky. They were discovered by expeditions of the Zagorsk Museum (1969 and 1970, O. V. Kruglova). The local name for spinning wheels is "fresh". Separate nuances of forms and a completely original carved decor of the spinning wheels of each of the three centers allow us to consider them as separate varieties of the Totem spinning wheel.

Pogorelov's spinning wheels have a thick blade pattern, almost always covered with painting. It goes from towns to earrings, leaving no wood untouched by carvings. At Chuchkov's spinning wheels, the carved composition of the blade is divided into two parts: at the bottom there is a continuous pattern of squares, above it among smooth wood there is a rosette, and the corners are occupied by its fragments. The leg of the Chuchkovskaya spinning wheel is carved from the blade to the base. Chuchkov's spinning wheels have never been signed. At Biryakov's spinning wheels, the carved pattern on the blade is not thick. It enters the leg only in its upper part. Biryakov's old spinning wheels were also not signed. Later, they began to be painted to look like mahogany, and instead of carving, they were decorated with patterned overlaid copper plates, pieces of mirror and copper plaques, which were attached to a loop, were mobile and with every movement the spinning wheels made a ringing sound. These spinning wheels were made by a family of local accordion makers.

Permogorsk root spinning wheels
19th century

1. Arkhangelsk region, Krasnoborsky district, Permogorye pier, a group of villages of Wet Yedoma

White background painting. 87x21 x49.5. Brought by the expedition of the Zagorsk Museum (1959, O. V. Krug lova)

2. Arkhangelsk region, Cherevkovsky district, Ulyanovsk village on the Rakulka river. Master Vityazev Yakov Dmitrievich Painting. 94x19x57. Brought by the expedition of the Zagorsk Museum (1969, O. V. Kruglova)

Permogorsk spinning wheels - "root" (northern type). According to the classification of A. A. Bobrinsky, they belong to the third Dvina type, which included all types of Severodvinsk painting. Only in 1959, by the expedition of the Zagorsk Museum (O.V. Kruglova), these species were clearly demarcated and the centers of their production were found. For Permogorsk painting, such a center was a group of villages under the common name of Wet Yedoma near the Permogorye pier. Permo-Gorsk painting is white background. The pattern is based on a small floral ornament of spear-shaped flowers and leaves, among which there are images of Sirin, unicorns, lions and various scenes of peasant life. On the spinning wheels of Permogorye, the image of the Sirin was traditional. Even at the beginning of the 20th century, it was placed on a spinning wheel as a wish for happiness to a woman. Sirin is surrounded by a floral pattern typical of Permogorsk painting. Spear-shaped leaves and fantastic flowers on flexible stems surround the composition, enclosed in a round frame of triangles. The artist fills the space around this round stamp with a floral pattern. The painting is executed [without green color, only in black, red and yellow colors. Rakul spinning wheels - "root" (northern type). In the classification of A. A. Bobrinsky and in his album of rakul netch spinning wheels, this bush was first discovered by the expedition of the Zagorsk Museum (1959, O. V. Kruglova). The center of production was the village of Ulyanovsk on the Rakulka River, a tributary of the Northern Dvina. A low stem, expanding, passes into a very long lobe with four towns. On a yellow background - decorative painting. In the upper part there is a large curl of a curved branch. Below is an image of a bird inscribed in a square. The drawing is very free and confident. The brown and black colors of the mural are in harmony with the golden yellow background.

Permogorsk spinning wheel - "story". With fragments
19th century

Arkhangelsk Region, Krasnoborsky District, Permogorye Pier, a group of villages Wet Yedoma White background painting. 86 x 19 x 47.5.

One of the most common and ancient schemes for the compositional construction of the painting of the blade on the spinning wheels of Permogorye:

The central place is given to the scene of gatherings with four figures in a chamber with patterned windows, with a hipped top, above which are depicted a unicorn and a lion.

To the left, two spinners are sitting behind the spinning wheels. One of them is wearing a women's headdress, very common in the Russian North: a smooth forehead, over which rise like a tuft, assemblies of a round cap.

On the second - the usual warrior, the headdress of a married woman. On the right is a girl with a seamstress. On her head is a girlish headband of a bright silk scarf with two mustaches. They were worn only on the Northern Dvina and called "kustushka". Next to her is a boy with a talyanka in his hands.

Every detail of the painting is not accidental. Here you can "read" a detailed story in which the artist decorates a real story with his dream of beauty. This scene in the painting cycle is the first in meaning: the acquaintance of young people at gatherings.

In the scene below, the artist continues the "story". Under the scene of gatherings there is a narrow frieze of mural, where the artist draws in black outline the figures of people, a dog, a pig, a deer and a cow.

This motif in Permogorsk painting is found only in the first half of the 19th century. Below it is a composition, apparently, of a wedding train. Just like the scene of gatherings, the master surrounds a wagon with young fantastic flowers, trying to give the event he is talking about an unusual festive character. The back of this spinning wheel depicts the house of a young couple, the artist glorifies their hospitality and hospitality.

First half of the 19th century

Arkhangelsk Region, Krasnoborsky District, Permogorye Pier, a group of villages Wet Yedoma White background painting. 90 x 23 x 49.

The painting on the inside of the Permogorsk spinning wheels was also done according to a certain scheme. In the first half of the 19th century, the lower part of the blade was usually occupied by a feast scene. The leg, as well as on the front side, was covered with a small floral pattern on a white background, which was usually completed by the image of a rooster. The upper, working part of the blade, where flax was tied, was painted more decoratively. Large leaves were written on a yellow background, and chickens, roosters, dogs, goats were always in the corners. Sometimes the bottom was also covered with a large painting. She emphasized the solidity of the root spinning wheel, in which the bottom, made from the root, smoothly passes into the leg, cut out of straightness (from the trunk). By the nature of the pattern and color, the painting of the bottom repeats the upper part of the blade.

The painting of the inner side of the Permogorsk spinning wheel with the scene of a feast is, according to the plot, a continuation of the two previous scenes of the front side of the blade. Young spouses receive guests in their house. The young mistress, who is sitting with the baby in her arms, is already wearing a woman's headdress. The owner of the house takes out a damask to the guests, decorously sitting at the table with a samovar. In the final scene of the cycle of painting the spinning wheel, the artist showed well-being, prosperity and family harmony. It sounds like good wishes a young girl who was given a spinning wheel as a gift.

Late 19th century

Arkhangelsk Region, Onega Peninsula, Summer Beach

Trihedral and through carving, turning, coloring. 108 x 15 x 60.

Pomeranian spinning wheels were "root" and were made from a single piece of wood. Later samples of them have a leg made on a lathe. According to the classification of A. A. Bobrinsky, they were allocated to the fifth type. The first collection of them was brought in 1911 to the Arkhangelsk Museum by I. M. Pochinovsky. A serious study of this type of spinning wheel was carried out by the expeditions of the State Russian Museum (1960s, N.V. Maltsev). Distributed on the Lyamets and Summer coasts of the Onega Peninsula. The boundaries of these centers coincide with the division of the peninsula into two shores. The shape and decor of the Pomeranian spinning wheel from Letny Bereg strikes with elegance. Its oar-shaped form stands apart from all the numerous types of Russian spinning wheels and, apparently, was influenced by the spinning wheels of the western coast of the White Sea. These are spinning wheels (ill. XIII in the article) on a high leg with a long narrow blade, rounded at the top and bottom. The middle part is curved towards the facade. All this makes it look like an oar. It existed from the White Sea to the border with Finland and from the Tersky coast almost to Lake Onega. In all likelihood, the shape of the spinning wheel was ancient, local, it is associated with the Finno-Ugric culture and existed here even before the development of these lands by the Russians. This spinning wheel has much in common with the spinning wheels of Finland and the Baltic States. The composition of the geometric carving consists of three round hallmarks. The smallest pattern covers the entire blade, the surface of which shimmers with many facets. The graceful form is emphasized by the fragile completion of the five towns. The spinning wheel is covered with carving painting.

Kenozero spinning wheels - root, made from one piece of wood
Late 19th century

Arkhangelsk region, Kargopolsky district, villages on Kenozero

Trihedral carving, brush painting. 99 x 23.5 x 56. 99 x 23.5 x 56. Presented by the expedition of the State Russian Museum (1964, N. V. Maltsev)

Kenozero spinning wheels are root, they were made from one piece of wood. They were not included in the classification of A. A. Bobrinsky. For the first time they were found and singled out as an independent type by the expeditions of the State Russian Museum (1963, N.V. Maltsev). Kenozero spinning wheels exist in the Kargopol region around Kenozero. Their shape has much in common with the Kargopol spinning wheels. They have a low leg and a huge blade, the top of which forms two slopes with five large round towns. The bottom of the blade is decorated with two large round earrings. The trihedral carving, densely covering the leg and blade, has a number of motifs characteristic only for Kenozero (stripes of ornament from squares decorated with a fan of rays). Usually, the carvings were elegantly painted.

The large blade of Kenozero's spinning wheels, covered with carvings, was always decorated with paintings as well. The surface of the untouched wood was painted all over the blade in one color. The carving of the towns on the upper section of the spinning wheel, the earrings at the bottom of the blade, the ornamental stripes and the central composition were colored with paints. A brush painting was applied over the background, usually a floral pattern.

Columnar spinning wheels - "Volga column"
Late 19th century

Distaff. 19th century. Yaroslavl region, Seredsky district Trihedral and three-dimensional carving. 75x14x64. Inv. No. 3206 e Received from the collection of Vl. Iv. Sokolova in 1957

Distaff. 19th century. Yaroslavl region, Nekrasovsky district, Vyatskoe village Trihedral and through carving. 73 x 11 x64. Inv. No. 3673 e Received from the Zagorsk vocational school in 1940

The brightest varieties of the Volga column. Its shape and the carved decor of the windows with sandriks are reminiscent of the tall, slender tents of stone bell towers of the 17th century. It consists of a bottom and a leg inserted into it with a small blade. Recent studies have revealed a whole group of varieties of columnar spinning wheels, the link between which is their design - the bottom and the riser with a small head inserted into it. We meet this form only in the areas adjacent to the Volga and its tributaries (in the Kostroma, Yaroslavl, in the western part of the Vologda, in the eastern part of the Novgorod and Kalinin regions). The shape of the Yaroslavl column with windows was the basis for the eighth type of spinning wheels according to the classification of A. A. Bobrinsky, without an exact indication of their places of existence. The expedition of the Zagorsk Museum determined this territory (1966, O. V. Kruglova): it occupies the Seredsky district and the northern part of the Nekrasovsky district of the Yaroslavl region. The main centers of production were the village of Vyatskoye and neighboring villages. The carvers of the spinning wheels took as a model stone hipped bell towers of the 17th century with windows scattered on the white surface of the tent, the upper part of which was usually decorated with a voluminous sandrik. This motif of elegant windows is repeated so many times that it completely covers all the faces of the wooden turret. The walls between the windows are filled with twisted columns. In the carving, the careful finishing of every detail and the brilliant technique of execution are striking.

Fragment

Early 19th century

Gorky region, Gorodetsky district Inlay. 73 x 32.

Gorodets bottoms are usually rounded near the head. The one presented here is inlaid with bog oak without touching up the background, which began to be done in Gorodets in the middle of the 19th century. The central part of the bottom is decorated with the image of marching soldiers. Their high shako headdresses make it possible to date the Donets to the first quarter of the 19th century. Above are two riders in cocked hats on squat, large-headed horses.

A composition with a rider on a horse, executed with the technique of inlay, adorns the side face of the head of the Gorodets Donets. A rider in a high hat, the same as the soldiers. The big-headed horse resembles a Gorodets toy. The legs of the skate are turned into decorative leaves.

19th century

Gorky region, Gorodetsky district. Painting. 79 x 27 x 17.

The donets are decorated with paintings, but still retain the composition typical of earlier inlaid donets - two horsemen and a tree with birds in the center. The color solution of the painting also imitates the inlay: black horses on a yellow background. The yellow background first appeared in the middle of the 19th century as a tint on Gorodets inlay. Later, in the last decades of the 19th century, at the next stage of Gorodets painting, the traditional scene with horsemen was replaced by the famous Gorodets feast. The painting of this bottom is distinguished by grace, sophistication of form and virtuoso writing technique. Wide strokes of painting are complemented by animations, juicy strokes of the brush outline the center of the flower, a thin flexible line runs along the edge of the petals.

The side face of the head of the bottom is decorated with a composition with a rider on a black horse. The painting is dominated by black color, over which white animations are applied with light strokes. Above the rider's head is a rose flower, very characteristic of Gorodets painting.

Early 20th century

Gorky region, Gorodetsky district Painting. 12.5 x 30.5 x 16.

A bast box, a small oblong box without a lid, was used to store "lobes" - bunches of combed linen prepared for yarn. Decorated with a characteristic painting for the Gorodetsky district. At the junction of the bast walls of the urinal there are buds of brownish-red roses, at the ends there are already blossoming roses with leaves. There is a certain haste in the manner of writing, caused by the mass production of these items for sale. But despite this, in the execution of the painting, the hand of the master is visible, who was well versed in composition, drawing and color.

Solonitsa
Late 19th - early 20th century

Gorky region, Gorodetsky district. Brush painting. 16x19.5x15.

Brought by the expedition of the Zagorsk Museum (1963, L. E. Kalmykova)

Salt shaker in the form of an armchair, with a lid on a swivel, is tied with a willow rod in several rows, acting as hoops. Its shape is typical for the middle Volga region. The lid and back of the salt box are covered on both sides with typical Gorodets painting, very simple but decorative. The fluency of the pattern, the boldness of the stroke, the confidence in applying the animation, developed by the haste of the letter associated with the production for sale, characterize the painting of this object. Hundreds of salt shakers were made, so even now they are still found far beyond the Gorky region - in the Kostroma, Yaroslavl, Kalinin and Vologda regions.

Shveyka and salt shaker
Late 19th - early 20th century

Schweik. 1893 Volga region Trihedral carving. 45 x 11.5 x 56.

Solonitsa. End of the 19th century. Volga region Trihedral carving. 15.5x11x11.

The design resembles a spinning wheel. On the bottom, where the comb was inserted at the spinning wheel, a column in the form of a three-tiered turret was attached to the seamstress. At the top of her pillow, on which the fabric was pricked and fixed, which made it possible to stretch it while sewing. The base of the turret is a cubic-shaped box for threads and needles with a sliding lid. The middle tier of the turret has twisted columns, at the corners they end with stylized horse heads. The date "1893" is carved above the upper tier. The bottom and the box for threads are covered with carving, the pattern of which consists of rosettes, squares, triangles.

The salt shaker in the form of an armchair is also decorated with a trihedral carving with a geometric pattern.

Shveyka
Late 19th - early 20th century

Arkhangelsk region, Krasnoborsky district, Podbereznaya village on Tsivozero

Volumetric carving, coloring. 49 x 9 x 53. Brought by the expedition of the Zagorsk Museum (1959, O. V. Kruglova)

The garment is foldable. Its riser has the form of a two-tiered turret. The main decoration of the turret are twisted columns, and it ends with a figure of a skate. The head of the ridge is also cut out at the junction of the riser with the bottom. This form of sewing is typical for the regions of the Northern Dvina. The carving was painted with oil paints. A sewing machine was as essential as a spinning wheel, so its decoration was also given great importance.

Trepalo
Mid 19th century

Arkhangelsk region, Cherevkovsky district, the village of Srednee Kharino

Trihedral carving. 17x13.

Brought by the expedition of the Zagorsk Museum (1959, O. V. Kruglova)

Rattle for flax. The shape is typical for the regions of the Northern Dvina: from a straight handle, it gradually expands and ends with a rounded end. It is smaller in size than the rattle of the Vologda region, but much thicker, more massive, heavier. One side of the rattle is covered with a trihedral carving. A small vortex rosette begins the composition near the handle. Then two rhombuses, one larger than the other, emphasize the smooth expansion of the ruffled plane. A large rosette closes the composition of lace carving.

Stuffings from the loom
Late 19th century

Arkhangelsk region, Krasnoborsky district, the village of Bolshoy Dvor on Tsivozero. 99 x 16. Brought by the expedition of the Zagorsk Museum (1959, O. V. Kruglova)

Vologda region, Totemsky district, Ivakino village. Trihedral and embossed carving. 83 x 14. Inv. No. 5491 e Brought by the expedition of the Zagorsk Museum (1970, O. V. Kruglova)

The loom was often decorated with carvings. Weaving looms in the middle Volga region were decorated especially elegantly. Their massive risers from the outside were covered with large carvings, very close to the house carvings of the Volga region. In the North of Russia, only individual details of the loom were decorated - shuttles, tutuzhelnik, strips for stretching the canvas, and most attention was paid to the decor of the stuffing. The upper stuffing of the camp in the basin of the Northern Dvina was especially elegantly decorated. Its central part is densely covered with a large trihedral pattern, and the ends are shaped like horse heads. The bottom padding paired with it is lost. On the other pair of stuffings, horse heads are the main decor. They decorate not only their ends. Paired horse heads are also carved on the central part of the stuffing, on two protrusions for hands.

Weaving loom weaver
Late 19th century

Weaver's weaving mill. End of the 19th century. Kostroma region, Susaninsky district, Pleshivtsevo village Carving. 30 x 5.5. Brought by the expedition of the Zagorsk Museum (1968, O. V. Kruglova)

Weaver's weaving mill. End of the 19th century. Yaroslavl region, Seredsky district, Okunevo village

Thread. 31 x 7. Brought by the expedition of the Zagorsk Museum (1966, O. V. Kruglova)

Detail of a loom in the form of a skate with a gear. It serves to stretch the warp threads. Its wooden gear, connected to the “seam” (a thick stick on which the already woven canvas was wound), could rotate only in one direction, and its movement in the opposite direction was delayed by a figure of a stylized skate, in whose chest the gear rested. In the regions of the Russian North, this form of braces was the most common.

The blade and pendulum of the spinning wheel "self-spinning"
Late 19th century

The blade of a wheel spinning wheel "self-spinning". Early 20th century. Yaroslavskaya

Region, Seredsky district, Tyulyaftino village. Master Fedorov Mikhail

Sergeevich Trihedral grooved carving. 24.5x7.5.

Brought by the expedition of the Zagorsk Museum (1966, O. V. Kruglova)

The blade is a part of a “self-spinning” (spinning wheel with a wheel). The ornament is made up of geometric elements and is based on a radiant rosette. The pattern is very similar to that of the ancient columnar spinning wheels of the area. On the back of the blade are carved the letters: “A. BUT." (Anastasia Alexandrovna is the name of the girl for whom master Mikhail Sergeevich Fedorov cut the paddle). In the Seredsky district of the Yaroslavl region, it was customary to decorate the paddles for "self-spinning" with carvings. Other centers in the Russian North, where “self-spinning” blades would be decorated with carvings, are still unknown.

The pendulum of a wheeled spinning wheel "self-spinning". Early 20th century. Yaroslavl region, Seredsky district, the village of Sementsevo. Master Chernov Valeryan Grigorievich Trihedral carving. 52x5.5. Inv. No. 5172 e Brought by the expedition of the Zagorsk Museum (1966, O. V. Kruglova)

The pendulum is a detail of a “self-spinning wheel” (a spinning wheel with a wheel), which was attached to its footboard with a narrow end and rotated the wheel. Covered with the smallest trihedral carving. A pattern of small radiant rosettes that resemble snowflakes. The inscription on the back reads: "A. K. C. M. V. G. C. DARYU. ON THE. MEMORY ”(I give to Anna Kuzminishna Chernova master Valeryan Grigorievich Chernov as a keepsake). It was presented by the master to his wife immediately after the wedding. As an object dear to memory, this pendulum was not worn on a “self-spinning machine”. Patterned pendulums were very common in the Seredsky district of the Yaroslavl region. Other centers in the North, where “self-spun” pendulums were decorated with carvings, are unknown.

19th century

Oryol region, Yelets district Trihedral carving. The average size is 14-15 cm. Brought by the expedition of the Zagorsk Museum (1958, L. E. Kalmykova)

Sticks for weaving lace. Made from solid wood. The lower part of the bobbins, free from threads, was covered with the smallest carving. Her patterns are extremely diverse and at the same time simple. They are made up of triangles, rhombuses, squares in various combinations, zigzag stripes, stars.

Rubel
Early 19th century

Arkhangelsk region, Leshukonsky district, Yedoma village Trihedral carving. 72.5x13x2. Brought by the expedition of the Zagorsk Museum (1961, O. V. Kruglova)

Rubel for rolling (smoothing) homespun linen products is characterized by exceptional plasticity of shape. It is typical for the areas of the Mezen River. The thin rubel board has a slightly noticeable bend in the center, which makes its shape very elegant. The wide end of the rubel is very decorative. It is completed by two small circles decorated with swirl rosettes. The entire surface of the rubel is covered with a very decorative, juicy plastic carving.

Valki
19th century. Volga region

Outrigger. 19th century. Volga Region Relief carving. 45 x 15 x 3.

A comfortable handle, a wide, smooth, slightly curved surface of the roller corresponds to the movement worked out for centuries during a blow on wet laundry. Non-working parts of the roll - its surface and the tip of the handle - have long been decorated with carvings.

The decor of the roll is unusual. Relief carving technique, even in the regions of the middle Volga region, is extremely rare on these objects. The design of the roll was undoubtedly made under the influence of the carving of the Volga region. This is evidenced not only by the blind carving technique, but also by the image of the Sirin, which occupies the entire central part of the roll. The carving is not distinguished by impeccable composition and brilliance of technique. But its simplicity and the ingenuous desire of the author to go beyond long-established traditions atone for technical imperfection.

Outrigger. 19th century. Gorky region, Gorodetsky district, Savino village Trihedral carving. 45 x 13x3.

Valek is made of aspen and has a silver color. Decorated with a geometric small, shallow pattern. The transverse, slightly protruding crossbar, lying on the junction of the handle with the roll, is the compositional tie of the pattern. From it, a folded fan of rays begins to move towards the central, widely deployed rosette. Along the edge there is a strip of a very static ornament of squares. The pattern perfectly emphasizes the shape of the object.

Outrigger. 1848 Trihedral carving. 42.5 x 18.5 x4.

Valek is massive and decorative. The crossbar at the junction of the handle with the roll, decorated in the center with a vortex rosette, is as if cut on the sides and resembles an elaborate bow. The carving stands out well against the smooth wood background. The strongly expanded end of the roll is occupied by a large rosette, the complex pattern of which is made up of small rosettes. A narrow “rope” pattern runs along the edge of the roll. The date is carved on the round tip of the pen: "1848" (the letters next to the date are illegible).

Forms for gingerbread. "Acceleration"
19th century

Form for gingerbread "acceleration". 19th century. Moscow region, Dmitrovsky district, from the Olgovsky estate of the Apraksins Notched carving. 47 x 30 x 4. Acquired from the Dmitrovsky Museum in 1965

A large mold for gingerbread consists of 63 small squares with sides of three centimeters. The tiny size of the squares limited the possibility of detailing, and the master gave the images character and expressiveness with only a few strokes. Various images are carved on them: leaves, flowers, stars, bees, crayfish with bulging eyes, and finally, a whole series of fantastic birds, either with playful tufts on their heads, or with raised wings, or with fan-shaped tails. The board amazes with the master's imagination and excellent carving technique. Such a gingerbread was called "acceleration". 220 They baked it for the wedding and carried it around the guests as a sign that the holiday was over.

Form for gingerbread. 19th century Notched carving. 40 x 10.3 x 3.

Three oblong-shaped recesses for gingerbread are carved on a gingerbread board. On one is braided, on the other is a composition of a square of leaves and stars, on the third is a stylized flower in a pot. The carving is shallow. It is distinguished by the utmost clarity of composition, simplicity of patterns, and mastery of execution. Gingerbread in Russia has long been made for many events: for a wedding, for offering to parents, for a wake, in honor of a dear guest, for a name day. And their sizes were very diverse: from those that had to be carried on a cart, to tiny ones of 2-3 centimeters in size. Small gingerbreads were carried around the guests at the festive table, young people brought gingerbread to the old people as a sign of respect and attention, and at folk festivals, the guys treated the girls. To many traditional ceremonies in folk life, the offering of a gingerbread gave even more festivity, significance and solemnity, served as a sign of attention and love.

Body. Spatula
Late 19th century

Body. End of the 19th century. Vologda region, Sheksninsky district, the village of Pavlikovo Beresta. Weaving, embossing, coloring. 16 x 35 x 35. Brought by the expedition of the Zagorsk Museum (1969, O. V. Kruglova)

Round box, shallow, with a handle, woven from birch bark. The weave is very fine and dense. On the outside, each block of birch bark is decorated with an asterisk applied by embossing technique. The body is painted in red and black. The painting goes well with the natural color of birch bark. Some of the stars have retained traces of turquoise paint.

Spatula. Early 20th century. Kostroma region, Soligalichsky district,

The village of Balynovo Beresta. Weaving, embossing. 20 x 7 x 2.5. Brought by the expedition of the Zagorsk Museum (1969, O. V. Kruglova)

Spatula - a case for a bar-grindstone, with which the scythes are sharpened. On each cell of weaving, an asterisk is squeezed out with a metal stamp. With minimal artistic means, the master achieved the impression of ornamental richness.

Tuesok. Dupelyshko
Late 19th century

Tuesok. End of the 19th century. Arkhangelsk Region, Leshukonsky District, Zasulye village on the Mezen River Beresta, wood, embossing. 10 X 10. Brought by the expedition of the Zagorsk Museum (1961, O. V. Kruglova)

Tuesok with a handle on a wooden lid. It was used as a vessel for liquid. He kept the temperature of the contents for a long time. A flexible willow rod, sewn through the edge for strength, is also a decorative element. A pattern consisting of circles, small triangles and other figures is applied to the surface of the birch bark with a metal stamp. This simple technique of decoration made it possible to achieve the impression of the ornamental richness of the surface of the tuesca.

Dupelyshko. End of the 19th century. Arkhangelsk region, Cherevkovsky district, Podnegla village Wood, birch bark, carving. 10.5x8x8.5. Brought by the expedition of the Zagorsk Museum (1959, O. V. Kruglova)

Made of wood and wrapped in strips of birch bark laid in many layers. The protruding edges of the birch bark strips are cut with small teeth and are the main decoration of the item. A very simple carving technique did not prevent the master from creating a beautiful object in which perfectly found proportions, plastic form and the ability to use material are felt.

bread bins
Late 19th century

Breadbox. 19th century. Arkhangelsk region, Krasnoborsky district, Permogorye pier, a group of villages Wet Yedoma Lub, tree. White background painting. 18x30x45.

Bread bins, loaves, boxes, or stacks, as they were called on the Northern Dvina, were used to store bread and as chests for fabrics, ribbons, headdresses and other accessories of a female peasant costume. The loaf is curved from the bast. Decorated with Permogorsk painting. A fish is drawn in the center of the lid. Images of a man with a knife and a woman with a fork are inscribed in the floral pattern around it. The characters are dressed in urban clothes. Images of domestic animals are inscribed in the floral pattern on the lid and on the walls. This item was usually taken away by the bride from the parental home as a dowry. Apparently, he was a kind of wish for her wealth and prosperity.

Breadbox. End of the 19th century. Arkhangelsk region, Kotlas district, Ryabovo pier, Ustye village on the Vychegda river. Bast, tree. Brush painting. 44 x 18.5. Brought by the expedition of the Zagorsk Museum (1964, O. V. Kruglova)

Curved from the bast in the form of a round loaf. Bread kept fresh for a long time. During the feast, the bread box was brought to the table by the hostess and placed on a bench next to the table. The bread was cut by the owner of the house. It was a kind of ritual of honoring bread before a meal. The lid and side walls of the bread box are covered with a black brush-painted floral pattern against a dark orange background, through which the background shines through everywhere. The hoops of the bread box are painted thickly, also black. The pattern is executed fluently, at ease.

Lukoshko ("box")
Early 20th century

Lukoshko ("box"). Early 20th century. Arkhangelsk region, Leshukonsky district, the village of Konoshchelye on the Mezen River. Master Novikov Evlampy Iosifovich Lub, wood. Painting. 51 x 30x22. Brought by the expedition of the Zagorsk Museum (1961, O. V. Kruglova)

Used to store bread. Curved from the bast. Decorated with a pattern of large stars made up of circles and ovals. There is a vortex rosette in the center of the lid. The hoops of the box are covered with an ornament of slightly inclined stripes. The paintings of the Mezen baskets are executed with extremely sparse means, with the style of decoration of these items that is characteristic only for the Mezen. The color of natural wood, cast in gold under a layer of drying oil, is excellently used. A brownish-red rhythmic pattern with a black outline sounds tense and strict on it.

Packs for berries
19th century

Packs for berries. 19th century. Arkhangelsk region, Krasnoborsky district, Permogorye pier, a group of villages of Wet Edom. Bast, birch bark, white background painting. 12.5x31.

Nabiruhi are curved from the bast, the bottom and handle are made of birch bark. They were used as boxes for picking berries. Painted with Permogorsk painting. Flexible stems with whimsical leaf patterns and a scattering of red cranberries run plastically, on thin, like a hair, legs. Horses, roosters and sirens, inscribed in a floral pattern, are perceived as components of the ornament. A thin belt of triangles borders the central compositions. The red color, softened by the neighborhood of yellow and green, sounds soft on a white background.

jug
19th century

Jban. 19th century. Arkhangelsk Region, Krasnoborsky District, Permogorye Pier, a group of villages Wet Yedoma White background painting. 19 x 17 x 20.

Festive vessel for beer. Made from narrow planks. The lid is fastened with a swivel with a handle, the top of which resembles a stylized horse's head. The jug is tied with three belts of wooden hoops, painted red; they play a major role in the decor of the subject. The gaps between the hoops are filled with Permogorsk painting: a curly stem, twigs, roosters and hens. On the lid, figures of a man, a woman and a rooster are inscribed in a floral pattern.

Dish
19th century

Dish. 19th century. Arkhangelsk region, Krasnoborsky district, Permogorye pier, a group of villages of Wet Edom. White background painting. Diam. 23.

The dish is covered with Permogorsk painting and sawn carving along the edges, reminiscent of a northern hut valance. The composition of the pattern consists of a stylized bush, winding with two shoots in a circle. In the center is a woman in bright clothes, with a warrior on her head, with a damask and a glass in her hands. She seems to be inviting a guest to taste a drink. Straightforwardly and childishly naive, the artist expresses his idea of ​​respect for the guest, of hospitality and hospitality.

endova
19th century

Arkhangelsk region, Krasnoborsky district, Permogorye pier, a group of villages of Wet Edom. White background painting. 24 x 18 x 11.

A wooden vessel shaped like a brother, but with a spout for draining. In the Vologda region, a copper vessel of this shape is still called a bratina. On a white background, the valley is painted with Permogorsk painting. In the floral pattern around the entire valley, female figures are inscribed in a clear rhythm. The traditional Sirin was replaced here by an ordinary rooster. All plot inserts organically merge into the general rhythm of the bright ornamentation of the object.

Water dispenser
19th century

Arkhangelsk region, Krasnoborsky district, Permogorye pier, a group of villages Wet Yedoma Carving, painting. 25x34x15.

Round shape, with a lid, with a high handle, consisting of decorative curls, and two spouts for draining water in the form of bird heads. Covered with painting on a yellowish-ocher background. On the wide lower part of the washstand, in black, like a pattern, there is an inscription: "LOVE WASHING WHERE WATER DO NOT BE SORRY YOU WILL BE WHITE AS SNOW". Very rare, unique piece of art. Executed with a subtle understanding of decorative tasks. This form of washstand is traditional. This is also evidenced by northern copper washstands with a round body and a spout for draining, somewhat reminiscent of a bird's beak, and washstands made by potters in many regions of Russia. Until the 19th century, people brought this beautiful decorative form from pagan culture, when these sculptures-vessels had a semantic meaning.

Burak from birch bark
19th century

Arkhangelsk Region, Upper Uftyuga River Beresta, tree. Painting. 14 x 12. Inv. No. 5180 e Brought from Rybinsk (1964, O. V. Kruglova)

A vessel with a tight lid and a comfortable handle kept the temperature of the contents for a long time. Therefore, the peasants were so fond of carrying lunch, milk, cold kvass in it on the field. The beetroot painting craft on the Upper Uftyuga (a tributary of the Northern Dvina) had very ancient traditions and developed its own style, its own painting techniques and ornamentation, characteristic only of the Uftyuga. On an orangeish background, which is a favorite for Uftyuga, an elegant silhouette of a bird is made with a light black outline. The wings and tail of three petals are colored green and brown, which is why the bird is perceived as one of the elements of the plant pattern. The painting on the beetroot was applied in Uftyug not with a continuous carpet, as in Per-Mogory, but sparingly, the background remained clean. For the first time, the center of this painting was opened by V. M. Vishnevskaya in 1957.

Nabiruha for berries from bast and birch bark
19th century

Arkhangelsk region, Cherevkovsky district, Ulyanovsk village on the Rakulka river. Master Vityazev Dmitry Fedorovich. Bast, birch. Painting. 33 x 13. Brought by the expedition of the Zagorsk Museum (1959, O. V. Kruglova)

It is curved from a bast, the bottom and the handle are made of birch bark. It was used as a box for picking berries. Painted with rakul painting. On a golden yellow background, a pattern of large fantastic flowers and birds, black outline, red cinnabar, emerald green and white. A work of rare beauty. The artistry of the black contour running in continuous motion along the rounded plane of the object, the beauty of color, where the colors sound like precious enamel inserts against a golden background, the rhythm of the pattern, the composition - everything speaks of the traditions and rare talent of master Dmitry Fedorovich Vityazev. The center of Rakul painting was first opened by the expedition of the Zagorsk Museum in 1959.

Solonitsy
Late 19th century

Solonitsa. End of the 19th century. Arkhangelsk region, Cherevkovsky district, the village of Parfenovskaya Rezba. 25 x 15 x 10. Brought by the expedition of the Zagorsk Museum (1959, O. V. Kruglova)

Salt shaker in the form of a floating duck. A large duck's beak is connected to the duck's chest and the resulting loop serves as a convenient handle. Removable back (salt box cover) is mounted on a swivel and is retracted to the side. The shape of the salt shaker is very stable and monumental. The carver caught the most characteristic features of a floating bird. Duck for many areas of the Arkhangelsk region, in particular, for the entire Northern Dvina, was the most common form of solonik. The image of the duck was once closely associated with the wedding ceremony. She was considered by the people as the patroness of family happiness. This could still be observed in the last decades of the 19th century and even at the very beginning of the 20th century. But now only the most elderly people of those places remember this. The tradition of keeping a salt-cellar-duck constantly even on a cleaned table remained in many remote regions of the North.

Solonitsa. End of the 19th century. Arkhangelsk region, Leshukonsky district, Yedoma village. Master Malyshev Ivan Vasilyevich Carving. 23.5 x 8.5 x 14.5. Brought by the expedition of the Zagorsk Museum (1961, O. V. Kruglova)

Salt shaker in the form of a floating duck. Subtly captured the main character of the silhouette. The carving is very confident. The master sculpts the form in large masses, achieving great plastic expressiveness. A recess for salt was made in the back of the duck, there is no lid, while in most of the salt shakers of the North, the back of the duck was made removable or set aside. Brought from the Arkhangelsk region from the Vashka River, a tributary of the Mezen. Was in use before being transferred to the museum. Almost the entire village of Edom used the old salt-cellars-ducks.

Skopkar. ladle-duck
Early 19th century

Skopkar. First half of the 19th century. Arkhangelsk Region, Krasnoborsky District, Permogorye Pier, a group of villages Wet Yedoma Carving, white background painting. 64 x 33 x 30.

Dipper-duck. First half of the 19th century. Arkhangelsk region Carving, painting. 8.5 x 8.5 x 16.5. Received from the Smolensk Museum in 1941

Skopkar, a large vessel for intoxicating drinks, was intended for festive tables. It was usually hollowed out from the root. The tail and head of a duck with a long beak served as handles. The body of the bird was made almost in the form of a round bowl with low sides slightly inclined inward, which gives it stability. The painting of the skopkar is characteristic of Permogorye. A floral pattern is taken as a basis, which spreads out on the rounded walls of the vessel with a flexible shoot. The background is white. Fantastic birds inscribed in the pattern emphasize the rhythm of the pattern. There are four large decorative rosettes on the round body of the vessel. A narrow belt of geometric ornament made of triangles runs around the vessel along the very edge and rises along the neck and head of the bird. By analogy with the skopkar from the collection of the State Historical Museum with the date "1823", the skopkar of the Zagorsk Museum also dates from the first quarter of the 19th century.

Bucket-duck - a small vessel for intoxicating drinks. Decorated with painting.

endova
19th century

Endova. 19th century. Russian North Carving, painting. 50 x 40.

A huge wooden vessel made of root, shaped like a brother with a tray, but also has a spout for draining. It was intended for festive tables and therefore decorated with special attention. There are traces of yellow paint on the bottom. Probably the entire valley up to the top was painted in this color. A painted belt runs along the edge: on a dark green background, a pattern of small curls in white, red and black paint. Near the nose is an image of a tree with two birds. The valley is also painted inside: the bottom is decorated with a star of six fish.

Ladle for beer "Konyukh"
Early 19th century

Bucket for beer "Groom". Early 19th century. Kalinin region, Goritsky district, Cherneevo village. Master Nikitin Nikitin. Thread. 22 x 32 x 22. Brought by the expedition of the Zagorsk Museum (1960, L. E. Kalmykova)

A wooden vessel of rare beauty. The high body of the ladle is flattened from the side of the handles - one in the form of a bird's tail, the other - three horse heads, as if above a wide chest. It is perceived as the bow of the boat. On it is a radiant rosette, an ancient symbol of the sun. The bucket, combining in its form the image of the sun, a boat, a waterfowl and horses, is perceived as an echo of an ancient pagan legend about the path of the sun. And this poetic solution of the image was preserved not only in folklore, household items.

ladle for beer
19th century

Ladle for beer. 19th century. Kostroma region, Buysky district, Kazarinovo station, Vakhrushevo village. Master Konovalov Arsenty Anastasevich Carving, painting. 37x20x21. Brought by the expedition of the Zagorsk Museum (1966, O. V. Kruglova)

Round ladle body on a pallet, with edges slightly sloping inward and strongly raised where they merge into two symmetrical handles with closed hinges. There was a custom to bring kvass to the guest in such ladles on a hot day, and on holidays beer. Smoothly lowered edges between the handles make the vessel very comfortable to use. The upper part of the handles resembles stylized horse heads in silhouette. The peculiar appearance of the bucket is typical for the entire Buysky district of the Kostroma region. The sharpness of the form, the sculptural volume and the plasticity with which the handles of the bucket pass into the body are striking.

Outrigger bucket
18 century

Portable bucket. 18 century. Yaroslavl region Carving, painting. 58 X 28.

The body of the ladle resembles a round wooden bowl, the handles are the head of a goose on long neck and tail. In spite of different shape handles, the master perfectly found the visual balance of these two volumes. The shape of the bucket is very traditional. S.K. Prosvirkina attributed this group of buckets to Yaroslavl. The ladle is painted with cinnabar. Along the edge is a wide green stripe with a white border. The head and tip of the tail are green. Laconic, sparing in color and ornamentation, the painting is very decorative and well emphasizes the volume of the ladle.

Ladle pouring
18 century

Ladle-pouring. 18 century. Vologda region Carving. 25 x 11.5.

With a ladle-liquor they scooped intoxicating drinks, kvass and water from a large vessel. S. K. Prosvirkina considers this form of buckets Vologda. The rounded shape of the body plastically transforms into a large curly handle depicting a duck and a fantastic animal. The handle has a hook, for which the "liquor" was hung on the edge of a large ladle or tub. Traces of golden-ocher paint with a dark greenish stripe along the edge remained on the body of the liquor ladle.

Scoop bucket
First half of the 19th century

Scoop bucket. First half of the 19th century. Volga region. Painting. 17.5 x 9.5.

Ladle-scoop - they scooped from a large common vessel. S. K. Prosvirkina considers this form of Kozmodemyanskaya buckets. They are round in shape, with a flat bottom, which gives stability (in contrast to the Vologda small ladle-liquor), and a high handle with a hook rising up. A radiant rosette is carved on the handle, and above it is a stylized figurine of a skate. Here, as in the Tver ladle with horse heads, the images of a horse, sun and boat are combined in one form. All this speaks of a very ancient origin of the ladle shape. Kozmodemyansk scoops were never decorated with painting, they were cut from hard wood.

Ladle for a large festive table
18 century

Ladle for a large festive table. 18 century. Volga region. Carving, coloring. 72 x 28.

The ladle, containing about one and a half buckets of honey or beer, impresses not only with its impressive size, but also with the beauty and proportionality of its forms. Round, with a slightly raised spout and a flat handle with a slotted loop. Made from larch rhizome. The body of the ladle has traces of painting with cinnabar, which once densely covered it, harmoniously combined with the yellow color of the inscription running like a golden pattern along the top of the ladle: “THIS LAKE OF THE CHEBOKSAR DISTRICT OF THE VILLAGE OF MININ MIKHAIL LEKSANDROV MASLOVA GIVEN TO A FOR ANNA MIKHAILOVNA’S DAUGHTER”. The inscription testifies that the ladle was the pride of the owner and decoration of the wedding table.

Sources

Alexander Morgan "Slavic Culture" Russian folk carving

"Russian folk carving and painting on wood"
Publishing house "Fine Art" Moscow 1974

Toporkov A. L. Household utensils in the beliefs and rituals of Polesye // Ethnocultural traditions of the Russian rural population of the 19th - early 20th centuries. M., 1990. Issue. 2. S. 67-135

S.K. Zhegalova "Russian Folk Painting" Moscow "Enlightenment" 1984

Photos from the collection of the Russian Museum

Wood processing among the peoples of Dagestan is one of the most ancient types of handicraft production. The wide distribution of forests, a rich variety of wood species (oak, hornbeam, beech, walnut, birch, pine, poplar, etc.), the pliability of the material itself to processing have long contributed to the use of wooden products in the life of Dagestanis and wooden structures in the architecture of their homes. The art of artistic processing of wood has been organically connected with the daily life of the Dagestanis for several millennia. Various properties of wood were used by folk craftsmen for both technological and decorative purposes.

The beautiful works of Dagestan wood carvers preserved in mosques, houses and museums (pillars, carved doors, windows, chests, utensils) embodied the best traditions of folk arts and crafts, are evidence of the great taste and talent of the people. The form and ornament of some monuments reveal a clear connection with the most ancient, pre-Muslim traditions, while others - with the Christian and Muslim periods of the Middle Ages. The development of the art of wood carving is closely connected with the development of the monumental and decorative art of Dagestan as a whole, in particular, stone and piece carving. These three types of applied art had a noticeable mutual influence, enriching each other with technical techniques and ornamental motifs.

The earliest monument of the art of woodcarving is a fragment of a casket or baby cradle from the Dagestan Museum fine arts, found in the Kafirkumukh burial ground (Buinaksky district) and dating back to 2 thousand BC. e. The monument, which is in a state of natural charring, is ornamented with a magnificent geometric grooved-notched ornament, which testifies to the well-developed traditions of wooden carving in Dagestan already in the Bronze Age.

Unfortunately, a tree cannot be stored for as long as a stone, so the bulk of the monuments that have come down to us date back to the Middle Ages. It was during this period that carved wood became especially widespread due to the flourishing of architecture and monumental and decorative art. The art of woodcarving is very high level. Tools of labor are being improved, the quality of woodworking is increasing, and the range of products is expanding. Woodworking centers with highly developed traditions arose in the forest regions (in the upper reaches of the Avar and Andi Koisu, in Tabasaran, Kaitag, and other places).

Dagestan wood carving is characterized by features inherent in any folk art: immediacy and artistic integrity, practical purpose and collective creativity, namelessness (as a rule) of masters and exceptional stability of ancient traditions, a certain range of images, the use of simple tools. At the same time, the Dagestan art of wooden carving has its own characteristics, which is associated with the specifics of local conditions and the originality of the artistic thinking of the highlanders.

Wooden products with decorative decoration can be divided into three groups: architectural elements, furniture, vessels and household items. Of greatest interest are the details of architectural decoration (pillars, sashes of gates, doors and windows, window and door frames, pillars, railings, cornices on loggias, verandas, balconies, etc.). Carved wood was widely used in the design of religious buildings - mosques, minarets, madrasahs. The doors of mosques were richly ornamented (the most famous monument is the doors of the Kalakoreish mosque dating back to the 12th century), minbars (pulpits for a preacher), music stands (stands) for the Koran and other sacred books.

The second group includes bins and chests (fixed and movable types), as well as sofas, benches, stools, chests, cradles, etc. The third group is represented by small household items that belong to every mountain house - measurements, pails, supplies, salt shakers, mortars, troughs for dough, trays with three legs, etc. All these items are usually hung in the house in certain places - on pillars and chest facades.

Of particular interest are the monumental Avar lari-barns for storing grain and bulk products, the so-called. "Tsagurs" adjoining the rocky wall of the house and being the most important component of the interior of the mountain house. The height of the tsagura usually reached 2.5 meters, the depth - up to one and a half meters. The basis of it was a frame of massive wooden boards.

Tsagura doors are double-leaf, rotating around the axis. The front part of the chests from the deep Avar regions is completely covered with carved ornament, the elements of which date back to ancient times and have a protective value. Basically, these are swastika spirals, concentric circles, labyrinths, crosses, rhombuses, etc.

An important role in the highlander's house was played by a support pillar, called by the Avars "pillar-root". It had an important functional significance, serving as a support for the matress, supporting the flat earthen roof of the hut. No less important was the spiritual significance of the pillar, which played a guarding, protective role in the house. Not without reason, during the construction of the house, the old pillar, being a witness of the life of more than one generation, was carefully transferred from the old house to the new one. The supporting pillars, especially their upper part (the so-called sub-beam) were richly decorated with deep carvings. At different peoples this carving had a different character. In general, three types of ornament are clearly distinguished in wooden carving. Among the Avars, a large geometric ornament of a monumental nature (Gidatl) prevailed, among the Kubachins - more refined, vegetative, similar to the traditional "markharai", among the Tabasarans - ribbon, the so-called. "network".

Among the Laks, the chest for grain "su" had the shape of a large chest and was also richly decorated with carvings and paintings with natural dyes. Each house also had a sofa for persons of honor, which had characteristic armrests in the form of concave horns. The thread covers the front sides of the backrest and seat slats, the uprights are completed.

In Dagestan, there is a unique type of arts and crafts that combines wood carving and jewelry art - the Untsukul metal notch on wood. This art is relatively young - it appeared in the first half of the 19th century during the Caucasian War. From the reed growing along the banks of the Avar Koisu, the Untsukul people began to make whips for legs, and dogwood - pipes and canes. But since Imam Shamil forbade smoking tobacco in the imamate, the Untsukul people sold most of their products to officers of the Russian army, and also exported them outside Dagestan to Vladikavkaz, Tiflis, and the southern provinces of Russia.

Thus, the Untsukul craft from the very beginning was focused not on the domestic market, but on the external one, and therefore the products of the 19th century. practically not preserved. The earliest items presented in the collections of Dagestan museums date back to the thirties and forties of the 20th century. Items of this period are characterized by the use of bone, horn, and turquoise colored paste along with metal wire.

Myself technological process notches with the finest silver, and later cupronickel wire on hard dogwood or apricot wood is quite complex and laborious. Each tiny element requires four operations: cut a tree, insert a wire, hammer it with a special hammer and cut off the excess. Elements of the Untsukul ornament have their own names - "bird track", "street", etc. The ornament is predominantly geometric, located around the circumference.

Like the Kubachi people, the Untsukul craftsmen made traditional household items: measures for flour, mortars for garlic, salt shakers, ladles, supplies, caskets. The artistic discovery of the Untsukul craft was the production of small decorative panels, usually rectangular in shape, depicting scenes reminiscent of Kubachi stone reliefs - animals, birds, often of a fantastic nature, less often human figures. Since the 1950s, Untsukul craftsmen began to use a lathe, which ensured a more thorough surface treatment of products, expanding the range, but gradually this led to the production of very large, non-functional products that had a purely decorative value.

State budget special (correctional) educational institution for students, pupils with disabilities "Bugulma special (correctional) general education school No. 10VIIIkind"

Decorative and applied arts (project)

"Woodcarving". Product "Casket".

Head: Makhalov Yuri Mikhailovich,

technology teacher

special correctional schoolVIIIkind

2014

Table of contents

1. Selection and justification of the project topic p.3

2. Purpose and objectives of the project p.3

3. Thinking scheme p.4

4. History and modernity of decorative woodworking p.4

5. Basic parameters and limitations p.7

6. Development of idea p.7

7. Work on the shape of the box (options) p.8

8. Jewelry box ornament p.9

9. Requirements for the product p.9

10. Tools and equipment p.10

11. Materials p.10

12. Technological sequence of making the box p.10

13. Quality control p.12

14. Safety precautions when performing work p.12

15. Ecological and economic justification p.12

16. References p.13

Selection and justification of the project topic.

Being engaged in woodcarving at technology lessons,students will be able to make various products with their own hands andmake it aesthetically pleasing,even if it is small. In the school training workshop there is an opportunity to manufacture products for sale. studyingsamples of various products, left hischoice in the manufacture of the box.

This product attracted the fact that people love suchlittle things and material for the box are required. Wooden things create coziness in the house, store the warmth of human hands, and a box with a carved pattern will become an adornment of any room.

In addition, making a casket is anotherstep up the development step, as this product is more complexin manufacturing. It requires great effort, skill, accuracy, accuracy, knowledge. It also makes it possiblestey to show their abilities.

The purpose and objectives of the project

The aim of the project is to make a decorative wood box.

Tasks:

Learn the history of decorative woodworking.

Define the main idea of ​​the project.

Select the object and technology of labor.

Make a box according to technology.

Conduct product quality control.

3. Thinking scheme.

Before you start working on a project, you need toclearly represent all the main aspects of their work.

4. History and modernity of decorative woodworking.

Caskets are a household item, and they appeared in time immemorial. They serve people for storing various small items. The purpose may be different. The boxes contained money, securities, letters, photographs, amulets. There were once dueling pistols in beautiful caskets.

But the boxes were most in demand among women, they kept their jewelry and jewelry, sewing and embroidery accessories in them.

For many centuries, people have made boxes from various materials: clay, wood, stone, metal, glass, in our time - from plastics. They differed in size, design, shape (square, round, multifaceted, oval). Skillful craftsmen made boxes with secrets, locks, inlaid them with precious stones, metals, ivory. But the caskets made of wood were the most diverse, since this material is better processed. Boxes made of valuable species - walnut, beech, acacia, oak, rosewood, boxwood were valued. If there was no valuable wood, the master could decorate a modest box with rich carvings.

In Russia, workers who could make things from wood and decorate them with carvings were very much appreciated. Most people tried to buy such products for decorating their homes.

One of these types was geometric or trihedral pitted carving. In the literature, there are other names for it: wedge-shaped, wedge-shaped, etc.

This is the most accessible type of wood carving in terms of simplicity and manufacturability (after slotted). At its core, geometric carving is wedge-cut recesses repeated in a certain composition, which can vary in size, depth, and geometry of the angles at which the recess is made. Differences can also be in the number of faces of each recess. The most common are two- and three-sided recesses. It was the trihedral notch that received special development, which in many sources is called so - trihedral notch carving. Its attractiveness is that it allows you to get an unlimited number of pattern options. Tetrahedral recesses, square and rectangular, are less often used, but their execution will require more skill, although the technique is no different from the previous ones.

As a subspecies of geometric carving, it is necessary to consider andbracket carving. Its main feature is that trimmings (recesses) are performed not with a straight, but with a semicircular chisel. Each trimming is performed in two steps: first trimming at a right angle, then at an acute angle, the value of which is determined by the nature of the pattern. The main types of wood are the same as in slotted carving. And in general in all types of carving - coniferous, linden, alder, aspen. Hard woods can also be used, but it is necessary to switch to harder wood when the technique of carving on soft wood is well mastered, that is, from simple to more complex.

It consists of a number of alphabetic patterns, the combination of which gives beautiful, expressive compositions (contour carving is sometimes also referred to as a variety of geometric carving if it has rectilinear or circular outlines).

The whole variety of geometric carving patterns practically consists of a combination of elementary elements: from a peg and a triangle, which can be considered in any composition. Any, the most complex geometric pattern can be divided into its constituent elements, and they will turn out to be either with pegs or triangles.

In search of a decorative composition, it is recommended toturn to works of folk art. At the mastersin different regions of the country in the art of geometric carvingtheir preferences are observed, despite the fact that the initial elements of this thread are the same everywhere.

From a combination of triangles and from pegs merginginto derivative patterns (rhombuses, chains, viteiki, etc.), you cancreate an endless variety of juicy, expressivedecorative compositions on a variety of products.

For the execution of geometric threads, you need a reliableknife. This is the so-called oblique, or shoe, knife. He mustbe strong, firmly seated in the hand and very sharply honednym. Good knives from the fragments of wide saws for metal (fromprepared from R-18 steel). Individual craftsmen forgeknives for themselves from wide files, from old automobile springs, from the outer cage of large bearings, they grindon an electric grinder from fragments of cutter disks for metal. horosewing knives are obtained from the scythe web. Everyone uses thosethe opportunities he has. The simplest but most reliablethe knife can be made from an ordinary chisel with a width of 20-30 mm.It is machined on an emery wheel.

For an oblique knife, they make a wooden or plastica pen (or, by attaching strips of leather or foam on both sideson, tightly wrapped with vinyl chloride insulating tape).

When performing geometric carving, the knife is held firmlyin a fist, resting his thumb on the handle of the knife. With the fingers of the other hand, guide the tip of the knife, setdrawing it onto the line of the drawing.

Each of the carving elements is easily performed after cutting the peg and triangle has been mastered.

Surface with geometric thread can be addednena with various finishes that enhance the decorative expressionthe value of a thing. Finishing a wooden surface with a geometricskay carving can be very different.

A product with a geometric carving can be tinted in gray using watercolor or liquid diluted black ink. After the surface has dried (natural drying for about a day), it is polished to a light wood. Dark gray geometric patterns on a light wood background are very expressive. Gray color can have wide color gradations from gray-ocher to cold gray-blue. After sanding the tinted surface, it is possible to lightly (single-layer) coat it with liquid diluted varnish.

You can make a thread in a negative version: pre-tint the product prepared for carving in a dark color, for example, gray or brown. Let it dry and cut patterns on this background. Light, juicy patterns on a dark background create an expressive decorative effect. At exhibitions of applied art, there are wooden products tinted in light purple (like diluted ink) with subsequent light carving on this background.

It can also be done on a pre-varnished or polished surface. If the product is varnished with the natural color of the wood, then the in-depth patterns are matte and lighter than the shiny surface of the object. If the surface is first tinted, then varnished (or polished), and a pattern is already cut on it, then the decorative expressiveness of the product increases significantly.

The world of carving is tempting and diverse, with all its trends, styles, and techniques. Above all, it is an introduction to nature. Initiation in the sense that the carver is dealing with a tree, a unique material in its diversity, created by nature. The carver also draws themes and plots for embodiment in wood from observations of nature, whose fantasies are inexhaustible.

Anyone who is not indifferent to beauty and perfection, who would like to multiply achievements in this direction, make their life, the life of their loved ones more beautiful, and pleasantly surprise others can enter this world.

5. Basic parameters and restrictions.

The product must meet the following requirements:

environmentally friendly

beautiful

Safe

Durable

Compliance with the chosen style.

6. Idea development.

Having made the choice of the object of labor, it is necessary to consider the shape of the scaletulks. To do this, they made a detour to shops, markets, looked at samples, studied illustrations in books on carving. Having collectednecessary information, worked out the following scheme:

casket

materials

Tool

you

Finishing technology

Function

The form

Design

Stone

Plastic

Metal

Wood :

Linden

Aspen

Poplar

Birch

Beech

Oak

Ash

Plane,

hacksaw, chisel, cutter, marking tools,

sandpaper

Burnout

wood painting

wood carving

Working

decorative

Combined

Round

Rectangular

multifaceted

Turned

glued

With removable cover

As a result, we determined for ourselves not only the object of labor, but also the technology and style of manufacture (carving), chose the material and design of the box. When making sketches of the shape of the box, it was taken into account that it should be beautiful, convenient to use and feasible to manufacture.

7. Work on the shape of the box (options).

Option 1

Option 2

Option 3

The final shape of the box

The shape of the sides of the box The shape of the top and bottom sides of the box

8. Jewelry box ornament

9. Requirements for the product.

Product name

casket

Functional purpose

For storing small items

User

Unlimited

Single or mass production

single

Dimensions

small

Material Requirements

natural

Manufacturing method

wood carving

Appearance, style

Folklore (Russian) style

Requirements in terms of safety of use

Smooth, burr-free surface

Environmental requirements

Environmentally friendly materials - wood

10. Tools and equipment.

For the manufacture of the product you will need: a planer, a hacksaw, a chisel, a cutter, marking tools, sanding paper.

If details with small circles are conceived in the ornament, they are cut out with a semicircular chisel. If there are no semicircular chisels, the circles are cut out with an oblique knife. It should be remembered: the smaller the diameter of the circle, the sharper the blade sharpening angle should be (up to 30 degrees). An oblique knife can be cut in all directions: towards you, away from you, tilting it to the right, to the left, inside the circle, out.

Materials.

Hardwoods are suitable for contour carving: linden, aspen, birch, alder. Coniferous species are practically not used here due to the different hardness of the constituent parts of the annual layer. Wood of the appropriate size without defects must be prepared for carving. For carving on light wood, it is enough to cut it with a planer. If the composition is conceived on a dark background, the board needs to be toned. If a shiny surface is expected, it is necessary to cover it with black varnish, and when it dries, polish it with polish. A dark, evenly toned surface for carving can be prepared in another way: wipe the planed workpiece with a liquid solution of wood glue or PVA glue. After the glue dries, the surface is sanded with fine sandpaper and covered with glue again. After repeated sanding, the surface of the wood is primed enough for the black ink to evenly lie on it. Dried ink is fixed with varnish, which is then polished. A variety of dyes are used for toning: ink, gouache, tempera, watercolor, aniline paints, various stains and mordants, potassium permanganate. The surface can be left matte, but it can also be covered with a light varnish (to fix the paint) and polished.

12. Technological sequence of making the box

the name of the operation

Sketch

Equipment, tools

Mark the walls of the box on the blank

Workbench, pencil, square, ruler

saw through the walls

Hacksaw

Make corner connections

Workbench, hacksaw, chisel

Glue the sides of the box

Glue, vise

Process the top and bottom edges of the frame

Grinding wheel

Glue the bottom and lid

Glue, vise

Remove allowances, process the box in shape

Grinding wheel

Sand the casket

Grinding wheel, sandpaper

Mark the cut point between the lid and the walls

Pencil, ruler, hacksaw

Mark out the ornament

Pencil, ruler, compasses

Cut the ornament on the box

joint knife

Coat the box with varnish

brush, varnish

Cut off the cover and clean the cut

Hacksaw, sandpaper

Fabricate and install hinges

2 pieces

Wire, pliers, wire cutters

Re-varnish the box

brush, varnish

Carry out quality control

13. Quality control.

The finished product must meet the following requirements:

The box is made neatly, in accordance with technologic.

The unity of the compositional solution of the ornament and the shape of the product is observed.

The selected material corresponds to the purpose of the product.

14. Safety precautions when performing work.

1. Reliably fix the workpiece when planing, sawingand carving.

2. Work with a well-functioning, well-established tool.

For processing parts with a grinding wheel, useinstall a special support table.

Keep the cutter in the workbench tray in a protective case.

5. Working with a cutter, hold your free hand with the oppositefalse side of the cutting direction.

Remove dust, shavings, sawdust with a sweeping brush.

Work in a well-lit area.

When varnishing, work in a ventilated area.

With a chisel, cut wood in the direction “away from you”.

10. Keep your hands clean while carving.

15. Ecological and economic justification.

The jewelry box is environmentally friendly, without bringingdangerous consequences to human health by the product, sincemade from pure wood. Manufacturing technology forcompliance with safety regulations and sanitary and hygienicnorms is also safe.

Determining the price of your box, summed up the costsfor materials, electricity (this is the cost),deductions for estimated salary, profit.

c = c + p

The cost price includes:

FROM 1 - the cost of wood;

FROM 2 - the cost of varnish;

Cz is the cost of electricity per machine;

FROM 4- price sandpaper

FROM 6 - salary deductions;

FROM 7 - cost of plywood;

FROM 8 - the cost of the fabric;

FROM 9 - the cost of material for hinges and a lock;

FROM 10 - the cost of glue.

Let's calculate the cost:FROM 1 = V1200 = 0.0003 m 3 1200 = 0.36 p. FROM 2 =50gx0.08 rub. = 4 p.

FROM 3 =1.5kWx1 hour (60 min)x2.43 p. = 3.64 p.

FROM 4= 25 R

FROM 6 =20hx30 r / h \u003d 600 rubles.

FROM 7 = 0.02m 2 80 \u003d 1.6 p.

FROM 8 = 0.06m 2 x320 \u003d 19.2 p

FROM 9= 35 pX 2 \u003d 70 rubles

FROM 10 = 43 r

C = C 1 + C 2 + C 3 + C 4 + C 6 + C 7 + C 8 = 741 rubles

The cost of the box was 741 rubles. If the box is sold for 950 rubles, then we get a profit that can bebut use to purchase materials:

P \u003d C - C \u003d 950 - 741 \u003d 209 p.

After conducting economic calculations, it was concluded that abouteven justifies itself.

Art carving on a wooden surface is one of the oldest types of art in Russia. Huts, princely mansions, ships, household utensils, musical instruments, as well as military weapons were decorated with similar carvings. Each region of the country had its own unique style with its own characteristics. In churches, icons, images of saints and sculptures, which were carved from wood, struck with spirituality and beauty.

Today, a huge number of products with a unique relief pattern are in museums. And each thing that was made using the technique of artistic carving is unique and inimitable in its own way, since each author has his own understanding and vision.

Artistic carving differs in directions and styles, but there is no established classification as such. In artistic carving, 3 main methods can be conditionally distinguished - planar, through and relief. In turn, all of them are divided into types, as well as directions: openwork (cut-out) and three-dimensional (sculptural) carving. Each direction is used in different areas of this applied art. Openwork slotted carvings decorate houses, and flat carvings - all kinds of wood products.

The most ancient and simplest method is geometric carving - a subspecies of planar carving. It is recommended to start learning artistic woodcarving with this technique. The main difference between planar carving is that the patterns are applied to a flat surface, while in slotted carving the background is removed after the pattern is applied, and the finished product looks like lace. Relief carving contains a deeper ornament, it is used to decorate furniture and interiors. The most difficult area of ​​wood carving is sculptural carving, because the artist must feel the space, know almost every way of carving, and also be able to comprehensively depict the object.

Artistic carving is distinguished by the technique of execution, since the tree is heterogeneous natural material. All types of wood have their own special properties, color, texture, require special skills and a special set of tools from the craftsmen. All wood carving methods are performed using different tools. If geometric wood carving by some craftsmen is performed only with a joint knife, staple carving will necessarily require different types of carving knives.

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