Description of Khokhloma. Brief information about Khokhloma painting

Made in black and red on a golden background. When painting a tree, not gold, but silvery tin powder is applied to the tree. After that, the product is covered with a special composition and processed three or four times in the oven, which achieves a honey-golden color, giving the effect of massiveness to light wooden utensils.

The traditional elements of Khokhloma are red juicy rowan and strawberry berries, flowers and branches. Often there are birds, fish and animals.

Story

It is believed that Khokhloma painting originated in the 17th century on the left bank of the Volga, in the villages of Khokhloma (hence the name of the painting), Big and Small Bezdels, Mokushino, Shabashi, Glibino, Khryashchi. Currently, the village of Kovernino in the Nizhny Novgorod region is considered the birthplace of Khokhloma.

To date, there are many versions of the origin Khokhloma painting Here are the 2 most common ones:

1 version

According to the most common version, the unique way of painting wooden utensils “under gold” in the forest Trans-Volga region and the very birth of the Khokhloma craft was attributed to the Old Believers.

Even in ancient times, among the inhabitants of local villages, securely sheltered in the wilderness of forests, there were many "leakers", that is, people fleeing persecution for the "old faith".

Among the Old Believers who moved to the Nizhny Novgorod land there were many icon painters, masters of book miniatures. They brought with them ancient icons and handwritten books with colorful headpieces, fine painting skills, free brush calligraphy and samples of the richest floral ornament.

In turn, local craftsmen excellently mastered turning skills, passed down from generation to generation the skills of making dishware molds, the art of three-dimensional carving. At the turn of the XVII-XVIII centuries, the forest Trans-Volga region became a real artistic treasury. The art of Khokhloma inherited from the Trans-Volga masters " classical forms"turning utensils, the plasticity of carved forms of ladles, spoons, and from the icon painters - the pictorial culture, the skill of the "thin brush". And, no less important, the secret of making "golden" dishes without the use of gold.

2 version

But there are documents showing otherwise. A method of imitation of gilding on wood, related to Khokhloma, was used by Nizhny Novgorod artisans in coloring wooden utensils as early as 1640-1650, before the appearance of the Old Believers. (T. Emelyanova, Birth of Khokhloma.j. "Folk Art", N1, 1992, p. 19). In the large Nizhny Novgorod handicraft villages of Lyskovo and Murashkino, in the Trans-Volga "selishka Semenovskoye" (the future city of Semenov - one of the centers of Khokhloma painting), wooden utensils were made - brothers, ladles, dishes for holiday table- painted "on a tin case", that is, with the use of tin powder. The method of painting wooden utensils “for pewter”, probably preceding Khokhloma, developed from the experience of icon painters and local Volga traditions of utensil craft. (ibid., p. 20).

Factors that gave impetus to the development of Khokhloma painting

Production of Khokhloma dishes for a long time restrained by the high cost of imported tin. Only a very wealthy customer could provide the craftsmen with tin. In the Trans-Volga region, monasteries turned out to be such customers. So, the villages of Khokhloma, Skorobogatovo and about 80 villages along the rivers Uzola and Kerzhents worked for the Trinity-Sergius Monastery. From the documents of the monastery it is clear that the peasants of these villages were called to work in the workshops of the Lavra, where they could get acquainted with the production of festive bowls and ladles. It is no coincidence that it was Khokhloma and Skorobogatov villages and villages that became the birthplace of the original painting of dishes, so similar to precious ones.

The abundance of forests, the proximity of the Volga - the main trade artery of the Trans-Volga region - also contributed to the development of fishing: loaded with "wood chips" goods. ships were sent to Gorodets, Nizhny Novgorod, Makariev, famous for their fairs, and from there - to the Saratov and Astrakhan provinces. Through the Caspian steppes, Khokhloma dishes were delivered to Central Asia, Persia, and India. The British, Germans, French willingly bought up the Trans-Volga products in Arkhangelsk, where they were delivered through Siberia. The peasants turned, painted wooden utensils and took them for sale to the large trading village of Khokhloma (Nizhny Novgorod province), where there was a bargain. Hence the name "Khokhloma painting", or simply "Khokhloma".

There is also a legendary explanation for the appearance of Khokhloma painting. There was a wonderful icon painter Andrei Loskut. He fled from the capital, dissatisfied with the church innovations of Patriarch Nikon, and began to paint wooden crafts in the wilderness of the Volga forests, and paint icons according to the old model. Patriarch Nikon found out about this and sent soldiers for the recalcitrant icon painter. Andrei refused to obey, burned himself in a hut, and before his death bequeathed to people to preserve his skill. Sparks went out, Andrey crumbled. Since then, the bright colors of Khokhloma have been burning with a scarlet flame, sparkling with golden nuggets.

Khokhloma centers

Currently, Khokhloma painting has two centers - the city of Semyonov, where the Khokhloma Painting and Semenov Painting factories are located, and the village of Semino, Koverninsky District, where the Khokhloma Artist enterprise operates, uniting craftsmen from the villages of the Koverninsky District: Semino, Kuligino, Novopokrovskoye etc. (the factory is located in the village of Semino). AT this moment the activity of the enterprise is reduced to almost zero. In the village of Semino there is also an enterprise that has been producing wooden boxes with Khokhloma painting for 19 years (Promysel LLC).

Technology

How are products with Khokhloma painting created? First they beat the buckets, that is, they make rough wood blanks. Then the master stands behind the lathe, removes the excess wood with a cutter and gradually gives the workpiece the desired shape. This is how the basis is obtained - “linen” (unpainted products) - carved ladles and spoons, supplies and cups.

Making "linen"

After drying, the "linen" is primed with liquid purified clay - vapa, as the masters call it. After priming, the product is dried for 7-8 hours and must be manually covered with several layers of drying oil ( linseed oil). The craftsman dips a special tampon made of sheep or calf skin turned inside out into a bowl with drying oil, and then quickly rubs it into the surface of the product, turning it so that the drying oil is evenly distributed. This operation is very responsible. The quality of wooden utensils, the strength of the painting will depend on it in the future. During the day, the product will be covered with drying oil 3-4 times. The last layer will be dried to a “slight touch” - when the drying oil slightly sticks to the finger, no longer staining it. The next stage is “tinning”, that is, rubbing aluminum powder into the surface of the product. It is also performed manually with a sheepskin swab. After tinning, the objects acquire a beautiful white-mirror shine, and are ready for painting. Oil paints are used in painting. The main colors that determine the character and recognizability of Khokhloma painting are red and black (cinnabar and soot), but others are also allowed to revive the pattern - brown, light-colored greens, yellow tone. Painting brushes are made from squirrel tails so that they can draw a very thin line.

Tinning and artistic painting

The “horse” painting is distinguished (when a drawing is applied on a painted silver background (kriul is the main line of the composition, elements such as sedges, droplets, antennae, curls, etc.) are “planted” on it in red and black) and “under the background” (first, the contour of the ornament is outlined, and then the background is filled with black paint, the drawing of a leaf or flower remains golden). In addition, there are various types of ornaments:

• "gingerbread" - usually inside a cup or dish, a geometric figure - a square or a rhombus - decorated with grass, berries, flowers;
• "grass" - a pattern of large and small blades of grass;
• "kudrina" - leaves and flowers in the form of golden curls on a red or black background;

Masters and simplified ornaments are used. For example, “speck”, which is applied with a stamp cut from the plates of a raincoat mushroom, or with a piece of fabric folded in a special way. All products are painted by hand, and the painting is not repeated anywhere. No matter how expressive the painting is, as long as the pattern or background remains silvery, this is not yet a real “Khokhloma”.

Khokhloma painting with coat of arms Nizhny Novgorod

Painted products are coated 4-5 times with a special varnish (with intermediate drying after each layer) and, finally, they are hardened for 3-4 hours in an oven at a temperature of +150 ... +160 ° C until a golden oil-lacquer film is formed. This is how the famous “golden Khokhloma” is obtained.

Khokhloma - this one is perhaps the most known species Russian folk art originated in the 17th century in the Nizhny Novgorod province (the village of Semino). Of course, each of us knows distinctive features Khokhloma painting - black, red, golden, sometimes green tones; ornate ornament with plant motifs (rowan or strawberry berries, flowers, leaves), and sometimes with the image of animals: animals, birds, fish.

Wooden products with these bright patterns, which began their journey four centuries ago, today find their fans around the world.

How did this amazing art come about?

The appearance of Khokhloma - legends and reality

To this day, an amazing folk legend is associated with Khokhloma in the villages of the Nizhny Novgorod region.

Rumor has it that an icon painter, a famous master, lived in ancient times in the city of Moscow. The tsar-father himself admired his skill and generously paid for his work. However, the royal court with its charms bored the master, and he decided to go into the wilderness and start a free life there. And then one day he secretly left the royal court, and went to the Kerzhen forests.

He built a house for himself, and began to do what he loved again. He dreamed of creating such a painting that everyone would love, and would reflect, like a mirror, all the beauty of the land of the Russian and Russian soul. And, having admired his native nature, he began to paint cups in a wonderfully beautiful way that had never been seen before. And fame spread about the master, and people from the most distant lands came specially to admire his art.

The formidable king also found out about him. He was angry that the master left him without permission, and ordered his archers to bring the fugitive back. The master heard about this, called his friends and revealed to them all the secrets of his art. The king's envoys appeared only the next day, and they saw that the artist's house was burning with a bright, bright flame, and he himself had disappeared. The royal people searched for him, searched - but they never found him. Only its colors remained, which absorbed the scarlet heat of the fire and the blackness of the ashes.

The students continued the art entrusted to them, and since then it has been living, reminding with its fiery patterns of fairy tale his ancestor.

Such is the folk legend, and, despite its beauty, it is obvious that there is more fiction in it than truth.

If we talk about reality, historians associate the appearance of Khokhloma with the appearance of the Old Believers in the Nizhny Novgorod lands. Among these exiles there were many who were engaged in icon painting or painted engravings for church books. Combining their art with the knowledge and skills of local craftsmen in the manufacture of wooden utensils, as well as woodcarving, the Old Believers gave birth to Khokhloma.

The painting looks bright, despite the dark background. To create a picture, paints such as red, yellow, orange, a little green and blue. Also in the painting there is always a golden color. The traditional elements of Khokhloma are red juicy rowan and strawberry berries, flowers and branches. Birds, fish and animals are also often found.

Khohloma kovernino.JPG

Products with Koverinsky Khokhloma painting

Khohloma set 1996.JPG

A set of products with Khokhloma painting

Khohloma box.JPG

Casket painted under Khokhloma

Story

It is believed that Khokhloma painting originated in the 17th century on the left bank of the Volga, in the villages of Big and Small Bezdel, Mokushino, Shabashi, Glibino, Khryashchi. The village of Khokhloma was a major sales center, where finished products were brought, and the name of the painting came from there. Currently, the city of Semyonov in the Nizhny Novgorod region is considered the birthplace of Khokhloma.

To date, there are many versions of the origin of Khokhloma painting, here are the two most common:

First version

According to the most common version, the unique way of painting wooden utensils “under gold” in the forest Trans-Volga region and the very birth of the Khokhloma craft was attributed to the Old Believers.

Even in ancient times, among the inhabitants of local villages, securely sheltered in the wilderness of forests, there were many "Old Believers", that is, people who fled from persecution for the "old faith".

Among the Old Believers who moved to the Nizhny Novgorod land there were many icon painters, masters of book miniatures. They brought with them ancient icons and handwritten books, fine painting skills, freehand calligraphy and samples of the richest floral ornament.

In turn, local craftsmen excellently mastered turning skills, passed down from generation to generation the skills of making dishware molds, the art of three-dimensional carving. At the turn of the XVII-XVIII centuries, the forest Trans-Volga region became a real artistic treasury. The art of Khokhloma inherited from the Trans-Volga masters the "classical forms" of turning utensils, the plasticity of the carved forms of ladles, spoons, and from the icon painters - the pictorial culture, the skill of the "thin brush". And, no less important, the secret of making "golden" dishes without the use of gold.

Second version

But there are documents showing otherwise. A method of imitation of gilding on wood, related to Khokhloma, was used by Nizhny Novgorod artisans in coloring wooden utensils as early as 1640-1650, before the appearance of the Old Believers. In the large Nizhny Novgorod handicraft villages of Lyskovo and Murashkino, in the Trans-Volga "selishka Semenovskoye" (the future city of Semenov - one of the centers of Khokhloma painting), wooden utensils were made - brothers, ladles, dishes for the festive table - painted "for pewter", that is, using tin powder. The method of painting wooden utensils “for pewter”, probably preceding Khokhloma, developed from the experience of icon painters and the local Volga traditions of utensil craft.

Factors that gave impetus to the development of Khokhloma painting

The production of Khokhloma utensils was held back for a long time by the high cost of imported tin. Only a very wealthy customer could provide the craftsmen with tin. In the Trans-Volga region, monasteries turned out to be such customers. So, the villages of Khokhloma, Skorobogatovo and about 80 villages along the rivers Uzola and Kerzhents worked for the Trinity-Sergius Monastery. From the documents of the monastery it is clear that the peasants of these villages were called to work in the workshops of the Lavra, where they could get acquainted with the production of festive bowls and ladles. It is no coincidence that it was Khokhloma and Skorobogatov villages and villages that became the birthplace of the original painting of dishes, so similar to precious ones.

The abundance of forests, the proximity of the Volga - the main trade artery of the Trans-Volga region - also contributed to the development of fishing: loaded with "wood chips" goods. ships were sent to Gorodets, Nizhny Novgorod, Makariev, famous for their fairs, and from there - to the Saratov and Astrakhan provinces. Through the Caspian steppes, Khokhloma dishes were delivered to Central Asia, Persia, and India. The British, Germans, French willingly bought up the Trans-Volga products in Arkhangelsk, where they were delivered through Siberia. The peasants turned, painted wooden utensils and took them for sale to the large trading village of Khokhloma (Nizhny Novgorod province), where there was a bargain. Hence the name "Khokhloma painting", or simply "Khokhloma".

There is also a legendary explanation for the appearance of Khokhloma painting. There was a wonderful icon painter Andrei Loskut. He fled from the capital, dissatisfied with the church innovations of Patriarch Nikon, and began to paint wooden crafts in the wilderness of the Volga forests, and paint icons according to the old model. Patriarch Nikon found out about this and sent soldiers for the recalcitrant icon painter. Andrei refused to obey, burned himself in a hut, and before his death bequeathed to people to preserve his skill. Sparks went out, Andrey crumbled. Since then, the bright colors of Khokhloma have been burning with a scarlet flame, sparkling with golden nuggets.

Khokhloma craft centers

Currently, Khokhloma painting has two centers - the city of Semyonov, where the Khokhloma Painting and Semenov Painting factories are located, and the village of Semino, Koverninsky District, where the Khokhloma Artist enterprise operates, uniting craftsmen from the villages of the Koverninsky District: Semino, Kuligino, Novopokrovskoye etc. (the factory is located in the village of Semino). At the moment, the activity of the enterprise is reduced to almost zero. In the village of Semino there is also an enterprise that has been producing wooden caskets with Khokhloma painting for 19 years (Promysel LLC).

Technology

For the manufacture of products with Khokhloma painting, first they beat baklushi, that is, they make rough wood blanks. Then, on a lathe or milling machine, the workpiece is given the desired shape. The resulting products - carved ladles and spoons, supplies and cups - the basis for painting, are called "linen".

After drying, the "linen" is primed with liquid purified clay - vapa. After priming, the product is dried for 7-8 hours and must be manually covered with several layers of drying oil (linseed oil). The craftsman dips a special tampon made of sheep or calf skin turned inside out into a bowl with drying oil, and then quickly rubs it into the surface of the product, turning it so that the drying oil is evenly distributed. This operation is very responsible. The quality of wooden utensils, the strength of the painting will depend on it in the future. During the day, the product will be covered with drying oil 3-4 times. The last layer will be dried to a “slight touch” - when the drying oil slightly sticks to the finger, no longer staining it. The next stage is “tinning”, that is, rubbing aluminum powder into the surface of the product. It is also performed manually with a sheepskin swab. After tinning, the objects acquire a beautiful white-mirror shine, and are ready for painting. Oil paints are used in painting. The main colors that determine the character and recognizability of Khokhloma painting are red and black (cinnabar and soot), but others are also allowed to revive the pattern - brown, light-colored greens, yellow tone. Painting brushes are made from squirrel tails so that they can draw a very thin line.

The “horse” painting is distinguished (when a drawing is applied on a painted silver background (kriul is the main line of the composition, elements such as sedges, droplets, antennae, curls, etc.) are “planted” on it in red and black) and “under the background” (first, the contour of the ornament is outlined, and then the background is filled with black paint, the drawing of a leaf or flower remains golden). In addition, there are various types of ornaments:

• "gingerbread" - usually inside a cup or dish, a geometric figure - a square or a rhombus - decorated with grass, berries, flowers;
• "grass" - a pattern of large and small blades of grass;
• "kudrina" - leaves and flowers in the form of golden curls on a red or black background;

Masters and simplified ornaments are used. For example, “speck”, which is applied with a stamp cut from the plates of a raincoat mushroom, or with a piece of fabric folded in a special way. All products are painted by hand, and the painting is not repeated anywhere. No matter how expressive the painting is, as long as the pattern or background remains silvery, this is not yet a real “Khokhloma”.

Painted products are coated 4-5 times with a special varnish (with intermediate drying after each layer) and, finally, they are hardened for 3-4 hours in an oven at a temperature of +150 ... +160 ° C until a golden oil-lacquer film is formed. This is how the famous “golden Khokhloma” is obtained.

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An excerpt characterizing Khokhloma

- Oh my god! My God! How bad he is! mother exclaimed.

When Anna Mikhailovna went with her son to Count Kirill Vladimirovich Bezukhy, Countess Rostova sat alone for a long time, putting a handkerchief to her eyes. Finally, she called.
“What are you, dear,” she said angrily to the girl, who kept herself waiting for several minutes. You don't want to serve, do you? So I will find a place for you.
The countess was upset by the grief and humiliating poverty of her friend and therefore was not in a good mood, which was always expressed in her by the name of the maid "dear" and "you".
“Guilty with,” said the maid.
“Ask the Count for me.
The count, waddling, approached his wife with a somewhat guilty look, as always.
- Well, Countess! What a saute au madere [saute in Madeira] of grouse will be, ma chere! I tried; I gave a thousand rubles for Taraska not for nothing. Costs!
He sat down beside his wife, valiantly leaning his hands on his knees and ruffling his gray hair.
- What do you want, countess?
- Here's what, my friend - what do you have dirty here? she said, pointing to the vest. "That's sauté, right," she added, smiling. - Here's the thing, Count: I need money.
Her face became sad.
- Oh, Countess! ...
And the count began to fuss, taking out his wallet.
- I need a lot, count, I need five hundred rubles.
And she, taking out a cambric handkerchief, rubbed her husband's waistcoat with it.
- Now. Hey, who's there? he shouted in a voice that only people shout, confident that those whom they call will rush headlong to their call. - Send Mitenka to me!
Mitenka, that noble son, brought up by the count, who was now in charge of all his affairs, entered the room with quiet steps.
“That’s what, my dear,” said the count to the respectful man who entered. young man. “Bring me…” he thought. - Yes, 700 rubles, yes. Yes, look, don’t bring such torn and dirty ones as that time, but good ones, for the countess.
“Yes, Mitenka, please, clean ones,” said the countess, sighing sadly.
“Your Excellency, when would you like me to deliver it?” Mitenka said. “If you please, don’t worry, don’t worry,” he added, noticing that the count had already begun to breathe heavily and quickly, which was always a sign of anger. - I was and forgot ... Will you order to deliver this minute?
- Yes, yes, then bring it. Give it to the Countess.
“What gold I have this Mitenka,” added the count, smiling, when the young man left. - There is no such thing as impossible. I can't stand it. Everything is possible.
“Ah, money, count, money, how much grief they cause in the world!” said the Countess. “I really need this money.
“You, countess, are a well-known winder,” said the count, and, kissing his wife’s hand, went back into the study.
When Anna Mikhailovna returned from Bezukhoy again, the countess already had money, all in brand new paper, under a handkerchief on the table, and Anna Mikhailovna noticed that the countess was somehow disturbed.
- Well, my friend? the countess asked.
Oh, what a terrible state he is in! You can't recognize him, he's so bad, so bad; I stayed for a minute and did not say two words ...
“Annette, for God’s sake, don’t refuse me,” the countess suddenly said, blushing, which was so strange with her middle-aged, thin and important face, taking out money from under her handkerchief.
Anna Mikhaylovna instantly understood what was the matter, and already bent down to deftly embrace the countess at the right time.
- Here's Boris from me, for sewing a uniform ...
Anna Mikhaylovna was already embracing her and crying. The Countess was crying too. They wept that they were friendly; and that they are kind; and that they, girlfriends of youth, are occupied with such a low subject - money; and that their youth had passed ... But the tears of both were pleasant ...

Countess Rostova with her daughters and already with a large number guests sat in the living room. The count ushered the male guests into his study, offering them his hunter's collection of Turkish pipes. Occasionally he would come out and ask: has she come? They were waiting for Marya Dmitrievna Akhrosimova, nicknamed in society le terrible dragon, [a terrible dragon,] a lady famous not for wealth, not for honors, but for her directness of mind and frank simplicity of address. Marya Dmitrievna was known by the royal family, all of Moscow and all of St. Petersburg knew, and both cities, surprised at her, secretly laughed at her rudeness, told jokes about her; yet everyone, without exception, respected and feared her.
In an office full of smoke, there was a conversation about the war, which was declared by the manifesto, about recruitment. No one has yet read the Manifesto, but everyone knew about its appearance. The count was sitting on an ottoman between two smoking and talking neighbors. The count himself did not smoke or speak, but tilting his head, now to one side, then to the other, he looked with evident pleasure at the smokers and listened to the conversation of his two neighbors, whom he pitted against each other.
One of the speakers was a civilian, with a wrinkled, bilious, and shaven, thin face, a man already approaching old age, although he was dressed like the most fashionable young man; he sat with his feet on the ottoman overlooking home person and, sideways, thrusting the amber far into his mouth, impulsively drew in the smoke and screwed up his eyes. It was the old bachelor Shinshin, the cousin of the countess, an evil tongue, as they said about him in Moscow drawing rooms. He seemed to condescend to his interlocutor. Another, fresh, pink, officer of the Guards, impeccably washed, buttoned and combed, held amber near the middle of his mouth and with pink lips slightly pulled out the smoke, releasing it in ringlets from his beautiful mouth. It was that lieutenant Berg, an officer of the Semyonovsky regiment, with whom Boris went to the regiment together and with which Natasha teased Vera, the senior countess, calling Berg her fiancé. The Count sat between them and listened attentively. The most pleasant occupation for the count, with the exception of the game of boston, which he was very fond of, was the position of the listener, especially when he managed to play off two talkative interlocutors.
“Well, how about it, father, mon tres honorable [most respected] Alfons Karlych,” said Shinshin, chuckling and combining (which was the peculiarity of his speech) the most popular Russian expressions with exquisite French phrases. - Vous comptez vous faire des rentes sur l "etat, [Do you expect to have income from the treasury,] do you want to receive income from the company?
- No, Pyotr Nikolaevich, I only want to show that in the cavalry there are much fewer advantages against the infantry. Now consider, Pyotr Nikolaitch, my position...
Berg always spoke very precisely, calmly and courteously. His conversation always concerned only him alone; he was always calmly silent while talking about something that had no direct relation to him. And he could remain silent in this way for several hours, without experiencing or producing in others the slightest confusion. But as soon as the conversation concerned him personally, he began to speak at length and with visible pleasure.
“Consider my situation, Pyotr Nikolaevich: if I were in the cavalry, I would receive no more than two hundred rubles a third, even with the rank of lieutenant; and now I get two hundred and thirty,” he said with a joyful, pleasant smile, looking at Shinshin and the count, as if it were obvious to him that his success would always be the main goal of the desires of all other people.
“Besides, Pyotr Nikolaevich, having transferred to the guards, I am in the public eye,” Berg continued, “and vacancies in the guards infantry are much more frequent. Then, think for yourself how I could get a job out of two hundred and thirty rubles. And I’m saving and sending more to my father,” he continued, blowing the ring.
- La balance at est ... [The balance is established ...] The German threshes a loaf on the butt, comme dit le roverbe, [as the proverb says,] - shifting amber to the other side of his mouth, said Shinshin and winked at the count.
The Count laughed. Other guests, seeing that Shinshin was talking, came up to listen. Berg, not noticing either ridicule or indifference, continued to talk about how, by being transferred to the guards, he had already won a rank in front of his comrades in the corps, as in war time a company commander can be killed, and he, remaining senior in the company, can very easily be a company commander, and how everyone in the regiment loves him, and how pleased his dad is with him. Berg apparently enjoyed telling all this, and seemed unaware that other people might also have their own interests. But everything he said was so sweetly sedate, the naivety of his young selfishness was so obvious that he disarmed his listeners.
- Well, father, you are both in the infantry and in the cavalry, you will go everywhere; I predict this for you, - said Shinshin, patting him on the shoulder and lowering his legs from the ottoman.
Berg smiled happily. The count, followed by the guests, went out into the drawing-room.

There was that time before a dinner party when the assembled guests do not start a long conversation in anticipation of a call for an appetizer, but at the same time find it necessary to stir and not be silent in order to show that they are not in the least impatient to sit down to the table. The owners glance at the door and occasionally exchange glances with each other. From these glances, guests try to guess who or what else they are waiting for: an important late relative or food that has not yet ripened.
Pierre arrived just before dinner and sat awkwardly in the middle of the living room on the first chair that came across, blocking everyone's way. The countess wanted to make him talk, but he naively looked around him through his glasses, as if looking for someone, and answered all the questions of the countess in monosyllables. He was shy and alone did not notice it. Most of the guests, who knew his history with the bear, looked curiously at this big, fat and meek man, wondering how such a lumpy and modest man could do such a thing with the quarter.
- Have you just arrived? the Countess asked him.
- Oui, madame, [Yes, ma'am,] - he answered, looking around.

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Khokhloma is only a small part of the rich cultural heritage of the Russian people

The importance of artistic creativity in the culture of any nation is difficult to overestimate. This is exactly what, over the centuries, has been absorbing traditions, ethnic features, making the nation unique, recognizable and spiritually rich. In Russia, the secrets and secrets of technical and technological mastery were passed down from generation to generation. Over time, art improved, so folk crafts were born, which in modern world, without exaggeration, elevated to the rank of art. Khokhloma is considered one of the most perfect artistic folk crafts, the bizarre weaves of which are known and loved far beyond the borders of Russia.

The origins of the fishery

The famous Khokhloma painting not only looks fabulous, but the birth of such art is surrounded by legends and entwined with magic.

Khokhloma is a colorful and highly detailed painting

It is known that Khokhloma is Russian folk craft, the origins of which originate in the district of the glorious and majestic Veliky Novgorod. In connection with the appearance of the famous painting, there is a legend. For a long time, on the banks of a picturesque river, in the Nizhny Novgorod district, a craftsman with "golden hands" lived. He skillfully carved spoons-bowls from wood, and then magically painted them, so much so that it seemed to everyone that they were made of pure gold! The fame of the folk craftsman quickly spread around the district, and then reached the king himself. The ruler was angry why such a talented master, and suddenly not in his service at court. Then the king sent servants into the dense forests to deliver the master to the court. The servants of the master were looking for, and he seemed to have fallen through the ground. And the following happened: the craftsman magically found out that the servants of the king were following him, and disappeared from sight, so much so that he was never seen again. But before leaving, he taught his skills good people so that in each hut the bowls and spoons sparkled with gold.

The Russian people decorated crockery, cutlery and much more with Khokhloma.

Actually there is scientific fact that painting on wood and special technology were brought to the Trans-Volga region by schismatics who fled to escape the cruel tsarist oppression. Among the fugitive schismatics there were many skilled craftsmen, icon painters, and artists. They taught the local population such an unusual painting. Beautifully painted dishes were sold in a large trading village called Khokhloma. When the merchant was asked where he brought such a marvel from, he readily answered: “From Khokhloma!”. Since then, it has become customary to call the unusually beautiful, in the Russian folk style, Khokhloma painting.

Wood carving and Khokhloma painting are still quite popular Russian crafts in some areas.

Fishing features

Any folk craft is an integral part of arts and crafts. The main feature of Khokhloma painting is a unique golden tint. Interesting fact that in fact there is not a drop of real gold in the painting.

Khokhloma gold looks very rich

A scattering of colors, wonderful ornaments, deep meaning each drawing and symbolism - all this highlights the art of painting in folk style. Each craft has its own characteristics, which make the art of drawing recognizable all over the world, Khokhloma is no exception.

Khokhloma painting is quite diverse

The characteristic features are as follows:

• a certain color scheme of the picture using just a few rich shades;
  Popular combination of red and gold
• high artistry of drawing;
  Khokhloma is characterized by the presence of many small details
• exclusively handmade;
  The work is delicate and painstaking
• lack of strict geometry, smoothness of shapes and lines;
  Exquisite Khokhloma patterns
• great figurative expressiveness of the painting;
  Khokhloma painting is clear accents and bright patterns
• special drawing technologies;
• classical painting is usually done on wood.
  Most often it is wooden utensils.

Such a unique effect is achieved with the help of special technologies, the basics of which have not changed for several centuries.

Khokhloma hand-painted

Creation technology

It so happened historically that Russia at all times was famous for craftsmen, the fame of which went far beyond its borders. The thing is that our ancestors were able not only to create, but also to preserve all the traditions, passing them on to their descendants. That is why each craft is not only an incredible aesthetics, but also a strict manufacturability of the process of creating a folk masterpiece. It's all about the special secrets and rules that the masters follow today:

Khokhloma consists of many traditional artistic techniques and techniques, knowing the secrets and features of which you can perform it yourself. Wooden utensils decorated with paintings in the Khokhloma style are not only beautiful, but also practical and environmentally friendly.

Khokhloma painting allows you to create such masterpieces

Such a painting is a classic of folk craft. Those who know a lot about art call the craft “golden autumn”. And indeed, the palette, the brilliance, the incredibly sincere and understandable drawing for everyone - all this is permeated with the warmth and freshness of a clear autumn day.

What is the secret of such unique art? The thing is that when drawing a picture, a certain color scheme is used. This is due to the fact that iconography became the source of Khokhloma painting, so many colors in such different crafts still have something in common with each other. Traditional colors are represented by gold, shades of red, black. Sometimes the pattern is complemented by yellow, green, brown or white. To make the drawing textured, clear and bright, according to tradition, paints with oil base. Drawing a picture is a creative process, it requires not only an appropriate state of mind, but also certain knowledge.

Types of painting

The heyday of Russian folk craft reached in the XVIII century. This period was really fertile for the creative development of the people. Khokhloma at that time had already taken shape, a classification of types of Khokhloma craft appeared.

Ancient products with Khokhloma can be found in numerous museums.

The main types of Khokhloma writing are top and background. Each has its own technology and features. The riding type of writing was performed on a tinned surface, the strokes when applying paints are soft, plastic, as a result creative work an openwork Khokhloma is created. The horse type of painting is divided into several types of ornament:

Beautiful Khokhloma under the berry

Ornament "gingerbread". The traditional style of artistic writing is characterized by the interweaving of ornament in geometric figure. It can be a circle, a square or a rhombus, in the middle of which a stylized drawing in the form of a sun is made. This type of horse painting is simpler in technical execution than herbal or berry. Its main uniqueness is that it resembles the original sun with its rays, which is always in motion.

In addition to the riding letter, Khokhloma painting can be background. From the name it becomes clear that before drawing a picture, a background must be applied. As a rule, it is red or black, but the pattern on it remains gold. This type of writing is divided into two types: painting by Kudrin or “under the background”.

Background Khokhloma looks great on dishes

The technique "under the background" is difficult to perform and requires a certain level of skill, but such products are of the highest value. A feature of Kudrin's background painting is a stylized image of flowers, curls or fruits. The main role in the ornament is played by the contour line.

Luxurious background Khokhloma painting

All types of Khokhloma writing are unusually artistic, the ornament resembles an incredibly beautiful carpet or canvas. In fact, you can do such a painting with your own hands, without having artistic superpowers. Experts say that the main task is to "fill your hand", that is, to train the performance of all kinds of strokes, to catch the pressure of the brush and the nuances of technology.

Master class "Painting under Khokhloma"

Not only dishes

Today Khokhloma is used not only in the production of souvenirs or dishes. Khokhloma patterns are new trend in the modern world of high fashion. They are part of the world-famous a la russe style, which has already conquered many. The first to use Khokhloma ornaments in clothes was Denis Simachev. Blouses, skirts, tops, trousers - all this was generously decorated with Khokhloma, which became a real revolution in the fashion world. In addition to incredibly original evening dresses, a unique collection of sportswear was presented, which was also decorated with Khokhloma folk motifs.

Since then, this ornament has adorned more than one collection, with each season only gaining momentum in popularity. Authentic prints in modern fashion help to create a unique and original look. But there is important advice from stylists: if you wear a bright top, decorated with colorful gold ornaments, you should complement the image with plain trousers or a skirt to achieve harmony and balance.

Today, the Khokhloma ornament is perceived by us as something native, light and incredibly picturesque. Luxurious painting is not only able to decorate our home or fashionable image. Looking at the filigree patterns, pleasant memories come to mind, the eye is pleased with the riot of colors, richness and ornateness of the ornament. Impeccable Khokhloma, like no other craft, is able to convey to us the warmth of the hands of the master and a piece of his soul.