Khokhloma painting is an old original Russian folk craft, it is a decorative painting of wooden dishes and furniture. Let's delve into the history of the creation of this type of craft, into these richest images of the Russian soul!

The history of khokhloma

The Khokhloma industry is more than 300 centuries old and was founded in the Nizhny Novgorod Trans-Volga region, on the territory of the present Koverninsky district of the Gorky region. Residents of villages near the Uzol River, from time immemorial, have been painting wooden dishes. The roots of the Khokhloma craft go back to icon painting. The 17th century was the time of the extensive settlement of the Nizhny Novgorod lands by "Old Believers" - they were forgiving church reforms of Patriarch Nikon. It was they who knew the secret of gilding wooden icons using silver metal and linseed oil - drying oil. The icons were covered with a layer of silver, previously ground into powder, after which they were impregnated with linseed oil and placed in an oven. After hardening, the icon acquired a golden color. Subsequently, cheaper tin appeared, and this method extended to dishes.

Khokhloma crockery attracts not only by the richness of the ornament, but also by its durability. Products are appreciated for a durable varnish coating that does not wear out either under the influence of time or under temperatures: varnish does not crack, paint does not fade, which allows you to use household items in everyday life.

Nowadays, finishing technology attracts masters of decorative and applied arts. And how, then, is such beauty made? First, blanks are made, from which cups, vases, nesting dolls and much more are then grinded. Trees of different species are used, but more often linden. The wood is kept outdoors for at least a year. In production, unpainted utensils, blanks, are called "linen". To prevent the product from cracking in the future, the "linen" must be well dried, therefore, the temperature of 30 degrees is maintained in the preliminary preparation rooms.

After drying "linen" it is primed with liquid purified clay - vapa. After priming again, drying hours 8. Next, the master must manually cover the product with several layers of linseed oil (linseed oil), at this stage the master uses a tampon made of natural sheep or calfskin, turned inside out. He dips it in a bowl of drying oil and quickly rubs it into the surface of the product. He turns it so that the drying oil is evenly distributed - this is very responsible, the quality of the dishes and the durability of the painting will depend on it. The product is covered with linseed oil 4 times. Dry the last time until the finger sticks slightly, but leaves no residue.

The next step is coating with aluminum powder. This is also done manually with a sheepskin swab. It is at this stage, the stage of tinning, that the items acquire a mirror shine and are ready for painting. They are painted with heat-resistant mineral paints such as ocher, red lead, carmine. The main colors that give the very recognition are red and black (cinnabar and soot), but a few other colors are allowed - brown, green, yellow. Finished painted products are varnished and tempered 2-3 times. It is at the last stage that the "golden" dish appears from the "silver" dish.

Khokhloma painting is carried out in two classes of writing: "riding" and "background". For the "horse" type, a free openwork pattern is characteristic, a pattern is applied to this background, the main line, after which droplets, curls, etc. are planted. The "background" painting is characterized by the use of a red or black background, while the drawing itself remains gold. In this case, the outline of the ornament is first outlined, and then the background is filled with black paint.

Currently, Khokhloma is a unique phenomenon not only on the scale of Russia, but also in world art. After the world exhibition in 1889 in Paris, the export of Khokhloma products increased sharply. The dishes appeared in the markets of Western Europe, Asia, Persia, India. In the 20th century, crockery penetrates the cities of America, Australia and even Africa.

Currently, there are 2 centers of Khokhloma painting - the city of Semyonov, with the factories "Khokhloma painting", "Semyonovskaya painting" and the village of Semino, Koverninsky district, where the enterprise "Khokhloma artist" operates, uniting the masters of the villages of Kuligino, Semino, Novopokrovskoye. Nevertheless, the city of Semenov, located 80 km from Nizhny Novgorod, is rightfully considered the capital of Khokhloma. The company employs about one and a half thousand people, including 400 artists. All manufactured products have certificates of conformity and hygiene certificates.

Elena Viktorovna Dobryakova

"Khokhloma painting is simple."

Methodical development for drawing using non-traditional drawing techniques: gouache on wax crayons.

This material will be useful for teachers of additional education in the fine arts in preschool institutions, teachers of preparatory schools for kindergarten groups and enthusiastic parents of future first graders.

Relevance: Currently, drawing using non-traditional techniques has gained wide popularity among teachers - and this is understandable. It is very difficult to captivate modern children growing up in the age of digital technologies, who from an early age have bright pictures of cartoons and colorful graphics of computer games in front of their eyes in a tablet, phone, plasma panel. It’s easier to say in the art classes, where there is nothing surprising, they are bored. How to captivate modern kids with drawing? We will not lag behind our developed children, but we will surprise them by adding non-traditional techniques to drawing classes. By applying them in our work, we contribute to a free creative process, in which the word "no" is absent, and there is an opportunity to try some new materials and tools.

You are probably well aware of such non-traditional drawing methods as:

Spray;

Poking technique with a hard, semi-dry brush;

Drawing with fingerprints, palms;

Drawing with a candle;

Glue painting;

Drawing with semolina with glue and semolina;

Blotography (usual, with a tube, with a thread);

Salt drawings;

Bitmap technique - "Pointillism";

Scratchboard;

Drawing on wet paper… .;

Drawing with soap bubbles;

Drawing with shaving foam;

Drawing with crumpled paper;

Monotype;

Plasticineography;

Isothread;

Fractal painting;

Sumi-e Chinese painting;

Zentangle - graphic drawing;

Sumi-e is a Japanese ink painting technique, etc.

From creative teachers, pupils by the age of six or seven are usually already familiar with the above drawing techniques, but the order “ surprisingly nie»Has not ceased to be relevant. Well, we'll have to create something new and see how our children's eyes light up again in drawing classes.

What can be more traditional than folk art, more precisely one of its phenomena - the art of "golden khokhloma"? Is it possible, for example, in a lesson on the topic: “Khokhloma painting, to come up with something new?

Honestly, I searched and did not find ... In open Internet sources there are some children's drawings with elements of Khokhloma painting on a white or slightly tinted yellow background. But the Khokhloma painting, despite the limited use of colors, is so different!

Let's take a closer look at the products from the "golden khokhloma"

On objects carved from wood, we see bright red and black blades of grass painted by the artist, delicate leaves and twigs with elastic, as if shiny in the sun, black currant berries, or on the red surface never seen golden flowers suddenly bloom.

Khokhloma artists like to paint strawberries, raspberries, blackberries, gooseberries and cherries, red currants and mountain ash on the surfaces of their products. They call berries affectionately, and never even the same master will write them in the same way: slightly change the shape of the leaf, bend twigs in a different way, scatter flowers and berries - and the same motive will speak to us in a new way.

The golden shine of the patterns really evokes the sensation of a hot flame, fire. And not without reason! The fire turned the wooden surfaces of these objects to gold.

But, let's get back to reality: there are no wooden dishes in kindergartens, let alone ovens, for firing these dishes. This circumstance will not prevent us from making some interesting drawings in the style of "Khokhloma painting" and not only on a white or yellow background (as was the case earlier in kindergartens, but also on a black and red background. Will you say it is difficult? And I will say - perhaps ! You just need to unconventionally combine traditional materials for visual activities.

Materials: sheets of white paper (A4 size, gouache paints of black and red colors, jars of water, squirrel brushes, paper napkins, wax crayons of the following colors: black, red, yellow, gold, green, ruler, dense templates of the displayed products (for example, plates) and the products of applied folk art "golden khokhloma" in the assortment.

Main part.

Stage 1:

(with staged display)

"Rowan" on a black stripe.

At the beginning of the strip, draw a rowan leaf, which consists of five parts, with a golden wax crayon.

After the rowan leaf in the same color, draw a rowan branch with several upward curved lines.

Draw 10-15 rowan berries with red wax crayon.

Again we take a golden wax crayon and continue to draw a rowan branch, but bending downward, just in several lines. And we finish with a rowan leaf, as at the beginning of our drawing.

With green wax crayons we "revive" our rowan garland with curly, curved grasses of different sizes, adding them between the leaves and twigs at our discretion.

Using a ruler and red wax crayon, frame our garland at the top and bottom.

We apply black gouache directly to the drawing made with wax crayons (we often moisten the brush with water) and see how the paint fills the background before our eyes and rolls off the drawing. If your paint is thick, and the drawing, in some part, did not appear, then moisten the brush with water and slightly wash it off with water in this place. The excess water can be carefully collected with a folded paper towel.

It remains only to dry our works and admire them.

That's how easily we coped with the previously incredibly difficult task - to draw a khokhloma on a black background and so that nothing would merge.

"Black currant" on the red stripe

at the first stage, it is also drawn in stages with the show of the teacher

Stage 2:

(practical work based on step-by-step samples performed by the teacher)

There are two samples for the choice of children:

"Gooseberry" on a plate with a black background and "Black currant" on a plate with a red background.

Stage 3:

(practical work with a demonstration of art products "golden khokhloma" - vases, cups, cups, bowls in an assortment on black, red and gold backgrounds).

At this stage, we offer children, according to their taste, using elements of the Khokhloma painting, to circle and paint any of the provided templates for Khokhloma dishes. To nourish inspiration, on the tables in front of the children, the teacher displays real products painted by Khokhloma artists.

I hope you were interested, colleagues, and my material will be useful in your work. Thank you.

In the preparation of the above material, the following Internet resources and literature were used:

1. http://1liski.detkin-club.ru/custom_4/153738

Khokhloma painting is an old Russian craft of arts and crafts. For more than 300 years, the manufacture of "ceremonial" dishes has been practiced in Russia, which has become the country's hallmark and is a complex technological process. From the manufacture of wooden blanks, special processing of the product and direct painting of products in the original red-black-gold design of bizarre curls of vegetation. This article provides information on the technology of Khokhloma painting, patterns for beginners are also attached.

Manufacturing process

The very technology of obtaining "gilding" according to legend was borrowed from icon painters. They say that one of them went to the villages of the Trans-Volga region, where in those days they traded in the manufacture of wooden dishes and various types of ornaments and patterns were born. So the gilding itself was not gold. The process of obtaining such an effect is not the result of a one-day work with the product. When wooden boards, spoons and other utensils were made, they used clay, drying oil, tin dust, and then aluminum, and the product was originally silver-plated. There are simpler materials for children.

Cookware production technology has come down to our century almost unchanged in its stages. To begin with, they make blanks for dishes from wooden bars, more often linden and aspen are used. It should be dry enough not a single day. Then the product was primed, coated with clay "Vapoy" - this is a special solution of clay with drying oil, then impregnated with drying oil several times in intervals, heated in ovens at a temperature of 80-90 degrees. It is done in a day.

The next stage is called tinningthat is, when a product with an oil film was wiped off with tin powder, and then again wiped with linseed oil, then a "golden" color was obtained.

Nowadays, mass production of wooden products under Khokhloma is preserved as souvenirs and it is known that in most developed countries.

Motives and types

In modern art schools, this type of art is necessarily studied. Of course, they do not use the type of production itself, but they learn the basics of drawing.

The ancient art of Khokhloma painting is now experiencing a new heyday. Glittering gold, flaming with cinnabar patterns, wooden dishes and furniture are world famous. A wonderful Russian art craft, which arose in the 17th century in the Volga region, near the trading village of Khokhloma, from which it got its name, has turned into one of the largest centers of folk art in our country. In the last century, Khokhloma spoons and bowls were part of everyday peasant use.

Khokhloma entered the life of a Soviet person in a new way: magnificent sets adorned the festive table, decorative vases and panels fit into the ensemble of the modern interior and revive it; small things - boxes, ladles - have become favorite souvenirs, painted beads, brooches and bracelets - an elegant addition to a woman's costume.

And yet, among the various products of the Khokhloma craft, which sometimes have a purely decorative purpose, the most important place is occupied by dishes. Today, along with traditional cups, spoons, casks, suppliers, Khokhloma artists offer beautiful and easy-to-use kitchen sets, sets for fish soup, berries, honey, milk, consisting of several items. These bright colorful dishes seem to radiate generosity and Russian hospitality.

But the growing fame of Khokhloma is explained not only by the fact that Khokhloma products are practical and pleasant in the household, they can serve as a decorative decoration or an original souvenir. In our time, the significance of the Khokhloma painting as an original area of \u200b\u200bRussian folk art, a unique phenomenon of national culture, is becoming clearer. In works created by the hands of modern craftsmen, the artistic experience of many generations of talented wood turners, carvers and painters comes to life.

When you look at cups carved from light wood, bochag, bochaga, salt licks, you never get tired of admiring the strict beauty of the forms, the sonorous decorativeness of the painting, which turned these modest household items into genuine works of art.

The motives of the Khokhloma painting are simple and poetic. They are limited to floral and simple geometric designs. Flexible grasses or twigs with golden elastic curls-leaves spread softly along the convex surfaces of objects. Flowers, bunches of berries are woven into the pattern. The compositions, either strict and laconic, or refined and magnificent, embodied the love of the Russian people for nature, their desire for beauty.

The cheerful structure of the painting acquires a festive solemnity thanks to the splendidly found colorful range: sparkling gold, scarlet cinnabar and deep black tones. Strict color combinations and bright shine of gold make wooden bowls look like precious dishes. This is all the more remarkable because the Khokhloma "gold" is a product of the ingenuity of Russian artisans.

And it is not so easy to get the effect of gold on wood: unpainted products are primed, covered with linseed oil, rubbed with aluminum powder (in the past - tin, less often silver). The dishes “silvered” in this way are painted with oil paints resistant to high temperatures, varnished and tempered in the oven. Heating the varnish turns yellow, turning "silver" into "gold", softening the brightness of the color of the painting with an even golden tone.

The secrets of technology, wonderful traditions of this type of folk art are kept and improved by two large art enterprises located in the Gorky region: "Khokhloma painting" in the city of Semyonov and "Khokhloma artist" in the villages of Semino, Kuligino, Novopokrovskoye, Koverninsky district. The renowned collectives unite about a thousand masters. The creativity of many of them has received high awards.

It is no coincidence that the Trans-Volga region became the homeland of the Khokhloma painting. The forest region in the north-east of the former Nizhny Novgorod province has long been famous for its skillful craftsmen. Numerous artistic crafts were preserved here until the end of the 19th century, among which, due to the abundance of forests, woodworking took a special place. Khokhloma was only the only branch of the widespread art of carving, turning and wood painting.

Peasant utensils were lavishly decorated with carvings and paintings: sledges, horse arches, spinning wheels, rolls, weaving mills, dishes. Intricate patterns were carved by folk craftsmen on gingerbread and printed boards, and chipped and chiseled toys were made for children. The carved outfit of the huts was especially sophisticated in the Volga region. The pediment, walls, gates were covered with decorative boards depicting lush floral ornaments and fantastic creatures - the Syrian bird, the "beregin" mermaids, lions with a flowering branch instead of a tail.

To enhance the impression of elegance, house carvings, like carvings on utensils, were tinted. But the desire of peasant artists for bright colors was even stronger manifested in the painting of wooden toys, bast boxes, birch bark tues, Khokhloma dishes and Gorodets spinning wheels.

Gorodets painting, which arose in the second half of the 19th century in the vicinity of the Khokhloma painting, is completely different from it. In the villages near the Volzhsky Gorodets, famous for the noisy bazaars, peasants depicted amusing pictures on the wide bottoms of spinning wheels: smart "couples", dashing riders on steep-necked horses framed by lush roses or colorful bouquets, funny treats.

And today this peasant painting delights us to the point of boldness with its bold pictorial manner, with a sonorous harmony of rich blue, yellow, black and pink-red tones. Everyday scenes indicating the late origin of the Gorodets painting, the flamboyance of the colors, the technique of "cold" coloring in contrast emphasize the unique originality of the purely ornamental motives of Khokhloma, its strict solemn color and unusual technology generated by the artistic culture of the 17th century.

In the history of folk crafts of the Volga region, the Khokhloma craft occupied a special place not only in terms of the breadth of distribution, the number of employed workers, the volume of manufactured products, the scope of trade, but also in terms of its amazing vitality. The Khokhloma painting method appeared, in all likelihood, in the 17th century. In any case, even then, metal powder in decorating wooden dishes was widely used by Nizhny Novgorod craftsmen, for example, in the estates of boyar Morozov, who, in a letter to his clerks in 1659, demanded to send him "One hundred dishes of red (i.e., painted. - T. E.) and for the tin business "... But it is not known whether these dishes looked like gold.

It is quite possible that the addition of the Khokhloma technology was influenced by the icon-painting craft developed in the schismatic sketes of the Trans-Volga region - for gilding the background of the icons, silver powder was used for drying oil. In this technique, close to Khokhloma, local icon painters tried to create purely ornamental compositions. The Gorky Art Museum houses icon cases of the 17th century, painted with lush plant patterns that resemble precious oriental fabrics. Fantastic golden flowers and bizarre leaves glisten against red and green backgrounds.

The spread of the method of imitating gold in the coloring of peasant dishes was caused, apparently, by the desire to imitate expensive utensils, carved from precious woods, painted with cinnabar and painted with real gold. It was used by the boyars, and was made in monasteries and, in particular, in the Tronts-Sergius Lavra, to which the Trans-Volga villages of Khokhloma and Skorobogatovo were attributed in the 17th century. From the documents of the monastery it is clear that peasants from 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 interesting that it was the Khokhloma and Skorobogachov lands that became the birthplace of the original folk painting, dishes that looked like precious.

The abundance of forests, the proximity of trade routes contributed to the development of the industry. In 1810 the Russian scientist-geographer Evdokim Zyablovsky reported that in the villages of the Nizhny Novgorod province, located on the left bank of the Volga, “peasants sharpen and varnish various wooden dishes. Their goods are light, clean, strong, and both their yellow and black varnish, which they brew from linseed oil, is very strong and light. "

By the middle of the 19th century, the trade had grown significantly. “The activity in the Khokhloma volost is extraordinary,” wrote the Nizhegorodskie Provincial Gazette in 1855, “in some villages they cook baklush, in others they grind cups out of baklush, in others they paint them...”

Ten villages of the Semenovsky district (Vikharevo, Koshelevo, Sivtsevo, Berezovka and others) in 1870 painted 930 thousand pieces of dishes. Skorobogatovskaya volost of the neighboring Kostroma province competed with them, where they were engaged in painting in Bolshie and Malye Khryashchi, Semin, Rossadin, Mokushin, Vorotnevo and the village of Bezdel, which got its name because its inhabitants did not sow bread, like other peasants, but lived only on income from fishing.

In the second half of the 19th century, all kinds of cups, caviar dishes of five varieties, turned mugs, barrels, lacquer canes and snuff boxes were made here. The furniture with Khokhloma patterns made in Bezdelya by the Krasilnikov family was also famous. By this time, Khokhloma painting had accumulated certain traditions, its characteristic techniques, types of compositions had developed.

The art of Khokhloma in its origins is closely connected with the ancient Russian decorative culture. In the Khokhloma ornaments one can see a connection with the floral patterns of icons and frescoes, manuscripts, fabrics and utensils of the 17th century. In the process of development, peasant painting experienced various influences, but, having reworked them, created its own special style, largely determined by the tasks of mass production of cheap dishes for peasant use.

The principles of decorating it are varied and depend on the shape, size and purpose of the object. The cheapest bowls that could be found in any village hut had a simple ornament. The master dipped a stencil made from a piece of felt, a dry raincoat mushroom or a porous sponge into the paint, confidently applied black and red diamonds, stars, spirals to the surface of the bowl. They alternated on a golden background in a strict rhythmic order, sometimes combined with light strokes, sometimes scattered along the side, sometimes forming a semblance of a flower at the bottom. Already in these primitive compositions, the remarkable decorative flair of the village artist was expressed, his ability to fill the surface of an object with a drawing, leaving no voids anywhere, but also not filling the golden background with paint. With avaricious means, the master created an elegant, eye-pleasing painting.

Items large or more complex in shape were painted with the so-called herbal ornament. It was performed with quick laconic strokes of the brush, similar to blades of grass or feathery leaves. A light openwork pattern covering golden dishes, barrels, postavtsy, emphasized the beauty of their proportions, the plasticity of the silhouette.

In this respect, the painting of the "artel" bowls, huge, "up to one and a half arshins in diameter", from which it was possible to feed the whole artel, is remarkable. Sometimes they had an inscription: This is a bowl for barge haulers, it's nice to eat them for health. We serve the owner, we sing a song.

At the bottom of such a bowl, the master, as a rule, placed a rosette of "herbs". This composition was popularly called "mushroom", either because of the resemblance to a forest mushroom, or because it resembled the sun - the red-haired Yarilo. Often, the rosette would fit into a rhombus, forming a kind of gingerbread.

The design in the center, emphasizing the bottom, was framed by a plant branch. She lay down on the side of the bowl with a lush wreath and seemed to bloom before our eyes, throwing out one after another elastically curled shoots with bunches of berries. It is convenient to spread such an ornamental motif on the spherical surface of an object, and due to repeated repetition, its drawing acquires clarity and completeness.

In another case, the composition is built on the principle of contrast - the "gingerbread" is enlarged, and swirling strokes running in one direction are boldly thrown along the side, like feathers of a fabulous bird. Their impetuous rhythm dimmed the stillness of the "carrot". Khokhloma carefully preserves herbal patterns taken from antiquity, and sometimes unexpectedly boldly recycles, creating endless and varied options: a wavy branch on a bowl, lush bushes on a pot-bellied barrel or a squat saltcellar, graceful "sedges" on a slender set, and on its - a steeply curved spiral twig.

The fantasy of the peasant artist is inexhaustible: the ornament is never repeated exactly, and each new version of it is a skillful improvisation, performed without a preliminary drawing. That is why the techniques of "riding" writing are so expressive, with which "grass" is performed: flexible strokes - blades of grass - lie in silhouettes over the golden background. The rhythms of painting are determined by the movements of the brush, sometimes bold, energetic, sometimes smooth and unhurried, but always confident and accurate.

The manner of painting, developed by more than one generation of artists, combines the correctness of techniques with spontaneity and seeming simplicity: we see how the paint hardened from the touch of a brush, giving life to wonderful leaves and herbs. Juicy strokes and light strokes are extremely conditional and contain only a hint of shape, but immediately evoke in our imagination a vivid and vivid image of a flowering plant.

In these fiery bursts of cinnabar - the generosity and wealth of the soul of the Russian person, in them - a living sense of nature and the peasant's dream of beauty, his desire to turn a modest blade of grass into an outlandish plant, curling with bizarre curls. The same is sung in folk wedding songs: the "golden yar-hop" winds, "azure flowers" bloom on the way of the groom to the bride, "silk grass" bends.

The grass ornament was the most beloved among the peasants, but there were also compositions without "grass", "under a leaf" - the image of leaves on branches that were simple in design, or those where "grass" was an addition to the main pattern. For example, a "shaft" with large flowers and leaves, curly tendrils.

"Horse" letter is one directed by Khokhloma painting, associated with the tradition of free brush painting, which existed in the Volga region in the 17th-18th centuries. Other techniques and decorative principles are developed by the "background" writing that appeared in the middle of the last century.

Its execution is more complex: the artist outlines the contours of the drawing with a thin black line, then paints over the red background, and writes out the left silvery pattern, that is, revives it with light strokes, shades it with shading. After varnishing and tempering in the oven, golden flowers and leaves will shine against a festive scarlet or deep black background.

So they wrote “kudrina - an ornament formed by golden curls. They, following each other, like the scallops of waves, create an elegant golden border. Such a strip was liked to be placed along the edges of bowls and suppliers.

Often the “curls” motif is a large branch with succulent leaves, reminiscent of the plant patterns of house carving. These patterns, according to the stories of the old master N. G. Podogov, the artists of Khokhloma altered in their own way, changed the composition, adapting it to the convex surfaces of chiseled dishes, gave the leaves more rounded outlines.

I liked “Kudrina” for its generalization, the play of flat golden spots. Bowls and spoons were decorated with such a painting, but it was especially good on large objects - large bowls, arcs, round stools. On the arcs made in the middle of the last century, there are also patterns with smaller twigs, intercepted rings and curly leaves. They resemble the ornaments of ancient handwritten books preserved by the Old Believers.

Obviously, these drawings influenced the composition of the motifs of "curls", and possibly determined the graphic nature of its techniques: instead of juicy strokes of "grass" giving the impression of picturesqueness and volume, the contour line, a flat golden spot, a subtle stroke in the elaboration of details dominate here. However, the complex and time-consuming "background" letter was executed, apparently, only on gift items or on a special order. Few of such things have come down to us, and often they were signed or had inscriptions: This arc of the peasant Simeon Ivanov Grishina der. Retkino 1853.

The technique of "riding" writing, thanks to the lightness and laconicism of its techniques, remained the main one in the decoration of mass dishes, which were sold in batches of a thousand pieces. Light, durable, elegant and cheap Khokhloma bowls, spoons, supplies and dishes were widely dispersed in Russia and exported abroad. The Volga was the main trade route.

In the spring, as soon as the river was cleared of ice, the barges loaded to the brim with "chips" sailed to Gorodets or to Nizhny Novgorod and Makariev, famous for their fairs, and from there to Saratov and Astrakhan provinces. Through the Kyrgyz steppes, Khokhloma dishes were delivered to Persia, India, and Central Asia. From Nizhny, she went to Siberia, to the White and Baltic seas. The British, Germans and French bought it in Arkhangelsk. Travelers met Khokhloma cups in remote cities of America, Africa and Australia.

Despite the growing popularity of Khokhloma painting, in the late 19th - early 20th centuries, fishing experienced a severe crisis caused by the rise in forest prices and increased competition from factory utensils. The handicraftsmen had to develop the cheapest kinds of dishes, the painting degenerated into rough careless strokes. Professional artists, sent by the Nizhny Novgorod zemstvo to teach new drawings to handicraftsmen, introduced an element of cold stylization into the painting.

The Great October Socialist Revolution opened a new page in Khokhloma's art. In the first decrees of Soviet power, care was felt for the protection and development of folk art. The decree of the All-Russian Central Executive Committee played an important role in his fate. signed by V. I. Lenin and M. I. Kalinin on April 25, 1919. "On measures to promote the handicraft industry." Khokhloma artisans, like masters of other crafts, received the necessary financial support and raw materials. They united in artels and went to work from cramped dye-houses into light and spacious public workshops. In 1918 a school of Khokhloma painting was opened in the city of Semenov.

The exhibition of works of peasant art, organized in 1921 in the halls of the State Historical Museum, showed its true beauty and significance, prompted the artists of Khokhloma to turn to the study of the rich heritage of the past. The period of the revival of the truly folk character of the painting was the 1920s-1930s. Its best traditions were preserved and passed on to the younger generation of artists by the old masters: S. Yuzikov, the Krasilnikov brothers, A. M. Serov, P. F. Raspopin, the Pologov family and others.

However, the traditions of the pre-revolutionary art of Khokhloma were rethought in the spirit of the times. As a result, at the Exhibition of Folk Art, which took place in 1937 at the State Tretyakov Gallery, new original works by Khokhloma artists appeared. In these works, on the basis of the ancient "herbal" writing, various variants of plant patterns were created. Artists began to place flowers, patterned leaves, strawberries, currants, raspberries, spikelets of rye among the flexible grasses, depict birds, and sometimes fish in divots of algae herbs. For the first time in the Khokhloma ornament the joyful feeling of life was vividly embodied, and its content became rich and emotional.

The following decades were full of intense searches: the art of Khokhloma was enriched with new discoveries. The highest creative achievements are associated with the modern stage in the life of the craft. Excellent results are brought by the work of Khokhloma masters in collaboration with the staff of the Moscow Research Institute of the Art Industry - V. M. Vishnevskaya. 3. A. Arkhipova, A. V. Babaeva. E. I. Vorontsova.

In the experimental laboratories that have opened at the Khokhloma factories, artists create a rich assortment of products that are gaining increasing popularity today. Here you will find a variety of dishes, decorative vases, ladles, panels, and sets of collapsible children's furniture, light and comfortable coffee tables. Among the novelties of souvenir products - graceful vases, powder boxes, a set of three miniature supplies, nested one inside the other and painted with "grass", "curls" and "under the background".

In developing the plastic qualities of new products, the authors strive to make fuller use of the specifics of wood. Taking as a basis the types of traditional Russian wooden dishes - bowls, broths, postavts, tubs, large mugs for kvass - the artists interpret the form in their own way, giving it a sharper expressiveness, emphasizing harmony and lightness or, on the contrary, massiveness and stockiness. This is achieved by changing the proportion, silhouette, original solution of details - handles, covers.

Thanks to the new decorative purpose of Khokhloma products, the aesthetic basis of Khokhloma was further developed. Khokhloma painting today has become unusually delicate, virtuoso, and emotional. Perfectly mastering all types of writing, artists create endlessly varied variants of ornaments. And in any composition one can feel the bright individuality of the master. Even seemingly monotonous, at first glance, grass patterns, we can easily distinguish large juicy "grass" by A. I. Kurkina from the gentle "grass" N. A. Denisova or light dynamic, as if bowed by a gust of wind, scarlet "grasses "E. N. Dospalova.

The colorful range of painting has become more complex and richer. Within the limits of the traditional color, the masters are looking for new interesting combinations, laying out the main colors into similar shades: yellow-orange highlights appear on red berries, on the sheets - play of greenish-brownish tones, softly combined with gold. Khokhloma's palette as if absorbs the colorful wealth of autumn forests, among which painting was born.

The artists set off the saturation of the Khokhloma patterns with gold stripes, chiseled decorative rings, grooves, which give the product a special elegance. In contemporary Khokhloma art, two directions have been defined.

In the Koverninsky district, where craftsmen work in villages lost among dense forests, the figurative structure of painting is largely determined by direct life impressions. The predominant motives here are “grass”, modest wildflowers, leaves and catkins of birch, linden, and wild berries. The rhythms of the drawing are smooth, unhurried, but brush techniques are picturesque and bold. "We love living berries, freedom in painting", - say the artists.

Each of them has its own special manner of performance. LI Maslova's work is distinguished by subtle lyricism. A gentle, welcoming image of nature is embodied by it in compositions with a gooseberry motif. On flexible twigs, she depicts patterned pale green leaves, striped golden yellow berries. Through their shaggy skin, streaks of gold seem to shine through in the sun.

The paintings of K.V. Mosnnaya with raspberries, mountain ash and currants are akin to a cheerful peasant song. It blows from them with a freshness of feeling, a purely folk understanding of color - sonorous, bright, full-blooded. Thin lines coexist here with a daring brushstroke and "poke" ("frog"), which is applied with the end of the brush. With these "pokes" the craftswoman writes blackberries and raspberries, the crown of a tree, and clover flowers.

O. P. Lushna stands out with her picturesque temperament among other craftswomen. She often builds compositions on the play of large spots of color, abandoning the traditional flexible stem or bush. The artist boldly throws fiery red leaves over the gold background of bowls and vases. These bright juicy spots, similar to sonorous musical chords, impart a special uplifting and major to the figurative structure of the painting.

Modern "background" writing has become unusually effective. The floral patterns that are executed in this technique, thanks to special techniques, received a new original interpretation: either in the paintings by A.T.Busova, which are densely ornamented, the flame of berries and the gold of the leaves contrast with the velvety-black depth of the background, then they shine on it like stars on the night sky, golden rosette flowers in the works of Olga L. Veselova. The master P. A. Novozhilova loves the red background, which gives the image a special festivity. The drawings of Kovernin's "curls" are soft, plastic. True, they are performed less often here than in the city of Semenov.

The city of Semyonov is another major center of Khokhloma, where this art develops in a slightly different way. Although both Semyonov and Kovernin artists are fine experts in all types of writing, both have their own favorite motives and techniques. Differences in the nature of their painting have been outlined for a long time. In 1937, at the exhibition "Folk Art" in the Tretyakov Gallery, two decorative panels aroused particular interest. One of them belonged to the master of Kovernin A. G. Podogov.

Using the ancient motif of the composition "staff", he depicted screaming starlings among the fresh greenery and fluffy flowers of bird cherry. He managed to create a poetic and at the same time life image of Russian spring nature. The work of the Semyonov artist A.P. Kuznetsova fascinated with its fabulousness: on a lush branch with magic apples, an elegant bird-Pava with fiery golden-orange plumage.

The Semenovites were attracted even later by complex and lush compositions with fantastic birds, flowers and bizarre leaves, which they performed in a light graphic manner.

Recently, many and willingly Semyonov craftsmen have been working on the Kudrina ornaments, write them finely, with jewelry subtlety.

MF Sineva's motives of "curls" are peculiar, unusual. They vary the image of an exotic flower formed by golden curls and resembling an oriental fan.

If the Kovernna craftswomen are trying to preserve their individual "handwriting", then in Semenov the talented artists A.P. Savinova, N.P. Salnikova, N.V. Morozov, N.I. Ivanova, M.M. Gladkov, creating new compositions often work together. Each can always continue or finish the work of the other. The table sets made by a team of craftsmen under the direction of IK Sorokin are especially good.

Various objects are painted with patterns of rare beauty. You can endlessly admire the filigree ornament of small golden curls-leaves on a flexible stem. Whimsically curving, golden branches fall on the red background of cups, brothers and ladles in elegant openwork lace. The magnificent ceremonial painting corresponds to the purpose of the festive tableware. The works of Semyonovsky and Kovernin artists perfectly complement each other, giving an idea of \u200b\u200bthe rich and varied possibilities of modern Khokhloma painting.

Painting wooden spoons for children 5-7 years old on the topic: Khokhloma

Khokhloma painting of wooden spoons and blades with gouache, using cotton swabs.

Polukarova Svetlana Sergeevna, MKDOU Anninsky d / s ORV "Rostok", Voronezh region, urban settlement Anna.
Purpose: Master - the class is designed for children 6-7 years old. Painting on wood allows you to get acquainted with the secrets of artistic crafts and develop fine motor skills of hands, their sensitivity. This item can be used as an interior decoration, as a gift for March 8, as well as for an exhibition.
Goal: to expand the understanding of the types of folk arts and crafts, continue to acquaint children with Khokhloma painting on various tableware.

Tasks:
To see the peculiarities of the Khokhloma painting, to get acquainted with the new composition of the pattern: depicting a rounded branch with berries; draw a pattern on a yellow background.
Exercise in turning the hand when drawing curls in different directions, consolidate the ability to use cotton swabs to draw small circles.
Learn to draw neatly, beautifully placing the drawing on a wooden form.
Develop creativity and imagination when making decorative spoons
To foster a respectful attitude and respect for the products of people's labor.
Materials and tools: wooden blanks - spoon and spatula; an album, a simple pencil, an eraser, gouache paints (red, yellow, green, black, white), a jar of water; squirrel brushes No. 2, 4, 6; cotton buds.

Wooden spoons - it is a reflection of the originality of our Russian culture and its cultural traditions. Wooden spoons have come to us from time immemorial, enchanting everyone with their originality and color. What a wonderful souvenir gift to your friends and family!

Wooden crafts not only beautiful - it is an environmentally friendly material. Using wood products is not only safe, but also good for your health. No wonder in Russia from time immemorial they ate from wooden dishes with wooden cutlery and were healthy until old age.
1. Draw a sketch of a spoon and a spatula on paper.

2. According to the drawn sketch we cut out objects from wood.

3. Next, we continue to work with paper sketches. We paint the painted products with yellow gouache.

4. Thinking over the drawing of the painting on paper in advance. We draw with a simple pencil, then paint with gouache.

5. Further, when the sketch is ready, we do the same work with wooden products. Cover with yellow on both sides.

6. Paint over the ends with red gouache.

7. We apply an ornament - berries, in red gouache. Draw 3 circles on the shoulder blade with a brush No. 2. On a spoon - bunches of currants with cotton swabs, using the poke method.

8.On a spoon, use cotton swabs to make flowers in blue

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nine . On the shoulder blade, the leaves are the adhesion of the brush No. 6. Draw currant leaves on a spoon with a brush # 2.

10. Draw curls with black paint, brush # 2.

11. We make antennae on the shoulder blade. Put pokes with a cotton swab with black paint.

12. Decorate the leaves and currants on a spoon with white paint.

13. Draw a red border on the handles.

14. The product is ready. Can be varnished if desired.

15. Helpful hints:
- dry the spoon after painting for at least eight hours.
- if you plan to varnish the product, dry it at room temperature in the place of the room where there are no drafts and dust, the usual time for the first varnishing is 15-16 hours, the second - 24-25 hours. Ideas