Russian folk crafts. Palekh miniature

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

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

History of Russian varnishes

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

Centers of Russian lacquer miniatures

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

How icon painting began in Palekh

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

In the middle of the 17th century, the fame of Palekh icon painters reached Moscow, and masters began to be invited to perform works at the royal court. If in the 17th century icons were painted in almost every large village, then in XVIII century Three main centers of icon painting remained: Kholui, Mstera and Palekh. The Paleshans, unlike the residents of the more industrialized Mstera and Kholuy, until the beginning of the 19th century, combined traditional agriculture with painting icons in their free time from working in the fields. Carefully drawn and traditional icons were created slowly and were expensive.

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

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

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

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

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

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

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

Post-war years

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

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

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

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

Modernity

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

Distinctive features

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

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

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

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

How is papier-mâché made?

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

Techniques and techniques

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

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

1. Opening - outlining the main silhouettes and contours.

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

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

4. Glare - a notch made with created gold.

5. Framing the painting with a gold pattern.

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

The history of Palekh goes back to ancient times. In the 15th century, the village of Palekh was part of the Vladimir-Suzdal lands. According to the Spiritual Testament of Ivan the Terrible in 1572, the village of Palekh was in the local ownership of his son Ivan. In 1616, Palekh was listed as the estate of Vasily Ivanovich Ostrogubov and the widow of Yuri Ivanovich Ostrogubov. Soon it was granted patrimonial ownership to Ivan Buturlin “for the Moscow siege of the prince,” that is, for participation in the war against the Polish-Lithuanian intervention. According to the scribe books of 1628-1630 of the Vladimir district of the Bogolyubsky camp, Palekh is the patrimony of Ivan Buturlin and his children.

There is also a legend - “Palekh arose in those violent years of deep antiquity, when countless Tatar hordes were marching on Vladimir-Suzdal Rus'. The devastated population fled into the dense forests and swamps and took icons with them. The Tatars burned forests. “There was a great Palikha” - from here and the name Palekh came about.
When describing Palekh lacquer miniatures, the following terms are rightly used: “world-famous”, “refined”, “exquisite”, “precious”, and many others.

By creating small-circulation, and often unique, one-piece works, Palekh’s craftsmen contrast industrial production of objects and souvenirs for mass consumption with handcrafted items that preserve the individual characteristics of the work of a living master and ancient technologies for processing traditional materials. It is precisely such products, being self-sufficient and valuable works of their own applied arts, can satisfy the tastes of an individual person, decorate his life and, at the same time, fully fulfill their utilitarian functions.

Possible applications Palekh art are not limited only to boxes and caskets, icons and jewelry. These include printing and portrait painting, and interior design with lacquer panels and canvases, as well as the production of badges, original business souvenirs, and much more

Turning to the best examples of ancient Russian and Russian icon painting, Palekh masters introduced decorativeness and bright colors nature, characteristic of folk art traditions. Given the established commonality of stylistic manifestations, each master has his own personal, recognizable handwriting.

The traditional motifs of Palekh artists were initially considered to be fairy-tale and literary subjects, historical events and everyday scenes, folklore However, after a short time themes of industrialization and the collective farm movement, the battles of the Great Patriotic War, flights into space.

Each time inevitably makes its own demands on the artist, forcing him to analyze what he has passed, stimulating him to further development. Today, simultaneously with the revival of icon painting, talented artists have appeared in Palekh, creatively comprehending the art of modernism, the Russian avant-garde, the pictorial heritage of the East, other classical and modern trends

The name of the fishery comes from the name of the village of Palekh.

The art of Palekh painting is still very young, it is only a little over 70 years old.

Palekh icon painters painted churches and temples throughout Russia with wonderful frescoes. Even in the Moscow Kremlin, in the “golden”, as it was sometimes called, the Faceted Chamber, masters from Palekh, the Belousov brothers, worked.

But as time passed, Palekh’s art suddenly turned out to be of no use to anyone. Many artists were offended and left their homes in search of a better life. “Palekh is already dying or dying out, it cannot be resurrected,” A.P. wrote back in 1901. Chekhov.

New glory Palekh brought the art of lacquer painting on papier-mâché boxes. And the traditions of ancient icon painters are alive.

The scarlet cloak of the hero who defeated the villain curls; the ship of Prince Guidon is sailing on the blue sea with full sails; in a high mansion, a beautiful maiden is waiting for a daring young man... Under the master’s brush, landscapes of the native land are born - and it shines golden sun fast rivers flow...

Story

Palekh has been famous for its icon painters since pre-Petrine times. Palekh icon painting reached its greatest flourishing in the 18th century. early XIX century. The local style developed under the influence of the Moscow, Novgorod, Stroganov and Yaroslavl schools. In addition to icon painting, the Palesians were engaged in monumental painting, participating in the painting and restoration of churches and cathedrals, including the Faceted Chamber of the Moscow Kremlin, churches of the Trinity-Sergius Lavra, and the Novodevichy Convent.

After the revolution of 1917, icon painting in Palekh ceased to exist. On December 5, 1924, the “Artel of Ancient Painting” was organized in Palekh to paint papier-mâché products. Its founders were I.I. Golikov, I.M. Bakanov, A.V. Kotukhin, V.V. Kotukhin, I.V. Markichev, I.I. Zubkov, A.I. Zubkov. As a result of long creative searches, former icon painters showed the world virtuoso compositions on papier-mâché boxes, painted with a rainbow of colors and golden patterns. The Paleshians did not abandon the usual technique of painting with egg paints using created gold. In the figurative solutions of new works, they still used medieval techniques of stylization and conventional forms. The most popular and most successful compositions of the first years of the existence of Palekh miniatures were “troikas”, “hunts”, “battles”, “couples”, “shepherdesses”, “idyls”, “festivities”. These works had neither a developed plot nor a vivid image, only a strongly expressed ornamental beginning. Spontaneity, sincerity and poetry gave charm and warmth to the first works of the Paleshans.

One of the brightest and most talented artists of Palekh was Ivan Ivanovich Golikov. He was called the master of the horse, battle and three. The fabulous horses with fragile legs in Golikov’s miniatures are colored with all the colors of the rainbow, and “battles” and “hunts” are a manifestation of the indomitable imagination of the Palekh artist. Golikov’s “troikas” are dynamic, impetuous, but sometimes stately and solemn. I.I. Golikov turned to this motif many times, drawing winter and summer threes on a variety of objects: brooches, powder boxes, cigarette cases, trays.

THEM. Bakanov was considered in Palekh the best expert on icon painting traditions. He flawlessly mastered the original technique of applying paint layers. Thanks to the transmission of the lower layers of paint through the thin, transparent upper layers, the effect of an internal glow of the painting is created, the effect of the flow of one tone into another. Bakanov created many wonderful works that have become classics of Palekh art. He turned to song themes (“Stepan Razin”, “On the Pavement Street”) and sang the image of his native Palekh. His best works were written on the themes of Pushkin’s works - “The Tale of the Golden Cockerel”, “From the Threshold of My Hut”, “The Bakhchisarai Fountain”.

Ivan Ivanovich Zubkov was a keen connoisseur of his native rural nature. There is no developed action in his miniatures; the artist seems to be contemplating nature. The figures have smooth, somewhat slow rhythms of movement, which gives a feeling of silence and peace. Artistic thinking I.I. Zubkov's work was pictorial and plastic, and not ornamental and decorative. The artist builds a colorful range on subtle tonal relationships, on gentle transitions from one color to another. These are his miniatures “Couple”, “By the River”, “Landscape”.

Early romantic works A.M. Gorky, built on a song rhythm, are close and consonant with the style of Palekh miniatures. Illustrating them, the Palesians knew practically no failures. Among best works– box I.P. Vakurov "Petrel". The red silhouette of a worker with a hammer seems to grow from a block of stone. “I wanted this person to be like a worker and a writer and a builder, and so that he could wisely govern the state,” this is how I.P. explained his plan. Vakurov in E. Vikhrev’s book “Paleshans”. In this miniature, as in others dramatic compositions Vakurova great importance has a black background. The artist leaves large planes backgrounds are not recorded, linking them with intense-sounding color spots.

One of the most original Palekh artists is Aristarkh Aleksandrovich Dydykin. In his compositions, he skillfully combined ancient iconographic motifs and new techniques mastered in the process of working on miniatures. The works of this master are characterized by a special interpretation of the landscape, abundant application of gold in the ornaments and spaces. The best miniatures by A.A. Dydykina: “You, Vanya, have gone crazy”, “Demyanov’s ear”, “Emancipation of a woman”, “Russian Volga River” - are in the collection of the GMPI. The miniature “You, Vanya, have gone crazy” was written on the theme of an old Russian song. In the center of the composition crying girl escorting her fiance to the city. Her drooping figure from grief is echoed by the bowed trees and softly outlined hills, conveying the smoothness and melodiousness of the Russian melody.

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

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

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

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

Currently, more than 600 artists live and work in Palekh; every tenth resident of Palekh is a graduate of Palekh art school them. A.M. Gorky. They work in various creative teams: cooperative “Association of Artists of Palekh”, JSC “Partnership Palekh”, LLC “Artists of Palekh”, icon painting and iconostasis workshops.

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

Box "The Tale of the Golden Cockerel", 1934

Papier-mâché, tempera, gold, varnish. 19.7 x 26.9 x 4.5

Plate “And throws her overboard...”, 1929
Bakanov Ivan Mikhailovich 1870 - 1936
Porcelain, ceramic paints. 22.7 x 35

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

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

Cover of the casket "The Tale of Igor's Campaign", 1956.
Kotukhina Anna Aleksandrovna born 1915
Papier-mâché, tempera, gold, varnish. 11.5 x 19

Plate "Palekh"
Chikurin Alexander Vasilievich 1875 - 1965
Papier mache. tempera, gold.

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

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

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

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

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

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

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

Box "Russian linen", 1974
Kukulieva Kaleria Vasilievna born in 1937
Papier-mâché, tempera, gold, varnish. 19.7 x 26 x 8

Box "Nastya" 1993 - 1994
Shanitsyna Ekaterina Fedorovna born in 1947
Papier-mâché, tempera, gold, varnish. 9.5 x 12 x 3

Box "Merchant Kalashnikov", 1972
Morokin Vyacheslav Fedorovich born in 1945

Box "Winter" 1993
Ivanova A.N.

Box "Chelubey's fight with Peresvet", 1945
Chalunin Pavel Fedorovich 1918 - 1980
Papier-mâché, tempera, gold, varnish. 18 x 23 x 7

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

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

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

History of the fishery

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

(Palekh)

A special boom in Palekh painting is characteristic of the late 1960s - early 1980s:

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

Elements of Palekh painting

(drawing)

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

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

(painted work)

Other important differences are:

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

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

Execution technique

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

(Palekh miniature)

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

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

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

(Palekh boxes)

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

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

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

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

Village of Palekh - an ancient Russian village of the Vladimir-Suzdal land, one of the centers ancient Russian art, located 64 kilometers from the regional center. Population - 6,400 people, of which 500 are artists living within their community.

Palekh was a village until 1947, then in 1947 it was renamed a village. Exact date The origin of Palekh is unknown, but the records preserved in the chronicles indicate that it existed until the 15th century.

Palekh stands on a hill, among fields and forests, divided into two parts by the Paleshka River, there are many springs and ponds.

The history of Palekh goes back to ancient times. Palekh is a name of Finno-Ugric origin. The results of archaeological excavations confirm that for a long time one of the numerous Finno-Ugric tribes lived in the region. The Finno-Ugric people completely disappeared among the Slavs, who gradually populated the northeastern lands of Rus' and their linguistic culture can only be traced in geographical names- Purekh, Palekh, Landeh, Lukh, Lyulekh. A belief has been preserved, told by local resident Felitsata Grigorievna Palikina about the origin of the name

Niya Palekh.

"... There were dense forests, there was no population... there was a big fire in the forest... from the Molonia. The fire burned all the trees on the mountain. And soon people here announced All of those who were looking for a free life fled either from the Tatar raid or from the boyar yoke. They called Mount Palyonaya, or else Palikha. And they began to call the village Palekh."

There is also a legend: “Palekh arose in those violent years of deep antiquity, when countless Tatar hordes marched on Vladimir-Suzdal Rus'. The devastated population fled into the dense forests and swamps and took icons with them. The Tatars burned the forests, there was a great fire” - hence came the name Palekh.

In the 16th–17th centuries. Various crafts arose in the village. The beginning of the heyday of the ancient icon painting craft of Vladimir-Suzdal Rus' in Palekh dates back to this period. In the 18th century, the art of Palekh icon painters acquired a unique style, later called “Palekh letters”. Palekh icons They were famous for their special fineness of writing, tempera paints using gold on the clothes of saints. The exact date of the emergence of Palekh icon painting written sources not installed. The style of Palekh icon painting is based on the traditions of the ancient Suzdal school and some features of Moscow icon painting of the 15-16 centuries. .

("Don't cry for me, Mati - 1769)

Many works of Palekh icon painting were created under the influence of Western European art and the Russian academic school, the so-called “Fryazhsky” letter.

Palekh icons were admired by Goethe, Chekhov, Nekrasov, and Leskov. Boxes, caskets, powder compacts, and cigarette cases made in this village are sold all over the world. Some are exhibited in museums or are a source of pride for collectors.

In addition to icon painting, the Palesians were engaged in monumental painting, participating in the painting and restoration of churches and cathedrals, including the Faceted Chamber of the Moscow Kremlin, the temples of the Trinity-Sergius Lavra, and the Novodevichy Convent.

Palekh iconography

Modern Palekh is one of the recognized centers of lacquer miniatures. After the revolution of 1917, Palekh icon painters had to look for new ways to use their creative powers.

In 1918, artists created the Palekh artistic decorative artel, which was engaged in painting on wood.

The people of Palestine became acquainted with the new material papier-mâché, which for a century had been the basis for Fedoskin’s lacquer miniatures. The masters mastered the new material, transferring onto it the technology of tempera painting traditional for ancient Russian icons and the conventional stylistics of the image, and created a new style miniature letter, distinguished by its particular subtlety artistic techniques. It was called the Palekh Miniature.

The founders of the Palekh style are I. I. Golikov and Alexander Aleksandrovich Glazunov, in the Moscow workshopwhich Ivan Golikov wrote the first work in the so-called pal exish style.

The peculiarity of Palekh miniatures are typical subjects borrowed from everyday life, literary works classics, fairy tales, epics and songs. For style Palekh painting characterized by a thin and smooth pattern on a predominantly black background, an abundance of golden shading, and a clear silhouette of flattened figures, sometimes completely covering the surface of the lid and side walls of the boxes. The decorativeness of the landscape and architecture, the elongated graceful proportions of the figures, the color based on a combination of three primary colors - red, yellow and green, go back to the traditions of ancient Russian icon painting. The composition is usually framed with exquisite ornaments made of melted gold.