Artistic growth - (from writing) - the art of decorating paints of any surface. The art of painting should be distinguished from painting. If the “picture type” compositions are designed for autonomous perception in neutral space or on a neutral background, relatively isolated from the environment, then the painting is functional and, therefore, compositionally is part of the space specially designed and organized by the artist. The art of painting and the quality of picturesqueness imply a spatial relation to the pictorial surface (in a different terminology: optical). In the art of painting, tactile qualities are more important.
Content
The appearance of the mural
One of the most ancient types of folk crafts, which for several centuries have been an integral part of everyday life and the original culture of the people, is artistic painting.
Decorative painting, compositionally related to architecture, is called monumental, or monumental-decorative. The painting in architecture can decorate the walls, ceiling (ceiling), padugi, arches, pillars. In technical terms, painting should be distinguished from mosaic, inlay, stained glass (although the painting also uses painting techniques), decorative panels (which are mounted separately, for example, canvas on a frame).
Even in antiquity, wall paintings were made with wax paints or egg tempera, followed by coating with a layer of wax. At the turn of the XII-XIII centuries, along with the technique of writing "dry", a letter began to be applied on raw plaster (fresco; alfrein technique; grisaille; quadrature; "optical illusion"). The common name for many varieties of this art is wall writing, or wall painting.
The priest and art researcher P. A. Florensky believed that icon painting owes its origin to the noble art of the ancient mural painting. The icon board is, as it were, the quintessence (the “fifth element” —the element, essence, ether) of the wall, its surface, freed from accidental, transient external influences. “In painting,” wrote Florensky, “the pictorial plane is reduced to a conditional ... Church art seeks for itself an extremely stable surface, but no longer“ as it were, ”but really strong and motionless. The image must contain a moment of equivalent strength to this plane, equal in strength and therefore, therefore, able to belong directly to the church consciousness, and not to individuals, and a moment of individually flowing, creative, feminine susceptibility. It would be wrong to conclude that the mural-painting, as well as the icon-painting, image must necessarily have the qualities of flatness, but the imagined (conceptual) depth of the image, unlike painting, in this art is consistent with tactile - tactile sensations. In practical work, icon painters call only mural drawing of the contours of a dolichny letter with dark paint as a painting ”.
The term “painting” is also used in theatrical-decorative and applied arts. The painting is an important part of the composition of artistic porcelain, earthenware. Painted products from wood, metal, glass. The painting technique is used in products made of varnish and fabrics (see batik).
Contemporary Art
In the modern world, art painting occupies an important position in the design of public places of culture and recreation, such as theaters, hotels, shopping and entertainment centers. It is also often present in the interiors of private cottages, country villas and apartments. Especially favorite public remains the painting-snag when the effect of expanding space is achieved by introducing into the painting strict architectural and landscape forms in a perspective distance. Free painting can be applied wherever you want!
Types of painting
The painting should be considered one of the most popular types of decorative art. In Russian folk art there are a large number of varieties of this type of decorative and applied art. Here are some of them.
Mezen painting
Mezen painting is one of the most ancient Russian art crafts. Its origins are lost in the distant centuries of the initial formation of Slavic tribes. The craft reached its peak in the 19th century. Mezen spinning wheels and boxes, chests and buckets were widely distributed along the Pinega River, were taken to Pechora, Dvina and Onega.
In the Arkhangelsk Territory, in the long winter evenings, the Russian people embodied in it their own world view, their hopes, feelings, and beliefs. First of all, the Mezen painting is its own distinctive ornament. This ornament attracts and fascinates, despite its apparent simplicity. And the objects painted by the Mezen painting, as if glowing from the inside, exuding the good and wisdom of their ancestors. Every detail of the ornament of the Mezen painting is deeply symbolic. Each square and diamond, leaf and twig, beast or bird - are exactly in the place where they should be, to tell us the story of the forest, wind, earth and sky, the thoughts of the artist and the ancient images of the northern Slavs.
Symbols of animals, birds, fertility, harvest, fire, sky, and other elements come from cave drawings and are a type of ancient letters that convey the traditions of the peoples of the North of Russia. So, for example, the image of a horse in the tradition of the peoples who have inhabited this area since ancient times symbolizes the rising of the sun, and the image of a duck is the order of things, it takes the sun to the underwater world before dawn and keeps it there.
Traditionally, objects painted with Mezen painting have only two colors - red and black (soot and ocher, later minium). The painting was applied on a non-primed tree with a special wooden stick (vise), a capercaillie or black grouse feather, a brush of human hair. Then the product was dried, giving it a golden color. The board had its clear proportions. The width should have been placed three times in its length. The wood was soaked with linseed oil. From this, its structure became clearer and brighter. The nature of the fiber pattern largely determines the ornament itself, which consists of symbols, like words of letters. The internal content of the characters, the exact origin, mutual communication is almost lost.
Petrikov painting
A bright page included decorative painting in the history of the culture of the Ukrainian people. Far beyond Ukraine, the well-known names of the folk masters of the village of Petrikovka, Dnepropetrovsk region. Openwork, graphically clear ornament, which in the past developed as a wall painting and decor of everyday objects, is widely used in the art industry, book graphics, decoration, etc. fabric, precious gem sparkled on the lacquered surface of the souvenir box.
The original ornament of Petrikovka had a long tradition, its own plastic language, technique and its arsenal of artistic images. From generation to generation, the traditions of mural, original, mostly floral ornament, which later improved more and more, were transmitted. Household things with Petrikov's paintings, which are in museums, belong to the 18th-19th centuries. The ornament itself originates from the old traditional ornamentation, which was widely used in the life of the Cossacks, decorating housing, stuffing and weapons.
Modern Petrikov's ornament is characterized, first of all, as a plant, mainly floral. It is based on a careful study of the real forms of the local flora and the creation on this basis of fantastic, non-existent in nature colors (for example, “onion” or “curly hairs”). Garden motifs (dahlias, astros, roses) and meadow (romeni, cornflower) flowers and berries of viburnum, strawberries and grapes are widely used. Characteristic are also the image of foliage, which is called the "fern", buds and feather-like openwork foliage. For Petrikov's ornamental artists, characteristic extremely accurate eye and amazing hand dexterity - all the masters draw without a previously outlined contour, without using any measuring tool. Virtuosity of accomplishment is achieved by writing with the help of a thin cat fur brush. In addition to the brush, Petrikov's masters use stalks, slivers, and berries and some flowers draw with just a finger.
Gzhel
The most famous large-scale folk art ceramic craft is the Moscow Region Gzhel. This area of 30 villages and villages of the former Bronnitsky and Belgorod counties, 60 km from Moscow (now Ramensky district), has long been famous for its clay and potters. The center of the pottery was the Gzhel volost - the villages of Rechitsa, Gzhel, Zhirovo, Turygino, Bakhteyevo and others, where there were many workshops. The art of Russian folk craftsmen is vividly represented in the works of majolica of the 18th century, semi-faience and porcelain of the 19th century. Having a great experience of pottery, distinguished by a lively, keen-witted mind, Gzhel craftsmen quickly mastered the production of majolica at the Grebenshchikov plant, and then left the owner and began to make similar products in their workshops. They created elegant dishes: kvasniki - decorative jugs with a ring-shaped body, high dome-shaped lid, long curved spout, sculptural handle, often on four massive round legs; Kumgans, similar vessels, but without a through hole in the body; jugs, rukomoi, circles, crackers, “do not drink”, dishes, plates and others, decorated with ornamental and thematic painting, filled with green, yellow, blue and violet-brown colors on a white background.
Ordinarily, in the center of the majolica dish or on the front plane of the annular body of the kvasnik, a proudly protruding bird of the type of a crane or heron was depicted - a thin black outline with a light tint; This basic image is complemented and accompanied by light conventional trees, bushes, sometimes extremely generalized, schematized images of people, for example, ladies in crinolines, sometimes architectural structures. The virtuosity of the stroke, the freedom of location and the balance of all the images, their inclusion in the circle, the elegance and subtlety of coloring - all this indicates an extremely high qualification and artistic talent of the master artists. But sculptors are not far behind them. Hangers, lids, handles of jugs and Kumgans are complemented by small genre sculptures of people and funny images of animals. Small decorative plastic was carried out and out of touch with the dishes. The masters again depicted with humor what they saw in life: a woman carries a child on a sled, a soldier in a cocked hat, a wife pulls off a boot from her husband's leg, an old man fights with his old woman, a guide boy leads a beggar, and so on. In the Gzhel majolica the plastic achievements of folk pottery are combined, the features of Baroque and Classicism are reflected. In the art of folk ceramics, Gzhel half-faience is one of the most striking phenomena. At first, semi-earthenware ware was close to majolica in shape, but with a simpler blue color painting. Then the forms became simpler; mainly jugs, rukomoi, inkpots, salt shakers, and more. Created by folk craftsmen of Gzhel, the system for solving plastic forms and decorative painting has the value of an entire art school of Russian folk ceramics.
Semi-faience production existed in Gzhel throughout the XIX century, along with the fine faience and porcelain that appeared after it. Forms of dishes and printed drawings passed from one factory to another. With all their desire to imitate expensive products, small original Gzhel porcelain factories produced their original art of Russian porcelain splint with its coarse flowering, folk interpretation of sculptural images, which the masters created in their own way, starting from images of expensive porcelain. Porcelain figurines acquired in the implementation of Gzhel masters features common with a simple clay toy. Gzhel products were distributed not only throughout Russia, they were exported to Central Asia and the countries of the Middle East. Considering the local tastes, the Gzhel craftsmen created a stable assortment of the so-called “Asian” porcelain: teapots, bowls of various sizes and a certain shape, with a characteristic floral pattern in medallions, on a colored background. This dishware was widely used in Russian taverns as well.
Gorodets painting
One of the traditional decorative crafts - Gorodets painting - was formed from the middle of the 19th century in the vicinity of Gorodets, founded in the 12th century, which is located on the left bank of the Volga River in the Nizhny Novgorod region.
The colors of the Gorodets painting were always bright, rich, all the products were necessarily decorated with lush bouquets of flowers resembling roses, daisies. A pattern of painting was formed - first, a background was applied to the product, which also served as a primer, and then large color spots, the so-called “undercoat”, were applied with a thick brush. After that, a thinner brush is applied to the necessary strokes, then the painting finishes “razzhivka” - when the drawing is combined into a whole composition with the help of black paint and white. The finished composition is usually limited frame.
As the craft gained momentum (and by the end of the nineteenth century, residents from almost a dozen villages were involved in it), the mural pattern was also complemented by new plots: characters from folk tales appeared, scenes from city life, all kinds of "tea drinking" for a samovar and "Festivities".
Nowadays, oil paintings began to be used in painting, the color range of drawings was also varied, but the plots, images and motifs of the old Gorodets painting are also present in the works of modern masters. Village painters, imitating popular prints, decorated them with cheerful scenes from the folk life framed by flower garlands and large bright roses. Currently, the patriarch of the Gorodets painting is called Aristarkh Yevstafyevich Konovalov, who restored the craft in the late 60s, founding the Gorodetsky Painting factory. Without losing the traditional ornament with lush roses, horses and birds.
Khokhloma
Khokhloma is an old Russian folk craft. This is perhaps the most famous form of Russian folk painting. The name of the Khokhloma fishery received from the large trading village of Khokhloma, Nizhny Novgorod province, into which from nearby villages they brought wooden products for sale (in the village of Khokhloma, these products were never produced). For the Khokhloma industry, the original technique of painting wood in a golden color without the use of gold is characteristic. Khokhloma appeared in the 17th century.
The creation of products consists of several stages: first, a billet is machined on a lathe, the so-called “linen”, then the billet is ground with a liquid clay solution (“waps”) and smeared with raw linseed oil, the next stage is impregnated with drying oil and dried. This operation is repeated three to four times. The next stage is tinning: the object is covered with a semi-metal powder of aluminum (once silver powder was used, later a cheaper tin powder). Now the product (silver) is ready for painting, which is applied in oil paints and fixed by drying in a kiln, then covered with several layers of varnish, each layer being dried separately. Varnish under the influence of heat and turns the silver color of the product in gold.
The color scheme of the Khokhloma painting:
- Primary colors:
- red
- the black
- gold
- Auxiliary colors:
- green
- yellow
The painting is applied by craftsmen by hand without prior marking. There are two main types of Khokhloma painting: “horse” (red and black on a golden background) and “under the background” (golden on a colored background). It is customary to attribute the traditional “weed” and “under the leaf” ornament to the “top” mural. “Grass” is a painting that includes images of blades of grass, twigs, painted in red and black paint on a gold background. The painting “under the leaf” consists of the image of oval leaves, berries, usually located around the stem. The painting “under the background” is built on a large golden pattern on a red or black background. First, the outline of the drawing is applied, then the background is painted, then a small pattern (attachment) is performed over the background. A kind of painting “under the background” is the painting “Kudrin” - a lush pattern with intricate golden curls that resemble curls. At the beginning of the 19th century, “horse” painting was more common, as the painting “under the background” is more complex. This painting (“under the background”) became popular in the second half of the XIX century, when furniture production was established, furniture was decorated with such painting, previously it was used mainly on expensive gift items.
Zhostovo painting
The history of Zhostovo fishery dates back to the beginning of the XIX century, when in a number of villages near Moscow and the villages of the former Trinity volost (now Mytishchi district of the Moscow region) - Zhostovo, Ostashkov, Khlebnikov, Troitsky and others - workshops appeared on the production of painted lacquered papier-mâché products. The appearance of Zhostovo painted tray is associated with the name of the brothers Vishnyakov. In 1830, the production of trays increased in Zhostovo and the surrounding villages. The first metal trays appeared, decorated with decorative floral painting. The iron trays gradually replaced the snuffboxes and other "paper" crafts from the workshops of the Trinity parish.
The main motive of Zhostovo painting is a flower bouquet. In the original art of Zhostovo masters, the realistic feeling of a lively form of flowers and fruits is combined with decorative generalization, akin to Russian folk brush painting on chests, birch bark, spinning wheels, etc.
Stages zhostovo painting:
Zamelevok | The beginning and the basis of the composition of the future pattern. The artist paints the silhouettes of flowers and leaves on the prepared surface in accordance with his design. |
Shade | She paints colored shadows with translucent paints. The word "shadow" is called the word "shadow." The flowers appear volume, indicated by the shady places of plants. |
Color strip | The form of the bouquet takes on flesh - many details are clarified, a contrasting or more harmonious structure of the whole composition is highlighted and implemented, operations are carried out aimed at underlining the volume. |
Glare | Glare overlay reveals light and volume. The bouquet seems to be lit by a multitude of independent light sources. Glare creates mood and color. |
Drawing | This is the final part of the work on the bouquet. With the help of a special fine brush, the artist applies small, but very significant strokes - he draws streaks and lace edges on the leaves, “seeds” in the center of the cups of flowers. |
Binding | The penultimate stage of painting the tray, when a ready-made bouquet seems to be used in the background of the product. With the help of thin stalks, blades of grass and antennae, the bouquet is formed into a single whole and is associated with the background. |
Cleaning the edges of the tray | Decorating the side of the tray, consisting of geometric or floral patterns. Cleaning can be modest, and can compete with luxurious antique picture frames. Without cleaning the product looks unfinished. |
Specular gloss | Using the finest chalky powder, the tray is rubbed with palms to shine, and then rubbed with paraffin to make it shine even more. |
See also
- Gorodets painting
- Mezen wood painting
- Zhostovo painting
- Khokhloma
- Batik
Literature
- Popova, O. S., Kaplan, N. I. Russian Arts and Crafts. - Moscow: Knowledge, 1984.
- Bardina R. A. Products of folk art crafts and souvenirs. - Moscow: High School, 1977.
- Zhegalova S., K. Painters from Gorodets and Kostroma. - M .: Enlightenment, 1984.
- Vasilenko V. М. Russian folk carving and painting on wood // Folk art. - M., 1974.
- Taranovskaya N.V., Maltsev N.V. Russian spinning wheels. - L., 1970.