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

The Khokhloma craft dates back more than 300 centuries and was founded in the Nizhny Novgorod Trans-Volga region, on the territory of the current Koverninsky district of the Gorky region. Residents of villages near the river Uzol, from time immemorial, have been painting wooden utensils. 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 the "Old Believers" - they were the supporters of the church reforms of Patriarch Nikon. It was they who knew the secret of gilding wooden icons with the help of 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 drying oil and placed in an oven. After hardening, the icon acquired a golden color. Subsequently, cheaper tin appeared, and this method spread to dishes.

Khokhloma dishes attract not only by the saturation of the ornament, but also by their durability. Products are valued for their durable lacquer coating, which does not wear out under the influence of time or temperatures: the lacquer does not crack, paint does not fade, which allows you to use household items in everyday life.

Nowadays, finishing technology attracts masters of arts and crafts. And how do they make such beauty? First, blanks are made, from which cups, vases, nesting dolls and much more are then turned. They use trees of different species, but more often - linden. Wood is kept outdoors for at least a year. In production, unpainted dishes, blanks, are called "linen". In order for the product not to crack in the future, the “linen” must be dried well, therefore, the temperature of 30 degrees is maintained in the preliminary preparation rooms.

After drying the "linen", it is primed with liquid purified clay - vapa. After priming, drying the clock again 8. Next, the master must manually cover the product with several layers of drying oil (linseed oil), at this stage the master uses a tampon made of natural sheep or calf leather, turned inside out. He dips it into 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, the strength of the painting will depend on this. The product is covered with drying oil 4 times. Last time dry until the finger sticks slightly, but leaves no marks.

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

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

At present, 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. Ware appeared in the markets of Western Europe, Asia, Persia, India. In the 20th century, tableware penetrated the cities of America, Australia and even Africa.

Currently, there are 2 centers of Khokhloma painting - the city of Semenov, with the Khokhloma Painting and Semenov Painting factories, and the village of Semino, Koverninsky District, where the Khokhloma Artist enterprise operates, uniting the masters of the villages of Kuligino, Semino, Novopokrovskoye. And yet, the capital of Khokhloma is rightfully considered the city of Semenov, located 80 km from Nizhny Novgorod. The company employs about one and a half thousand people, including 400 artists. All let out production has certificates of conformity and hygienic certificates.

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

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Products with Koverinsky Khokhloma painting

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A set of products with Khokhloma painting

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Casket painted under Khokhloma

Story

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

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

First version

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

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

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

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

Second version

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

Factors that gave impetus to the development of Khokhloma painting

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

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

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

Khokhloma craft centers

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

Technology

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

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

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

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

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

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

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An excerpt characterizing Khokhloma

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

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

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

Khokhloma painting has a long history - it originated in the 17th century. in the villages on the left bank of the Volga.

Several villages have mastered this craft, but the sale of products took place mainly in Khokhloma - from here it went common name this arts and crafts.

The concept of "Khokhloma" is ambiguous: it is not only the name of the village, but also the name of the type of craft, and all the products of this craft, and the type of painting.

Currently, the city of Semyonov in the Nizhny Novgorod region is considered the center of Khokhloma.

Art Association "Khokhloma painting"

In 1925, the artel "Handicraftsman-artist" was created in Semyonov, since 1931 it has been the artel "Export". In 1960, the enterprise began to be called the Khokhloma Painting factory, and in 1970 the Khokhloma Painting factory was renamed into an art association.

Khokhloma: Semyonov matryoshka

Back in 1922, the traditional Russian Semenov matryoshka was born. It is distinguished by a yellow-red background and a bright bouquet of flowers on the apron. Today, the art factory exports more than 60% of its products.

Versions and legends

When and where Khokhloma painting originated is more or less known. But main question: how did it come about? What was the impetus for the creation of this bright and unique color, this sparkling golden background?

And here we learn that there are several versions and legends on this topic. Let's retell one of the legends.

In ancient times, a master icon painter lived in Moscow. The king highly appreciated his skill and rewarded him for his work. The master loved his craft, but even more loved the free life. One day he secretly left the royal court and moved into the dense forests.

The master cut down his own hut and began to do what he loved. He dreamed of such an art that would become dear to everyone, like a simple Russian song, and that the beauty of the Russian land would be reflected in it. So the first Khokhloma bowls appeared.

The fame of the great master spread throughout the earth. People came to admire the work of the master, many remained to live nearby. The glory of the master also reached the formidable sovereign. He ordered a detachment of archers to find and bring the fugitive. Having learned about the impending disaster, the master gathered fellow villagers and revealed to them the secrets of his craft. And in the morning, when the royal messengers entered the village, they saw how the hut of the miracle artist was burning with a bright flame. The hut burned down, and the master was nowhere to be found. But its colors remained on the ground, which seemed to absorb the heat of the flame and the blackness of the ashes. The master has disappeared, but his skill has not disappeared, and until now Khokhloma colors remind everyone of the happiness of freedom, the heat of love for people and the thirst for beauty.

This legend is told in different ways, but if you are very inquisitive, you can find and read it in the collections of legends and fairy tales of the Nizhny Novgorod region.

Can the legend be trusted? How to know. But the art of Khokhloma has been preserved since those ancient times, and this is only possible if the skill is passed from teacher to student, further and further.

And here is another legend.

The remarkable icon painter Andrei Loskut fled Moscow, dissatisfied with the church innovations of Patriarch Nikon. He settled in the wilderness of the Zavolzhsky forests and began to paint wooden handicrafts, paint icons according to the old model.

Patriarch Nikon found out about this and sent soldiers for the recalcitrant icon painter. But Andrei refused to obey and burned himself in the hut, and before his death he bequeathed to people to preserve his skill. Sparks went out, Andrey crumbled. Since then, the bright colors of Khokhloma have been burning with a scarlet flame, sparkling with golden nuggets.

There are other versions of the origin of this craft. For example, this one.

The unique way of painting wooden utensils “under gold” in the forest Trans-Volga region and the very birth of the craft are attributed to the Old Believers. The Old Believers reject the church reform undertaken in the 1650-1660s by Patriarch Nikon and Tsar Alexei Mikhailovich, the purpose of which was proclaimed to be the unification of the liturgical order of the Russian Church with the Greek Church. This reform caused a split in the Russian Church. The Old Believers were persecuted, so they hid in the dense forests in the Volga region. Among the Old Believers there were many icon painters, masters of book miniatures. They brought with them ancient icons and handwritten books, fine painting skills, freehand calligraphy and samples of the richest floral ornament.

I. M. Bakanov "Khokhloma artists at work"

And the local craftsmen were well versed in turning, passed down from generation to generation the art of making dishes, patterned woodcarving.

Turning shop

So the forest Trans-Volga region became a real artistic treasury. In fact, two crafts were combined here: the plasticity of turning utensils (carved forms of ladles, spoons) and icon painting. Here was born the secret of making "golden" dishes without the use of gold.

The abundance of forests, the proximity of the Volga, which was the main trading artery of the Trans-Volga region, contributed to the development of the fishery. Through the Caspian steppes, Khokhloma dishes were delivered to Central Asia, Persia, and India. The Europeans also willingly bought up the Trans-Volga products. The peasants carved, painted wooden utensils and took them for sale to the large trading village of Khokhloma - there was a bargain here. Hence the name "Khokhloma painting", or simply "Khokhloma".

But there is another version: Nizhny Novgorod artisans used imitation of gilding on wood in the coloring of wooden utensils even before the appearance of the Old Believers. In the large Nizhny Novgorod handicraft villages of Lyskovo and Murashkino, in the Trans-Volga "village Semyonovskoye", wooden utensils (brothers, ladles, dishes for the festive table) were made, painted with tin powder. It is believed that this method existed before Khokhloma.

But be that as it may, we now have a unique and unsurpassed decorative painting of wooden utensils and furniture, made in red, green and golden tones on a black background. Khokhloma is known and appreciated all over the world.

Modern centers of Khokhloma painting

In Semyonov, he founded the school of Khokhloma painting Georgy Petrovich Matveev (1875-1960).

Khokhloma painting currently has two centers: the Khokhloma Painting and Semyonovskaya Painting factories in the city of Semyonov, Nizhny Novgorod Region, and the village of Semino, Koverninsky District, Nizhny Novgorod Region, where the Khokhloma Artist enterprise operates. It unites the craftsmen of the villages of the Koverninsky district: Semino, Kuligino, Novopokrovskoye, etc. At the moment, the enterprise is experiencing great difficulties. In Semino, there is also an enterprise LLC Promysel, which has been producing wooden boxes with Khokhloma painting for 19 years.

In Semyonov, Matveev is remembered and respected. A bust was erected in his memory, and one of the central streets of the city bears his name.

Bust of G. P. Matveev in the city of Semyonov

AT recent times in society, there is a tendency to turn to national traditions - this is manifested in the return of the popularity of folk literature, rituals, and clothing. For example, many designers have Khokhloma painting in their collections, which attracts with its bright, almost fabulous pattern.

Khokhloma painting - the history of creativity

Khokhloma painting- a special type of drawing, which appeared around the 17th century in the Nizhny Novgorod region. The name of this work was due to the town of Khokhloma - a large center at that time, in which merchants from all over the district converged.

There are two versions of the origin of this type of painting: the first one attributes the idea of ​​​​creation to the Old Believers - adherents of the so-called "old" Christian faith before the adoption of various religious reforms at the beginning of the 17th century.

Many of them, fleeing persecution for their beliefs, moved precisely to the Nizhny Novgorod lands, bringing with them the skill of icon painting, book miniatures, a huge baggage of symbols and patterns for painting. At the same time, craftsmen lived here, creating magnificent kitchen utensils from wood.

Having united, both human skills gave rise to the most beautiful tableware painting.

Supporters of the second version argue that the Nizhny Novgorod people used the method of making kitchen utensils golden and then painting them even before the appearance of the Old Believers. In the large settlements of artisans Murashkovo, Semenovskoye and Lyskovo, they created wooden utensils, which were painted “tin-like” - that is, they used technologies that preceded the appearance of Khokhloma, which became on a par with the favorite decoration techniques: carving and wood burning.

Khokhloma painting - technology

The main technology for creating products to which Khokhloma painting is applied consists of several stages. Initially, the master beats the buckets - he prepares rough wooden blocks of about the same size as the product should be.

The next stage is the planing of the object itself on a special machine: plates, spoons, bowls, ladle, etc. This is how the master receives linen - a wooden blank for painting, which must be primed with liquid purified clay and left to dry for about 7-8 hours.

The key point in the workflow is the coating of the item with drying oil or special linseed oil. The strength of the dishes and the durability of the painting on it depend on the quality of the coating. With the help of a special swab made of sheep's wool, turned inside out, the master scoops drying oil from a bowl and begins to quickly rub it into a wooden surface - in total, the procedure is performed about three to four times during the day.

The last layer of drying oil is dried to such a state when the master's finger sticks a little to the coating, but no longer gets dirty. This technology prepares the object for the next stage - tinning, which consists in rubbing aluminum powder into the product. The process is also performed using an inverted lambswool swab.

Only after these preparatory stages Khokhloma is performed - painting a picture in a floral or animal ornament. The main colors used are red, black, yellow, but sometimes masters also use green and brown. Drawings are made with oil paints in the technique of horseback writing or “under the background”.

horse letter

The principle of the riding letter is very simple - a drawing of red, yellow or black is applied to the processed workpiece.

Usually, Khokhloma painting in this technique, he uses the “gingerbread” pattern - a large pattern in the center, which is surrounded by circles of smaller ornaments.

Drawings under the background

Masters of drawing “under the background” use the “kudrin” pattern - gold and red drawings on a black background.

They are obtained as follows: initially large colored ornaments are drawn, after which the free space is filled with a black background. When the dark paint dries, a “grass” pattern is applied on top - patterns of long and short blades of grass.

The finished work is coated approximately 5 times with a translucent fixative varnish with a yellowish tint, after drying each layer. Dry products are sent to a furnace heated to 150 degrees and kept there for about 3-4 hours until the main element of Khokhloma is formed - a golden-bronze film.

Khokhloma painting templates

Khokhloma painting mainly uses pictures of plant origin - we mean blades of grass, berries, twigs, stems of climbing plants and flowers. Drawings of roses, wild rose, mountain ash, grass are especially common.

However, masters often resort to animal ornaments, depicting fabulous birds, animals and insects in motion, forming uncomplicated scenes.

Despite the fact that the theme of the painting is clearly defined, the masters must be creative in the process, inventing unique drawings each time. Beginners, due to lack of experience, can use stencils to make Khokhloma painting beautiful.

You can practice not only by redrawing finished drawings. Use these simple sketches to help you draw simple floral designs.

By repeating the pattern several times, you will fill your hand and creating interesting drawings with oil paints will be as easy for you as learning how to draw with a pencil.

The diagrams show that not only brushes are used when drawing different sizes and shapes - some drawings can be made with stamps. Seals are easy to make from improvised means: a round grater on a simple pencil, a vegetable or fruit cut in half.

The main use of the technique is to decorate dishes, but recently a beautiful pattern has become so popular that it has become used almost everywhere. For example, dresses, T-shirts, and jewelry with Khokhloma painting have come into fashion.

In addition, cars, bicycles, key rings, caskets, furniture are decorated in this way - it all depends on the imagination of the master.

Step by step drawing - painting Khokhloma on the board

In fact, you can decorate Khokhloma products even at home without using the complex basic technique described above. It is enough to paint the board with gold paint, draw patterns and fix it with a special varnish. Such a product can hardly be used for its intended purpose, but you will get an excellent souvenir to decorate the kitchen.

Prepare a wooden cutting board of the shape you like, PVA glue, gouache paints, wood varnish, paint brushes, a paint brush.

• On an A4 sheet, draw the selected sketch of the image with a simple pencil - come up with it yourself or borrow the image from our article.

• Prime the board with egg white - just smear it with the substance and leave it to dry completely.

• Apply an even layer of gold paint to the piece and let dry again.

• Using carbon paper, transfer the drawing to the blank.

• First color the berries and flowers red.

• Next, paint the veins and stems with thin black strokes.

• Using the brush that is most comfortable for you, circle the outline of the drawing with a thin line.

• Paint the background black.

• After the background has dried, paint a grass in a bright color.

• Leave the product in a dry, ventilated area until completely dry.

• Apply a clear top coat over the entire surface of the board.

Your souvenir is ready! You can decorate your apartment with it or give it to a close friend for some holiday. It is done in the same way Khokhloma painting souvenir plates, spoons or any other product.

You can learn another simple technique for painting Khokhloma products at home from the following video tutorial.

I continue to cover my trip to the city of Semenov. Next in line is the second part of three, entirely devoted to plant, where they produce Khokhloma dishes, as well as nesting dolls.

Let me remind you that we got to the factory for free. It was an excursion, which also included a trip to the museum, which I wrote about in.

So, Khokhloma painting- it's traditional art craft, which appeared in the 17th century in the Nizhny Novgorod province. This painting got its name thanks to a large village - Khokhloma. From the mid 1960s. to our time, the Khokhloma painting plant is the largest manufacturer of wood products with Khokhloma painting. The city of Semyonov is considered the capital of this most beautiful craft.

As befits any excursion, we were accompanied by our guide, who talked about the plant, Khokhloma, manufacturing technologies, and the history of its origin. It all started with the monument to Semyon Lozhkar, the man who started the history of Khokhloma.

Then the next monument “To the artist and teacher Matveev T.P. from the masters of the Golden Khokhloma ":

I really liked that throughout the plant there is a large number of different, for the most part, children's sculptures for children. They are great!

Great thing - a shop of reconciliation! I propose to install such benches everywhere in all cities and parks!))

On the territory of the Khokhloma Painting factory, a very beautiful and huge wooden hut was installed. It was built using traditional technologies for that time and serves as a museum where anyone can see how the life of a Russian person was arranged.

Then we were taken to the workshops. The first workshop is woodworking, where craftsmen make blanks for future nesting dolls and dishes.

At the entrance to this workshop is the following composition:

This is how the beginning of the workshop looks like - a storage of wooden chocks:

At the factory, their workers are paid little, so even women have to stand at the machines. By the way, the guide herself told us that the masters of painting also do not hold on. When they fill their hand, they immediately leave and, as a rule, do this craft at home on their own, and sell their products in Moscow. They say that they earn much more with such a scheme.

Of course, men also work in woodworking:

Moreover, the man in the photo above is probably the star of the Khokhloma Painting factory, because all excursions stop near his workplace to appreciate how he skillfully makes silhouettes of future nesting dolls and dishes from a wooden blank.

The next stop on our factory tour was the paint shop. At first it was a room where the craftsmen work on nesting dolls:

In general, photography is prohibited there, so the photos were taken "on the sly", while no one is watching. In general, the women who work there are kind, smiling, and they cope very beautifully with such delicate and complex work.

On the eve of the Sochi Olympics 2014, the plant launched a line of products special for this event. They have a large store on the territory of the museum, where there is already a bulk of Sochi Khokhloma paraphernalia. When we walked around the plant, we often met almost finished products, so the topic of Sochi was revealed!))

After seeing how nesting dolls are painted, we were taken to another workshop, where they paint all the rest of the products.

For tourists, there is such an information stand where you can see the entire technological process production of products with Khokhloma painting:

We noticed that there is sooo much greenery. Probably, they help to purify the air from paint and varnish fumes. Here are some photos of how the workplaces of specialists are equipped.

The last destination was the room with the master class. There we sat down comfortably and were given a wooden nesting doll and paint. Anyone, also free of charge, could paint their own version of the nesting dolls and take it as a souvenir! It's great, isn't it?

My version of the correct matryoshka is like this:

This is where our tour of the Khokhloma Painting factory ended. After that, we were taken to, but that's a completely different story, don't switch!))

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