Information about Khokhloma painting. Report on the topic Khokhloma - wooden gold message. Khokhloma painting colors

One of the oldest crafts of arts and crafts in Russia is Khokhloma painting. For more than three hundred years, craftsmen have been making incredibly beautiful dishes, which can already be called calling card Russian people. The process of creating a masterpiece is quite complicated, it includes both the creation of blanks and their processing, as well as further painting. But everyone can master this skill, you just need to learn about characteristic features creative process.

One of the oldest crafts of arts and crafts in Russia is Khokhloma painting.

It is customary to apply complex ornaments to products using a stencil that you can buy or print, but in order to learn this type of painting, you need to master the basics. The simplest patterns are applied with a brush.

For beginners, it is better to master the following ones first:

• blade of grass. The pattern is a curved line. The brush is pressed in the center, and the pressure is minimized from the edges. There is a smooth, but strong thickening;
• curl. The element is more complex. The brush is drawn with the same degree of pressure, while the line should be twisted like a snail;
• droplet. Ideal for pressure training. In this case, the brush must be placed at the base of the villi and rotated 180 degrees, slowly removing it from the surface and stretching it forward;
• bush. Droplets are drawn in the form of a fan, and a small dot is placed at their base;
• leaf. Drawing this pattern is quite simple. You just need to bring out the blades of grass in a mirror image, bending them outward, and fill the void inside with paint of the same color.

Gallery: Khokhloma painting (25 photos)

Master class on Khokhloma painting (video)

Khokhloma elements for preschool children: step-by-step templates

Even a small child can create a Khokhloma pattern with his own hands, having mastered elementary skills. Children's drawings have always been appreciated and delighted the eyes of parents. Often such an activity as an application is carried out in a senior or preparatory group kindergarten. To create a pattern, it is enough to make a stamp from a tube and paper, into which the paint will be dipped. Smaller elements are already painted with a brush, as in the pictures.

Even a small child can create a Khokhloma pattern with his own hands, having mastered elementary skills

Drawing with children:

• lingonberry. With the help of a stamp, red circles are drawn, which do not need to be supplemented with other elements;
• currant. Berry circles are collected near the blade of grass, on which golden dots must be placed with a brush;
• Rowan. Berries are drawn with a stamp, and rather narrow and elongated droplets are added with a brush, as well as leaves at the base of the resulting bunch. Additionally, you need to make blotches of gold color;
• raspberry. Six circles are drawn with a stamp, without observing a certain distance, but slightly overlapping one on one. Highlights are added using the technique of blades of grass. Additionally, dots are made with a brush;
• sepal. Blades of grass gather together, a twig and leaves are drawn.

We decorate the kitchen board: painting under Khokhloma on wood in stages

Khokhloma painting often used when drawing a picture on wood. Often, craftsmen resort to decorating kitchen boards with classic patterns. Such a product can be presented as a souvenir to guests, or you can decorate your own kitchen.

What you need:

• cutting board;
• glue;
• gouache;
• egg white;
• paper;
• pencil;
• brushes for drawing;
• paint brush.

Khokhloma painting is more often used when drawing on wood

Working process:

1. Coat the board with egg white and leave to dry.
2. Take paper and draw a sketch on it with a pencil.
3. Now apply gold paint to the board and let it dry.
4. Transfer the drawing to the board.
5. Color the floral ornaments and berries red.
6. Draw stems and veins in thin stripes.
7. Outline with a thin brush all the contours.
8. Color the board in such a way that the drawing is on a black background.
9. After the paint has dried, continue painting.
10. Add green grass.

After the board has completely dried, apply varnish to its entire plane.

Khokhloma painting on a plate: a step by step description

Decorating a plate or a wooden spoon with an ornament is not at all difficult, the main thing is to know the basic principles. The painted elements look colorful and solemn. Even a schoolboy can cope with this task.

What you need:

• acrylic paints;
• pencil;
• brushes;
• palette;
• disposable plate;
• jar;
• ornament.

Decorating a plate with an ornament is not at all difficult.

Working process:

1. Choose a pattern that will be applied to the plate. It can be a rooster, a bird or simple berries.
2. Transfer the ornament to a plate.
3. Make Bon red.
4. Carefully color all other elements.
5. Be sure to make a black rim both on the inside of the plate and along the edge.
6. Add droplets along the rim.
7. Leave the plate to dry completely in a suitable place.

8. Apply varnish and let the product dry.

Painted box under Khokhloma: master class

The very name of this product indicates its nobility and grace. The box turns out fabulous, traditionally colorful, but very unusual.

What you need:

• paints;
• background paint (bronze or copper);
• masking tape;
• squirrel brushes;
• brush for varnish;
• pencil;
• tracing paper;
• sandpaper;
• wood box.

The box turns out to be fabulous, traditionally colorful, but very unusual.

Working process:

1. Plaster all irregularities on the box. Only after the surface becomes smooth, you can start working.
2. Cover the surface of the product with background paint and wait until it dries.
3. On paper, draw a picture, which will later be applied to the box.
4. After the box dries, transfer the prepared sketch onto it with a pencil. To do this, attach the paper to the box itself with adhesive tape.
5. Outline the outline of the drawing with black paint, using the thinnest brush.
6. Paint over the larger elements with black.
7. Wait for the black paint to dry.
8. After that, decorate all the other elements and give the paint another time to dry.
9. Additionally, decorate the product with antennae, droplets.

Apply varnish to the box (at least two layers) and let it dry.

The most popular ornaments of Khokhloma painting

Before embarking on such an original painting of a jug or plate, you need to find out which of the ornaments are most often used in the creative process.

In most cases, masters resort to applying the following of them:

• herbal pattern. The grass in this case only remotely resembles a sedge growing in a meadow. It is applied to products only in black or red, but nevertheless this pattern is perceived as herbal;
• camelina. This is a pattern of individual blades of grass. It is used in the process of framing various kitchen utensils;
• Kudrin. The ornament is characterized by all sorts of curls, rings, unobtrusively enveloping berries and flowers. Suitable for painting rounded objects, as well as flat ones, such as chairs and tables;
• Gingerbread. This is a geometric figure that fits into a rhombus or a square. In the center of the ornament, suns with swirling rays are drawn.

In ancient Russia, the tree played a very important role. From it built dwellings, made furniture and utensils. Archaeological finds testify that already in the 10th-12th centuries, Russian artisans made bowls, ladles, scoops, and ancient inventories of monastic farms often mention turners, ladle-makers, ship-writers. Among the dishes made by artisans, there was a special one, painted with cinnabar and covered with gold. It was served at princely feasts and royal receptions. As a rule, it was produced at monasteries. Among the artisans of the Trinity-Sergius Lavra were assigned peasants from the Volga villages. Dense, impenetrable forests along the banks of the Kerzhentsa River have sheltered fugitive peasants, archers for a long time. The Old Believers also rushed here during the split of the Russian Church. It was the newcomers - migrants who contributed to the development of the ware industry in the Nizhny Novgorod region and the creation here of a new original wood processing with imitation of gilding.

The emergence of the craft of Khokhloma painting

Archival materials and scientific research have determined that in the second half of the 17th century in the Semenov district, a craft for making dishes arose, which became the basis for the development of a special type of decorative painting on wood. The first mention of painted dishes dates back to 1659, when the boyar B.I. Morozov demanded to collect from the Volga estates dishes of various sizes and brothers in the "tin business". In the 17th century, tin was used for gilding in arts and crafts, and the boyar Morozov owned the Semyonovskoye village. It was in it, as well as around the villages of Khokhloma and Skorobogatovskoye, that the craft of Khokhloma painting was formed.

Development

The development of the fishery was facilitated by the proximity of the Volga trade route and the proximity to the largest in Russia Makarievskaya fair. The quality of the dishes produced in the Semyonovsky district was high, and in 1764 the production of wooden utensils was noted as "the main craft of all the inhabitants." They said about the products of peasants from the Semenovsky district: “Their goods are light, clean, strong and bright,” and the Semenovsky mayor Blummer wrote that in the city the inhabitants “are not engaged in farming. During the year they make various wooden, painted and lacquered dishes…”. The village of Khokhloma, a volost village in the Semyonovsky district, becomes a trading post where wooden utensils with an unusual color were sold.

Communication with culture

For two centuries, Khokhloma dishes satisfied the needs of the people and were an important part of the domestic artistic culture. In the second half of the 19th century, interest in craft as an art increased. The “Russian style” comes into fashion, and an educated society awakens interest in the works of folk crafts. In 1853, Khokhloma products were first presented at the All-Russian Industrial Exhibition in Moscow, and then successive exhibitions in Paris, St. Petersburg, and Nizhny Novgorod followed. The royal family also began to show interest in Khokhloma painting. Admired by the creativity of folk masters, Empress Maria Fedorovna in 1882 awarded master Mikhail Krasilnikov with a gold watch for art. Khokhloma products are widely sold at bazaars and fairs, and after receiving the Grand Prix at the World Exhibition in Paris in 1889, exports of products also increased sharply.

Semenov Khokhloma School

The demand for Khokhloma in the second half of the 19th century caused the appearance of buyers. They demanded a cheap, low-grade product, which led to simplification and a decrease in product quality. This caused concern among the educated society and the authorities. According to the general opinion, it was necessary to organize the training of masters in new techniques and technologies. In 1913, the Main Directorate of Land Management and Agriculture organized an instructor school for turning, utensils and furniture in the city of Semenov. The Nizhny Novgorod provincial zemstvo also contributed to the improvement of the art of folk craftsmen and established a special position as an artist. And in 1916, on the initiative and at the expense of the Nizhny Novgorod Mayor D.V. Sirotkin in the city of Semenov opened the School artistic processing tree led by the artist G.P. Matveev. After the Great October Socialist Revolution, the school was not only preserved, but also found significant support for a new Soviet power. The graduates of the school introduced new elements into the painting, the school united disparate handicraftsmen, revived the craft and directed the production of products for sale in foreign markets.

JSC "Khokhloma painting" 100 years of activity

The development of the Semyonov school of woodworking was very active. In 1924, the school was transformed into the association "Handicraftsman-artist"; in 1931 it was transformed into the "Export" artel. In 1934, a museum of handicraft and art products was founded in Semyonov. During the Great Patriotic War, many masters of the artel went to the front and died, and the enterprise worked for the needs of the front, made skis, boxes for ammunition and spoons for soldiers. More than 10 thousand spoons for the front were made daily. Fragile female shoulders endured the heroic labor feat in the rear. It was women who replaced the male artists who did not return from the front, and since then they began to play the main role in the factory team.

In 1950, the masters of the "Khokhloma painting" (as the artel began to be called) formed a new handwriting, there was a tendency to complicate the painting, elegance. In 1960, the artel was reborn into a large Khokhloma painting factory, technical re-equipment was taking place, and new workshops were put into operation. In 1964, a creative laboratory was created on the basis of the enterprise, headed by the artist E. N. Dospalova. New forms of products and types of writing are being developed, adapted to the life of the townspeople. Numerous world exhibitions in Montreal (1967), Osaka (1970), Paris, VDNH brought awards and diplomas to the factory and made it world-famous. In 1992, the enterprise opened a division for the production of nesting dolls, in 1993 - a miniature painting workshop, in 2004 - a painting section. In 2014, the city of Semyonov was given the status of the capital of the Golden Khokhloma. From the same year, the International Festival Movement "Golden Khokhloma" begins. In 2015, a new line of production of fashion accessories with elements of Khokhloma painting was launched.

Russian folk art craft for the manufacture of gilded wooden utensils arose in the second half of the 17th century in the Volga villages. The craft got its name from one of the centers for the sale of products - the village of Khokhloma.
Khokhloma painting is characterized by the original technique of painting wood in a golden color without the use of gold. Objects carved from wood were primed with a clay solution, covered with drying oil and tin powder, on the layer of which a floral pattern was made in a free brush style of painting, then covered with linseed oil varnish and hardened at high temperature in a furnace.
Two main types of painting are common - “horse” (red and black on a golden background) and “under the background” (golden silhouette pattern on a colored background).

Khokhloma painting on wood is believed to have originated in the 17th century in the villages of Bolshie and Malye Bezdeli, Mokushino, Shabashi, Glibino, Khryashchi, located on the left bank of the Volga, and reached its peak in the 18th century. The village of Khokhloma, known from the documents since the 17th century and giving its name to the painting, was a major sales center, where finished goods. Currently, the Koverninsky district of the Nizhny Novgorod region is considered the birthplace of Khokhloma.

The unique way of painting wooden utensils “under gold” in the forest Trans-Volga and the very emergence of the Khokhloma craft is often associated with the Old Believers, who, fleeing persecution for the “old faith”, settled in these remote and hard-to-reach places. The Old Believers brought with them ancient icons and handwritten books. Among them were icon painters and masters of book miniatures, who owned fine pictorial brushwork. And the local population owned turning skills, the skills of making wooden utensils, which were passed down from generation to generation. At the junction of these two traditions, the Khokhloma craft was born, combining the pictorial culture inherited from icon painters with the traditional forms of turning dishes of the Trans-Volga masters and preserving the secret of making “golden” dishes without the use of gold.

However, there are documents according to which the technology of imitation of gilding on wood was known to Nizhny Novgorod artisans even before the split. They used it in the 1640s and 1650s. In the large Nizhny Novgorod handicraft villages of Lyskovo and Murashkino, “selishka Semenovskoye” (now the city of Semyonov), wooden brothers, ladles, dishes, etc., were made, painted “for tin work”, that is, using tin powder.

There is also a folk legend explaining the appearance of Khokhloma painting. It tells about the outstanding icon painter Andrei Loskut, who was dissatisfied with the reform of Patriarch Nikon and fled the capital. Having settled in the dense Trans-Volga forests, he began to paint icons according to the old model and paint wooden utensils. However, someone informed the patriarch about the whereabouts of Andrei Loskut, and he sent soldiers after him. Fleeing from persecution, Andrei voluntarily set himself on fire, and before his death bequeathed to people to preserve his skill.

The high cost of imported tin slowed down the production of Khokhloma dishes for a long time, because only a very rich customer could supply the craftsmen with tin. And such a customer was the Trinity-Sergius Monastery. The documents of the monastery testify that peasants from the villages of Khokhloma, Skorobogatovo and about 80 other villages along the rivers Uzola and Kerzhents were brought from the 17th century to work in the workshops of the Lavra. This, apparently, explains the fact that it was these villages and villages that became the birthplace of the “golden” painting, and their inhabitants still keep the secrets of their craftsmanship to this day.

The name "Khokhloma painting" or simply "Khokhloma" arose due to the fact that the peasants who made painted wooden utensils brought them for sale to the large trading village of Khokhloma in the Nizhny Novgorod province. Through the Nizhny Novgorod fair, Khokhloma items were distributed throughout Russia, they were exported to the countries of Asia and Western Europe.

The development of the fishery was facilitated by the proximity of the Volga, at that time the main trade artery that connected the Volga cities, which were famous for their markets. It was along the Volga, and then through the Caspian steppes, that Khokhloma dishes were delivered to Central Asia, Persia, and India. European merchants bought it in Arkhangelsk.

Khokhloma painting is a unique Russian folk craft that has existed for over three hundred years. Thanks to the Old Believers-icon painters, who owned the ancient secret of “gilding” icons, a peculiar method of turning simple wooden dishes into “golden” ones without the use of precious metal spread in the Trans-Volga region. However, Khokhloma products are valued not only for their beauty, but also for their durable lacquer coating, thanks to which they can be used in everyday life. Khokhloma dishes will make any table elegant, and the dishes served in it will not harm it.

A set of traditional forms of Khokhloma products has been formed for a long time. It's carved wooden spoons and turning utensils: cups, bowls, setters, bowls, salt boxes. Currently, the range of products has expanded significantly. Craftsmen create wooden sets, kitchen shelves, decorative dishes and panels, and much more.

Khokhloma dishes are made from local hardwoods - linden, aspen, birch. First they beat the buckets, that is, they make rough billet bars from dried wood. From small-sized “chairs”, as well as “ridges” sawn into thick blocks, blanks and “churaks” are hewn out. Then on lathe the workpiece is given the desired shape. Turned products are dried again at a temperature of 22–28 degrees for 3–20 days, depending on the size of the product. Drying ends when the moisture content of the wood does not exceed 6-8%. If the humidity is higher, the product may turn out with bubbles - breaks in the varnish surface.

Then the products are handed over to the finishers, who prepare them for painting. Unpainted carved ladles and spoons, setters and cups are called “linen”.

After drying, the “linen” is puttied with vape. Vapa is a fine-grained elutriated clay, from which a very liquid solution is made, adding from 25 to 50 percent of chalk to it. Then a piece of woolen cloth soaked in a solution is coated with a product. After drying, the operation is repeated again. After priming, the product is placed in an oven for four to six hours, where the temperature is maintained at 40–50 degrees. To dry products using Khokhloma technology, you need a cabinet in which you can adjust the temperature in the range of 30–120 degrees. The dried blanks are cooled to room temperature and lightly polished.

The next important stage is the coating of the product with drying oil, cooked from linseed or hemp oil. The quality of wooden utensils and the strength of the painting depend on this operation. The product is covered with several layers of drying oil by hand. 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. After drying for two to three hours at a temperature of 22-25 degrees, when the drying oil no longer sticks to the hands, but the film is not completely dry, the product is dried a second time, applying a thicker layer. If the wood absorbs a lot of drying oil, as, for example, aspen, then the whole process is repeated again, if it is not enough, it is enough to oil the product twice. The last layer is dried to a “slight touch” - when the drying oil slightly sticks to the finger, no longer staining it. As soon as the surface of the product acquires an even sheen, it can be tinned, that is, coated with aluminum powder.

The next stage is “tinning”, that is, rubbing tin (and now aluminum) powder into the surface of the product. To apply the poluda, special devices are used - pupae, which are a sheepskin tampon, to the working part of which a piece is sewn natural fur(sheepskin is better) with a short-cut pile. After tinning, the objects acquire a beautiful white-mirror shine and are ready for painting.

Mostly women work in the dye shops. The artists sit at low tables, on low stools. With such a landing, the knee is a support for the object being painted. Khokhloma craftswomen are characterized by working on weight: a small turning thing, leaning on the knee, is held with the left hand, and with the right hand, an ornament is applied to its rounded surface. This way of holding the painted object makes it easy to turn it in any direction with any inclination. Brushes, paints, a palette and things in work are conveniently placed on the table.

The paints used for painting Khokhloma products are subject to increased requirements, since many of them can fade from high temperatures during the drying and hardening process. Masters take heat-resistant mineral paints - ocher, red lead, as well as cinnabar and carmine, soot, chrome greens, dilute them with purified turpentine. 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 enliven the pattern - brown, light green and yellow.

The drawing in Khokhloma products is based on the use of floral ornaments associated with the painting traditions of Ancient Russia. Flexible, wavy stems with leaves, berries and flowers run around the walls of the vessel, decorate its inner surface, giving the object an exceptional elegance. On some objects, the stems of flowers stretch upwards, on others they curl or run in a circle.

The floral pattern was made in a free brush style of writing. Painting brushes are made from squirrel tails so that they can draw a very thin line. Khokhloma masters master a special technique of holding a brush, in which not only fingers, but the whole hand are involved in the process of writing, thanks to which it is possible to draw long plastic strokes and series of strokes on spherical or cylindrical surfaces in one continuous, inseparable movement. The brush, placed on the phalanges of the index and middle fingers, is pressed against them with the pad of the thumb, which allows you to slightly rotate it while writing. When painting, they sometimes lightly lean on the little finger, touching it to the product. A thin brush with a hairy tip is placed almost vertically to the surface of the object. It is usually led to itself, slightly rotating in the direction where the smear is bent.

Many types of ornaments have their own names: "gingerbread" - a geometric figure (square or rhombus) decorated with grass, berries, flowers, usually located inside a cup or dish; "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, and so on. Masters also use simplified ornaments, for example, “speck”, which is applied with a stamp cut from the plates of the raincoat mushroom, hat felt and other materials that hold paint well and allow you to print a pattern on the product. When performing the "berry" or "flower" motifs, round "pokes" from rolled nylon fabric are often used.

All products are painted by hand, and the painting is not repeated anywhere. Khokhloma painting is represented by two types of writing - “riding” and “background”, each of which has its own types of ornaments. "Horse" painting is applied with plastic strokes on a metallized surface, forming a free openwork pattern. At the same time, such elements as sedges, droplets, antennae, curls, etc. are “planted” on the main line of the composition - kriul.

A classic example of horse writing is "grass", or "grass painting", with red and black bushes, stems, creating a kind of graphic pattern on a gold background. "Grass painting" reminds us of the usual herbs familiar to everyone since childhood: sedge, white-bearded, meadow grass. This is perhaps the most ancient type of painting. It is written in curls, various strokes, small berries or spikelets on a silvery background. "Grass" drawing has always been popular among Khokhloma masters of painting.

The letter, in which, in addition to grass, the masters include leaves, berries and flowers, is called “under the leaf” or “under the berry”. These paintings differ from the "grass" in larger strokes, forming the shape of oval leaves, round berries, left by the poke of the brush. Folk craftsmen take their motifs by stylizing plant forms. Therefore, it is not surprising that on the products of Khokhloma masters we see chamomile, bells, grape leaves, strawberries, currants, gooseberries, cranberries. The basis of the painting "under the leaf" is made up of pointed or rounded leaves, connected by three or five, and berries, located in groups near the flexible stem. In the painting of large planes, larger motifs are used - cherries, strawberries, gooseberries, grapes. This painting has great decorative possibilities, since it is more multicolored than "grass". If in the "grass" painting mainly black and red are used, then in the painting "under the leaf" or "under the berry" masters paint the leaves in green in combination with brown and yellow. These murals are enriched with a herbal pattern, which is written in green, red, brown colors.

Another, simpler and more conditional, type of painting, “gingerbread”, belongs to the riding letter, where in the center of a geometric figure - a square or a rhombus - the sun with rays curled in a circle is placed.

The "background" painting ("under the background") is characterized by the use of a black or colored background, while the drawing itself remains golden. Before the background is filled, the contours of motifs are preliminarily applied to the surface to be painted. Painting “under the background” begins with drawing a stem line with leaves and flowers, and sometimes with images of birds or fish. Then the background is painted with paint, most often black. Details of large motifs are drawn on a golden background. The forms of large motifs are modeled by hatching. On top of the painted background, “herbal additions” are made with the tip of the brush - rhythmic strokes along the main stem, berries and small flowers “stick” with a poke of the brush. “Gold” shines through in this type of writing only in the silhouettes of leaves, in large forms of flowers, in the silhouettes of fabulous birds. Painting “under the background” is a much more time-consuming process and not every master can cope with such work. Products with such painting were usually intended for gifts and were usually made to order and were valued higher.

A more complex type of background letter is the "curly". It is distinguished by a stylized image of leaves, flowers, curls. The space not occupied by them is painted over with paint, and the golden branches look spectacular against a bright red or black background. No other colors are used in this type of writing. Curly hair got its name from golden curly curls, the lines of which form bizarre patterned shapes of leaves, flowers and fruits. The painting "kudrin" resembles a carpet. Its peculiarity is that the main role is played not by the brush stroke, but by the contour line.

Painted items are covered with a special varnish four or five times (with intermediate drying after each layer) and, finally, they are hardened for three to four hours in an oven at a temperature of +150–160 °. After "hardening" - the final stage of finishing the product - under the influence of high temperature, the lacquer film covering it acquires a honey hue. Its combination with a translucent metallic layer gives a golden effect.

The craft, which was dying out at the beginning of the 20th century, was revived in the Soviet era, when in the 1920s and early 1930s, craftsmen began to unite in artels. In the 1960s, the Khokhloma Artist factory was established in the homeland of the craft and the Khokhloma Painting production association in Semenov, which became centers for the production of dishes, spoons, furniture, souvenirs, etc.

At present, Khokhloma painting has two centers - the city of Semyonov, where the Khokhloma Painting and Semenovskaya Painting factories are located, and the village of Semino, Koverninsky District, where the Khokhloma Artist enterprise operates, uniting craftsmen from the villages of Semino, Kuligino, Novopokrovskoye and others. In Semino there is also an enterprise (Promysel LLC) engaged in the production of wooden caskets with Khokhloma painting. Semin masters, who continue the traditions of the indigenous Khokhloma, paint mainly traditional, ancient-shaped dishes, they subtly feel the beauty of meadow herbs and wild berries. Semenov artists, city dwellers, often use rich forms of garden flowers in painting, preferring the technique of painting “under the background”. They make extensive use of accurate contour drawing and a variety of shading to model motifs.

At fairs, things painted in red, black and gold and decorated with drawings of berries, leaves and flowers were in great demand among Russians and foreigners.

The mega brand attracts not only with the beauty of the ornament. It is valued for its durable lacquer coating, thanks to which they are used in everyday life. In a Khokhloma dish, you can serve okroshka to the table, pour hot tea into a cup - and nothing will be done with a wooden product: varnish will not crack, paint will not fade.

Khokhloma painting- this is a bright original phenomenon of Russian folk arts and crafts. This traditional art craft originated in the 17th century in the Nizhny Novgorod province and got its name from the large trading village of Khokhloma, where all wooden products were brought for auction.

Initially, Khokhloma dishes were made at monasteries and intended for the royal court. Subsequently, when cheap metal and earthenware dishes competing with Khokhloma appeared on the market, the unusual coloring of Semenov's products ensured their popularity and sales.

So in the 19th century Khokhloma dishes could be found in any corner of Russia, as well as in Persia, India, Central Asia, the USA and Australia. After the World Exhibition of 1889. in Paris, the export of Khokhloma products has increased sharply

In 1916 in the city of Semenov, the School of Artistic Woodworking was opened, the first graduates of which, headed by G.P. Matveev organized a small artel (1931), which later grew into a large production association of the Order of the Badge of Honor Khokhloma Painting.

Since the mid 1960s. and to the present, the Khokhloma Painting enterprise is largest producer art products made of wood with Khokhloma painting. Thanks to a talented team, the traditions of ancient masters are preserved and multiplied. And the city of Semyonov is rightfully considered the capital of the Golden Khokhloma.

The folk craft has been constantly developing. Already at the end of the 19th century, Khokhloma was presented at every domestic and foreign fair. And after the unprecedented success of International Exhibition in Paris, exports of Khokhloma rose sharply to various countries. Especially bought a lot trading companies Germany, England, France and India. Even one of the German entrepreneurs took up the production of wooden spoons, which he passed off as Khokhloma. Since the beginning of the 20th century, folk crafts have experienced a crisis caused by the World War and the Civil War. Because of this, many craftsmen lost orders and closed their workshops. In Soviet times, Khokhloma received a second wind, a new generation of craftsmen appeared. And now Khokhloma is “returning” to us in Russia and the world.

Khokhloma- this is the name of a large trading village in the Volga region, where craftsmen from the surrounding villages and villages have long brought their products for sale and from where they dispersed not only throughout Russia, but also beyond its borders. Later, the products themselves, sent from the village of Khokhloma, began to be called "Khokhloma". The homeland of Khokhloma art is a group of villages located in the depths of the once impenetrable forests of the Trans-Volga region, along the banks of the Uzola River, which flows into the Volga near the ancient Gorodets. The picturesque nature of this region had a great influence on the upbringing of the artistic tastes of local masters. Indeed, each work of Khokhloma masters is imbued with a subtle sense of nature.

There are a lot of versions of the origin of this folk craft. It is customary to single out the two most probable. According to the first version, the art of painting dishes was instilled in the local residents by the Old Believers, who fled to the Nizhny Novgorod land from persecution by faith. According to the second version, the painting of dishes with gilded paint was known in the Nizhny Novgorod territory even before the appearance of the Old Believers. For this, tin powder and homemade wooden utensils were used.

The high cost of raw materials for the manufacture of gilded paint held back the development of this folk craft for a long time. Tin had to be transported from afar, which only merchants could do. Most often, craftsmen received orders for painted gilded dishes from large monasteries and cathedrals. The customers even turned out to be the famous monastery of the Trinity-Sergius Lavra, where craftsmen from the villages of Khokhloma and Skorobogatovo worked on the manufacture and painting of bowls and ladles.

The original technology of gilding wooden products, worked out for centuries, which came from icon painting, has survived almost unchanged to this day. It includes five main operations. Before becoming "gold", a wooden product is similar to "clay" and "silver".

The process of making Khokhloma is complex and interesting. The tree was chopped, sawn, trimmed, hollowed out and finished with a knife to the end, polished. It turned out wooden bases - buckwheat. Dishes were also turned on a machine that was driven by the power of water or a horse. Today, machine tools are electrical. The dried product must be prepared for painting. First, I coat it with linseed oil, then with a special primer, which includes clay. The product is dried in an oven, polished, coated with linseed oil, so that a sticky film appears, to which crushed metal powder - poluda easily adheres. The half-day is rubbed, and the object becomes like silver.

And only now the dyer is taken to work. When the product is painted, it is covered with several layers of drying oil and hardened in a furnace at high temperature. Under a film of hardened varnish, everything that was silver in the painting becomes gold. So Khokhloma becomes first wooden, “clay”, “silver” and, finally, “gold”. The masters borrowed this secret of gilding from icon painters.

After tinning, the dishes become mirror-shiny and absolutely ready for applying patterns with oil paints. According to ancient instructions, painting is done exclusively with brushes from squirrel tails, and paints are used of natural origin. Red and black colors are soloists in the Khokhloma painting. Such paints are obtained from cinnabar and soot. To give products liveliness and volume, it is sometimes allowed to add additional colors to the main colors. As a rule, it is the color of delicate green, brown or slightly yellow.

On the final stage, after applying all the patterns, the dishes are covered in several layers with a special varnish. Each layer has an individual drying time. Further, the dishes are subjected to temperature effects (hardened in an oven) at certain temperatures. As a result of all these manipulations, the world-famous dishes appear - the “golden” Khokhloma.

KHOKHLOM ORNAMENTS

In Khokhloma, horse and “under the background” painting is distinguished. Horse painting is characterized by black and red flowers on a golden background. As a rule, in painting “under the background”, golden drawings on a colored background predominate. The main difference between these two types of painting lies in the technique of their application.

Briefly, their difference can be defined as follows: “horse writing” is a pattern applied with paint on the golden surface of the background. With “background writing”, the master, on the contrary, covers the golden background with red or black, leaving the silhouette forms of motifs in gold. On the basis of these two systems, a truly inexhaustible wealth of Khokhloma patterns developed.

TYPES OF KHOKHLOMSK PATTERNS

From Khokhloma patterns and ornaments, one can distinguish the following types. Grass - looks like a pattern of small and large blades of grass or twigs. Gingerbread - most often found inside bowls or dishes, and is a geometric figure in the form of a rhombus or square, decorated with berries, flowers, grass. Kudrina - a pattern of flowers and leaves that look like golden curls on a black or red background. Leaf - images of oval berries and leaves, located, as a rule, around the stem. The types of ornaments listed above are complex, but in some cases, masters use simplified ornaments. One of these ornaments is a speck applied with a stamp, which is made from specially folded pieces of fabric or plates of a puffball mushroom. All Khokhloma products are painted by hand, while the painting is not repeated anywhere.

Masters of the traditional Khokhloma hearth live and work surrounded by nature. In their ornaments, the elements of a free meadow, the beauty of wild flowers and ripe berries of the Russian forest are poetically sung. The painting is dominated by the picturesque beginning - the freedom of the brushstroke, the richness of the color spot. In the city of Semenov, Gorky Region, there is a younger center of Khokhloma - the production and creative association “Khokhloma Painting”, the main personnel of which were trained in a special art school organized in 1918 and currently operating, the first teachers of which were hereditary Khokhloma masters.

In folk ideas, the color system of Khokhloma painting was directly related to the color of the sky and celestial phenomena; its glow and blush. The red color in folk symbolism was understood not only in the meaning of beautiful, beautiful. He was also a symbol of fire, it is no coincidence that the people called him "hot". In colloquial language, the Moon, the Sun and its rays were called red. The patterns of Khokhloma painting are not only bathed in a stream of light, but by their very nature they are luminous. And like a wonderful vision they appear in a marvelous golden radiance.

There are suggestions that the way to make "golden" dishes Nizhny Novgorod masters known as early as the beginning of the 18th century. But most researchers argue that "wooden gold" came from the Old Believers, who actively moved to the Nizhny Novgorod lands.

Tatyana Shpakova, CC BY-SA 3.0

At first, silver powder was used for such painting, but this made production very expensive. The use of more accessible tin powder made it possible to create large items.

Under Soviet rule, handicraft production was replaced by factories located in the homeland of Khokhloma painting - in the city of Semyonov and the village of Semino.

Tatyana Shpakova, CC BY-SA 3.0

Now the production technology has not changed much. As before, the process of making Khokhloma dishes is quite laborious and lengthy.

Tatyana Shpakova, CC BY-SA 3.0

Of course, progress does not stand still: tin powder was replaced by aluminum powder, the composition of paints changed slightly, new primers and varnishes appeared, and electric furnaces appeared.

But all the main traditions dating back to ancient times have been preserved and only multiplied and improved.

Stages of creation

Material

The main material from which all Khokhloma products are made is linden. Before it gets to the master, the wood goes through a long preparation. In specially equipped warehouses, linden wood is dried for at least three years. Only after that it is considered suitable for the manufacture of quality products.

Linen and primer

The first stage is the beating of bucks, that is, the creation of rough wooden blanks. Future spoons, mugs, brothers - everything goes through drying in ovens and grinding.

Tatyana Shpakova, CC BY-SA 3.0

Then linseed oil is rubbed into the workpiece. After drying, vapa-primer is applied to it. Vapa is applied with a swab, which can be made from a nylon stocking, but according to ancient technology, it was a piece of soft sheepskin with trimmed wool.

, CC BY-SA 3.0

After that, the products are dried for seven to eight hours and manually treated with drying oil in the same way, using a leather swab. Drying oil should completely cover the product, evenly distributed over it.

Guide to Russian Crafts, CC BY-SA 3.0

This is a very responsible procedure, on which the strength of the painting and the quality of the product depend. The drying oil is applied to the wooden surface three or four times, the last layer is dried so that the drying oil sticks a little to the finger, but does not stain it.

Tinning

The last layer is kept sticky for a reason. This film easily adheres to half-day.

Tatyana Shpakova, CC BY-SA 3.0

Rubbing the poluda is called tinning. A tinned mug looks like a silver mug: half a layer covers the wood with an even layer, and it seems that the mug is cast from metal - it shines with a matte silver sheen.

painting

So, now the blank looks like silver. On this background, you can start painting.

In Khokhloma painting, mainly red, black, green, yellow and brown paints are used. They are subject to special requirements - they must withstand heat treatment and not fade.

Guide to Russian Crafts, CC BY-SA 3.0

There are two main types of painting: top painting and background painting. When painting on horseback, the drawing is applied with an ornament to the surface. The background is considered more complex. The artist paints over the background, leaving those parts that will become "golden" after firing.

Varnishing

After painting, the product is varnished and dried. It is after this that Khokhloma patterns become truly “golden”.

There is a special food varnish MCH-52, which is baked in the oven. It is produced in paint factories.

Guide to Russian Crafts, CC BY-SA 3.0

First, the dishes are covered with four or five layers of varnish, drying each of them thoroughly.

Previously, a painted product was covered with several layers of varnish - drying oil, and then hardened in an oven at a rather high temperature.

And now hand-lacquered objects are hardened in an electric furnace at a temperature of 160 - 180 degrees. Under a film of hardened varnish, everything that was silver in the painting becomes gold.

After repeated hardening, the lacquer film acquires high strength. Therefore, products are not afraid of hot and do not deteriorate from water.

How Khokhloma is made

Photo gallery

Terms

underwear- white, unpainted wooden blank

Baklusha- a piece of wood (mainly linden, aspen or birch), processed for the manufacture of various dugout wooden products (spoons and other utensils).

Primer- the composition applied by the first layer on the surface prepared for painting or finishing.

Vapa or vap (from the Greek βαφα - coloring) - a coloring matter. The verb to vomit means to paint something. Traditionally used in Khokhloma, icon painting and prints. It is vitriol or elutriated fine-grained clay.

Poluda- powdered metal. In the old days, tin served as half-day, and now it is aluminum, also a silvery, light and cheap material.

Painting features

Khokhloma craftsmen have a characteristic posture when writing. Therefore, for convenience, a small bench is needed.

Almost all painting is carried out by weight. The tinned blank is supported on the knee, holding it with the left hand, painting is done with the right hand.

This position allows the master to easily turn the product in any direction and at any angle. Brushes, paints, solvents, oil and other materials and tools necessary for painting are conveniently placed nearby on the table.

Modern technological process of Khokhloma painting

1. The turned or cut ground workpiece is primed (by dipping). Clay (vapa) or primer (No. 138) is used as a primer.
2. The primed workpiece is wiped with a soft sponge and dried at room temperature 6-8 hours.
3. The workpiece is covered 2-3 times with drying oil or a mixture of drying oil and varnish in equal parts.
4. Intermediate drying at room temperature for 5 hours.
5. Rubbing aluminum powder with soft leather or suede until a mirror finish is obtained.
6. Artistic painting with oil paints diluted with natural drying oil.
7. Drying 24 hours on racks at a temperature of 20-25°C or 1.5-2 hours in an electric oven at a temperature of 100°C.
8. Lacquering 3-5 times with PF-283 varnish, with intermediate drying and polishing.
9. Drying 2-3 hours at room temperature and 15-20 minutes in an electric oven at a temperature of 200°C or 3-4 hours in an electric oven at a temperature of 130-140°C until a golden hue appears.