1. RUSSIAN FOLK ART

2. Russian folk art expresses the artistic impulses of peasants and artisans to decorate their homes and objects of daily use. It reflects both timeless traditions and changing conditions in the Russian countryside, shows peasants' responses to nature and their deep spiritual connection with natural forces. The landscape of Russia, the rich variety of nature in all seasons, the forests of birch trees and pines, the fields of flax and grain provided the inspiration and the materials for generations of folk artists. These men and women, woodcarvers, painters, weavers, potters, and makers of ingenious toys, worked within their peasant communities, using traditional materials and techniques but adding touches of their own. Some artists became well known for their special skills, and many signed and dated their creations. Today folk art is preserved and exhibited in museums all over Russia.

3. Matreshka Is a wooden doll, usually in a colorful dress with successively smaller ones fitted into it. The doll is generally recognized as a symbol of Russian national art. The predecessor of this Russian doll was brought to Russia from the island Honshu. The Japanese affirm that it was an unknown Russian monk who carved the first doll of this kind on island. The first Russian matreshka appeared in the late XIX century. The female name Matrena, Matresha was wide-spread in pre-Revolutionary provinces. It derives from the Latin word mater. The name is associated with a mother of large family who has good health and a corpulent figure. For the first time the quantity production of this doll was organized near Moscow in Sergiev Posad. The style of Russian matreshka painting was greatly influenced by icon-painters of Sergiev Posad.

4. Folk art bears extensive information about the life of our ancestors
Folk art bears extensive information about the life of our ancestors. Russian clay toys may be regarded not only as monuments of art but also as historical monuments. In olden days they were ritual figurines associated with the rituals of the agricultural calendar holyday. Especially interesting are penny whistles which were made for the Svistunya spring holiday (the holiday marked the start of agricultural works). By the 19th century the magic content of penny whistles ceased to exist and they became an item of everyday children’s entertainment.
In some centre the production of toys got an independent content. The Dymkovo toy is an urban toy, craftsmen made these toys in the Dymkovo settlement near the town of Vyatka (now Kirov). The traditional characters of Dymkovo are a mistress, wet-nurse, fairy – tale bird with big plumage and others. Both moulded elements with wavy surface and colour covering make the toys look festive. On the white prime – coating (chalk is dissolved in milk) red, yellow orange and blue become even more brighter.

5. As distinct from the Gorodetsky masters, Khokhloma craftsmen put their items on fire; therefore their palette is slightly limited. The kilning of Khokhloma woodware is explained by the desire to make it multi-purpose, for in a Khokhloma bowl one can not only serve bread but also make soup. The golden Khokhloma “does not burn in fire or sink in water”. It is kilning that make the Khokhloma woodware look like it is made of gold. The art of Khokhloma painting appeared in the 17th century and got its name from the Khokhloma Village of the Gorky Region, where at fairs people sold “golden” spoons, scoops, provisions hampers. At present Khokhloma painting factories are situated in the town of Semyonovo and the village of Syomino. The process of making Khokhloma woodware is very complex. The wooden item is covered respectively by clay, flax oil, drying oil and aluminium powder, then follows painting by red or black paints and varnish. After several hours in the kiln you can see ready Khokhloma where on the golden background there are flowers and herbs, bunches of rowan-berries and twigs of birch-trees.

6. THE END