Sheep wool on the tree, Russian folk art craft. Arose in the 2 nd half of 17 century. the territory of modern Koverninskogo area Gorky region, given the trade name of fishing with. Khokhloma the same area - the center of the marketing of products khokhloma painting in the 18 - early 20 centuries. For khokhloma painting is characterized by an original technique of coloring a tree in a golden color without the use of gold. Carved wooden items (mainly tableware) primed with a solution of clay, raw linseed oil and powdered tin (in today's products - aluminum), which was carried out over a layer of vegetation pattern in the carpal-free manner of painting, and then varnish from linseed oil (now - synthetic) and tempered at high temperature in the furnace. For color khokhloma painting typical combination of red and black with gold. Distributed types of painting - "horse" (red and black on a gold background) and "under the background" (golden silhouette image on a colored background). Extinguished in the early 20 century. craft was revived in modern times, in the 20's - early 30's. Wizard united in the farm. In the 1960's. created factory "khokhloma artist" at home fishing and production association "sheep wool in the city of Semenov, became the center of the crafts. They let the dishes, spoons, furniture, souvenirs, etc. Masters: FA Bedin, A. T. Busova, ON and SP Veselov, EN Dospalova, ZF Kiev About . VP Lushin, AG and FN Podogovy, AP Savinov, MF Sineva, IE Tyukalov etc.

Birth khokhloma painting

Even in those days, of which we are trying to get an idea, according to archeological excavations, the left bank engaged in the manufacture of wooden utensils. The tree was the most convenient and accessible material for producing household items. From the tree trunks hollowed out nimble shuttles - botnichki, carved curly buckets, decorating their pens carved silhouettes of horses, grind out various forms of cookware.
Anyone selilsya in these places, had to deal with trades. Land here were infertile, the harvest before the spring was not enough. Only the forest wealth but nimble hands saved from hunger and want. The proximity of the great Volga route contributed to the wooden bowls here early to produce steel for sale.
However, the first tableware crafts Volga is no different from many of the same industries that have developed on the territory of our country. As in other areas, local craftsmen covered products with linseed oil or linseed oil cooked out of it. This gave the strength of wooden utensils, she became more beautiful. This method of painting the surface of the tree is not forgotten now. Until recently it was used in the manufacture of the cheapest cups and solonits, is a matter of everyday household items.
When the art came gold Khokhloma? We have no data to definitely answer this question. Perhaps the master Volga began to paint the dishes long before mastered the technique of "golden" color. Already in the XIX century, along with a "gilded" wooden utensils are made and cheap bowls and salt cellars, whose surface was decorated with only the simplest geometrical designs - rosettes, Diamonds, spiral curls and wavy lines running stamp or brush.
Getting acquainted with preserved in the museum of wooden vessels, XV, XVI and XVII centuries, which were fabricated at the monastery, we do not find among these products, which surface would be painted in golden color techniques, close Khokhloma. They resemble khokhloma only in form, cinnabar background, and sometimes by adorning their golden belt, but these straps are shown powder melted gold, which is not used in Khokhloma.
Closest khokhloma painting techniques we find in iconographers. Masters of ancient Russia were able to save the expensive metal. To give the background of the icon in golden color, they used sometimes not gold, and silver powder. Upon completion of painting an icon of varnish made from linseed oil, and subjected to warming in the oven. Under the influence of high temperature varnish film acquired a golden hue, and the silver powder, shining through it, made similar to gold. Particularly widespread this method has received in the XVII - XVIII centuries, when the decoration of the Russian church is especially rich and lush. They are high gilded iconostasis with large icons. In the golden color painted reliquaries and church furniture. Receptions letters in silver instead of gold at this time became known to a wide range of Russian icon painters.
The most likely time of occurrence of Art khokhloma painting was the second half of the XVII and beginning of XVIII century, when the deaf Kerzhensky woods were the scene of the settlement of Old Believers who fled from persecution of the tsarist government and church authorities. After church reforms are sought refuge opponents of Patriarch Nikon, forced to leave Moscow and the largest Russian cities. To escape punishment, ran here and members Solovetsky Old Believers rebellion.
Among the dissenters, the immigrants were icon painters and masters of the manuscript miniatures. The high skill of these artists show two kyoto end of the XVII century, preserved in the collections of the Nizhny Novgorod Art Museum. They painted with typical XVII century floral motifs reminiscent of the coverings of precious gold fabrics. Forms fantastic flowers outline the contour lines and skillfully shares the stroke. The dark-red background in the green glittering gold stems and petals, made in the same iconographic technique gilded wood, which is close Khokhloma.
Old Believers, dissenters brought with them ancient icons, manuscripts, richly decorated with miniatures and ornamental illuminations, patterned fabrics, jewelry. Distant forest wilderness east of the Volga was, therefore, at the turn of the XVII and XVIII centuries, the richest treasure house of ancient art. This could not but affect the development of local culture.
In the new Lander Old Believers were forced to do crafts. In their monasteries there were workshops in which sharpened and painted ware. Most wealthy settlers were traders and speculators. Taking up painting turner utensils, icon-painters could use them to known methods of coloring a tree in a golden color with silver, which allowed local craftsmen also produce original products, not knowing the competition in the markets and fairs. So, obviously, and originated the art of gold Khokhloma.
In memory of old-timers edge preserved legends about the origin khokhloma painting, confirming that it was introduced painters-examined. Speaking to them, in various forms you can hear stories about the Companions who fled here Ataman Razin, the arrival of the masters of icon painting business, fleeing religious persecution. One legend tells that among the hiding of icon was a famous artist. He built a house in the woods on the bank of the river and it began to paint the dishes. Like gold were his patterned bowl. The faithful people to help sell them. However doznalis in Moscow, where brought in gilt bowl, guess who they certify. And then proceeded to search the master royal soldiers ... Learning of this, called the master peasants from neighboring villages, showed them their skill, gave the paint brush and disappeared. Some say that it was on the shore Kerzhents, others - on the shore Uzola River. Perhaps this was the fate of not one but several masters.
Together with the technique of painting in Khokhlov penetrated and drawings of ornament, known icon painters. The origins of the main types of ornamental fish can be seen in Russian decorative art XVII - beginning of XVIII century. At this time special distribution received floral ornament, its techniques of execution were varied. When painting walls, furniture and household items are often carried out herbal drawings, applied freely with a brush. Drawing of flowers and leaves have completed juicy brushstrokes of white - ozhivki. This ornament associated with the painting traditions of ancient Russia, served as the basis for the formation of khokhloma herbal patterns.
In khokhloma painting reflects and graphic designs with clear linear contours and detail study of stroke. They contributed to the emergence of patterns in the technique of "under the background." Motives "Kudrin said, were prompted by figures with curls adorning saver manuscripts. Many features paintings Khokhloma were the result of the merger of two traditional fishing lines Russian decorative arts, one of which is derived from the iconography and ornament manuscript miniatures, and the other to the ancient crafts of Russia. In each of them in their own manifest people's understanding of the national peculiarities of ornament, each have been professionally established techniques.
On the basis of this heritage in Khokhloma is already forming a new art-related in their future destiny with registration of objects of national life.
Floral ornament introduced into Khokhlov painters, is undergoing significant changes. It becomes much more concise and clear. The nature of his compositions are heavily influenced by the traditions of ancient geometric ornament, which contrasted with classically simple and sophisticated methods of constructing designs.
On changing interpretations of the ornament has affected the perception of the motives of nature, characteristic of folk artists. Instead of characteristic patterns of XVII century flowers and other plants to come - more understandable and familiar. Tulip becomes like a bell, a grape leaf on a maple leaf, and next to them appear poetical twigs with Russian northern berries lingonberry and cranberry.
In the art of ornament Khokhloma approved by the characteristic features of folk decorative art: the most expressive figurative painting, decorative, limiting the severity and avarice of artistic means. Most clearly manifested in their herbal ornamentation prevailing in the decoration of dishes. Assimilating new techniques of ornamentation, the master retained and the earlier tradition of decorating pottery.

Periods of khokhloma art

Preserved in museums of works of art khokhloma gave an idea of the individual periods of its development. The earliest extant monuments belong to the turn of the XVIII - XIX centuries. This - cups, wine-cup and tuesok. They are decorated with just not wide golden belts. Obviously, for the painting of wooden utensils of silver powder was expensive material. The most extensive areas of gold surface had Bratina. Masters of their gold neck and shoulders, and torso paints with oil paint, over which a brush or a stamp applied ornament.
At one of the major Bratin temperamental strokes painted red flower freely outstretched petals and leaves. Artist boldly tossed with a black background on the small golden petals, and gold glittered more brightly than ever to have fallen to his fiery strokes cinnabar. Belilnye ozhivki, artfully thrown on the largest petals, more isolated it on a black background. This ornament is not only admire the masterly skill of painting, poetry and created the image of a fashion reminiscent magic, mascot red flower, which, as legends tell, can only be seen at night on the eve of Ivan Kupala.
In the first half of XIX century, great changes are related to the art khokhloma painting, At this time, instead of silver masters learned to use a cheap tin, turning it into a powder suitable for deposition on the surface of the tree. In the history of fishing has entered a new period. Now the wizard could almost paint a wall wine-cups, solonits, postavtsov in golden color.
Images khokhloma grass, making the most effectively use the "golden" color, are at this time even greater development. Masters Khokhloma comprehend the laws of painting on a golden background. Her ornament finally approved techniques planar silhouette interpretation of motives, the most appropriate art on the golden background. In the painting disappear razzhivki whitewash, the impression of volume forms. There is a limitation of colorful scales. Previously, the wizard used the white, blue, blue, pink, green and brown colors, but now the main colors of the ornament are red, black and gold.
We often hear that the master used red and black colors only because they do not burn in the oven for tempering. This is true only in part. Brown, green and yellow paint also do not change color at high temperatures, but their use is very limited. Artists prefer the combination of red, black and gold, primarily because of its special decorative qualities. This color scheme valued and master of ancient Russia. But there was another reason. The resulting from the masters golden color yielded gold color brightness and did not have the desired shade of warmth.
This lack of craftsmen strove to make possible less noticeable, striking painting of red and black paint, created with a golden background color resonant chord. Fiery-bright vermilion gave very warm golden background, and black paint contributed to the fact that he seemed brighter and brighter.
Execution of the ornament on golden background led to the approval of the characteristic for the type of painting herbal compositions with an openwork pattern, covering a significant part of the surface of things. A fake gold background was unprofitable denude large areas of smooth surface. Seeing this, the master began to execute drawings, in which only the background seen through the pattern and spacing of motifs.
Limit colorful range of herbal ornament, refusal ozhivok whiting and plane The outline interpretation of motives, it seemed, would have to contribute to the loss of the picturesque qualities. However, this does not happen. Khokhloma grass is perceived by us as a beautiful ornament, but not graphically by the fact that the basis of her songs are rhythmically arranged color spots. Picturesqueness patterns of grass and the softness of tone gives the relationship, which is achieved by connecting in the ornament motifs, painted in broad strokes, and the introduction of small herbal registry, performed a light touch of the brush.
To generate khokhloma ornament was of great significance of his performance is free from the hand brush. Now, when the master went to work on the broad surfaces of the golden background, could have more clearly manifested peculiar temperament of the Russian penchant for ornamental leaf breadth letters. Brave carpal smear is one of the main elements of herbal pattern. By combining different elongated strokes of red and black paint, large and small, juicy frame and lightweight, the wizard created the motives herbs, flowers, shrubs and trees with lush, curly leaves. Figure supplemented motive berries and flowers, is put through Tychkov, swab or a soft, porous sponge. Ease and ornamental handwriting wizard becomes the criterion of artistic merit of the work. Execution of painting by hand with a brush instill into the habit of freely vary masters ornament. In particular herbal influenced patterns and forms chiseled wooden utensils. Wizards looking for methods of decoration, economical on labor costs and provide the greatest artistic effect, in the course of their work for each type of product in Khokhloma were found typical composition of painting, the most consistent with the nature of their shape and size. Talk about some of them.
Images on cups and dishes are based on a subtle understanding of the methods of composition ornament in a circle. Raspisyvaya cups and dishes, the master clearly mark them bottom, placing it with the outlet lines, diverging from the center like the sun. At the larger things around the outlet box or a diamond painted with softly rounded corners, which is called the carrot, because of its similarity to the present patterned sticks, placed in a cup. Around the center of the cup performed pattern associated with the movement of the brush in a circle. The simplest picture with consisted of a vertical or sloping red and black brush strokes. Complicating his master was placed on the next two or three red and black elongated smear, connecting the bottom of their ends. Motif was obtained so-called "feet" resembling bird footprints in the snow.
In large bowls and dishes are often performed by masters of a form of herbal ornament - "sedge. This figure stems and elongated leaves of grass, as if bent by the wind. "Sedge" located on the sides of cups and dishes, framing outlet with a "carrot". The dynamic rhythm of stalks and grasses on the concave spherical surface of the bowl was especially noticeable due to a static pattern of "carrots".
In figures, "sedge" show love to the masters of nature. Many masters tell us about them as the most favorite types of fishing in herbal ornament. "We are always willing to execute it - to recall the old mistress AN Tyukalova. - In this figure a lot of space, and the cup is not izlyapana and very rich." In the terse words of masters and label contains the popular understanding of the beauty of the ornament. The feeling of spaciousness, raduyuschego us in nature, is achieved in the drawings of "sedge" thanks to a free placement of motifs on the golden background of high sloping walls of the dishes. Shine through the openwork design of leaves and branches "sedge" golden background gives the painting a festive and rich look.
One of the most beautiful dishes with ornament "sedge" belongs Semenovsk museum. It was purchased along with the other painted things in the house of former Vitushkin merchants engaged in trade khokhloma dishes. The dish is one of the earliest surviving works of our time herbal khokhloma painting. According to the recollections of owners it has passed into the family Vitushkin from generation to generation among the cherished memorabilia and could be painted in the middle or even in the first half of the XIX century.
The dish has a diameter of more than half a meter. At its center stands out clearly the traditional square "stick" with golden leaves on a black background, and on the sides - large branches with red and black leaves and berries, performed confidently and clearly in broad strokes. An unusual severity, which I saw the master in nature and may be inherent in his nature, prompted strict and solemn rhythms of the ornament.
Large meals are sometimes decorated with a wavy pattern and the stem, gently curving around the central rosette like a wreath. In Semyonovsky museum contains a dish with such ornamentation received the same from the house Vitushkin. At the inception it may be coeval with the dishes "sedge", but performed by a different master, fancy handwriting which differs special grace and refinement. In the center of dishes on a black background placed the traditional rectangular socket "stick" with decussate golden leaves. In the ornament dishes combined methods of herbal letters and paintings "on background." Calm blinking large golden leaves sockets as if transformed into a golden glow with a herbal background pattern. Dish is perceived as entirely in gold, despite the carefully introduced into the composition sockets small areas of black background needed to design the leaves was sufficiently clear. Light line art in this painting fits well with the juicy red and black strokes khokhloma herbs, thanks to a room next to them the finest stalks and twigs, filled with black paint.
At postavtsah and solonitsah, had a cylindrical shape, the master of creating drawings on the four "flower" or "tree", depicting the rising from the ground shoots. On the golden background, they were placed on the two red and two black stem with patterned leaves on the branches, as if stretching towards the light and the sun. Even in our days old artist Khokhloma remember how they were taught to write this image: "Closely not write - let each of the colors will spread widely and freely their leaves, as someone who lives at ease." At the scoop for flour usually written stems, weighed down by fruit - picture, prompted by long-forgotten symbols of the harvest. Almost all the motives khokhloma ornament had their names, which were associated with the poetic notion of masters of nature.
Knowing the traditional motifs and model compositions, even the ordinary mural artists can create highly artistic works. Their work, and this is perhaps the most valuable, never turned into a work of a copyist. Typical compositions were only guidelines to facilitate the work.
Floral ornament in the technique of "under the background and images" Kudrin "in the XIX century masters performed much less often than herbal patterns, so in this area artistic heritage Khokhloma much poorer. Both of these paintings were more cumbersome than herbal letter, and they have long been owned by only the most experienced craftsmen. Images with ornament "on background" to find things that were carried out on special orders or for a gift. These items are sometimes preserved inscription, which indicates the creation date, owner name, and sometimes the name of the master, They include spinning wheels and bottoms shveek, lublenye basket for berries, benches, balance beam and the arc.
Dated products with a list "under background," pertaining to the middle of the XIX century, almost isolated. In the Nizhny Novgorod Regional Museum is an arc, marked the year 1857. Her painting is a composition, widespread in decorating these types of products: twin heraldic golden lions at the base and socket at the top of the hole for the attachment of a bell. Main part of the surface of the arc is decorated with ornaments resembling drawings patterned fabrics with golden leaves and bunches of grapes. Painting executed hand experienced ornamentalist. Carefully and sensitively written out the intricate twists of vines. And although the paintings are interested in their quaintness, but it does not have that courage and freedom of writing, which we especially appreciate in Khokhloma. In the later arcs ornament "on background" is performed in a more relaxed manner.
Only in the second half of the XIX century, in connection with the development of Khokhloma furniture manufacturing, vehicle painting, under the background "gets more widespread. Ornaments with gold flowers and birds on a black background, played most often on children's tables and chairs, attracted the attention of the beauty of the pattern caused by free movements of the brush. As herbal figures in the painting "on background" appear clearly worked out their tricks ornamental cursive. Tracks are becoming stricter, more concise and yet emotionally expressive.
Methods of execution of the ornament "Kudrin said" less cumbersome than painting "on a background." Since the middle of XIX century, they are widely owned by many khokhloma wizard. Drawings "Kudrin" written on the cups and at large "artel" dishes. His major monumental forms are reminiscent of patterns from Volga house carving. In the second half of the XIX century motifs, "Kudrin said, often performed in the painting of spoons. In each workshop their writing the most skilful masters of the so-called spoon with a "face", keys, one on top of a box with a cheap simple spoons to show the ability and the ability to "clerks."
As the documentary material already in the middle of the XVIII century khokhloma a list were occupied by residents of several dozen villages. Turning wooden bowls in large quantities were brought to Makarevsky fair. Bright patterned gold bowl and Bratina stood in rows on the Volga, gleaming in the sun. Hence, they were transported by barge across the country and beyond.
In the second half of XIX century in Khokhloma created quite a lot of kinds of products. It did great plashkovye dishes, which reached a diameter of meters, known as artel or barge haulers, cups and plates of different sizes, stand, salt shakers, kandeyki, scoops for flour and other products. For myself and to order the villagers master painted the arc, spinning and seamstresses, a basket for berries, mushrooms and bast mochesniki storage spindles.
At this time, fishing was a grand craftwork painted pottery. Between residents of different villages clearly established the division of labor. In some villages, harvested wood, while others were engaged tokarstvom, in third - carved wooden spoons in the fourth - painted products. Governed the whole of this complex system of production buyers. They bought a semi in some artists and resold it to others, bought the finished product. Some buyers kept their shops, where they worked turners, Lozhkarev and dyers. The largest village in which lived the master of painting, formerly known as idleness (now the village Novopokrovsky). So it is called in historical documents of XVIII - XIX centuries. Not forgotten is the name now. Masters explains its origin as follows: "tillers envied our occupation of the Arts. We believe our work over idleness." Do not they work, but only indulge in the brush, "- said about us and called the village - idle.
But in the memory of old-timers and documentary material preserved a lot of evidence about the severity of forced labor masters for buyers. Buyer was the complete master of the fishery, he did everything to cut the cost to employees. In the dyeing worked with two in the morning until late evening. Was particularly difficult for children to work. Often in the winter dark nights are filled with a brush in hand. Earnings is barely enough to eat. And despite all this, khokhloma art of living. Almost in every village were masters, compose new designs. They were decorated with paintings distaff, seamstresses, basket, postavtsy. Old-timers sat Novopokrovsky even talk about how Ivan M. Krasilnikov, locked in the studio, writing on the mat snake-dragon. They remember and father Ivan Mikhailovich - Mikhail Krasilnikov, who wants to go to Petersburg to study to become an artist. He decided to show their skills at an exhibition in 1884 and wrote on a table top painting "Peasant morning." Show the village, the shepherd with his horn, farmers drove cattle, and surrounded the entire picture frame made of gold curls "Kudrin said."
It is said that the work was on exhibition a success: the master was summoned to St. Petersburg and was awarded the clock and coat. However, the study in the capital, no one invited him. With sorrow and drink the master clock, and coat.
An excellent painter considered in Novopokrovsky and Jacob Marusin - a man full of rare talent, a joker and a freethinker. In Semyonovsky museum preserved mochesnik his work. In the former home buyer Tyukalova, where he lived a long time as a laborer, and now they are painted doors, which depicts a man in eastern turban with a sword and a woman in a headscarf and sarafan. Marusin Jacob died in 1916 in Siberia, went there in search of happiness, to find that he has not succeeded.
In the late XIX - early XX century came to Khokhloma hard times. Began to decline rapidly the demand for wooden rospisnuyu dishes, gradually more and more displaced by factory production. Padano importance of fishing as a supplier of items for everyday peasant use. Especially worsened trade products in the years of Russian-Japanese and First World War. Have closed many dye. Some masters were sent to the front.
The plight of the popular crafts made in Nizhny Novgorod district council to take urgent action. Particular attention is turned to the crest. There were sent to artists who have tried to adapt its products to the tastes of urban consumers.
At this time, among the Russian intelligentsia, there is a deep interest in the monuments of the Russian past. They begin to explore, collect. This brings popularity and handicrafts. To ensure the sale of products Khokhloma, artists began to produce her designs "antique".
It appeared on fishing buckets, fanciful in form, resembling serpents and dragons, chairs and sofas with horses, unwieldy tables and buffets with heavy legs turning, boxes for needlework, like iron weights. When decorating these products impact the motives of the painting "on background" and "Kudrin said." Appeared ornament "Slavic tie" - a bad imitation of drawings of ancient manuscripts savers. It was characterized by stylized forms of dry and coarse variegation. Techniques, familiar to Khokhloma, write it was impossible, so the work of masters appeared stencils.
Travnia painting at that time was performed only in those workshops, where they continued to paint cheap cups and dishes for the rural market. "Grass" gets contemptuous name simple color or "peasant" paintings. For herb painting paid half the price.
Folk art fishing has not perished in those years. Effect of the samples implanted by the council, affected mostly masters who worked in the dye-rich owners. It almost did not affect lachuzhek poor, where the traditional written Travny ornament.
During the Great Patriotic War craft had lost a significant part of artists, clearly manifested themselves in the art of previous years. In the battles on the Dnieper died talented ornamentalist Anatoly Podogov. There was Arkhip Mikhailovich Serov, Seeds Stepanovich Yuzikova, Ivan Yegorovich Tyukalova. Many masters have not returned from the front.

Sheep wool in the second half of the twentieth century

In the early postwar years, the overriding objective was the restoration of his craft creative team and the training of young people. Much work in this area had experienced craftsmen Semenovskaia art school. In Koverninskom area of Gorky region, distant from Semenova, with the young by the old masters artists - Nicholas G. and Nicanor G. Podogovy and Fyodor Bedin. Comprehension of the traditional foundations of the art helped craft assembly khokhloma ornaments, created by Nikolai Grigorievich Podogovym.
Aware of the importance of transferring knowledge to new generations of artists, master still in the Great Patriotic War began work on the album khokhloma ornaments. For several years he painted the table, thinking patterns, which are seen, and wrote down everything I heard from his father and grandfather. We helped him to his daughter Anna, already at this time already an experienced craftsman. Thus were created four copies of the album, which depicted many of the ornaments of the XIX and early XX century. This is a priceless collection of drawings helped preserve the art Khokhloma traditional methods of painting.
At the exhibitions of applied and decorative art, held in 1945 - 1946 respectively, was presented a lot of works by artists Khokhloma. As masters of other trades, they strive to create works imbued with the spirit of patriotism. Floral ornament becomes for them a new meaning. He becomes a means of special ornamental story about wealth and beauty of mother nature.
Characteristic of the preceding period of fascination with herbal ornamentation gives way to find new patterns in the technique of "under the background", which correspond to the will of the possibility of masters to create more rich and festive painting. Many works are being carried out in red cinnabar background. One gets a new understanding of drawings with a gold pattern and joyful melodious combination of vermilion and gold, associated with notions of the natural riches of the Russian land. The painting "on background" interested in the masters and the possible increase in the composition of the role of graphic design, extending the visual possibilities of the ornament.
The desire to give ornamental painting new sound was manifested in the selection of ornamental motifs and their interpretation. Masters is particularly attracted to the motives of ripe ears, branches, weighed down by fruit, grapes and lush flower garlands symbolizing abundance, the depiction of their increased role bar razzhivki, amplifying a surround shape. It was some departure from the traditional to Khokhloma plane interpretation.
In the painting there are more daring mix of motives. This can be seen, for example, in one of the most interesting works - a big stand, performed to an exhibition in honor of the victory in WWII. Its author - a talented artist koverninskaya Lidia I. Maslova, one of the students Anatolia Podogova. She drew on a black background, next to the red berries of rowan its white flowers on flexible and thin branches with green and golden foliage. Unusually elegant turned its ornament, which combine spring flowers and ripe autumn fruit. Emergence of such a painting has caused much controversy in koverninskih masters. Many doubted whether a painter to depict what can not be seen in nature. Defending his own right, Lydia Maslow explained: "The ornament can be told about the nature more than we see at one time. Therefore, if we draw the rowan tree, and think about the forest, we do not violate the truth by drawing together the flowers and berries. It helps us convey the beauty of the forest and in one figure to show its blossoming in spring and golden autumn with red berries. The idea of the artist interested in and other masters. Images of flowers and berries have appeared in the works of LA Belianinov, EA Belova, NP Kudryashova. During these years, they are often performed Semenov artists - EF Sennikova, NA Chikalova, AP Savinov, AE Ants and others.
Peculiar ornamental suite on the theme of Russian nature heard in gay and a little naive paintings executed AV Podogovoy on cups. Her drawings "strawberry on the black earth", "gooseberry on the golden land", "raspberry on the yellow earth", "red apple on the brown earth" deeply imbued with a poetic sense of the individual.
At the same time, the master Khokhloma trying to introduce floral ornament coats of arms, emblems, monuments and even portraits. In creating these paintings masters could not help past experience, so they were forced to turn to the artistic means of other kinds of art, and especially to the chart. Thus, in the 40's and early 50-ies there is a whole series of works: Cup AE