What is a lubok. What is "lubok" and "lubok pictures"

What is a lubok? Why and how was it made? What does it have in common with the deck of a ship? And why did the authorities ban it? The answers are in the article!

News of various kinds have become an integral part of life modern man. And it doesn't matter where we get them: from the Internet, from newspapers or on television. It is important for us that the information is fresh, versatile and constant. And if you think that our ancestors did without it, then you are greatly mistaken. In the old days, they also had their own media. And they were wildly popular too. And some of them were banned too. And they also advertised something, scolded someone, inspired something. So what did the then editions produce?

In the old days, there was one type of media, and that was lubok. A lubok, also known as a lubok sheet or a picture, is a stylized image printed on paper with comments. And since it reflects the creativity of the people rather than professionals, it was distinguished by simplicity, conciseness and intelligibility.

Short story

The first popular prints (nianhua) appeared in China. Moreover, at first each sheet was drawn by hand, and only after the 8th century did the Chinese learn how to make prints. From the Celestial Empire, popular art spread to India and Arab countries. Like all oriental painting, Asian popular prints were distinguished by their saturation of colors and an abundance of elements.

IN European countries Lubok has been known since the 15th century. At first, the images were in black and white, and looked like unsightly children's coloring books; they got color a little later. European luboks were distinguished by a variety of subjects and were similar to modern newspapers and magazines: in major cities there were editions-factories (which later turned into printing houses), and shops selling them.

In some countries, luboks existed until the 19th century. They were supplanted by ordinary printed newspapers and comics.

Lubok plots

In the East, the pictures had a predominantly religious and philosophical content, but as soon as the popular prints came to Europe, their subject matter expanded significantly. Fabulous or epic, historical and legal (images of trials filled with satire and morality) appeared. As well as pictures depicting saints (like modern calendars), horsemen and folk heroes. Jokers had a separate place and great popularity - humorous popular prints with caricatures, satire, jokes, toasts and fables.

In addition, in Europe some large firms and businesses ordered promotional luboks telling about their products or services. Very often, luboks were used by the government and the church as propaganda or agitation. In general, luboks used to play the same role as modern newspapers and leaflets.

Lubki in Russia

Lubok came to Russia from Europe in the 16th century and it was then called the “fryazh leaf”. At first, only imported pictures were on sale, but from the end of the 17th century, the Moscow Court Printing House learned how to make them on their own. According to the method of production, they got their new name - lubok. But more on that below.

Despite the availability of domestic products for sale, imported jokers were very popular. Orthodox Church outraged by their "immorality and obscenity", and it came to a ban on the sale of "sheets of heretics." The ban was introduced in 1674, and in 1721, at the insistence of the church, censorship was also introduced on domestic popular prints. The so-called Artistic Chamber monitored the morality of the pictures.

But, fortunately, printing presses flourished that knew how to circumvent censorship. Otherwise, we would not have wonderful luboks demonstrating folk customs past times.

Lubok production

In Russia, lubok makers were called "Fryazh carving masters". The very process of applying and coloring a picture is a sign.

The work consisted of the following: the artist (signer) drew an image on the board, and the engraver cut it out, that is, he made an impression. Then the copier applied to him dark paint and made an imprint on paper - the result was a simple picture. These sheets were handed over to artels engaged in coloring. As a rule, children and women worked in them. The professional workers of such cartels were called colorists. But with the advent of new, more advanced methods of drawing a picture (lithography and engraving), such artels were disbanded.

So why did the printed pictures get such a name - lubok? Answer: the drawing for the print was applied to a lime board obtained in a special way sawing from the bottom of the tree bark. Such boards were called luba. They went to the manufacture of roofs of houses and decks of ships, and the bast obtained from young trees was good for a bast.

Such is the history of the lubok - special kind folk art, the forerunner of newspapers, magazines and the now popular comics.

In the wooden lubok, not only is there no caricature in the generally accepted sense of the word, there is also no satire in its usual sense. The satire is serious. Satire - flip side tragedy. It creates a sense of disharmony of life. Life plays in the lubok. The satire fights with laughter, in the lubok they amuse themselves with laughter. These are cheerful, mischievous and not at all evil sheets, where humanity, free-thinking and tolerance are glorified, where the figures of heroes and jesters, people, animals and sea ​​monsters. indissoluble unity. Mystery buff.

The evolution of the wooden lubok from the majestic to the ridiculous, the combination of heroic and comic features in it has never made the lubok petty. The graphic appearance of the wooden lubok has always remained monumental. It had to decorate the wall, be clearly visible from a distance, which excluded the possibility of fractional solutions, required bright local coloring.

Lubok engraved on wood is laconic and static. There is almost no text in it, and the one that is always involved in the compositional and decorative decision of the engraving (as in the icon, fresco, applied arts). In the drawing, the wooden splint does not joke, does not flicker, does not excitedly tell all the details about the incident. He shows us the world, a man, an animal, an event as a whole, outside of time. A pronounced character that does not manifest itself in external action even in such popular prints as “The Glorious Battle of Tsar Alexander the Great with Por, the King of India” or hunting scenes. Epic beauty, beauty of calmness, dignity, strength.

Wooden splint conditional and fantastic, although at first glance it consists of things that seem to be familiar to us. But all these things are interconnected physical laws objective world, but according to the decorative laws of the art of lubok. All earthly space is transformed in a folk picture into a conditional plane of the board, closed by a quadrangular frame, which establishes the boundary of the conventional world and the real world. Earthly things depicted within these limits lose their material properties: volume, weight, density and color, retaining only the silhouette of the form. Active light paper surface, clear contour line, a decorative touch and a fantastic color in the popular print have a rare independence of the language. The master who created the folk picture created the world anew. Therefore, it would be more accurate to speak not about the loss of their objective properties by things, but about the acquisition of new ones, about the creation of a new world and new things in the folk picture, where people, animals, cities, flowers, trees and text are significant only as details of an inseparable decorative whole.

Compositions of wooden luboks, for the most part vertical (icon format) or close to a square (tile shape), as a rule, tied in the center. The edges of the board are usually lighter and filled with a ready-made set of traditional details (stylized flowers, leaves, herbs). They are located on the board in the most different places depending on the center of gravity of the main image, they balance it, support the plane of the sheet and create a whimsical ornamental-rhythmic unity of the engraving. It is impossible to crop a splint. The compositions of most wooden popular prints are architectonic and have a symmetrical structure. With their entire structure, they echo not only the plane of the wall, but the architecture of the building, and the symmetry in them carries the same rhythmic load as rhyme in verse. It is characteristic that popular prints on a tree, which are based on laughter, often lose these properties due to increased freedom and tempo of movement (“Man Pashka and his brother Yermoshka”).

Lubok was painted as freely, seamlessly and fantastically as it was put together. The color was supposed to maintain the graphic unity of the sheet and enhance its decorative effect. Whether one person painted the lubok or there was coloring “on the noses”, when each of the performers, following the other, placed one color on the sheet in combination with the previous one, the principle of coloring did not change. The color was laid with decorative spots scattered. Initially, an accent red color, which gave the leaf a hot, bright color. It was not only brighter, but also more dense (such as gouache or tempera, while all other colors were transparent, like watercolor). In combination with red, yellow was usually given, and both of these colors made the popular print shine almost like an icon.

Then put less bright colors: green, cherry and grey-lilac. Additional colors soothed, extinguished the power of red and yellow and at the same time emphasized it with their coldness. Sometimes in color scheme Lubok was introduced with a contrasting black or emerald green color. They painted the sheet in such a way that the contact of colors was sharp, sonorous, as if “knocking” against each other, as in a meadow, as in a Russian costume.

Like any bright thing, the painted wooden splint spread its influence far beyond the sheet, and in the interior it was like a bouquet of flowers.

What is "Lubok"? What is the correct spelling of this word. Concept and interpretation.

Splint Lubok is a folk picture, a work of graphics (mainly printed), distinguished by the intelligibility of the image and intended for mass distribution. Lubok is characterized by simplicity of technique, conciseness visual means(a rough touch, usually bright coloring), often designed for a decorative effect, a tendency to a detailed narrative (a series of popular prints, popular print books), often complementary images and explanatory inscriptions. Lubok, performed, as a rule, by craftsmen, is a type of folk art, but professional graphic works, borrowing certain popular prints and folklore techniques, are usually also referred to as lubok. The oldest popular prints appeared in China and were originally performed by hand, and from the 8th century. - woodcut. The European lubok, made in the technique of wood engraving, has been known since the 15th century. Since the 17th century splint spread in the technique of engraving on copper, and from the 19th century. - lithographs. The formation of the European popular print is associated with such types of late medieval mass pictorial products as paper icons distributed at fairs and places of pilgrimage. Religious images in the popular print acquired a shade of visual and moralizing entertainment. During the years of social revolutionary movements, the popular print was used as a journalistic weapon - "flying sheets" of the times of the Reformation and Peasants' War in Germany 1524-26, lubok of the era of the Great french revolution 1789-94 and others; narrating about historical events, battles, rare natural phenomena, the lubok served as a means of mass media. The Russian lubok of the 18th century is peculiar, distinguished by the decorative unity of composition and coloring, independence from the techniques of professional graphics. In the 19th century masters increasingly turned to the images of lubok professional art or those who directly imitated it (in Russia, for example, A. G. Venetsianov, I. I. Terebenev, I. A. Ivanov - the authors of colored etchings dedicated to the Patriotic War of 1812), or inspired by some of his techniques and themes (F. Goya, O. Daumier, G. Courbet). Oriental lubok (Chinese, Indian), which initially often had a magical meaning, is distinguished by its bright colors. A deliberate appeal to the forms of the popular print (see Primitivism) manifested itself in late XIX-XX centuries in the work of many artists; A. Derain, R. Dufy, P. Picasso, masters of the association "Bridge" in Germany and so on. In Soviet art, lubok techniques were creatively used by V. V. Mayakovsky and others to create posters and propaganda pictures, as well as by T. A. Mavrina to illustrate children's books. "Jung-hoi, cutting the demon." Woodcut, coloring. China. 19th century "The bear hunter pricks, and the dogs gnaw." Woodcut, coloring. Russia. 1st floor 18th century Literature: D. A. Rovinsky, Russians folk pictures, vol. 1-5 (text), vol. 1-4 (atlas), St. Petersburg, 1881; V. M. Alekseev, Chinese folk picture, M., 1966; (Yu. Ovsyannikov), Lubok. (Album), M., 1968; O. Baldina, Russian folk pictures, M., 1972; Duchartre P.-L., Saulnier R., L "imagerie populaire, P., 1926. (Source: Popular art encyclopedia." Ed. Field V.M.; M.: Publishing house " Soviet Encyclopedia", 1986.) a popular folk picture, a work of graphics (mainly printed), characterized by simplicity and intelligibility of the image and intended for mass distribution. The term appeared in the early 19th century. Russian word"Lubok" comes, perhaps, from "bast" - the top layer of wood; large boxes were made from it, in which folk pictures were carried. Bast was also called linden, which served as material for printed boards. The oldest luboks appeared in China. In Europe, folk pictures have been known since the 15th century, in Russia - from the 18th century. The first European and Russian luboks were paper icons sold at fairs and places of pilgrimage. "Yaga-baba is going to fight with a corcodile." Splint. Woodcut, watercolor. Beginning 18th century "Jester Farnos, Red Nose". Splint. Woodcut, watercolor. 18th century Kazan cat. Splint. Woodcut, watercolor. 18th century The heyday of the Russian popular print - 18 - early. 19th century Luboks were created mainly in Moscow and, possibly, in the North and the Volga region. At first, folk pictures were engraved using the xylography technique, from the end of the 18th century. more often made engravings on copper. The first copper prints were made by professional engravers from St. Petersburg - A. F. and I. F. Zubov, as well as Moscow silversmiths from the royal village of Izmailovo. Black and white prints were painted by hand with bright, "sunny" colors - red, orange, yellow, which "flashed" even more strongly against the background of dark purple and deep green. Folk pictures brought a sense of celebration into the house, at the same time they taught and amused. Favorite popular plots - hunting, feasts, fist fights, walks with beauties, fun of jesters and buffoons, fabulous adventures Bovs of Korolevich and Yeruslan Lazarevich and various "diva" (a sea monster-whale found in the White Sea, a comet, a "strong elephant beast"). Luboks often use the language of allegory, the grotesque, they can serve as a tool for sharp political satire: so, Peter I turns into them either into a cat (“Cat of Kazan”), which can be buried (“Mice bury a cat”, late 17th-early 18th century), then into a funny monster - a crocodile, and his wife Ekaterina I - to Baba Yaga (“Yaga Baba goes to fight with a corcodile”, early 18th century). The biting pictorial language of folk pictures was addressed professional artists who created patriotic leaflets during Patriotic War 1812 (A. G. Venetsianov, I. I. Terebenev and others). The image in luboks is complemented by text, which is often a dialogue of characters in the spirit of the mischievous jokes of buffoons or performances of the folk square theater. images folk art, captured in popular prints, enriched the work of P. A. Fedotov, L. I. Solomatkin, and partly V. G. Perov. At the turn of the 19th-20th centuries. many artists, especially participants artistic association « Jack of Diamonds”, sought to revive the naive charm of the popular print. In the 20th century visual techniques folk pictures were creatively used by V. V. Mayakovsky and D. S. Moor to create posters and propaganda pictures, as well as by T. A. Mavrina and other illustrators of children's books. (

Lubok Lubok

Folk picture, a work of graphics (mainly printed), characterized by the intelligibility of the image and intended for mass distribution. Lubok is characterized by simplicity of technique, laconism of visual means (a rough touch, usually bright coloring), often designed for a decorative effect, a tendency to an extended narrative (lubok series, popular print books), and often complementarity of the image and explanatory inscription. Lubok, performed, as a rule, by craftsmen, is a type of folk art, but professional graphic works, borrowing certain popular prints and folklore techniques, are usually also referred to as lubok. The oldest popular prints appeared in China and were originally performed by hand, and from the 8th century. - woodcut. The European lubok, made in the technique of wood engraving, has been known since the 15th century. Since the 17th century splint spread in the technique of engraving on copper, and from the 19th century. - lithographs. The formation of the European popular print is associated with such types of late medieval mass pictorial products as paper icons distributed at fairs and places of pilgrimage. Religious images in the popular print acquired a shade of visual and moralizing entertainment. During the years of social revolutionary movements, lubok was used as a journalistic weapon - "flying sheets" of the times of the Reformation and the Peasant War in Germany 1524-26, lubok of the Great French Revolution of 1789-94, etc.; narrating about historical events, battles, rare natural phenomena, the lubok served as the mass media. The Russian lubok of the 18th century is peculiar, distinguished by the decorative unity of composition and coloring, independence from the techniques of professional graphics. In the 19th century Lubok images were more and more often used by masters of professional art or those who directly imitated it (in Russia, for example, A. G. Venetsianov, I. I. Terebenev, I. A. Ivanov - the authors of colored etchings dedicated to the Patriotic War of 1812), or inspired by individual his techniques and themes (F. Goya, H. Daumier, G. Courbet). Oriental lubok (Chinese, Indian), which initially often had a magical meaning, is distinguished by its bright colors. Deliberate appeal to the forms of popular print ( cm. Primitivism) manifested itself in late XIX-XX centuries in the work of many artists; A. Derain, R. Dufy, P. Picasso, masters of the association "Bridge" in Germany and so on. In Soviet art, lubok techniques were creatively used by V. V. Mayakovsky and others to create posters and propaganda pictures, as well as by T. A. Mavrina to illustrate children's books.

"Jung-hoi, cutting the demon." Woodcut, coloring. China. 19th century

"The bear hunter pricks, and the dogs gnaw." Woodcut, coloring. Russia. 1st floor 18th century
Literature: D. A. Rovinsky, Russian folk pictures, vol. 1-5 (text), vol. 1-4 (atlas), St. Petersburg, 1881; V. M. Alekseev, Chinese folk picture, M., 1966; (Yu. Ovsyannikov), Lubok. (Album), M., 1968; O. Baldina, Russian folk pictures, M., 1972; Duchartre P.-L., Saulnier R., L "imagerie populaire, P., 1926.

Source: Popular Art Encyclopedia. Ed. Field V.M.; M.: Publishing house "Soviet Encyclopedia", 1986.)

Folk picture, work charts(mainly printed), characterized by simplicity and intelligibility of the image and intended for mass distribution. The term appeared in the beginning. 19th century The Russian word "lubok" comes, perhaps, from "bast" - the top layer of wood; large boxes were made from it, in which folk pictures were carried. Bast was also called linden, which served as material for printed boards. The oldest luboks appeared in China. In Europe, folk pictures have been known since the 15th century, in Russia - from the 18th century. The first European and Russian luboks were paper icons sold at fairs and places of pilgrimage.

The heyday of the Russian popular print - 18 - early. 19th century Luboks were created mainly in Moscow and, possibly, in the North and the Volga region. At first, folk pictures were engraved using the technique woodcuts, from the end of the 18th century. more often made engravings on copper. The first copper prints were made by professional engravers from St. Petersburg - A. F. and I. F. Zubov, as well as Moscow silversmiths from the royal village of Izmailovo. Black and white prints were painted by hand with bright, "sunny" colors - red, orange, yellow, which "flashed" even more strongly against the background of dark purple and deep green. Folk pictures brought a sense of celebration into the house, at the same time they taught and amused. Favorite popular plots are hunting, feasts, fist fights, walks with beauties, fun of jesters and buffoons, the fabulous adventures of Bova Korolevich and Yeruslan Lazarevich and various "diva" (a sea monster-whale found in the White Sea, a comet, a "strong elephant beast" ). Luboks often use the language of allegory, the grotesque, they can serve as an instrument of sharp political satire: for example, Peter I turns into a cat in them (“Cat of Kazan”), which can be buried (“Mice bury a cat”, late 17th-early . 18 century), then into a funny monster - a crocodile, and his wife Catherine I - into Baba Yaga ("Yaga Baba goes to fight with a corcodile", early 18th century). The biting pictorial language of folk pictures was used by professional artists who created patriotic leaflets during the Patriotic War of 1812 (A. G. Venetsianov, I. I. Terebenev and others). The image in luboks is complemented by text, which is often a dialogue of characters in the spirit of mischievous jokes of buffoons or folk representations. square theater.
The images of folk art, captured in popular prints, enriched the work of P. A. Fedotov, L.I. Solomatkina, partly V. G. Perov. At the turn of the 19th-20th centuries. many artists, especially members of the art association "Jack of Diamonds", sought to revive the naive charm of the popular print. In the 20th century The visual techniques of folk pictures were creatively used by V. V. Mayakovsky and D. S. Moor to create posters and propaganda pictures, as well as by T. A. Mavrina and other illustrators of children's books.

In contact with

Originally a kind of folk art. It was carried out in the technique of woodcuts, copper engravings, lithographs and was complemented by freehand coloring.

Lubok is characterized by simplicity of technique, laconism of visual means (a rough stroke, bright coloring). Lubok often contains a detailed narrative with explanatory inscriptions and additional (explanatory, complementary) images to the main one.

Story

The most ancient luboks are known in China. Until the 8th century, they were drawn by hand. Since the 8th century, the first popular prints made in woodcuts have been known. Lubok appeared in Europe in the 15th century. The woodcut technique is typical for early European lubok. Copper engraving and lithography are added later.

Due to its intelligibility and focus on the "broad masses", the popular print was used as a means of agitation (for example, "flying sheets" during the Peasants' War and the Reformation in Germany, popular prints of the Great French Revolution).

In Germany, factories for the production of pictures were located in Cologne, Munich, Neuruppin; in France - in the city of Troyes. In Europe, books and pictures of obscene content are widespread, for example, "Tableau de l'amur conjual" (Picture of conjugal love). “Seductive and immoral pictures” were brought to Russia from France and Holland.

The Russian lubok of the 18th century is notable for its sustained composition.

Oriental lubok (China, India) is distinguished by its bright colors.

At the end of the 19th century, lubok was revived in the form of comics.

In Russia

Story

In 16th century Russia early XVII centuries, prints were sold, which were called "Fryazhsky sheets", or "German funny sheets».

IN late XVI In the 1st century, a Fryazhsky mill was installed in the Upper (Court) printing house for printing Fryazh sheets. In 1680, the craftsman Afanasy Zverev carved “all kinds of Fryazh cuts” on copper boards for the tsar.

German amusing sheets were sold in the Vegetable Row, and later on the Spassky Bridge.

Censorship and prohibitions

Moscow Patriarch Joachim in 1674 forbade "buying sheets printed by German heretics, Luthers and Calvins, in their accursed opinion." The faces of the revered saints were to be written on the board, and the printed images were intended for "handsomeness".

The decree of March 20, 1721 forbade the sale "on the Spassky Bridge and in other places in Moscow, composed by people of various ranks ... prints (sheets) printed arbitrarily, except for the printing house." The Izugrafskaya Chamber was created in Moscow.

The chamber issued permission to print luboks "arbitrarily, except for the printing house." Over time, this decree ceased to be executed. Appeared a large number of low-quality images of the Saints.

Therefore, by decree of October 18, 1744, it was ordered "to submit the drawings in advance for approbation to the diocesan bishops."

The decree of January 21, 1723 demanded that "Imperial persons skillfully write to painters testified in good craftsmanship with all danger and diligent care." Therefore, in popular prints there are no images of reigning persons.

In 1822, police censorship was introduced for printing popular prints. Some popular prints were banned, the boards were destroyed. In 1826, by censorship charter, all prints (and not just popular prints) were subject to censorship.

Plots of paintings

Initially, the plots for lubok paintings were handwritten legends, life stories, "father's writings", oral legends, articles from translated newspapers (for example, "Chimes"), etc.

Plots and drawings were borrowed from foreign Almanacs and Calendars. IN early XIX centuries, plots are borrowed from the novels and stories of Goethe, Radcliffe, Cotten, Chateaubriand and other writers.

At the end of the 19th century, pictures on themes from the scriptures, portraits of the imperial family prevailed, then genre pictures came, most often of a moral and instructive nature (about the disastrous consequences of gluttony, drunkenness, greed).

Face editions of "Yeruslan Lazarevich" and other fairy tales, images in faces folk songs(“The boyars rode from Nova-Gorod”, “Husband’s wife beat”), female heads with absurd inscriptions, images of cities ( Jerusalem - the navel of the earth).

Lubok production

The engravers were called "Fryazh carving masters" (in contrast to the Russian "ordinary" wood carvers). In Moscow at the end of the 16th century, the first engraver was supposedly Andronik Timofeev Nevezha.

Signing was called drawing and coloring. Approximately in the 16th (or in the 17th) century, commemoration was divided into commemoration and engraving. The bannerman applied the drawing, the engraver cut it out on a board, or metal.

Copying boards was called translation. The boards were originally lime, then maple, pear and palm.

The splint was made as follows: the artist applied pencil drawing on a linden board (bast), then, according to this drawing, with a knife, he made a deepening of those places that should remain white. The board smeared with paint under pressure left black contours of the picture on paper.

Printed in this way on cheap gray paper were called plain paintings. Prostoviki were taken to special artels. In the 19th century, in the villages near Moscow and Vladimir, there were special artels that were engaged in coloring popular prints. Women and children were engaged in coloring luboks.

Later, a more perfect way to produce popular prints appeared, engravers appeared. With a thin chisel on copper plates, they engraved a drawing with hatching, with all the small details, which could not be done on a lime board.

One of the first Russian figure factories appeared in Moscow in the middle of the 18th century. The factory belonged to the merchants Akhmetievs. The factory had 20 machines.

Prostovikov, that is, the cheapest pictures, costing ½ a penny a piece, were printed and colored in the Moscow district for about 4 million annually. Top price popular prints was 25 kopecks.

Popularity

Luboks fell in love in Russia immediately and by everyone without exception. They could be met in the royal chambers, in the serf's hut, in the inn, in monasteries.

There are documents showing that Patriarch Nikon had two hundred and seventy of them, mostly, however, still from Fryazh. And Tsarevich Peter has already bought a lot of domestic ones, in his rooms there were about a hundred of them. There are two reasons for such a rapid and wide popularity of seemingly simple pictures.

Firstly, the splints were replaced common man books inaccessible to him: textbooks, starting with the alphabet and arithmetic and ending with cosmography (astronomy), fiction- in luboks with a series of successive pictures, as in stamps hagiographic icons, with extensive signatures, epics and stories were retold or published.

Adventure translated novels about Bova Korolevich and Yeruslan Lazarevich, fairy tales, songs, proverbs. There were luboks like newsletters and newspapers that reported on the most important state events, about wars, about life in other countries.

There were interpreters Holy Bible depicting the largest monasteries and cities. There were medical splints and about all sorts of folk beliefs and omens. There were the worst satires.

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Helpful information

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lubok picture
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prostovik

origin of name

The name comes from boards of special sawing, which were called bast (deck). On them back in the 15th century. wrote plans, drawings, drawings. Then the so-called “fryazh sheets” appeared, and later small paper pictures were simply called lubok (popular folk picture).

In Russia

In Russia, folk pictures became widespread in the 17th-20th centuries. They were cheap (even low-income segments of the population could buy them) and often performed the function decorative design. Lubok sheets performed the social and entertaining role of a newspaper or primer. They are the prototype modern calendars, posters, comics and posters. In the 17th century, painted bast boxes became widespread.

Lubok types

• Spiritual and religious - In the Byzantine style. Icon type images. Lives of saints, parables, morals, songs, etc.
• Philosophical.
• Legal - images of lawsuits and court actions. Often there were plots: “Shemyakin Court” and “Yorsh Ershovich Shchetinnikov”.
• Historical - "Touching stories" from the annals. Image historical events, battles, cities. Topographic maps.
• Fairy tales - fairy tales, heroic ones, "Tales of daring people", everyday tales.
• Holidays - images of saints.
• Cavalry - Luboks depicting riders.
• Balagurnik - funny popular prints, satires, caricatures, fables.

Coloring method

Artel workers accepted orders for coloring hundreds of thousands of copies from lubok publishers. One person per week painted up to one thousand popular prints - one ruble was paid for such work. The profession was called a colorist. The profession disappeared after the advent of lithographic machines.

Advantages of a printed picture

First Benefits printed picture in Moscow all the same regulars of the Spassky Bridge, or the Spassky Krestets, as this place was often called then, saw through. The book trade flourished there even to the splint - the main trade in Russia was in this part. But only books were sold more handwritten and very often of the most poisonous quality, such as the satirical "Priest Savva - great fame” and “Services of the tavern”. The writers themselves and their friends - artists from the same common people - drew illustrations for these books, or sewed them into the pages, or sold them separately. But how much can you draw by hand?!

Manufacturing

It was these writers and artists who drew attention to the popular prints, which were brought by foreigners, first as a gift to the Moscow tsar and the boyars, and then for a wide sale. It turned out that making them is not so difficult, moreover, many thousands of pictures can be printed from one board, and even along with text cut out in the same way next to the picture. Someone from foreigners or Belarusians, apparently, built the first machine in Moscow and brought ready-made boards for the sample.

I.D. Sytin

In the second half of the 19th century, I. D. Sytin was one of the largest producers and distributors of printed popular prints. In 1882, the All-Russian Art and Industrial Exhibition took place in Moscow, at which Sytin's products were awarded a silver medal. ID Sytin collected boards from which popular prints were printed for about 20 years. The collection worth several tens of thousands of rubles was destroyed during a fire in Sytin's printing house during the 1905 Revolution.

Style formation

The still young Russian popular print, of course, borrowed a lot from other arts, and first of all from the book miniature, and therefore, artistically, it soon became, as it were, a kind of alloy, a synthesis of all the best that had been developed. Russian art behind previous centuries of its existence.

But only to what extent the lubochniks have sharpened and exaggerated all forms, to what extent they have increased the contrast and heated up the colors, heated up to such an extent that each leaf literally burns, sprinkles with cheerful multicolor.

In our time

IN modern world the style of the lubok is not forgotten. It is widely used in illustrations, theatrical scenery, paintings and interior design. Dishes, posters, calendars are produced.

IN modern fashion Lubok also found its reflection. As part of the 22nd Textile Salon in Ivanovo, the collection of Yegor Zaitsev, “iVANOVO. Splint".