What is a splint in iso. Russia

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, 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 lubok usually also includes works of professional graphics, borrowing individual lubok-folklore techniques. 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. 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, 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.)

splint

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 - 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 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 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 mischievous jokes of buffoons or folk representations. square theater.
images 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 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.

ubok - a folk picture, a type of graphics, an image with a caption, characterized by simplicity and accessibility of images. Originally a kind of folk art. It was carried out in the technique of woodcuts, copper engravings, lithographs and was complemented by freehand coloring.

Farnos - red nose. 17th century

From the middle of the 17th century in Rus' for the first time appeared printed pictures called "fryazhsky" (foreign). Then these pictures were called "amusing sheets", in the second half of the 19th century they began to be called popular prints. The manufacturing method was invented in China in the 8th century. The drawing was made on paper, then it was transferred to a smooth board and the places that should remain white were deepened with special cutters. The whole image consisted of walls. The work was difficult, one small mistake - and I had to start all over again. Then the board was clamped in a printing press, similar to a press, black paint was applied to the walls with a special roller. Carefully put a sheet of paper on top and pressed it. The print was ready. It remains to dry and paint. Lubki were made in different sizes. From China, the lubok technology passed to Western Europe in the 15th century. And in the middle of the XVII century to Russia. Foreigners brought luboks to give as gifts. And one of the foreigners made a machine for the show. Luboks are very fond of in Russia. Firstly, they retold history, geography, published literary works, alphabets, textbooks on arithmetic, and scripture. And all this was done with pictures. Sometimes many pictures were arranged in tiers. Sometimes there were texts on popular prints. Secondly, luboks served as decoration. Russian craftsmen gave the lubok a joyful character.

"Mice bury a cat", 1760

XVII-XVIII centuries. - this is the era of the reforms of Peter I, which not everyone liked. The secular lubok was an open instrument of political struggle. Opponents of the reforms of Peter I print luboks, which depict a cat with red bulging eyes, this is how the portrait of Peter I was painted. “Cat of Kazan”. Lubok "Mice bury a cat" appeared after the death of the emperor. Laughter was fundamentally new in lubok. This distinguishes him from official art XVIII century. The main task of the popular print is to decorate the house. There were also satirical luboks. Peter I issued decrees on the prohibition of satirical popular prints. But only after the death of the emperor, the lubok lost its political urgency. It acquired a fabulously decorative character. Bogatyrs, actors of a farce, jesters, real and fantastic animals, birds appeared. The heroes of the pictures are fairy tale characters: jesters Savoska and Paramoshka, Foma and Yerema, Ivan Tsarevich, Bova the King, Ilya Muromets. Lubok became more colorful, because it decorated the huts of peasants. The pictures were freely colored. The color was laid with decorative spots scattered. Initially red, the brightest and densest (gouache or tempera). Other colors are more transparent.

What colors were loved in Rus'?

(Red, crimson, blue, green, yellow, sometimes black). Painted so that the combination was sharp. The high quality of the drawing said that at first the luboks were painted by professional artists who, under Peter I, were left without work. And only then the gingerbread cutters and other city artisans joined. The plots of wall paintings and tiles (and what is a tile?) "moved" into engraving when folk architectural creativity was suspended, and the love for wall painting and wooden carving had not yet dried up. There was a whole series of portraits, or rather images of epic and literary characters: Ilya Muromets, Alyosha Popovich, the Nightingale the Robber, the faces of brave knights and their princesses. Such portraits were popular among the people. And the reason was their artistic qualities. Drawn brightly, festively, Faces are pleasant, figures are slender, in beautiful clothes. The popular aesthetic ideals were embodied in the popular prints, the understanding of the dignity and beauty of a person was embodied. Lubok brought up the artistic taste of people. And borrowed all the best from other arts.

Cat of Kazan, mind of Astrakhan, mind of Siberian (XVIII century)

How were the lubs made?

The engraver made the basis for the picture - a board and gave it to the breeder. He bought boards ready for prints, and sent the prints for coloring. Near Moscow, in the village of Izmailovo, there lived luboks who made engravings on wood and copper. Women and children were engaged in coloring popular prints.

How were the paints made, from what materials?

They boiled sandalwood with the addition of alum, resulting in crimson paint. The emphasis was on bright red or cherry color. Used lapis lazuli for blue paint. Paints were made from leaves and tree bark.

Each craftswoman painted in her own way. But everyone learned from each other, and used the best techniques in their work. Any topic was covered in a popular print with the utmost depth and breadth. For example, on four full sheets it was told about our Earth. Where, what peoples live. Lots of text and lots of pictures. Luboks were about individual cities, about different events. For example, they caught a whale in the White Sea, and a whale is drawn on a large sheet. Or how a man chooses a bride, or fashionable outfits, or ABCs.

Lubok - this name, perhaps, comes from Lubyanka Square, where there was a trade in bast products. At the corner of Rozhdestvensky Boulevard, the Church of the Assumption in Printers has been preserved. In the old days lived around the church masters of typographical business - printers. Not far away is another church "Trinity in the Sheets". Around her fence public holidays sold entertaining and bright pictures.

Or maybe this name comes from the word "bast" - bast, i.e. wood. The drawings were carved on wooden boards. They sold these pictures and carried them all over the land of the Russian ofen (peddlers), who kept their goods in bast boxes. They valued the popular prints very much. Nekrasov’s poem “Who Lives Well in Rus'” tells how a peasant’s hut was on fire, and the first thing he brought out was pictures. There was never grief or crying in the lubok. He only rejoiced and amused, and sometimes denounced, but he did it with great humor and dignity. Lubok instilled in people faith in themselves, in their strength. Peddlers of popular prints - ofeny were expected everywhere. They brought pictures with letters to the kids, pictures with fashionable clothes about love to the girls, and something political to the men. Ofenya will show such a picture, and tell what's new in the country. It is for these pictures that both the official and the publishers got it.

In the 19th century, Moscow was the main supplier of popular prints. Here are the officers of other cities and wrote to the authorities in Moscow about political luboks.
I. D. Sytin was one of the largest and well-known manufacturers and distributors of printed popular prints in Russia.
Sytin's first luboks were called:
Peter the Great raises a healthy cup for his teachers;
how Suvorov plays money with village children;
how our Slavic ancestors were baptized in the Dnieper and overthrew the idol of Perun.
Sytin began to involve professional artists in the manufacture of popular prints. Folk songs, poems were used for captions to luboks famous poets. In 1882, an art exhibition was held in Moscow, where Sytin's popular prints received a diploma and a bronze medal of the exhibition.

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.

In the old days in life common man there was a lot of grief. However, the art of the people is extremely cheerful. The life of folk art has much in common with the life of nature. Like nature, it selects only the best and polishes it for centuries, creating a truly perfect technology, shape, ornament and color.

I offer you pictures-luboks of the modern artist and teacher Marina Rusanova. A series of pictures in the style of luboks on the theme of Russians folk proverbs the artist did very well. G. Courbet once said:
The true artists are those who start where their predecessors left off.
Good luck to Marina in this kind of graphics and success in her work towards cinematography.

And the Russian word "letter", and English word"book" and the German "das Buch" are related to the name of the beech tree. Solid wood. This property was used by the first printers. On solid beech boards, a page of a book was engraved (in mirror image), from which numerous prints were then made. Solid wood successfully resisted the pressure of the printing press (the word "press" just comes from "presso", "to press") and allowed to print many copies of the book, primarily the Bible. It was difficult to cut out whole pages, moreover, with this method of production of books, typographical errors could occur in many. Therefore, quite soon, printers came up with the idea of ​​​​assembling the printed text from individual letters. In Europe, the pioneer is considered Johannes Gutenberg. It was written about in an article dated 05/08/2013.

But there was another printing technology. A drawing was drawn on a board made of soft wood, most often made of linden. Where the picture should have been White color, the tree was cut out by making indentations. The black parts of the pattern remained convex. Then the resulting board was smeared with thick black paint (so that it did not flow into the recesses), a sheet of paper was placed on top and rolled over the sheet with a roller. There was an imprint on the paper. After that, the paper was removed from the board and the paint was allowed to dry. During this printing process, the roller did not put much pressure on the linden board, it did not collapse, and many prints could be made from one board. Since a linden board, which was called “bast”, participated in the process, the drawings printed from it were called “lubok”.

Linden is a tree that grows throughout Europe and is known to all the peoples living here. Therefore, the names of this tree in many Central European languages ​​are similar: linden in Ukrainian and Belarusian, liepa in Lithuanian and Latvian, linden in German. By the way, linden is called pärn in Estonian. So the Estonian city of Pärnu is the Linden City. Just like the Latvian port of Liepaja. Well, the main, front, street of Berlin is called "Unter den Linden" - "Under the lime trees." The word "bast" comes from the Indo-European root "lip" or "lib", which was called both the tree and what is obtained from this tree. "Bast" was called not only linden boards, but also soft linden bark, from which matting and bast shoes were woven. So for their own benefit, people peeled the linden tree so much that "peeling like sticky" became a proverb. Yes, and the word "deck" is also a relative of the popular print. After all, it was laid out of lime boards, bast.

But back to the lubok. Linden is a soft material, unlike beech. It was easier to make a lime board, so in the end, a lubok cost less than a book. It was mass reading, like today's leaflets. Or maybe even newspapers.

The themes of the luboks were quite diverse. First popular presentation biblical tales and sermons, and secondly, simply fairy tales and funny stories, thirdly, informational articles (speaking in the current language) on the topics of geography, politics, and all kinds of helpful tips.. By the way, why not try it?

However, the idea is not new. In this style, for example, works contemporary artist Andrey Kuznetsov.

Among the topics of luboks were also translated luboks, briefly retelling popular European novels. And there was also a fair amount of drawings, as they used to say in Rus' at that time, “shameful”. That is simply pornographic content. Such luboks were imported from France or Holland and redrawn, adding Russian signatures. Although, do pornography need signatures? And so everything is clear.

And in Western Europe, and in Russia, luboks were also an ideological weapon. Like today's posters. So, the famous Russian lubok “Mice bury a cat” is a popular reaction to the death of Peter I. Peter’s small mustache was exactly like that of a cat. He loved the people of his emperor, to be sure!

The manufacturing technology of the popular print determined the technique of its drawing. A soft board made it possible to make curved curly contours. Sharp corners turned out badly, so the lubok pattern consisted of smooth lines. Explanatory text sometimes served as a pattern and background for the picture.

Lubok printing was a mass production. Mass production involves division of labor. There were artists who drew a drawing on a wooden board with a pencil. They were called flagmen. The drawing was engraved on the board by engravers. The resulting black and white luboks were called prostoviki. They were taken to special artels, where colorists worked, mostly women and children. There were many such artels in the suburban and Vladimir villages and villages. One colorist in a week painted a thousand popular prints and received a ruble for this work. At the old prices - not bad. And the merchants sold thousands of painted luboks at fairs and in city shops.

Until the 19th century in Moscow, a large trade in bast products was on the square, which was called Lubyanka. In addition to firewood, sledges, wagons, as well as boxes and bast shoes, popular prints were also sold here. Nearby, on the corner of Rozhdestvensky Boulevard, there was a district called Pechatniki. Craftsmen who made popular prints lived in this area. The famous Church of the Assumption in Pechatniki is still located here. And nearby is another church with the "bast" name "Trinity in the Sheets." Popular prints were sold near the fence of this church on holidays.

Luboks were inexpensive, an order of magnitude cheaper than books. Therefore, they were willing to buy. In addition, such a colorful picture hung on the wall and adorned the hut. Do you remember the film "Operation Y", where G. Vitsin sells tapestries on the market? “Citizens of new settlers, introduce culture. Hang rugs on dry plaster. No impressionism, no abstractionism!” So this art was loved by the people right up to the revolutionary year of 1917. And after the role of popular prints took over the posters. Moreover, many post-revolutionary posters did not even hide their kinship with the popular popular print. Give the people folk art!

Lubok is a folk picture, a type of graphics, an image with a caption, characterized by simplicity and accessibility of images. Originally a kind of folk art. It was carried out in the technique of woodcuts, copper engravings, lithographs and was complemented by freehand coloring.

From the middle of the 17th century, printed pictures for the first time appeared in Rus', called "Fryazhsky" (foreign). Then these pictures were called "amusing sheets", in the second half of the 19th century they began to be called popular prints.

The drawing was made on paper, then it was transferred to a smooth board and the places that should remain white were deepened with special cutters. The whole image consisted of walls. The work was difficult, one small mistake - and I had to start all over again. Then the board was clamped in a printing press, similar to a press, black paint was applied to the walls with a special roller. Carefully put a sheet of paper on top and pressed it. The print was ready. It remains to dry and paint. Lubki were made in different sizes. What colors were loved in Rus'? (Red, crimson, blue, green, yellow, sometimes black). Painted so that the combination was sharp. The high quality of the drawing said that at first the luboks were painted by professional artists who, under Peter I, were left without work. And only then the gingerbread cutters and other city artisans joined. The engraver made the basis for the picture - a board and gave it to the breeder. He bought boards ready for prints, and sent the prints for coloring (for example, near Moscow in the village of Izmailovo lived luboks who made engravings on wood and copper. Women and children were engaged in coloring luboks.

How paints were made: Sandalwood was boiled with the addition of alum, crimson paint was obtained. The emphasis was on bright red or cherry color. Used lapis lazuli for blue paint. Paints were made from leaves and tree bark. Each craftswoman painted in her own way. But everyone learned from each other, and used the best techniques in their work.

Luboks are very fond of in Russia. Firstly, they retold history, geography, published literary works, alphabets, textbooks on arithmetic, and scripture. Any topic was covered in a popular print with the utmost depth and breadth. For example, on four full sheets it was told about our Earth. Where, what peoples live. Lots of text and lots of pictures. Luboks were about individual cities, about different events. caught For example, a whale in the White Sea, and a whale is drawn on a large sheet. Or how a man chooses a bride, or fashionable outfits, or ABCs. And all this was done with pictures. Sometimes many pictures were arranged in tiers. Sometimes there were texts on popular prints. Secondly, luboks served as decoration. Russian craftsmen gave the lubok a joyful character.

Lubok is the name comes from the word "bast" - bast, i.e. wood(inner part of tree bark). The drawings were carved on wooden boards. They sold these pictures and carried them all over the land of the Russian ofen (peddlers), who kept their goods in bast boxes. They valued the popular prints very much. Nekrasov’s poem “Who Lives Well in Rus'” tells how a peasant’s hut was on fire, and the first thing he brought out was pictures. There was never grief or crying in the lubok. He only rejoiced and amused, and sometimes denounced, but he did it with great humor and dignity. Lubok instilled in people faith in themselves, in their strength. Peddlers of popular prints - ofeny were expected everywhere. They brought pictures with letters to the kids, pictures with fashionable clothes about love to the girls, and something political to the men. Ofenya will show such a picture, and tell what's new in the country.

Lubok pictures, accompanied by a brief explanatory text. It was distinguished by simplicity and accessibility of images, it was written in a lively and figurative way. spoken language and often reproduced in poetic form. Drawn lubok (hand-drawn wall sheets) are also classified as popular prints, but the main property of lubok - mass character, breadth of distribution - is achieved only with the help of printing.

The subject matter of popular books was diverse. "Here you will find personified dogma, prayer, getya (legend), moralizing, parable, fairy tale, proverb, song, in a word, everything that was in the spirit, disposition and taste of our commoner, which was assimilated by his concept, which is the subject of knowledge, edification, denunciation, consolation and curiosity of millions...", - wrote I.M. Snegirev, one of the first researchers of the lubok.

Initially, Russian lubok was predominantly religious in nature. Russian engravers borrowed scenes from domestic miniatures, as well as church icons. So, from the early printed icons, the sheet "Archangel Michael - Governor of the Heavenly Forces" (1668), luboks of the 17th century depicting scenes from the icons of Suzdal, the Chudov Monastery, the Simonov Monastery in Moscow, etc. have been preserved. Often these pictures replaced expensive church pictorial images.

In the 18th century, secular subjects were the most numerous. The source for the grotesque of many of them was foreign engravings. So, for example, the famous popular print "Jester Farnos with his wife" - from the German model; "The Shepherd and the Shepherdess" is a pastoral scene in the Rococo style, from a drawing by F. Boucher, and the grotesque, bizarrely fantastic figures of the popular print "Jesters and Buffoons" are played with etchings by J. Callot, etc.

Folklore-themed luboks were widely used among the people, as well as "amusing and funny pictures" - images of all kinds of amusements and spectacles, among which lubok pictures "Petrushka's wedding", "Bear with a goat" and especially "Baba Yaga's battle with a crocodile" were most often published. ". The well-known lubok "How mice bury a cat" also goes back to national folklore. for a long time considered a parody of the funeral procession of Peter I, allegedly created at the beginning of the 18th century by schismatics who fiercely fought against Peter's reforms. Today, scientists tend to think that the plot of this lubok appeared in pre-Petrine times, although the earliest print of this engraving that has come down to us dates back to 1731. Known in several versions, including "seasonal" ones (winter burial on a sleigh and summer - on a cart), this lubok was repeatedly reprinted with slight deviations in the title ("How mice buried a cat", "Drag a cat to a graveyard", etc. ), V various techniques(engraving on wood, on metal, chromolithography) not only throughout the 18th century, but almost up to the October Revolution.

Many popular prints were created on the theme of the teachings and life of various social strata of the Russian population: a peasant, a city dweller, an official, a merchant, etc. (“The husband weaves bast shoes, and the wife spins threads”, “Know yourself, point in your house”); popular prints reflected the events of domestic and international life ("The Eruption of Vesuvius in 1766", "The Capture of Ochakov", "The Victory of Field Marshal Count Saltykov at Frankfurt in 1759"), the military life of Russian soldiers, their political moods, etc. During the period of hostilities, the lubok often served as a newspaper, poster, leaflet-proclamation. So, in 1812-1815, a series of popular prints-caricatures of Napoleon and French army, created by N.I. Terebnev, a famous Russian sculptor and artist. The patriotic lubok called "The Fighting Song of the Donets" is widely known, which became widespread during the Russo-Japanese War of 1904-1905, the text to which ("Hey, Mikado, it will be bad, we'll break your dishes") was written by V. L. Gilyarovsky.

Lubok pictures with portraits of tsars were very popular among the Russian people. In 1723, Peter I introduced strict censorship of images of the royal family, which, however, did not prevent the appearance on the book market popular print with a portrait of the imaginary Peter III - Emelyan Pugachev and the emperor Konstantin Pavlovich who never reigned.

Beginning in the middle of the 18th century, lubok pictures were often sewn together or issued in the form of a book with a large number of illustrations, subsequently preserved only on the cover. One of the first Russian lubok books is considered to be the "Biography of the glorious fabulist Aesop", published in 1712 and first printed in civil type. Epics, fairy tales, dream books, alterations of the so-called chivalric novels, etc. were published in the form of popular prints. The most frequently published popular books were fairy tale content: "About Yeruslan Lazarevich", "Bova Korolevich". Lubok editions of historical subjects were in great demand: "Jester Balakirev", "Yermak, who conquered Siberia", "How a soldier saved the life of Peter the Great", etc., as well as popular print calendars.

Lubok pictures and books were, as a rule, anonymous, had no output information, and were engraved by self-taught craftsmen, but there were also professional writers of lubok books. Most famous Of these, Matvey Komarov, the author of the famous "Tale of the Adventures of the English Milord George and the Brandenburg Mark-Countess Frederica-Louise" (1782), did not disappear from the book market for 150 years. Over time, a whole literature appeared, called popular print, with its own authors, publishers, traditions, etc.

Over time, the technique of making popular prints improved: in the second half of the 18th century, engraving on copper began to be used, and from the beginning of the 19th century, lithography, which significantly reduced the cost of popular prints. There were also changes in the color of the lubok. So, if in the XVII-XVIII centuries popular prints were painted by hand by individual craftsmen in eight or ten colors, then in the XIX century - usually only in three or four (crimson, red, yellow and green). The coloring itself mid-nineteenth century takes on the character of factory production and becomes more rude, careless ("on the noses"). The readership of lubok publications has changed: if in the 17th century lubok served all strata of Russian society with equal success, then in the first quarter XVIII century, the main area of ​​its distribution is the growing urban population: merchants, merchants, medium and small church employees, artisans. Peasant, truly massive, lubok becomes already in the 19th century.

In the 18th-19th centuries, the main center for the production of popular prints was traditionally Moscow, where the first factories of the Akhmetyevs and M. Artemyev arose. Gradually, the production of popular prints passed into the hands of small merchants who had their own printing houses. In Moscow in the first half - the middle of the 19th century, the main producers of lubok were the dynasties of Loginov, Lavrentiev, A. Akhmetiev, G. Chuksin, A. Abramov, A. Streltsov and others, in St. Petersburg - publishers A. V. Kholmushin, A. A. Kasatkin and others. In the village of Mstera, Vladimir Region, the archaeologist I.A. Golyshev, who did a lot to educate the people, printed popular prints. Lubok publications of an educational nature were issued by numerous literacy committees, the publishing houses "Public Benefit" (founded in 1859), "Posrednik" (originated in 1884), etc. Luboks of religious content, as well as paper icons and icons, were produced in the printing houses of the largest Russian monasteries, including the Kiev-Pechersk, Solovetsky and others.

In the 80s of the 19th century, I.D. Sytin became the lubok monopolist in the Russian book market, who first began to produce lubok publications by machine, significantly improved the content and quality of lubok publications (chromolithography in five to seven colors), increased their circulation and reduced retail sales. prices. Through his efforts, the so-called new lubok was created, which, in its design, the nature of the design, color scheme differed from traditional sheet editions. I.D. Sytin for the first time released a series of portraits of Russian writers (A.S. Pushkin, I.S. Nikitin, M.Yu. Lermontov, N.A. Nekrasov, A.V. Koltsov and others) and collections of alterations of their works , published luboks of military-patriotic and historical themes, on fairy-tale, everyday, satirical plots, lubok primers, calendars, dream books, divination books, calendars, lithographed icons, etc., which were bought in thousands of offens directly at factories and transported throughout Russia And

On turn of XIX-XX For centuries, lubok continued to be the main type of book product intended for the broad masses of the people, and primarily for peasants and residents of the outskirts of Russia.

The role of the popular print, but already as a means of mass propaganda and agitation, especially increased during the years of the revolution. In this capacity, he continued to exist until the early 30s. In conditions when most of the country's population was illiterate, the bright, figurative and expressive art of the popular print, understandable and close to millions, perfectly met the challenges of the time. In 1915, F.G. Shilov, a famous antiquarian pre-revolutionary Russia, an album of popular prints was released in a small edition called "Pictures - the war of Russians with the Germans", created by the artist N.P. Shakhovsky in imitation of the popular print of the 18th century. All pictures of the edition were reproduced by lithographic method and hand-colored; the text to them was written by V.I. Uspensky, a well-known collector and publisher of numerous monuments of ancient Russian literature.

Many luboks on the theme of the revolution were created by the artist A.E. Kulikov, including Baptism by the Revolution, Listening to the Horrors of War, Woman in the Old Life, Who Has Forgotten the Duty to the Motherland? and others. His works in this genre were published in 1917 by the fine arts section of the Moscow Council of Soldiers' Deputies, and in 1928 the State Museum of the Revolution of the USSR, with a circulation of 25,000 copies, published a series of postcards of six titles with popular prints and ditties by A.E. Kulikov.

Thus, lubok editions are a kind of antiquarian book. Among them there are genuine works of folk art, reflecting the life, customs and aspirations of the Russian people. Every popular print today is most interesting monument and a document of its era, bears the signs and features of its time - it is this approach that should underlie the study of Russian popular prints. At the same time, the censorship of lubok publications, which existed in Russia since the end of the 17th century and initially applied only to the "spiritual" lubok, and since the 19th century - to all without exception, did not have a serious impact on its evolution.

The main reference book on the Russian popular print is D.A. Rovinsky’s capital five-volume work “Russian Folk Pictures” (St. Petersburg, 1881). The owner of the best collection of popular prints in Russia, a tireless researcher of all state and known to him private collections, D.A. Rovinsky put together, carefully described and commented, indicating the sources, 1800 popular prints.

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From Wikipedia, the free encyclopedia

Splint (popular picture, popular leaf, funny leaf, prostovik) - a type of graphics, an image with a caption, characterized by simplicity and accessibility of images. 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. Early European lubok is characterized by the xylography technique. 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, picture factories 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.

In Russia

Story

In Russia of the 16th century - the beginning of the 17th century, prints were sold, which were called "Fryazhsky sheets" or "German amusing sheets". In Russia, drawings were printed on specially sawn boards. The boards were called lub (from where deck). Drawings, drawings, plans were written on the bast since the 15th century. In the 17th century, painted bast boxes. Later, paper pictures were called lubok, lubok picture.

IN late XVII century in the Upper (Court) printing house, a Fryazhsky camp was installed for printing Fryazh sheets. In 1680 the craftsman Afanasy Zverev cut "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

Plots and drawings were borrowed from foreign Almanacs and Calendars. IN early XIX centuries, plots are borrowed from novels and short stories by Johann Wolfgang von Goethe, Anna Radcliffe, Sophie Cotten, Francois Rene de Chateaubriand and other writers.

At the end of the 19th century, pictures on themes from scripture, portraits of the imperial family, then came genre pictures, most often of a moral and instructive nature (about the disastrous consequences of gluttony, drunkenness, greed), front editions of Yeruslan Lazarevich and other fairy tales, images in the faces of folk songs (“The boyars rode from Nova-gorod ”, “Bila the hubby’s wife”), female heads with absurd inscriptions, images of cities ( Jerusalem - the navel of the earth).

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 " The Tale of Ersh Ershovich".
• Historical - "Touching stories" from the annals. Image of 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.

Lubok production

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.

19th century

In the middle of the 19th century, large figured printing houses operated in Moscow: Akhmetyev, Loginov, Shchurova, Chizhov, Kudryakov, Rudneva, Florova, Lavrentyeva, Sharapova, Kirilova, Morozov, Streltsova, Yakovlev.

In the second half of the 19th century, one of the largest producers and distributors of printed popular prints was I. D. Sytin. 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 in a fire at Sytin's printing house during the Revolution of 1905.

At the end of the 19th century, Sytin produced annually about 2 million copies of calendars, about 1.5 million pictures on biblical stories and 900 thousand secular pictures, Morozov produced annually up to 1.4 million pictures, Golyshev's lithograph - about 300 thousand. Prostovikov, that is, the cheapest pictures, costing 1/2 a penny a piece, were printed and colored in the Moscow district for about 4 million annually. The highest price of popular prints was 25 kopecks.

Lubok in Russian playing cards by V.M. Sveshnikov

The evolution of Russian lubok

Lubok Meal of the pious and the wicked.png

Four-leaf splint "The Meal of the Pious and the Wicked"(XVIII century)

Lubok How the mice buried the cat.png

"How mice buried a cat"(XVIII century)

Lubok Bear with a goat is chilling.jpg

Bear and goat cool off(XVIII century)

A man weaves bast shoes(XVIII century)

Lubok the Brave Knight Franz Venetian.png

Brave Knight Franz Venetian(XIX century)

Lubok In the small village Vanka lived.png

In the small village Vanka lived ...(XIX century)

see also

30x30px	Portal "Russian empire "
30px	Splint in Wiktionary
30px	[[|Lubok]] at Wikiquote
	[[Lua error in Module:Wikidata/Interproject on line 17: attempt to index field "wikibase" (a nil value). |Lubok]] in Wikisource
30px	[((localurl:Commons:Category: Lua error: callParserFunction: function "#property" was not found. ))?uselang=ru Lubok] at Wikimedia Commons
30x30px	Project "Art "

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Notes

Literature

• // Yurkov S. E. Under the sign of the grotesque: anti-behavior in Russian culture (XI-early XX centuries). SPb., 2003, p. 177-187.
• Folk picture of the XVII-XIX centuries, Sat. st., ed. Dmitry Bulanin, 1996.
• Mikhail Nikitin. On the history of the study of Russian popular print / / Soviet art history. 1986. Issue 20. pp.399-419.
• Anatoly Rogov"Pantry of Joy", Moscow, ed. Enlightenment, 1982.
• Lubok, M., 1968.
• Ivanov E.P. Russian folk print. With 90 single color and 13 colorful reproductions. M.: IZOGIZ, - 1937.
• Lubok pictures // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
• Rovinsky D. A., Russian folk pictures, St. Petersburg, 1881.
• Ivan Snegirev Lubok pictures of the Russian people in the Moscow world. Moscow. In the University type., 1861.
• Splint- article from the Great Soviet Encyclopedia.

Links

• From the collection of the State Historical Museum

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An excerpt characterizing Lubok

- So, what did you decide, madonna?
I gathered all my courage not to show how my voice was trembling, and quite calmly said:
“I have already answered this question so many times, Holiness! What could have changed in such a short time?
There was a feeling of fainting, but, looking into Anna's eyes shining with pride, all the bad things suddenly disappeared somewhere ... How bright and beautiful my daughter was at that terrible moment! ..
“You are out of your mind, madonna!” Can you really just send your daughter to the basement? .. You know perfectly well what awaits her there! Come to your senses, Isidora!
Suddenly, Anna came close to Caraffe and said in a clear clear voice:
- You are not a judge and not God! .. You are just a sinner! That's why the Ring of Sinners burns your dirty fingers!.. I think it's not by chance that you are wearing it... For you are the meanest of them! You won't scare me, Caraffa. And my mother will never obey you!
Anna straightened up and... spat in Papa's face. Caraffa turned deathly pale. I have never seen anyone turn pale so quickly! His face literally turned ash gray in a split second ... and death flashed in his burning dark eyes. Still standing in the "tetanus" from Anna's unexpected behavior, I suddenly understood everything - she deliberately provoked Karaffa so as not to pull! .. To quickly solve something and not torment me. In order to go to my death myself... My soul was twisted with pain - Anna reminded me of the girl Damiana... She decided her fate... and I could not help. Couldn't interfere.
– Well, Isidora, I think you will greatly regret it. You are a bad mother. And I was right about women - they are all the devil's creation! Including my poor mother.
– Excuse me, Your Holiness, but if your mother is the offspring of the Devil, then who are you then?.. After all, you are flesh of her flesh? – sincerely surprised by his delusional judgments, I asked.
- Oh, Isidora, I have long ago destroyed this in myself! .. And only when I saw you, a feeling for a woman awakened in me again. But now I see that I was wrong! You are just like everyone else! You are terrible! .. I hate you and your kind!
Caraffa looked crazy ... I was afraid that this could end for us with something much worse than what was planned at the beginning. Suddenly, abruptly jumping up to me, Papa literally yelled: - "Yes", or - "no"?! .. I ask you in last time, Isidora!
What could I answer this insane person? .. Everything has already been said, and I could only remain silent, ignoring his question.
“I give you one week, madonna. I hope that you still come to your senses and feel sorry for Anna. And myself ... - and grabbing my daughter by the arm, Karaffa jumped out of the room.
I just now remembered that I need to breathe ... Dad so dumbfounded me with his behavior that I could not come to my senses and kept waiting for the door to open again. Anna mortally insulted him, and I was sure that, moving away from a fit of anger, he would definitely remember this. My poor girl! .. Her fragile, pure life hung by a thread, which could easily be cut off by the capricious will of Caraffa ...
For a while, I tried not to think about anything, giving my inflamed brain at least some respite. It seemed that not only Caraffa, but with him the whole world I knew had gone crazy... including my brave daughter. Well, our lives were extended for another week... Could anything have been changed? In any case, at the moment there was not a single more or less normal thought in my tired, empty head. I stopped feeling anything, stopped even being afraid. I think that's how people who went to their deaths felt...
Could I have changed anything in just seven short days, if I had not been able to find the “key” to Caraffa for four long years? .. In my family, no one ever believed in chance ... Therefore, hoping that something unexpectedly bring salvation - it would be the desire of the child. I knew there was no help to be found. Father clearly could not help if he offered Anna to take her essence, in case of failure ... Meteora also refused ... We were alone with her, and only we had to help ourselves. Therefore, I had to think, trying to the last not to lose hope, that in this situation it was almost beyond my strength ...
The air began to thicken in the room - the North appeared. I just smiled at him, feeling neither excitement nor joy, because I knew that he had not come to help.
- Greetings, Sever! What brings you back…?” I asked calmly.
He looked at me in surprise, as if not understanding my calmness. He probably did not know that there is a limit to human suffering, which is very difficult to reach ... But having reached, even the worst, it becomes indifferent, since even fear does not remain strong ...
“I'm sorry I can't help you, Isidora. Is there something I can do for you?
No, Sever. Can not. But I'll be glad if you stay by my side... I'm glad to see you, - I answered sadly and after a little silence, added: - We got one week... Then Caraffa, most likely, will take our short lives. Tell me, are they really worth so little?.. Will we leave just as easily as Magdalene left? Is there really no one who would cleanse our world, the North of this nonhuman? ..
– I didn’t come to you to answer old questions, my friend... But I must confess that you made me rethink a lot, Isidora... You made me see again what I tried hard to forget for years. And I agree with you - we are wrong... Our truth is too "narrow" and inhuman. It suffocates our hearts... And we become too cold to correctly judge what is happening. Magdalena was right when she said that our Faith is dead... Just as you are right, Isidora.
I stood dumbfounded staring at him, unable to believe what I was hearing!.. Was it the same, proud and always right North, which did not allow any, even the slightest criticism of his great Teachers and his beloved Meteora? !!
I did not take my eyes off him, trying to penetrate his pure, but tightly closed from everyone, soul ... What changed his opinion, which had been established for centuries?! What prompted you to look at the world more humanely? ..
“I know I surprised you,” Sever smiled sadly. “But even the fact that I revealed myself to you will not change what is happening. I don't know how to destroy Caraffa. But our White Magus knows this. Do you want to go to him again, Isidora?
“May I ask what changed you, Sever? I asked cautiously, ignoring his last question.
He thought for a moment, as if trying to answer as truthfully as possible...
– It happened a long time ago... From the very day Magdalene died. I have not forgiven myself and all of us for her death. But our laws apparently lived too deeply in us, and I did not find the strength in myself to admit it. When you came, you vividly reminded me of everything that happened then... You are just as strong and just as giving of yourself for those who need you. You stirred up in me a memory that I tried to kill for centuries ... You revived in me Golden Mary... Thank you for this, Isidora.
Hiding very deep, pain screamed in Sever's eyes. There was so much of it that it flooded me with my head! .. And I just could not believe that I had finally opened his warm, pure soul. That he was finally alive again!
Sever, what should I do? Aren't you afraid that the world is ruled by such non-humans as Karaffa? ..
– I have already suggested to you, Isidora, let's go to Meteora again to see Vladyko... Only he can help you. Unfortunately I can't...
For the first time I felt his disappointment so vividly... Disappointment in his helplessness... Disappointment in the way he lived... Disappointment in his obsolete TRUTH...
Apparently, the human heart is not always able to fight what it is used to, what it has believed in all its conscious life... So is the North - he could not change so easily and completely, even realizing that he was wrong. He lived for centuries, believing that he was helping people... believing that he was doing exactly what, someday, would have to save our imperfect Earth, would have to help her finally be born... He believed in goodness and in the future, despite to the loss and pain that I could have avoided if I had opened my heart earlier...
But all of us, apparently, are imperfect - even the North. And no matter how painful disappointment is, you have to live with it, correcting some old mistakes and making new ones, without which our Earthly life would be unreal ...
– Do you have a little time for me, Sever? I would like to know what you did not have time to tell me in our last meeting. Have I bored you with my questions? If so, tell me and I'll try not to bother you. But if you agree to talk to me, you will give me a wonderful gift, because no one will tell me what you know, while I am still here on Earth...
– But what about Anna? .. Don't you prefer to spend time with her?
- I called her ... But my girl is probably sleeping, because she does not answer ... She is tired, I think. I don't want to disturb her peace. Therefore, talk to me, Sever.
He looked me in the eyes with sad understanding and quietly asked:
What do you want to know, my friend? Ask - I will try to answer you everything that worries you.
- Svetodar, Sever... What happened to him? How did the son of Radomir and Magdalena live his life on Earth?..
The North thought... Finally, taking a deep breath, as if throwing off the obsession of the past, he began his next exciting story...
- After the crucifixion and death of Radomir, Svetodar was taken to Spain by the Knights of the Temple to save him from the bloody paws of the "holy" church, which, no matter what it cost, tried to find and destroy him, since the boy was the most dangerous living witness, and also , a direct successor of the Radomir Tree of Life, which was supposed to change our world someday.
Svetodar lived and learned about his surroundings in the family of a Spanish nobleman, who was a faithful follower of the teachings of Radomir and Magdalene. Their children, to their great sadness, they did not have, so " new family She accepted the boy very cordially, trying to create for him the most comfortable and warm home environment. They called him Amory there (which meant dear, beloved), since it was dangerous to call Svyatodar with his real name. It sounded too unusual for someone else's hearing, and risking Svetodar's life because of this was more than unreasonable. So Svetodar for everyone else became an Amory boy, and only his friends and his family called him by his real name. And then, only when there were no strangers nearby ...
Remembering very well the death of his beloved father, and still suffering severely, Svetodar vowed in his childish heart to “remake” this cruel and ungrateful world. He vowed to devote his future life to others in order to show how passionately and selflessly he loved Life, and how fiercely he fought for Good and Light and his dead father...
Together with Svetodar, his own uncle, Radan, remained in Spain, who did not leave the boy night or day, and endlessly worried about his fragile, still unformed life.
Radan doted on his wonderful nephew! And he was endlessly frightened that one day someone would definitely track them down and cut off valuable life little Svetodar, who already then, from the very first years of his existence, was destined by a harsh fate to carry the torch of Light and Knowledge to our ruthless, but so dear and familiar, Earthly world.
Eight stressful years have passed. Svetodar turned into a wonderful young man, now much more like his courageous father - Jesus-Radomir. He matured and got stronger, and in his clear blue eyes, the familiar steel hue began to appear more and more often, which once flashed so brightly in the eyes of his father.
Svetodar lived and studied very diligently, hoping with all his heart to someday become like Radomir. Wisdom and Knowledge he was taught by the Magus Easten who came there. Yes, yes, Isidora! – noticing my surprise, Seever smiled. - the same Easten whom you met in Meteora. Istan, together with Radan, tried in every possible way to develop the living thinking of Svetodar, trying to open for him as widely as possible mysterious world Knowledge, so that (in case of trouble) the boy does not remain helpless and knows how to stand up for himself, meeting face to face with the enemy or losses.
Having said goodbye to his wonderful sister and Magdalena some time ago, Svetodar never saw them alive again... And although almost every month someone brought him fresh news from them, his lonely heart deeply yearned for his mother and sister - his the only real family not counting Uncle Radan. But, despite his early age, Svetodar had already learned not to show his feelings, which he considered the unforgivable weakness of a real man. He aspired to grow up as a Warrior like his father, and did not want to show his vulnerability to others. This is how his uncle Radan taught him... and this is how his mother asked in her messages... distant and beloved Golden Mary.
After the senseless and terrible death of Magdalena, the whole inner world of Svetodar turned into a continuous pain ... His wounded soul did not want to accept such an unfair loss. And although Uncle Radan had been preparing him for such an opportunity for a long time - the misfortune that had come fell upon the young man as a hurricane of unbearable torment, from which there was no escape... His soul suffered, writhing in impotent anger, for nothing could be changed... nothing could be returned back. His wonderful, tender mother has gone to a distant and unfamiliar world, taking his sweet little sister with her...