Marina Bagachuk
Child's age: 5 - 6 years.
Theme: « Grandfather Mazai and hares» .
Target: To learn how to make a collective plot composition from molded figures, conveying the relationship between them.
Tasks:
Independently vary and combine different methods of modeling in the style of a folk toy;
Continue to teach to transmit simple movements (tilt and turn of the torso, movement of the paws) and mood of the characters (fear, fear, hope, joy);
Analyze the structural features of animals, correlate parts in size and proportions;
Develop an eye, a sense of composition.
Activities: communicative, cognitive - research, reading, labor.
Forms of implementation of children's species activities: conversation, duty, listening, discussion, solving problem situations.
Equipment: U children: plasticine, stacks, coasters, oilcloths, cloth and paper napkins. At educator: sculpted figurine of grandfather Mazaya in the boat; swivel disc, two cylinders (roller) different size to show sculpting method, stack; set of cards with a schematic image of hares in different poses. The compositional basis for the collective work: a mirror or strong oval-shaped foil with molded wood, stump, floating log.
preliminary work: Reading H poems.A Nekrasov « Grandfather Mazai and hares» . Looking at the illustrations in the book. Conversation on the content of a literary work. Examining spring landscapes (if possible, with image spring flood or flood).
GCD progress:
I. Organizational moment. Children look at your hands. In boys they are strong and strong, in girls they are gentle and affectionate. We love our hands - after all, they can do anything: hug a friend, and raise a fallen comrade, and give food to a bird, and beautifully set the table. Tell: what are your hands? (children talk about their hands). What kind and smart hands you have!
II. Listening to the piece. I read excerpts from H poems.A Nekrasov « Grandfather Mazai and hares» :
I once went for firewood in a boat.
I see one small island -
Hares on it gathered in a crowd.
With every minute the water was getting closer
To the poor animals.
Here I drove up: burble their ears,
Themselves from the spot; I took one
I commanded others: "Jump yourself!"
jumped my rabbits, - nothing!
Only the oblique team sat down,
The whole island was lost under water.
Post to post, bunny on the stump,
Legs crossed stands, unfortunate,
I took it - the burden is small.
Just started paddle work
Look - a hare is swarming by the bush -
Barely alive, but fat as a merchant's wife!
It wasn't too early.
A knotty log floated past,
Sitting and standing and lying down,
Zaitsev a dozen were saved on it.
“I would take you - but sink the boat!”
It’s a pity for them, however, but it’s a pity for the find -
I got hooked on a knot
And dragged a log behind him.
I drove a log tightly to the shore,
Moored the boat - and "with God" said.
And in all spirit Send bunnies.
And I them: “Uh! Live, animals".
III. The purpose of the activity. - When and why hares did such a problem happen? (In the spring, when the snow begins to melt, the flood begins. There is a lot of water that tends to the river. Large areas of land are flooded, and hares cannot move freely because they cannot swim). How kind grandfather Maza saved the poor bunnies from death? ( Grandpa Mazai sailed on a boat and collected bunnies on all the islands where there were poor animals). I show the children the basis prepared in advance for a collective plot composition. I explain that the oval-shaped foil base is a reservoir in which flooded stumps, trees, floating logs are visible, on which they will be saved hares from rough water. I expose a pre-sculpted boat on the foil, put my grandfather there Mazaya and beat situation: I show that the boat is sailing on mirror water, in which trees are reflected, and grandfather Mazay saves bunnies - picks them up by their ears and puts them in a boat, and some hares and themselves jump into the boat from their islands (hemp). I suggest that you and I create our own composition based on this work.
IV. Gymnastics for the eyes. "I am a queen"
Look to the right to the left Movement of the eyes to the right, to the left
I am queen today.
Look up and down Move your eyes up and down.
This is not a whim at all.
V. Explanations of the progress of work. - Let's try show mood and character hares. What is the mood hare who sits on a stump in the middle of a deep river? (hares are afraid, their paws are tucked in, their ears are lowered down). And how does the mood of a bunny who jumped into the boat change? (hares are calm, their ears are turned up). How does a hare feel, which a good grandfather warms in his bosom Mazay? (he is calm, satisfied, he is warm and calm). I ask the children to describe different poses in words in order to clarify observations and direct attention to the most significant (sits, huddled into a ball, ears pressed down, stood on his hind legs, stretched out in a column, his ears pricked up, etc.). I show diagrams for modeling hares in different ways.
VI. Fizkultminutka. I call the duty officer, he conducts a finger game "Naughty Bunny".
VII. Completing of the work. During work, calm music sounds, children independently look for ways to convey the movement of the mood of bunnies. I suggest that children change the pose of the fashioned animal: raise the paws, press the ears to the body, show that the hare is sitting, lying, standing "column", jumps, jumps, jumps out of the boat or runs quickly into the forest. I'm walking along group, if necessary, I provide verbal assistance, individually show the stages of modeling.
VIII. Final moment. In the end classes children transfer the fashioned figures to a common basis and make up a collective composition. I read poems. Rubtsova "Pro hare» :
The hare ran through the meadow into the forest,
I was walking home from the forest
Poor hare with a fright
So he sat down in front of me!
So the measurement, stupid,
But, of course, at the same moment
Jumped into the pine forest,
Hear my cheerful cry.
And probably for a long time
Lurking in silence
I thought somewhere under the tree
About yourself and about me.
I thought, sighing sadly,
What friends does he have
After grandfather Mazaya
There is no one left.
The question of the prototype of the hero of the poem "" almost did not arise. The famous hare rescuer has traditionally been perceived as a purely literary character. In the literature, however, it was said that grandfather Mazai was a real, concrete person, but it sounded somehow deaf and not very convincing: (1902): “The poet left a description of the Miskovskaya volost in the poem “Grandfather Mazai and hares”. Vezhi, from which old Mazai came, belongs to the same volost ” 439 ; A. V. Popov (1938): “The village of Malye Vezhi, where Mazai, one of Nekrasov’s hunter friends, lived, still exists” 440 ; V. V. Kastorsky (1958): “Grandfather Mazai is not a fictional person. This is (...) a peasant from Kostroma, a hunting friend of Nekrasov. The descendants of grandfather Mazai still live in the Kostroma region under the name Mazaikin * » 441 ; A. F. Tarasov (1977): “The hero of the poem “Grandfather Mazai ...” is a real person” 442 .
The famous grandfather Mazai lived in Vezha. The familiar phrase "grandfather Mazai" has long been perceived as a proper name, but, of course, this is only a village nickname. The literature has repeatedly indicated that the descendants of grandfather Mazai, who lived in Vezhy, bore the name Mazaikhin 443 .
Fortunately, we have the opportunity to determine the name of the person whom we know from childhood as Mazai's grandfather. Firstly, according to the revision tales of the first half of the 19th century, there was only one Mazaikhin family in Vezhy. Secondly, in this family only one person could be the prototype of the legendary Nekrasov hero.
The founder of the Mazaikhin family was the peasant Savva Dmitrievich Mazaikhin (1771 - 1842). If in the revision tale of 1834 he is listed simply as "Sava Dmitriev" 444 , then in the fairy tale of 1850, despite his death in 1842, he is already recorded as "Savva Dmitriev Mazaikhin" 445 . Consequently, Savva Dmitrievich became the first person to officially receive the surname "Mazaikhin". In this surname, the root "mazaikh" is clearly visible, but we could not find such a word in any dictionary, and we do not know what it means. Whatever it was, but the surname "Mazaikhin" from the 30s. XIX century, it took root in Vezhy, and after a few decades, its truncated version - Mazay - was recognized by all of Russia. In 1801, a son was born to Savva Dmitrievich, who received the name Ivan at baptism. There is no doubt that he was baptized in his parish church of the Transfiguration of the Lord in the Savior (Spas-Vezhi). And, of course, at baptism, no one could have thought that this baby would eventually become the famous grandfather Mazai.
Apparently in the early 20's. XIX century, Ivan Savvich married a peasant girl Feodora Kuzminichna (in the revision tale for 1850 she is listed as "Theodora Kozmina") 446 , who was one year younger than him - she was born in 1802 447 Savva Dmitrievich died in 1842 448 and, of course, was buried in the cemetery in Spas. Ivan Savvich became the head of the family, who by this time had two sons - Kodrat * (b. 1823) and Ivan (b. 1825) 449 . In the revision tale of 1850, the eldest son of Ivan Savvich is listed as "Kondratei", i.e. Kondrat 450 , but in the metric book he is referred to as Kodrat 451** .
There is no doubt that Ivan Savvich Mazaihin and grandfather Mazai are the same person, or, more precisely, that Ivan Savvich served as the prototype of the poem about grandfather Mazai. Apparently, Ivan Savvich was called Mazai in the village. *** , and this nickname is a truncated version of his last name.
One of the explanations for the origin of the nickname "Mazai" is contained in the essay by A. M. Chasovnikov **** “Grandfather Kondrat’s stove”, published in 1963. In this essay, the writer tells how, around 1940, he was fishing at the site of the future Kostroma reservoir and, in the rain, took refuge in a hut with a friend of his grandfather Kondrat Orlov (the writer does not indicate the name of the village) . In the conversation, it turned out that grandfather Kondrat is a relative of grandfather Mazai, who was a cousin of his mother 454 . To Chasovnikov’s question about whether he remembers Mazai, Grandfather Kondrat replied: “I remember well. I was twenty years old when Mazai died. 455 . The following is an explanation of the nickname "Mazay". Grandfather Kondrat says: “That was his nickname. He let a pool pass by the beast, as they say with us, he smeared it. Maze yes Maze! The nickname has become a surname 456 . However, this message is deeply questionable. Firstly, the author does not indicate in which village he talked with grandfather Kondrat. Secondly, according to the authoritative testimony of L.P. Piskunov, there was not a single old man named Kondrat Orlov in the pre-war Vezhy and Vederki. It seems that everything that A. M. Chasovnikov writes about is the fruit of his artistic imagination.
The real grandfather Mazai was undoubtedly an excellent hunter and well-aimed shooter. He began to “smear” with a gun only in advanced years, which Nekrasov writes about:
Mazay does not spend a day without hunting,
If he lived nicely, he would not know care,
If only their eyes did not change:
Mazai often began to poodle (II, 322).
However, stable nicknames are usually given to people either in youth or in early maturity; they are rarely received in old age. The most important objection is that, as mentioned above, the first to bear the surname Mazaikhin was the father of Ivan Savvich, Savva Dmitrievich Mazaikhin, and therefore, if anyone “smeared” on the hunt, then it was him.
Acquaintance of Ivan Savvich with Nekrasov, most likely, happened in the mid-60s. XIX century, when he was already about 65 years old, and both of his sons were about 40 years old. And therefore only Ivan Savvich can be Mazai's grandfather.
Against the identification of I. S. Mazaikhin with grandfather Mazai, one can object that the latter is said in the poem:
He is a widow, childless, has only a grandson (II, 322).
The last time the wife of Ivan Savvich, Fyodor Kuzminichna, was mentioned in 1858, when she was 55 years old. By the mid-60s, Ivan Savvich could well have become a widow. The words “childless, has only a grandson”, apparently, should be attributed to the fact that Nekrasov’s poem is, after all, not a documentary essay, but a work of art. By 1858, I. S. Mazaikhin had two sons, Kodrat and Ivan, and five grandchildren. Kodrat Ivanovich and his wife Nastasya Lavrentieva (b. 1823) had three children in 1858: daughter Maria (b. 1848) and sons Trifon (b. 1854) and Vasily (1857) 457 . Ivan Ivanovich and his wife Pelageya Davydova (b. 1831) then had two children: daughter Matryona (b. 1854) and son Vasily (b. 1857) (there was still a son, Alexander, born in 1850, but he died in 1855) 458 . By the mid-60s, the number of grandchildren of I. S. Mazaikhin had certainly increased. We repeat once again that the poem about grandfather Mazai is a work of art, and, apparently, Nekrasov considered that it was more appropriate for the poetic Mazai to be childless and have only one grandson.
It has already been written above about the assumption of V. N. Osokin that the hero of the poem “Bees”, not named by the name of the old beekeeper, is grandfather Mazai. Recall this poem, the hero of which tells a passer-by:
Fuck honey! eat with a loaf.
Listen to the parable about the bees!
Now the water has spilled beyond measure,
Thought it was just a flood
Only and dry that our village
By gardens where we have beehives.
The bee was surrounded by water,
He sees both the forest and the meadows in the distance,
Well - and flies - nothing light,
And how loaded will fly back,
Darling lacks strength. - Trouble!
The water is full of bees,
Drowning working women, drowning hearts!
I'm burning to help, we did not look forward to, sinners,
Do not guess by yourself forever!
Yes, it hurt a good man,
Under the Annunciation remember a passerby?
He thought, man of Christ!
Listen, son, how we saved the bees:
With a passerby, I grieved and yearned;
“You would have set milestones for them to land”,
This is the word he said!
Do you believe: a little the first milestone is green
They took it to the water, began to stick it in,
The bees understood the tricky skill:
So they bring down and bring down to rest!
Like pilgrims at the church on a bench,
They sat down. -
On the hillock, on the grass,
Well, in the forest and in the fields grace:
The bees are not afraid to fly there,
Everything from a single good word!
Eat for health, we will be with honey,
God bless the passerby!
The muzhik has finished, has dawned with a cross;
The boy finished eating honey with a loaf,
Tyatina's parable that hour listened
And for the passerby low bow
He also answered the Lord God (II, 291-292).
The version of the poem says:
The village of Vezha was just "on a hillock", rising among boundless meadows.
The idea of V. N. Osokin that the hero of the poem “Bees” is grandfather Mazai is extremely interesting, and one cannot but share it. From this we can assume that the real Mazai kept bees. It is known that the inhabitants of Vezhy have been raising bees for a long time. According to the testimony of Jacob Nifontov, in the 70-80s. XIX century in the Miskovskaya volost there were more than 300 beehives 459 . L.P. Piskunov reports that in the 30-50s. XX century 5-6 families in Vezha had apiaries of 8-10 beehives 460 . “The abundance of bees and beekeepers,” writes L.P. Piskunov, “is explained by the fact that there was a lot of forbs in our water meadows, many flowers grew. I remember when you walk along a meadow path during the first haymaking, a honey smell emanated from the grass and freshly cut swaths. 461 . In the memoirs of L.P. Piskunov there is also a direct confirmation of what is said in the poem "Bees". He writes: “On warm days during the high water, the first honey collection began with willow and red willow, which are the first to open their “lambs”. At this time, when the meadows are flooded with water, the bees had to fly far into the forests. Sometimes at the same time bad weather caught the bees - strong wind, rain - and many of them died, fell into the water, drowned. I personally had to observe this more than once (...) when you ride a boat through the hollow in the spring ” 462 .
Undoubtedly, local historians were embarrassed by the fact that in the poem the village of Mazaya was called "Small Vyozhy" (this name is not recorded in any document), while by the end of the 19th century it was simply called Vyozhy. The name of the village of Mazaya "Small Vezhy" created confusion when Vyozhy was confused with the village of Spas-Vezhi (Spas). B. V. Gnedovsky noted that Nekrasov, in a poem about grandfather Mazai, “calls (...) the village of Spas “Small Vezhi”” 463 . Following B. V. Gnedovsky, many authors repeated this mistake. A. F. Tarasov: "Village of grandfather Mazai - Small Vezha (Spas-Vezhi)" 464 . V. G. Bryusova writes about the “Church of the Transfiguration from the village of Malye Vezha, called Spas-Vezhi” 465 . E. V. Kudryashov, speaking of the same temple, wrote: “The church stood near the ancient villages of Spas and Vezha” 466 (although in fact the church stood on the outskirts of the village of Spas, one verst from the village of Vezha). N.K. Nekrasov mistakenly merged Vezha into one with the Savior. “In this ‘low land’,” he wrote, “there was the village of Malye Vezha. Next to it stood a village with the name “Spas”, which was widespread in the old days. It merged with Vezhy and became known as Spas-Vezhi. 467 . This, of course, is not true. Until the mid 50s. XX century and the village of Vezhy, and p. Spas was a separate village, located one kilometer from each other.
As you know, there has long been a tradition when two villages with the same names and located not far from each other have clarifying names: Small (th, - th) and Large (th, - th). For example, in the Kostroma district, by the beginning of the 20th century, there were the following “pairs” of names: Bolshie Soli - Malye Soli, Bolshoi Andreykovo - Maloye Andreykovo, Bolshie Bugry - Small Bugry, etc. Usually such names appeared when part of the inhabitants were evicted from one village , founded a new village, giving it the same name. In this case, the new village received the clarifying prefix "Small", and the old village - "Big" * . It is logical to assume that some time ago part of the inhabitants from Spas moved to Vezhi, and these villages began to be called Bolshie Vezhi (Spas) and Small Vezhi (Vezhi). Over time, the Bolshiye Vyozhy variant, apparently, could be supplanted by the name Spas-Vyozhy (later Spas), and the name Malye Vyozhy, left without a pair, was forgotten, turning simply into Vyozhy.
The main thing in the poem "Grandfather Mazai and Hares" is a story about a spring flood, during which Mazai saves hares. At the very beginning of the poem about spills, it says:
(Water understands all this area *
,
So the village rises in the spring,
Like Venice) (II, 322).
Drawing by D. Shmarinov. 1946
During the flood, the kind grandfather Mazay saved the dying hares. Recall the well-known passage:
“... I am looking for firewood
I went in a boat - there are a lot of them from the river
It catches up with us in the spring flood -
I'm going to catch them. The water is coming.
I see one small island -
Hares on it gathered in a crowd.
With every minute the water was begging
To the poor animals; left under them
Less than an arshin of earth in width,
Less than a fathom in length.
Then I drove up: they babble with their ears
Themselves from the spot; I took one
I commanded the rest: jump yourself!
My hares jumped - nothing!
Only the oblique team sat down,
The whole island disappeared under water:
“That's it!” I said: “Don't argue with me!
Listen, bunnies, to grandfather Mazai!” (II, 324).
During spring floods in the District, animals - wolves, hares, foxes, wild boars, elks - found themselves in a difficult situation, many of them died. L.P. Piskunov recalls the flood in 1936, when Vezha “was flooded so that in many houses the water reached the windows of the first floors (...). At that time, a large number of forest lands were flooded, only separate small islands in the forests remained unflooded. Then many animals died. Moose swam, searched for islands of land, and not finding them, they drowned. Their swollen carcasses were later found by our men in the forests and on hollows. Hares, when the last piece of land left from under them, swam, drowned, climbed onto stumps, crooked trees, logs. Some men took them off and brought them to the village or planted them somewhere in the forest on an island. My father once rode a botanical hanger to hang the nets for drying and met a dead wolf in the forest, which swam on a thick log, laying his head and clinging to the log with his front paws. 470 .
E. P. Dubrovina made an important remark confirming that Nekrasov is conveying the true story of Mazai. The poem says that hares "burp their ears." The researcher defined the expression “to babble with your ears” (i.e., move them from side to side) as a purely Kostroma dialectism, recorded by her in the speech of the old residents of the Kostroma region in the villages of Spas, Shunga and the village of Nekrasovo (b. Svyatoe) 471 .
In the work of Nekrasov, a poem about grandfather Mazai occupies a special place. It is unlikely that anyone will dispute that at present this is the most popular work of the poet, and grandfather Mazai is Nekrasov's most beloved hero. It is impossible not to be surprised how from the pen of the poet, who almost always depicted Russian life with the “gloomy, bilious one-sidedness of the accuser” (A. V. Tyrkova-Williams), such a bright, kind, completely devoid of accusation poem came out.
It is noteworthy that in the works of non-specialists (both pre-revolutionary and Soviet) about “Grandfather Mazai ...” they usually say either very sparingly, or not at all. One can point to many solid works and fundamental teaching aids in which this poem is not mentioned in a single word. Such silence, of course, is not accidental. "Grandfather Mazai ..." lay outside the mainstream of Nekrasov's poetry - with its invariable pictures of people's grief and calls for an uprising. V.V. Zhdanov, one of the few who mentioned him, highlights “the story of the Kostroma peasant grandfather Mazai, who collected dying hares in his boat during the flood. The poems are imbued with genuine love for (...) nature, for the people of that “low land” where Nekrasov liked to hunt. Poems dedicated to Russian children (...) were born in moments of peace of mind and that tranquility in which the poet always immersed himself, finding himself with nature or among the people of the village. Hence the bright coloring of these poems, their non-fictional plots, their truly folk humor. 472 . The poem about grandfather Mazai is, of course, the best of Nekrasov's works, which reflects all the brightest that was in the soul of the poet.
We do not know when I. S. Mazaikhin died, and therefore we do not know if he lived to see the publication of the poem. Revision censuses after 1858 were no longer conducted. The parish registers of the Church of the Transfiguration in the Savior have been preserved only since 1879. Apparently, I. S. Mazaikhin died at the turn of the 60s and 70s. XIX century. His funeral, of course, took place in the parish Church of the Transfiguration in Spas-Vezhi. At its walls, in the parish cemetery, he was buried. If I. S. Mazaikhin died before 1875, then the priest Fr. John Demidov * . If the prototype of grandfather Mazai died after 1875, then the sacrament of his funeral was performed by Fr. Sosipater Dobrovolsky (1840 - 1919), who served as rector of the Transfiguration Church for 44 years - from 1875 until his death in 1919 474 .
The fate of the first generations of the descendants of I. S. Mazaikhin is of considerable interest. It was written above that one of the features of the Kostroma District was that both Orthodox and adherents of several Old Believers lived side by side here (according to N. N. Vinogradov, here in each village there were “five faiths, ten senses" 475 ). Representatives of different "faiths" often moved from one to another. The main reason for such transitions was marriages, when young people who fell in love with each other belonged to different sects. In such cases, the case often ended with either the groom converting to the faith of the bride, or vice versa. In the fate of the descendants of I. S. Mazaikhin, this feature of the region manifested itself in the most obvious way.
Apparently, the son of I. S. Mazaikhin, Ivan Ivanovich Mazaikhin (b. 1825), in the mid-50s, before his marriage to Pelageya Davydova (b. 1821), left Orthodoxy and became an Old Believer-bespopovtsy, Netovsky sense ** .
In the second half of the 60s. In the 19th century (probably during the life of his father), Ivan Ivanovich erected a stone house in Vezhy (in any case, it was his grandson, S.V. Mazaikhin, who lived in it in the first half of the century). The exact time of the construction of the house is unknown, but until the beginning of the 50s. XX century on its wall hung a tin "Russian Insurance Company" with the inscription "Insured 1870", therefore, it was built, most likely in the late 60s. century. "Mazaikhin house" in Vezhy became one of the very first stone peasant houses not only in the Zaretsk region and the Kostroma district, but also in the entire Kostroma province. It was reminiscent of a middle-class urban noble mansion - two-story, with semicircular top windows on the second floor, with decorative pilasters on the walls. L.P. Piskunov testifies that “Mazaikhin Dom”, as it was called in Vezhy, “was the oldest brick house in the village (...). Initially, it had three windows, two-story, and in the years 1870-80 a side chapel was made for two more windows on two floors, and a shed across the entire width of the house. Above the windows of the second floor, on the wall, was attached a metal plate the size of a large plate, where (...) the following was embossed:
"The Russian insurance society is insured in 1870".
Our house was opposite across the street, and this sign was often seen from the window. 477 . In another essay, L.P. Piskunov clarifies the name of the house: “...Mazaihin house, or, more precisely, the house of grandfather Mazai (as it was sometimes called)” 478 . Up until the 50s. XX century, the street on which the "Mazaikhin" house stood was called Mazaikhina Street 479 .
The son of Ivan Ivanovich, Vasily Ivanovich Mazaikhin (b. 1857), married Theodosya Kallistratova (Kallistratovna), who belonged to the "clergy" 480 . One of his daughters, Maria Vasilievna, was married off by V. I. Mazaikhin to a wealthy merchant, honorary hereditary citizen Dmitry Evdokimovich Gordeev. The latter permanently lived in the estate of Dor Romanovsky district of the Yaroslavl province, and came to the Kostroma district on business. At the end of the 19th century, D. E. Gordeev bought 324 acres of land in Zarechye and built a potato grater in the village of Petrilovo 481 . In the early 90s, the Bogoroditsko-Kazan Church in Petrilov was overhauled with his donations. At the turn of the XIX and XX centuries. D. E. Gordeev erected next to it a small one-domed church, consecrated in 1901 in the name of his angel - St. Demetrius, with a family tomb 482 . In the memory of the old-timers of the District, he remained as "master Gordeev" 483 . After his death (D. E. Gordeev died, apparently, in 1911), the plant in Petrilov until the revolution belonged to his son, Alexander Dmitrievich Gordeev, great-great-grandson of I. S. Mazaikhin.
The son of V. I. Mazaikhin, Sergey Vasilievich Mazaikhin (1887 - 1973) was baptized in the “netovshchina”. However, wanting to marry a girl from an Orthodox family, through the sacrament of chrismation performed by Fr. Sosipatr Dobrovolsky in the Church of the Transfiguration with. Spas-Vezhi (Spas) January 12, 1913, Sergei Vasilyevich was officially annexed to Orthodoxy 484 . Eight days later, on January 20, 1913, in the same church, Fr. Sosipater married S. V. Mazaikhin and his chosen one, a native of Vezha Alexandra Pavlovna Kuznetsova (1891 - 1967) 485 .
Pb., Akvilon, 1922. 91, p. from ill.; 20.8x15.5 cm. - 1200 copies, of which 60 copies. nominal, 1140 copies. (1-1140) numbered. In an illustrated color publisher's cover. On the reverse side of the title we read: “The title page, illustrations, headpieces and endings are autolithographs by B.M. Kustodiev. Very rare in good condition!
Akvilon decided to publish this book by the centenary of Nikolai Alekseevich Nekrasov. The book contains poems familiar to everyone since childhood: “Vlas”, “Peddlers”, “Uncle Yakov”, “Bees”, “General Toptygin”, “Grandfather Mazai and Hares”. Its design was entrusted to a close friend F.F. Notgaft to Boris Mikhailovich Kustodiev. Laid paper was used for publication. The soft cardboard cover is printed in three colors using the zincography technique: against the background of the pattern (yellow five-petal rosettes between bluish wavy lines), there is an oval medallion, which contains a line drawing (a man with a scythe), the title of the book (with the author's surname), the surname of the artist, name of publisher, place and year of publication. The book has 30 illustrations: 8 pages, 11 intros and 11 endings. The title page and illustrations are made in the technique of one-color autolithography.
The illustrations are placed not on separate inserts, but on pages with text, for which it was necessary to print the book in two runs: the first time - on a letterpress machine, the second - on a lithographic machine; while the back of the page remained clean. “Here, very subtle and tactful compliance with the text was combined with the most expressive mastery of technique and the very typographic performance: books with illustrations, lithographed and not pasted or inserted into the text, but printed on the same page with the set, we simply did not know until now,” - wrote A.A. Sidorov. Kustodiev set himself the task not to retell graphically the content of each poem, but to supplement it emotionally. In landscape sketches, still lifes, everyday scenes, the artist, avoiding accentuated stylization, managed to convey the Russian national flavor with the help of a soft silvery line, “shimmering” strokes, and a velvety range of tonal shadows. The book was recognized as a masterpiece of typographic art. “Six Poems by Nekrasov is not only a great achievement of Akvilon, but in general one of the most remarkable phenomena in the history of Russian books,” Gollerbach argued, and Sidorov called this publication “pure gold of book art, the finest of Akvilon’s victories and our pride."
In 1919, a story by L.N. Tolstoy's "Candle" with illustrations by Kustodiev, made before the revolution for the St. Petersburg Literacy Society. A considerable achievement of the artist should be recognized as a cycle of illustrations for the "Thunderstorm" by A.N. Ostrovsky. The merchant theme, beloved by him and well known to him, played in a new way in his mean pen drawings. With the beginning of the New Economic Policy (NEP), private publishing houses appeared in the country. One of them was founded in September 1921, the Petrograd "Akvilon", which was headed by art critic Fyodor Fedorovich Notgaft (1886-1942). This publishing house worked for less than three years and released only 22 books, which were published in a small circulation of 5,001,500 copies. This was, as it were, the antithesis of Gosizdat, whose circulation of publications was approaching the millions. Akvilon deliberately focused not on the mass reader, but on amateurs, on bibliophiles. His books forever entered the golden fund of Russian design art. Among them, for example, "White Nights" by F.M. Dostoevsky and "Poor Lisa" by N.M. Karamzin with illustrations by M.V. Dobuzhinsky, "Poems" by A.A. Feta, decorated by V.M. Konashevich... In collaboration with Akvilon, Boris Mikhailovich Kustodiev created three books.
The first of them - the collection "Six Poems by Nekrasov" - became an undeniable masterpiece. Surprisingly little has been written about this book; so, in a large monograph by Victoria Efimovna Lebedeva, only four paragraphs are devoted to her. "Six Poems of Nekrasov", conceived as a bibliophile publication, was published in March 1922 and was timed to coincide with the 100th anniversary of the poet's birth. A total of 1200 copies were printed, and 60 of them were personalized, indicating the name of the future owner, and 1140 were numbered. Serial numbers were written by hand. The author of these lines owns copy No. 1019, bought at one time in a second-hand bookstore, it is ridiculous to say - for 5 rubles. In 1922, at the time of hyperinflation, the book was sold for 3 million rubles. The work of the 15th State Printing House that printed the book (formerly the printing house of the Golike and Vilborg Partnership, and now the Ivan Fedorov Printing House) was complicated not only by manual numbering of copies. In the process of working on it, B.M. Kustodiev is mastering a new technique for himself - lithography. He made drawings with a lithographic pencil on the so-called root paper, and only then they were transferred to a lithographic stone. For the printing company, this created certain difficulties, because the text of the "poems" was reproduced from the printing set using letterpress printing. Since the elements of decoration were mostly on the same page with the set, the sheets had to be printed in several runs - the first time on a letterpress machine, and the second - on a lithographic machine, most likely manual.
Speaking about the technique of reproducing Nekrasov's Six Poems, Aleksei Alekseevich Sidorov, in a book summing up the development of graphic art over the first five post-revolutionary years, wrote: books with illustrations, lithographed and not pasted or inserted into the text, but printed on the same page with the set, we simply did not know until now ... ". The complexity of printing execution affected the sale price of the book, which was an order of magnitude higher than the prices for other editions of Akvilon. "Poems" were enclosed in a soft cardboard cover, printed in three colors. The main background was a simple pattern of yellow five-petal rosettes surrounded by bluish wavy lines. An oval medallion was provided on the upper side, in which, on a white background, all the necessary inscriptions and a line drawing depicting a peasant with a scythe were reproduced in black paint. The plot of the drawing, as it were, prompted the reader that the poems are dedicated to peasant life. And so it was: the collection included the poems “Vlas”, “Peddlers”, “Uncle Yakov”, “Bees”, “General Toptygin” and “Grandfather Mazai and Hares”.
The book was made up of 4-sheet notebooks sewn together by hand. It opened with a strip with the Akvilon publishing stamp by M.V. Dobuzhinsky. Next came the title with the title of the book reproduced in capital letters. The third sheet with an empty back is a drawn title, on which we see peasants listening attentively to a boy who holds an open book in his hands and reads to them. An oval plate with a portrait of the writer is inscribed in the drawing. The title of the book is reproduced in deliberately inept handwriting, moreover, according to the old spelling - with "and decimal", but the text of the book itself is typed in a new spelling. The fourth sheet is a shmutztitul with the name of the first poem placed in its center in typeface type. Half-titles with an unfilled turnover were prefaced to each of the writer's works placed in the collection. The short title, already in the second notebook, was followed by a full-page illustration depicting Vlas wandering through Rus'. It is impossible to consider this illustration, the reverse side of which is also left empty, as a frontispiece, because in other poems there are no full-line drawings immediately following the half-title - they are placed in the text. There are eight such illustrations in total, and they are unevenly distributed. In the first poem "Vlas", which occupies only four incomplete strips, there are two of them. The same number is in the large 33-page poem "Pedlars". In "Uncle Yakov", "Bees", "General Toptygin" and "Grandfather Mazay" - one each. The artist decided not to limit himself to formal boundaries and made as many drawings for each of the poems as his artistic flair suggested. In addition, for each of the poems, small, about a third of the strip, illustrations of the opening and ending illustrations were made. In The Peddlers there are six of them - according to the number of parts of the poem. In his autolithographs, B.M. Kustodiev first of all admires the free Russian landscape: here there are endless fields with ripe rye bending in the wind, and freedom of glades in the middle of a sparse forest of central Russia, and violent floods of rivers flooding the Russian plains in spring, and a wretched apiary near a rickety wattle fence ... Lithographs amazingly gentle. It seems that the artist's lithographic pencil barely touched the stone.
Later F.F. Notgraft intended to release an album of lithographs by B.M. Kustodieva, M.V. Dobuzhinsky and G.S. Vereisky, but this project was not completed, since in December 1923 Akvilon ceased to exist, Kustodiev had to look for other publishers. He devoted a lot of effort and work to illustrating Lady Macbeth of the Mtsensk District. N.S. Leskov. Often visiting him in the first post-revolutionary years, K.S. Somov wrote on February 18, 1923 in his diary: “B.M. showed me illustrations for “Lady Macbeth of the Mtsensk District” and reproductions from his Russian types. He was quite cheerful and cheerful, although in general he is worse, he can only sit in an armchair for 5 hours a day. Nephew K.A. Somova E.S. Mikhailov later recalled: “Several times my uncle took me with him, visiting Boris Mikhailovich Kustodiev. Uncle loved his art, he was surprised at the lack of anger and endurance of Boris Mikhailovich, who was deprived of the opportunity to move due to a serious illness. A very special place in the work of B.M. Kustodiev is occupied with the Leninist theme. One can treat the activities of the leader of the world proletariat differently. In recent years, we have learned a lot about the deeds of this man, who in recent times was deified. But, in the words of V.V. Mayakovsky, the “hugeness” of his plans amazed his contemporaries. And they quite sincerely admired him. Lenin's death in January 1924 was seen as an irreparable catastrophe. Hence the desire of Kustodiev to say something of his own about the departed leader. It is clear that this topic was completely alien to the singer of merchant Russia, but he bravely took up its solution - this is how illustrations appeared for the memoirs of A. Ilyin Zhenevsky “One Day with Lenin” (L .; M., 1925) and for books intended for the young reader "Lenin and Young Leninists" (L.; M., 1925) and "Children about Lenin" (M.; L., 1926). The artist never met the leader, but he was a portrait painter, by the grace of God, who knew how to work not only from nature, but also from photographs. Lenin in his line drawings is not only recognizable, but certainly similar. Particularly good are the drawings depicting the high school student Volodya Ulyanov, which eventually became a kind of classic. In countless, sometimes endlessly sugary images of Leniniana, these drawings occupy a special place, and they should not be ignored, as some authors of recent B.M. initiates do. Kustodiev books. The artist never painted portraits of Lenin in oil, and did not strive for this, because he did not want to fake. To accept or not to accept the revolution? Such a question, it seems, was not raised for Kustodiev. But what is all the same more dear to him - memories of the departed Russia or a new, sometimes cruel reality? Arguing on this topic, A.A. Sidorov once wrote: “Departure into the old days for its own sake is unacceptable for Soviet art. In the graphic activity of B.M. Kustodiev, one can see the overcoming of this by the forces of real life. Of course, he did not become a completely new, Soviet artist either.” It was noted above that B.M. Kustodiev rarely turned to illustrating the works of contemporary writers - an exception was made for Maxim Gorky. The writer and the artist were personally acquainted: in 1919, Alexei Maksimovich visited the sick Kustodiev, and soon after that the artist sent Gorky a version of his famous nude “Beauty”, accompanying the gift with a note: “You are the first who so soulfully and clearly expressed what I wanted to portray in it, and it was especially valuable for me to hear it personally from you.” Alexei Maksimovich kept the note and remembered it shortly before the death of the artist on March 23, 1927 in a letter to his biographer I.A. Gruzdev. Not surprisingly, when the State Publishing House asked Kustodiev to design a series of Gorky books, the artist immediately agreed. So in 1926-1927, Chelkash, Foma Gordeev, and The Artamonov Case appeared. Of particular interest to us are the covers of these publications with portraits of the main characters. The artist started the illustrative series from the cover, which, in fact, was an innovation. The young and handsome Foma Gordeev contrasts sharply with the hunched old man Artamonov, and the last drawing is made in the silhouette technique, which is generally rare for Kustodiev (he had previously used the silhouette when illustrating Dubrovsky in 1919). I must say that Maxim Gorky was not completely satisfied with Kustodiev's drawings, he considered that they were too "intelligent", and wished that they were "rougher and brighter." In the same years, B.M. Kustodiev did a lot of "handicraft" work. He illustrates calendars, makes covers for magazines and even for agricultural books published by the State Publishing House. Among his works is the design of the books "The Peasant's Berry Garden" (L., 1925), "The Village Cart" (L., 1926). It is hardly possible to reproach the artist for illegibility, because the great master also needs to think about everyday affairs, to earn a living. Moreover, even in these works, which are never reproduced in monographs dedicated to Kustodiev, one can find a lot of interesting things - the hand of the master is always felt. On May 26, 1927, Boris Mikhailovich Kustodiev died at the age of 59. And on July 2, K.A. Somov, who lived in France, wrote to his sister in Moscow: “Yesterday I learned about the death of Kustodiev. Write me the details if you know... Poor martyr! Overcoming suffering and physical weakness, Boris Mikhailovich Kustodiev managed to create dozens of works of book and magazine graphics that have become classics. Finishing the article about him, we will find completely different words than K.A. Somov, - "Great ascetic!"
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The work of Nikolai Alekseevich Nekrasov (1821 - 1877) in the field of children's poetry was a new step in its development.
Understanding well the importance of children's reading in shaping the personality of a child, her civic qualities, Nekrasov addressed his poems to those on whom he had high hopes in fulfilling the future destinies of Russia - peasant children.
One of Nekrasov's poems, firmly included in children's reading, is "Grandfather Mazai and Hares" (1870).
The main theme of this poem was love for nature, for a careful attitude towards it, moreover, reasonable love.
The poet gives the floor to Mazai himself:
I heard stories from Mazai.
Children, I wrote one for you ...
In the poem, Mazai tells how in the spring, during the flood, he swam along the overflowing river and picked up the hares: first he took several from the island on which the hares crowded to escape from the water flowing around, then picked up the hare from the stump, on which, " paws crossed, ”was a“ unfortunate , ”well, a log with a dozen animals sitting on it had to be hooked with a hook - all of them would not fit in the boat.
In this poem, the poet-citizen reveals to young readers the poetry of peasant life, inspires them with love and respect for the common people, showing the spiritual generosity of such original natures as grandfather Mazai.
The plot of this work is how the author came to Small Vezha to hunt with old Mazay:
In August, near Small Vezha,
With old Mazay I beat snipes.
The climax in this poem is Mazai's story about saving hares:
I went in a boat - there are a lot of them from the river
It catches up with us in the spring flood -
I'm going to catch them. The water is coming.
The ending here is how Mazay releases the hares with the advice: "Do not get caught in winter!".
I took them out to the meadow; out of the bag
He shook it out, hooted - and they gave an arrow!
I followed them all with the same advice:
"Don't get caught in the winter!"
Grandfather Mazai is permeated with genuine love for all living things. He is a real, living humanist, a zealous owner and a kind hunter, to whom honor and a good heart do not allow him to take advantage of the misfortune that has come to the animals.
In the poem "Grandfather Mazai and Hares" speech does not tire the little reader: his attention switches from subject to subject. Here are apt remarks about the evening singing of the warbler, and the hooting of the hoopoe, about the owl:
In the evening the chiffchaff sings softly,
As if in an empty barrel hoopoe
hoots; the owl scatters by night,
The horns are sharpened, the eyes are drawn.
Here is a peasant "joke" about some Kuza, who broke the trigger of a gun and set fire to the seed with matches; about another “trapper”, who, in order not to chill his hands, dragged a pot of coals with him to hunt:
He knows many funny stories
About glorious village hunters:
Kuzya broke the trigger of the gun,
Matches carries a box with him,
He sits behind a bush - he will lure the grouse,
He will put a match to the seed - and it will burst!
Walks with a gun another trapper,
Carries a pot of coals with him.
"Why are you carrying a pot of coals?" -
It hurts, dear, I'm chilly with my hands ...
The work contains comparisons. The poet compares rain to steel bars:
Straight bright, like steel bars,
Raindrops hit the ground.
The creak of a pine with the grumbling of an old woman:
What kind of pine creaks
Like an old woman grumbling in her sleep...
There are also epithets here - green gardens, painted eyes.
In the summer, cleaning it beautifully,
From time immemorial, hops will be born in it miraculously,
All of it is drowning in green gardens ...
... hoots; the owl scatter by night,
The horns are sharpened, the eyes are drawn.
The poem "Grandfather Mazai and Hares" is recommended for children of senior preschool age and primary school age. The poem gives children a lesson in love for nature, moreover, careful and reasonable love, beautiful pictures of nature are given here. The poet does not avoid "cruel" descriptions, his trust in the heart and mind of the little reader is so great that it gives him the right to open those aspects of life in this poem of the children's cycle that the children's literature of that time tried not to touch.
