Khokhloma master SP Veselov
More than sixty years of life gave Khokhloma painting wonderful folk master Stepan Pavlovich Veselov.
The intimate, lyrical images of his works are inspired by his native nature. The singing lines, a soft brushstroke, highlight the manner of writing. Among works of Khokhloma master SP Veselov you will not find the same: one pattern generates a new and completely unexpected. And all of them, in their content, are deeply folklore, inextricably linked with the tradition of the region.
The artistic culture of the Khokhloma craft impresses us with a subtle sense of harmony, an impeccable understanding of the shape of the object being decorated, the skill of execution, the laconicism and clarity of the images. All this is inherent in the truly popular understanding of beauty and has its roots in the rich artistic culture of Ancient Rus. The existence of archaic motifs in the Khokhloma ornament is primarily determined by the fact that most craftsmen are masters.
At present, the craft is united by the Seminsky factory “Khokhloma Artist”. Many talented craftsmen work here: O. Veselov, A. T. Busov, M. Ye. Shchukin, from the older generation – O. P. Lushin. Their works are constantly exhibited at the All-Union and international exhibitions.
“I had very few weeks,” recalls Stepan Pavlovich.
“Everybody rests on Sunday; but I ask my father to let me paint in the dye-house. ”
Veselov’s talented work was noted in his childhood. They attracted attention of local experts. Often, the well-known master Semen Stepanovich Yuzikov visited the Veselovs dye-house. He once looked at Stepan’s work, and he says:
“Oh, Pavel Grigorievich, you have a fine little boy, it works well.
Only you, Stepanka, write better grass puzastyenkuyu, pressure in the middle do. Slim little sedge does not look basco. ” Yuzikov knew the price of the mural painting, he was one of the best masters. The council of the old master Stepan Pavlovich remembered for life, and then he began to write grass, as Yusikov taught him.
SP Veselov was lucky to work with a remarkable galaxy of talented Khokhloma masters-herbists: AM Serov, PF Raspopin, Ya O. Krasilnikov. And this old school was remembered by Veselov for life.
A talented herbalist was Serov. To young Veselov he advised:
– You, Stepan, write and cleanly, and soon, and the root of “grass” is not the same for you.
“Uncle Arkhip,” Stepan answered, “it’s so long to write.”
“Well, look, it’s your business, you’ll write less, but to be better.”
Since 1925 Veselov works in the artel of Khokhloma painting.
Now khokhlomichi work with factory linseed oil, light and elastic, cover it with a bowl of times, another, a third and put it in the oven to dry. When she begins to “get up” – the cup is tinny. Until 1938, thinly ground tin was used for this, now aluminum powder is used.
Paints the master prepares especially. Dry cinnabar thinly rubs on the stove, mixes with oil cadmium, adds varnish, turpentine. On one linseed oil, the brush “will not go,” says Stepan Pavlovich.
In his works Veselov often makes jocular inscriptions. On the children’s cup: “Masha, eat porridge!”. On the big will deduce: “I ask for a table to sit down and eat, that in this cup is”. In the edification of the hapless husband: “Husband, eat, and listen to your wife’s good advice!”
And it was not from this that the iconography was strictly observed here, that once an elegant bowl with a harmonious canonical painting was intended not for everyday use, but for festive ritual treats. Perhaps it was meant for beer. It is known, for example, that in the North of Russia, in the Vologda, Olonets, Arkhangelsk provinces, there were, of course, copper, but very similar to them, valleys and bratins. Their form with rays radiating from the bottom – ribs remotely resembles Khokhloma’s “red-haired”.
The painting is finished, and the master puts the bowls in the oven on the “tushovku”. “Kalit tushovku” an hour or more and afterwards varnishes the dishes.
Varnish once five to six, depending on the density of varnish, after each time putting the bowl on the grate, so it is dried faster than linseed oil. And only then – in the oven to pour. From heat, the coating will be strong and durable, and its color will be golden.
So in the hands of Veselov wonderful wonder-cups are born. The master of delivery and plates, saucers, candy-ware and tea-bowls, tureens, ladles, solitary-huts and scoops, caskets and birdhouses, cabinet doors and wall carpets, large decorative panels and glassware are also written.
What kind of images does Stepan Pavlovich write on his works? What are their history and significance in the life of the people?
Paintings by the Khokhloma master SP Veselov Stepan Pavlovich Veselov
His birds are incredibly majestic. Written in red kinovarju, they royally soar in the golden light, occupying almost all the bottom of the bowl. And so that the cinnabar is read more clearly on gold, the master will dab a brush in black paint, describe a comb, a wing and a tail, a feather of a bird, and a beak. He depicts his majestic bird in dozens of variants. He writes and believes in it, as if in reality, which he had once seen himself. And speaks of her as living. To subtlety knows not only its “design”, but also holes. Although you will not see such a bird in life, but something, from childhood, she is familiar to everyone. Is not it about her, a firebird, a fairy tale?
Is not this a bird made to this day from the tree by the Mesensk masters, is not it depicted on the Ryazan heel, the Kostroma and Olonets embroidery? Does not it represent the Sun itself? And it is not by chance that in a number of compositions the master writes it in a rhombus sitting in flame tongues, in the same rhombus, where a radiant or twisted sun is often depicted – “the Verlian ball”: According to Zoryan’s cloud, the Verlian ball is rolling.
On his panels Veselov wrote a tree with fruits of raspberries and black currants, mountain ash and ears of ripe rye, large elegant tomatoes. On this tree sat a bird – the Sun, as if warming it, like the earth itself, with light and warmth.