Kholuy miniature, born in the Ivanovo region, is a type of traditional Russian varnish miniature. Being the youngest among similar crafts of Palekh, Mstera and Fedoskin, it occupies a worthy place among them and is highly valued both in the country and abroad.
Icon painters of the village of Kholui
The first documentary mention of the village dates back to the 16th century. The certificate confirms that these lands belonged to the Trinity-Sergius Monastery, where the lackeys supplied salt mined here. That was in 1546. But half a century later, in 1613, the village was granted Dmitry Pozharsky for protecting Moscow from the Poles, and it was characterized as an “icon-painting place”.
The lacquer miniature of all four settlements was born on the basis of icon painting. According to experts, Kholui occupied a priority place in this type of painting. Perhaps the first icon painters were the monks of a local monastery belonging to the Trinity-Sergius Lavra, they could also teach the locals this art. Later, training was organized for children “sharp in concept and icon painting”, as well as students from the neighboring villages of Shui and Mstera.
Kholuy at the end of the 17th century became the bearer of the icon painting tradition of the Trinity-Sergius Lavra, and due to the growing need for icons, it is developing very quickly. Local icon painters received orders from the northern regions of Russia, Siberia, Bulgaria and Serbia.
Transition to varnish production
After the revolution and the prohibition of icon painting, the lackeys were left without work. Unlike their neighbors, who combined artistic craftwork with peasant labor, they earned their living only by writing icons. Many left the village in search of money, while the rest sought to use their strength.
The created artel was engaged in painting “rugs”, so-called copies of famous paintings. But the masters sought to realize their creative ideas, and in 1934 they decided to try painting the lacquer miniatures.
Few believed that Kholuy could offer something of his own, different from the Palekh and Mster styles already known by then. But the artists were supported by Professor Bakushinsky, who formulated the goal to be pursued. So the Kholuy varnish miniature was born.
Features of varnish painting of Kholuy
Bakushinsky suggested choosing a more realistic style for the Kholuy works than the neighbors, but at the same time more decorative. The foundations were laid by the three oldest craftsmen S. A. Mokin, K. V. Kosterin and V. D. Puzanov. These three artists, having the same school of writing, were distinguished by their individual artistic manner. But the first steps were taken with great difficulty, and recognition to the masters did not come immediately.
The followers of the Kholui masters strive to concretize the depicted object, bringing the drawing closer to real proportions and outlines. The basics of the color range of the Kholuy miniature are two keys: warm, sand-orange tones and cold, blue-green. Additional shades are used only for contrasting revitalization of the picture. Gold and silver are used to a limited extent, only when depicting metal objects or in an ornament. The ornament itself is strict and restrained. Kholuy miniature painting attracts with its originality and discreet, but good beauty. To appreciate it, you need to be able to consider all the details of the drawing, starting with the plot itself and ending with an ornamental pattern.
Thumbnail Development in Kholuy
The artel subsequently became a city-forming enterprise and raised many talents. The first exhibition, which appreciated Kholuy miniatures with bronze medals, was held in 1937 in Paris. In subsequent years, artists participated in all international exhibitions.
Over time, the theme of the picture expanded. More often fragments of Russian fairy tales began to appear, the landscape could already be an independent drawing, and not the background of the main composition. The figures in the movement began to be conveyed more convincingly, much attention was paid to the expression on the faces of the heroes. For the first time, architectural objects began to appear, which only adorned the drawing and expanded the theme.
Entering the international market
In 1961, the first international orders for Kholuy miniature arrived. England, USA, Germany and other European countries wanted to see the works of masters from Kholuy. The output increased, the team of artists grew.
Today, the Kholuy Art Factory of Lacquer Miniatures is operating in the village, which supports the long-standing traditions of papier-mache painting, without forgetting the rich experience of local icon painters.
Papier-mâché manufacturing technology
Over the years of the existence of fishing, the technology has not undergone significant changes. Most stages of the work are done manually, when the master transfers his heat, his energy to the product. Therefore, things made in the village of Kholui over the years become only more valuable and attractive.
The first, rough stage of the work is the creation of naviva. This is a tube of several layers of pressed cardboard, impregnated with linseed oil and dried in an oven. Navivas can be of different shapes and sizes, depending on the intended products.
From the hardened naviv, the master makes a product blank, primers it, polishes it and paints it with red and black varnish. Such a semi-finished product passes into the hands of the artist.
Product painting
Each factory keeps the recipe for making paints a secret, since it came to them from ancestors-icon painters. The principle is the same: the mineral powder is mixed with egg yolk, water and vinegar, but then additives follow, which few people know about. The correct preparation of paints pays great attention, as this is a very important component in the successful creation of miniatures. The artists of Kholuy work only with squirrel brushes.
Cherry resin is added to the gold leaf to draw the ornament, this is one of the features of the product manufacturing process at the Kholuy factory of lacquer miniature. Then the applied gold is polished with a wolf tooth.
The finished work is covered with several layers of varnish and polished until the smallest scratches disappear. This final process gives the product depth and brightness.
Museum in Holuy
Each of the four centers of lacquer miniatures in Russia has its own museum, which stores the work of the oldest masters who began the difficult business of mastering the craft, and contemporary artists. It is here that you can understand the dynamics of the development of miniatures in the region, the preservation of tradition, the transfer of experience of older generations.
The Kholuy Museum of Lacquer Miniatures was created by local residents on a voluntary basis and opened in 1959. The population of the village for many years collected finished products in their homes, and then, not sparingly, gave valuable things to the village museum. Miniatures, sketches of drawings, icons, books, albums, as well as household items such as old banknotes, portraits and globes, were brought here.
Famous scholars were involved in the study and description of donations, who provided invaluable assistance in creating collections. The most significant of them are the icons of Kholuy writing. This is the basis of the museum, participating in visiting exhibitions, training sessions, seminars. A rich collection of embroidery, the collection includes the work of needlewomen from the XIX century to the present day. Kholuy embroiderers made a curtain for the Kremlin, which indicates their high professionalism.
The lacquered miniature stored in the museum cannot be classified as ordinary works. These are high-quality works by Kholuy artists, each of which is unique. The museum’s fund is small, no more than five thousand items, but tourists are happy to visit it to admire the work of Russian masters.
Since 2005, at the request of guests, an art salon has been operating at the museum, which allows you to take away not only photos of Kholuy miniatures, but also a souvenir in memory of these places.