Ethnographic motif in the decorative and applied art of Krasnoyarsk. History and modernity.

Grishchenko Anastasiya Petrovna ORCID: 0000-0001-8446-6163 Postgraduate student, Department of Humanities and Art History, Federal State Budgetary Educational Institution of Higher Education "Dmitry Hvorostovsky Siberian State Institute of Arts" 660049, Russia, Krasnoyarskii krai, g. Krasnoyask, ul. Lenina, 22 nastugrichshenko@gmail.com

Decorative and applied art is one of the most important trends in the artistic life of any region. Preserving and multiplying the traditions of old craftsmanship, enshrined in folk art culture, utilitarian art goes beyond its applied meaning and forms a special field of artistic practices capable of presenting the entire possible spectrum of merging new and old, traditional and innovative, where experiments with techniques, materials and forms become a full-fledged part of the artistic process. Understanding the internal mechanisms of the functioning and general development of decorative and applied art in the region will help to present the main trends of artistic culture that shape the artistic process as a whole. This topic is especially relevant for the Krasnoyarsk Territory: it is here, in a multinational region, that decorative and applied art has absorbed all the features of both regional and world art.

The peculiarity of the decorative and applied art of the Krasnoyarsk Territory is that, despite the large territories and the diversity of ethnic groups living here, professional decorative and applied art developed in the second half of the twentieth century. The first works of professional DPI in the Krasnoyarsk Territory appeared in the late 1950s-1960s and until the 1990s, visiting artists who were educated in other regions of the country mainly worked here ^{[3, p. 62]}. The main directions that have been developed are: wood, textiles, ceramics, stone ^{[5, p. 226]}, in the development of which there is a desire to attract ethnographic motifs of the Krasnoyarsk Territory.

If we consider the formation of professional decorative and applied art in the Siberian territory, then the main thing is not so much certain styles or techniques, but artists, in whose work the peculiarities of the "Siberian style" have become more apparent. Many researchers, such as Lomanova T.M., Ivlieva M.V., Moskalyuk M.V., Krasnova E.A.^[4], Ginter S.M.^[2] consider Siberian decorative and applied art as a continuation of general trends in the development of folk art in Russia, while not forgetting to note the unique features peculiar only to the Siberian region. Particular importance is attached to the creativity of indigenous peoples, the study of which can be found in the works of Koptseva N.P., Pimenova N.N., Semenova A.A., Sertakova E.A., Kistova A.V. and many other researchers who have focused their attention on the traditions and symbolism of indigenous peoples, reflected in decorative and applied art. However, the purpose of this article is to analyze the professional decorative and applied art of the Krasnoyarsk Territory in order to identify the features of the embodiment of the regional ethnographic motif, which will help to identify the main patterns in the artistic language of the region. It is based on the methods of historical analysis of general trends in the development of decorative and applied creativity and an art history analysis of representatives to identify patterns of application of ethnographic features in the work of artists.

Determining the initial point of development of professional decorative and applied art is quite difficult, despite the existing traditions of both indigenous ethnic groups and Russians who settled this territory in the 17th century ^{[5, p. 226]}. Many researchers agree that it originated in the 1950s-1960s and it is possible to single out the most important milestones in the development of professional DPI in the region: from the 1950s to 1978, from 1978 (the opening of the Krasnoyarsk Art Institute) to the 1990s and from the 1990s to the present.

Ivlieva M.V. connects the origin of decorative creativity in Krasnoyarsk with the name of N.V. Kasatkina ^{[3, p. 62]}, who repeated the motifs of the northern peoples in her embroidery and fur products. After graduating from the Krasnoyarsk Art School in 1941, the artist explored the art of the Northern peoples and recreated it in her textile works. For example, in the children's headset "Deer Horns" ^{[6, p. 242]}, simplified images and strict geometric drawing emphasize the author's appeal to the traditional art of the Northern peoples. However, it should be noted the "citation" of her works and stylization. Here, in this case, we can talk not about the motive as such, but more about imitation, with a simplification of the sacred meanings inherent in the original ornament. ^{[6, p. 243]}. But in the works of the ceramist Alexander Gennadyevich Tkachev ^{[6, p. 97]}, a graduate of the Leningrad Higher Art and Industrial School named after V.I. Mukhina, there are no direct quotations from the works of the Siberian peoples. It is the motifs of Siberia that are present in his works: the image of animals and fish inhabiting the territory, the way of life of peoples, even the purpose of the products themselves can be attributed to ethnographic features, for example, the "Set for Stroganina" of 1962. It should be noted that A.G. Tkachev was the first ceramist in the Krasnoyarsk Territory and created a whole creative school here. The work of another famous Krasnoyarsk artist, glassblower A.S. Moskvitin "Yenisei" uses, on the one hand, a direct quote from the geographical determinant of the area, a direct mention of the main river of Siberia, on the other hand, a certain motif of the river is created: "ripples" on the surface of the glass and turbidity of color, as well as the ratio of boats on the surface and the "river itself" they allow us to convey the deepness of the Yenisei and its significance for the region.

Thus, we can say that at the stage of the emergence of professional decorative and applied art in the Krasnoyarsk Territory, the peculiarities of the region are manifested in the works of the authors by direct quotations and references to certain characteristics: geographical and climatic features and the art of the peoples of the north.

Since the seventies, the question of creating a higher educational institution in the field of culture and art has arisen in the city of Krasnoyarsk, and in 1978 the Institute of Arts was opened. From that moment on, the region began to have its own masters of decorative and applied art. Ceramics is becoming the main direction of art education at the time of the opening of the Institute. Alexander Yakovlevich Migas and Sergey Mikhailovich Lavrenov, who came to Siberia from the Belarusian State Theater and Art Institute, became the first teachers at this department. During its existence, the Department of "Artistic Ceramics" has produced more than 250 certified specialists, of whom about 80 have become members of the Union of Artists of Russia. By the early 1990s, graduates of the department who participated in various All-Russian exhibitions presented the original "Krasnoyarsk school of ceramics", which differed significantly from Moscow and St. Petersburg ^{[1, p. 322]}. This period can be called the formation of the original decorative and applied art of Siberia, the search for new ways of expression.

In the work of Ales Yakovlevich Migas, the red line is an appeal to the monumental forms of ancient art of Siberia and Khakassia. A master who came to our region absorbed the art of ancient Siberia and transformed it in his work. The works of Ales Yakovlevich of the 80-90s of the twentieth century are more like research: his appeal to ethnography is based on admiration and processing of what he saw. In the works created at this time, the ethnographic motif is manifested in monumentality and quoting, but already in the 2000s, after a trip to the USA and acquaintance with local traditions of shaping and stylistics, in particular Indian ceramics with an admixture of African artistic tradition ^{[7, p. 144]}, the author enters a new stage in his work. The new search for ideas did not distract him from the peculiarities of the Siberian region, but created a new vector of its development and interpretation in terms of forms and color.

During the first years of the department's existence, graduates of the Institute were actively inspired by the themes of Khakassia and Tuva. Among them is Oleg Olegovich Trukhin, in whose work the forms of ancient ceramic vessels found on the territory of Siberia find a new embodiment. Mashukov Nikolay Alexandrovich was also inspired by the themes of indigenous peoples and the monumentality of ancient art. The creativity of Irina Filippovna Vasilyeva, a textile master, can be attributed to the same period. In her works of the 1980s, she often turned to the city of Krasnoyarsk and life in it.

The period from the opening of the Institute of Arts until the 1990s can be called the "time of search" - the search for individuality, the search for opportunities for expression and image, this is the time of training of future famous masters of professional decorative and applied art. At this time, the authors are also inspired by regional peculiarities, but something new is beginning to replace the direct "citation", a rethinking of regional art is taking place. The ethnographic motif becomes the starting point of creativity, from which artists start, and not only reproduce in their works. We can talk about this period as a time when traditional styles are replaced by a new one – ethnoarchaics, which in the future will become the leading one in decorative and applied art.

Since the mid-1990s, the feature of the Siberian school has been "ethnoarchaics", based on the appeal of artists to the heritage of archaic cultures, whose monuments are located in the Krasnoyarsk Territory, Tyva and Khakassia. And here professional decorative and applied art showed itself to the highest degree of skill, especially it was manifested in the work of graduates of the Department of "Artistic Ceramics" of the Krasnoyarsk Art Institute (1987-2017), who in their work, preserving the traditions of their teachers, made a great contribution to the development of art in Siberia.

One of the graduates of the department was Sergey Evgenievich Anufriev, academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, Chairman of the Regional Branch of the USDV RAH. If we consider his early work, we can pay attention to the main positions of Siberian archeoart already developing in his art.  For example, in the work "Three Shamans", you can pay attention to the following points:

1. Appeal to the monuments and traditional cultures of Siberia: a three-part system of each element of the composition, stylization of masks and figurines of the doll-amulet pan, appeal to shamanism;

2.      Pyramidal principle of composition construction from larger to smaller forms from bottom to top, symbolism, three-part world order;

3. Appeal to natural elements: each part conditionally resembles a tree trunk ^[9].

The work of A.Ya. Migas "Cultural slice" (2017, chamotte clay, flux angobs) is interesting in this regard: images of rock paintings of Khakassia, generally accepted symbolism and giving the product the texture of wood represents the concept of "culture" as a wealth of heritage. Thus, the Siberian archaic becomes a guide to world history. Ceramic artists working in the line of archeoart, in their work through regional peculiarities show Siberia as the cradle of humanity.

In the works of Krasnova Elena Anatolyevna, the appeal to the culture of the small peoples of the Krasnoyarsk Territory is also based on the ideas of shamanism and the myths of the northern people. The decorative composition of 17 independent elements "Journey of the Soul" includes elements of the creation myth (the main element is the loon bird) and attributes of a shaman. However, the unique technique and reinterpretation of forms still allow us to speak about the comprehensiveness of the events presented and elevates the composition from the iconography of the northern peoples to universal significance.

The specificity of regional ethnography in this case lies in the development of archaic forms of ancient cultures living on the territory of Siberia. The ethnographic motif in archeoart is expressed in the artists' use of works of art, symbolism and shamanism of the indigenous peoples of Siberia in their work. However, decorative and applied art does not exhaust itself only with ceramics. Wood carving, bone carving, embroidery are actively developing in the Krasnoyarsk Territory, each of which reflects the regional characteristics of the region.

Based on the specifics of the development of decorative and applied art in Krasnoyarsk and the analysis of individual works, the following conclusions can be drawn concerning the development of the use of the ethnographic motif in decorative and applied art:

1. Quoting works of art of indigenous peoples. Such an appeal to the ethnographic motif is characteristic in the middle of the twentieth century. The artists were inspired by embroidery, ornaments and products of the Northern people and stylized their works in a similar way.

2. Reference to ethnographic features, i.e. cultural, climatic, geographical and social markers of the territory. This is manifested in the purpose of the created objects, the materials used, images of the life and everyday life of the inhabitants of the region, weather conditions. Here the ethnographic motif becomes the main artistic material and the content of the work of art.

3.      A reflection of the region as the cradle of humanity or archeoart. The ethnographic motif associated with the history and mythology of indigenous peoples becomes the starting point in the artistic image, through which the elevation of regional visual signs to symbols understandable to every person takes place.

Thus, the ethnographic motive for the development of the regional school of decorative and applied arts becomes an important element of the formation of artistic imagery. From the very beginning to its heyday, the art of applied products was formed under the influence of regional peculiarities. Individual markers of territories, embodied in the signs of the visual language, became the impetus for the formation of a whole style, which gradually entering the everyday life of the masters, becomes the leading one and forms a regional school, as for example, it happened with the Krasnoyarsk school of ceramics.

Krasnoyarsk decorative and applied art is unique: it contains a special attitude to regional history and geography, through which it reproduces universal meanings. This became possible thanks to the hard work of several generations of masters who brought up artists within the walls of art schools, colleges and the Institute of Arts, who not only absorbed the traditions of the past, but also boldly improvising, creating works capable of expressing the whole gamut of artistic skill.