The social and professional heroism of the ceramic artist. The creative and pedagogical path of Pavel Alexandrovich Pakharukov

Ivlev Nikita Nikolaevich PhD in History Associate professor, Department of Socio-Humanitarian and Psychological-Pedagogical Disciplines, South Ural State Institute of Arts Named After P. I. Tchaikovsky 454084, Russia, Chelyabinsk region, Chelyabinsk, Embankment str., 16A, sq. 46 Ivleven.n.n@mail.ru Other publications by this author

Speaking about the importance of research at this level, we consider it necessary to mention the position of R. P. Repina, Doctor of Historical Sciences, Professor, Corresponding Member of the Russian Academy of Sciences: "... it is in the history of individuals that there is an opportunity to find a guiding thread between the micro and macro worlds in their historical dimension, to 'humanize' global history. The ways of integrating microhistoric research into larger-scale canvases of regional and world history are presented to historians in different ways, but the results of such a combination exactly agree on one thing – in the approximation of macronarratives to "people in history".^[1]

Outstanding figures of culture and art are always part of the heroic paradigm of any culture, the results of their creative activity are a spiritual support for both an individual and an entire nation, preserve ethnic identity and national identity, reflect the peculiarities of historical processes and the change of cultural paradigms.^[2]

Heroization in the professional sphere refers to the universal characteristics of the heroic paradigm. The motives for heroic behavior in this case are within the scope of official duties. Labor heroism can occur in all areas of professional activity: in science, education, art, politics, sports, manufacturing, and many others.

A professional is a person who is engaged in any business as a specialist who owns a profession; a master of his craft. Professionals are traditionally contrasted with amateurs, that is, those who conduct any activity by vocation, hobby or inclination. Heroism in the professional sphere is a phenomenon that has been described by many researchers of the phenomenon of heroism. Thus, V. D. Plakhov identifies a special heroic type – the hero of the master, whom he describes as "a man who has achieved outstanding results in his field of work, in the business to which he devoted his life."^[3]

Heroization in the professional sphere presupposes that the professional hero (hero-master) becomes the person who has achieved outstanding results in his professional activity and has received public recognition. ^[4]

Socially heroic deeds are conscious actions performed in the name of a certain value or belief. "These are noble goals, service to one's people or chosen profession, a constant, continuous search for truth, a feat in the name of freedom and life, in the name of peace and justice on Earth."^[5]

Another type of heroism is a "personal hero", which is defined as an inspiring and motivating person, not necessarily known to the general public, who is a model personality for an individual, whose ideas are determined by personal experience and a subjective assessment of behavior that can be considered heroic in connection with sacrifice and dedication. Parents, relatives, friends, and teachers can acquire the status of a personal hero.^[6]

The pedagogical skill of the personal hero, the teacher–mentor, ensures the achievement of the main goal of pedagogical influence: the development of students' creative abilities, the education of aesthetic taste, general culture, as well as the formation of the inner world of a growing person, the disclosure of his inner individuality.

The hero of our research, Pavel Alexandrovich Pakharukov, was born on January 16, 1981 in a small mining town in the Chelyabinsk region, Yemanzhelinsk. Pavel Alexandrovich spent his childhood and youth in the village of Zauralsky, which is located next to Yemanzhelinsky. The third child in a simple Soviet working-class family. According to Pavel Alexandrovich's memoirs, the love of creativity was instilled by his older sisters.

Vera Ivanovna Svetkina became Pavel Alexandrovich's first teacher-mentor during his studies at the Trans-Ural Secondary School No. 3 (1994-1998). As a student of the Trans-Ural Art School No. 3, Pavel Alexandrovich often came to exhibitions and competitions at the Emanzhelinsky Children's Art School. Yemanzhelinsk has always remained his hometown.

After graduating from high school and the children's art school, Pavel Alexandrovich decided to pursue himself in the field of art and applied for the department of decorative and applied arts - "Artistic Ceramics" at the newly opened branch of the Chelyabinsk Art College in the city of Korkino.

In 1998, thanks to the efforts of the teachers of the art department of the Korkin Children's Art School and the administration of the Chelyabinsk Art College, a branch of the Chelyabinsk Art School for artistic ceramics was opened in the city of Korkino.

One of the "founding fathers" and the ideological inspirer of the Korkin ceramics department was Arthur Gildebertovich Follenweider. A man with a difficult fate. The son of hereditary teachers, ethnic Germans, exiled to Kazakhstan at the outbreak of the war, and then to the Urals. He decided to continue the family tradition of teaching, finding in it the realization of his second passion – for art. Creative energy and incredible charisma allowed Follenweider to unite the forces of ceramic artists and decorative painters of the city of Korkino. Follenweider has been involved in teaching for more than three decades. Selfless love for children, for art, and maximum dedication in their work did not keep them waiting for results: young artists took an active part in competitions, in various levels of domestic and foreign children's exhibitions and festivals, and brought home high awards. In our country and beyond, there are many artists of various specialties who gratefully remember Arthur Gildebertovich and are proud to call him their teacher.^[7]

According to Pavel Alexandrovich's memoirs, the educational process at the art school was very dynamic and aimed at teaching future ceramists to think like an artist, to be able to plan their work, and only then, with the help of acquired skills, to carry out their plans. The students were already full-fledged specialists, craftsmen with a wide range of skills and abilities in gypsum modeling, molding on a potter's wheel, painting with basic materials for decoration, knowledge of academic disciplines and technology.

Final qualification work of P. A. Pakharukov upon graduation from the Korkinsky branch of the Chelyabinsk Art College

The combination of thorough industrial training and creativity contributed to the creation of a unique educational process, which allowed for the short period of the department's existence to form several dozen real professionals, of whom the vast majority remained in the profession, continued their studies at creative universities in the country or began active work in the field of art. Pavel Alexandrovich Pakharukov became one of the best graduates of the Korkin branch of the Chelyabinsk Art College.

After receiving a diploma of secondary vocational education in 2002, Pavel Alexandrovich entered the Krasnoyarsk State Art Institute at the Department of Artistic Ceramics.

The formation of the Krasnoyarsk (Siberian) School of Ceramics began in 1978, when the Department of artistic ceramics was opened at the Krasnoyarsk State Institute of Arts. The first edition took place in 1983. For 30 years, the department was headed by the artist, ceramist, teacher Alexander (Ales) Yakovlevich Migas.

Over the years of continuous teaching activity, hundreds of masters, laureates of international and All-Russian competitions, members of the Union of Artists of the Russian Federation, and bright original craftsmen have come out of the ceramics department's workshop. Many of the graduates are well-known not only in Russia, but also abroad. The Krasnoyarsk school of artistic ceramics is characterized by the desire to combine various creative traditions – ornamentation and mythological foundations of the indigenous peoples of the north, rock carvings of the Khakas, an ancient layer of pagan culture with an interweaving of shamanism, Orthodox and Muslim images. Teachers, mentors and students were constantly searching for new forms reflecting the spatial and semantic organization of the created works.^[8]

The artists' constant search for their unique and recognizable texture led to such experiments as, for example, the effect of water droplets on the outer layer of the dried surface of an unfired product, which created the effect of a kind of etching or corrosion, not man-made.

The search for an ideal and man–made texture is the super-ideal of A. Ya. Migas. Its essence was that the beauty of an almost wild, untreated slice of a piece of clay is the primordial essence of the texture of the material. And when creating an artistic image, the master must remember this essence, strive to reveal it when working with the surface. Not to copy, not to imitate completely, but to remember that this is the peculiar soul of clay. And it is different for each species, for each deposit.^[9]

Pavel Alexandrovich completed his studies with a thesis – a complex monumental pottery composition "Constructive Ceramics"

Final qualification work of P. A. Pakharukov upon graduation from the Krasnoyarsk Institute of Arts

In 2007, after graduating from the Krasnoyarsk Institute of Arts, Pavel Alexandrovich Pakharukov returned from Siberia to his small Homeland, the Southern Urals, and actively engaged in creative and teaching activities.

Since 2013 Pavel Alexandrovich has been a lecturer at the Department of Decorative and Applied Arts and Folk Crafts of the Faculty of Fine Arts of the South Ural State Tchaikovsky Institute of Arts. The Faculty of Fine Arts became the direct successor of the Chelyabinsk Art College, which Pavel Alexandrovich graduated from in 2002. A year before his employment, in 2012, the school joined the structure of the South Ural Tchaikovsky State Institute of Arts and acquired the status of the Faculty of Fine Arts (FII).

Pavel Alexandrovich's students create worthy ceramic works of art in various techniques on their way to mastery, many works are prize-winners and diploma winners of regional and All-Russian exhibitions and festivals. In 2019, an exhibition with the concise title "Pakharukov and Students: Constructive ceramics" was organized, presented in the Art Literature Hall of the Chelyabinsk Regional Universal Scientific Library. The exhibition featured traditional utilitarian tableware and decorative compositions.

Young artists, Pavel Alexandrovich's students, form their own recognizable style. For some, it is based on ancient Greek motifs, Russian mythology, variants of folk clay crafts with a unique Ural flavor, for others – animalism and floristry.

Currently, Darya Vladimirovna, a graduate of Pavel Alexandrovich – Zhuravleva, is a teacher at the Department of Decorative and Applied Arts and Folk Crafts at the Faculty of Fine Arts of the Tchaikovsky Law School. Following the example of her teacher and mentor, Darya Vladimirovna is actively engaged in creative activities.

In 2021, Daria Vladimirovna became the first degree laureate in the Self-Portrait category of the Artist's Cosmos Symposium. The symposium on overglaze painting was organized by the Ceramics Department of the Siberian State Institute of Arts named after D. Hvorostovsky.

In 2022, Daria Vladimirovna won the title of the II degree laureate at the regional competition "Living Fire", which was held at the site of the historical reconstruction park "Gardarika". More than 30 masters of artistic ceramics from the Chelyabinsk and Sverdlovsk regions competed in the production of ceramics in various firing techniques. Ceramicists competed in firing using the Japanese "raku" technology, as well as in making works using the sgraffito technique, when the drawing is literally scratched (sgraffito in Italian) on the top layer of ceramics.

Darya Vladimirovna remembers the time of her training as a ceramic artist as a time of discovery and endless search for more expressive artistic images. Pavel Alexandrovich instilled the order of work: deep immersion into the theme of the work, consistent elaboration of the idea and the embodiment of the completed image in ceramics.

Pavel Alexandrovich's other student, Olesya Sergeevna Grabatoshina, continues to realize herself in creative and pedagogical activities after graduation. Olesya Sergeevna is a participant of youth regional exhibitions, winner of regional and regional competitions. Olesya Sergeevna, remembering her studies, notes that the main thing Pavel Alexandrovich taught her was patience. "No matter what technique you master, it is important to understand that there will be no quick results in ceramics. The first experience of being a potter in the first year immediately makes it clear to the student that only with practice can a ceramist reach the heights of mastery. For all four years of my studies, Pavel Alexandrovich guided and supported me, discovering more and more new techniques, which I patiently mastered, driven by the desire to achieve mastery," recalls Olesya Sergeevna.

Irina Zamyslova is another talented graduate of Pavel Alexandrovich Pakharukov. After receiving secondary professional education, she graduated from South Ural State University with a degree in Technology of Artistic Processing of Materials. Currently, Irina Olegovna is a member of the teaching staff of the additional education institution "Istoki". She was awarded diplomas for her participation in the forums "Development of creative abilities in the Federal State Educational Standard" and "Teachers of Russia: methodical association". Irina Olegovna recalls that under the guidance of Pavel Alexandrovich, she mastered the basic skills that she now passes on to children, developing their imagination and love of creativity.

His professional interests include artistic ceramics, sculpture, and graphics.

In addition to teaching, Pavel Alexandrovich is engaged in public and educational work, cooperates with the Chelyabinsk State Center for Folk Art, carefully preserving the traditions of centuries-old culture.

Master classes

Pavel Alexandrovich shares his knowledge and skills not only with students. He regularly conducts master classes in artistic ceramics at various venues in the city and region, some of which he conducts together with his students.

Master classes are the most important mechanism for creating unique conditions that contribute to the formation of a positive attitude of adolescents towards future self-determination by means of decorative and applied arts. The advantage of this form is the direct interaction of the master and the student, the transfer of experience and skills directly without intermediaries, while not violating the creative nature of the product. ^[10]

The importance of master classes in decorative and applied arts in the field of professional self-determination is very great: there is an important exchange of values between the master and the students, and the latter develop not only skills of working with materials and equipment of the ceramist, but also a correct attitude to cognition of the surrounding reality. ^[11]

Pavel Alexandrovich conducts his master classes on an ongoing basis, trying to cover as many cities of the Chelyabinsk region as possible. In this article, we will focus on the master classes held in 2022-2024.

In 2022, during the exhibition "Wood and Clay: from project to object", a master class in ceramics was held for students of the N. A. Aristov Art School in Chelyabinsk. Pavel Alexandrovich Pakharukov conducted a tour of the exhibition and a master class in artistic ceramics: the school's students mastered the technique of making graphic drawings on saucers using the sgraffito technique, making clay whistles, as well as working on a potter's wheel. The master class was conducted jointly with fourth-year students of the Department of Decorative and Applied Arts.

It was not the first time that many young artists of the Moscow Art School attended Pavel Alexandrovich's master class. The well-honed, professional movements of the hands that create a particular ceramic product are inspiring. Pavel Alexandrovich, having the ability to find a common language with children of different ages, easily copes with the task of engaging and explaining the subtleties of pottery in an accessible way. The process of making ceramic products under the supervision of an experienced craftsman allows each child to feel like a real ceramicist.

A series of master classes in 2023 began in April at Pavel Alexandrovich's native children's art school in the city of Zauralsk. The artist conducted a pottery workshop for students of the art department. Pavel Alexandrovich held his next ceramics master class here on October 19, 2023. A master class on ceramics "Decoration of clay products by scratching" was held for students of the art department. The master prepared samples of clay dishes: pots, jars and plates. Each student selected a product, applied a drawing and scratched an ornament. Pavel Alexandrovich always pays great attention to working on a potter's wheel, explaining in detail the method of making a product.

Already on October 31, 2023, Pavel Alexandrovich held a master class on working on a potter's wheel at the children's art school of the city of Yuzhnouralsk. He showed how clay is prepared, explained the algorithm of work from the basics to the creation of the product. The master of artistic ceramics himself masterfully handled the pottery wheel, creating more than one product that would later serve as exhibits for productions. All the teachers of the art department of the school worked on the potter's wheel, gained new knowledge and skills.

On November 4, 2023, the A. F. Vedernikov Museum of Local Lore in the city of Yemanzhelinsk became the venue for the master class "Plastic Images". A special feature of Pavel Alexandrovich's approach is working with local materials – clay from Chelyabinsk deposits. The Chelyabinsk quarry clay contains a lot of sand. Therefore, products made from it after firing are more durable. Despite the fact that the process of making clay molds is very laborious and painstaking, for Pavel Pakharukov, working with ceramics is a pleasure.

On November 7, 2023, Pavel Alexandrovich once again visited future artists studying at the N. A. Aristov Children's Art School in Chelyabinsk. At the master class, the children were able to feel the clay and try to learn how to make the most ancient children's toys out of it – clay whistles. The teachers of the school share their impressions of the event and note: "... in the hands of children, under the guidance of the master, birds, dragons, and elephants came to life. And with the help of a potter's wheel, they made their first pots and jugs. It just seems like it's that simple. In fact, clay has a difficult character, and it tends to slip out of your hands. One awkward movement – the wall broke! It'll take a hundred sweats to tame her. But Pavel Alexandrovich is a great master. He literally took my hand, showed me, explained, and helped. And here is the result – a pot, a plate, a milk jug, a vase! The children and the master were very satisfied. After all, these skills will stay with them for the rest of their lives!"

The last master class, at the time of writing this article, was held on March 26, 2024. It was held in the exhibition hall of the city of Korkino as part of the opening of the large exhibition "Planet of People. A shadow flanked by light." The participants of the exhibition held several master classes and creative meetings for students of the Korkin School of Art. Pavel Alexandrovich Pakharukov taught the work on the potter's wheel to children of the younger age group (1st grade), he was helped by first-year students of the Department of Decorative and Applied Arts of the Faculty of Fine Arts named after P. I. Tchaikovsky – Victoria Drozdova and Victoria Ryazantseva, who tried their hand as mentors and teachers.

Exhibitions and creative activities

Pavel Alexandrovich started his exhibition activity back in art school. Participated in the International Exhibition of students of the Raduga Secondary School (1998, Hungary). During his studies at the Chelyabinsk Art College, Pavel Alexandrovich also participated in regional exhibitions of young artists in 2000 and 2001, which were held in the city of Chelyabinsk. In Krasnoyarsk, Pavel Alexandrovich acquired his own style, performing works in the technique of manual molding behind a potter's wheel. In 2003, he took part in the exhibition "Yenisei Starfall", which was held in the exhibition hall of the Ural, Siberia and the Far East branch of the Russian Academy of Arts in Krasnoyarsk. In 2005 he participated in several exhibitions in Krasnoyarsk: "Urban Romance", "Siberian Rainbow", "Youth and Science: the third millennium".

Pavel Alexandrovich's works are distinguished by recognizable plastic solutions. They contain many technically complex elements that demonstrate the author's high level of skill (see Appendices).

The decorative composition "Sea voyage", made in the modeling and molding technique, impresses with its sophistication (see Appendices).

The constructive pottery sculpture "Warrior" is a recognizable stylized image of rotating bodies, a very precisely selected spectacular glaze enhances the impression, it seems that the sculpture is made of metal.

Spectacular glazes are the most complex and promising material in modern artistic ceramics. A wide range of color shades, special effects (from crackle to crystal glazes), degrees of transparency and glossiness, and different temperature possibilities allow the artist to express himself and his ideas. Modern ceramic artists are increasingly creating works that are not applied at all, but artistic, in which functionality does not prevail, but rather the formulation of more global creative, philosophical issues. Such works fulfill the tasks of high art. ^[12]

In 2016, Pavel Pakharukov's solo exhibition with graphic artist Olga Grazhdankina "Meanings: Contamination" took place. Contamination is a mixture, a contact, literally – the emergence of a new semantic unit from separate but related elements. The contact of paint and a blank sheet, an impression and a stroke, clay and rotation. This is always an attempt to create a third out of two existing facts, which contains the meanings of the preceding ones. All the works of the exhibition "Meanings: Contamination" are the result of a continuous search for the final result. The exhibition itself is the story of the emergence of meaning from the combination of the works of a sculptor and a graphic artist, their interaction in one space. As soon as Olga Grazhdankina's sliding graphics, "voiced" with a stroke, enter into a dialogue with Pavel Pakharukov's metaphorical decorative ceramics, the woman from the graphic sheet and the woman from clay describe the same human being, perhaps in a different state, but definitely in the same world.

Joint installation by O. Grazhdankina and P. Pakharukov at the exhibition "Senses of Meaning"

The limit of the search is a joint installation by two artists, in which this search is not stopped, but delegated to the viewer: here and now he has to come up with an idea, complete the composition, giving it a name, discovering his own meaning. The installation of bamboo rods, woolen thread, and fragments of other materials is the most unexpected and fearless work of the two artists.

Pavel Pakharukov and Olga Grazhdankina are graduates of the Krasnoyarsk Art Institute, they studied other techniques and are now teaching themselves: both teach at the Faculty of Fine Arts at the South Ural Tchaikovsky Institute of Arts. The large–scale installation is a joint experiment, a search for a new language for Grazhdankina and Pakharukov, a common and consistent language that conveys movement from idea to meaning.

At the exhibition, all of Pavel Alexandrovich's works were made using the technique of hand molding behind a potter's wheel. Abstract decorative objects were complemented with spectacular glazes, salts and metal oxides. The influence of the Krasnoyarsk School of Ceramics can be traced in this style of work. Constructivism, competent work with texture, characteristic of Siberian ceramists, is reflected in the works of Pavel Pakharukov.

In 2017, Pavel Alexandrovich presented his works at the Invasion exhibition, which was held at the Museum and Exhibition Center of the State Historical Museum of the Southern Urals. The exhibition was dedicated to the events of 1917 and the revolution itself. Using various artistic techniques, Pavel Alexandrovich tried to express his attitude to the events of that time through an artistic image. The works of the authors were united by the perception of the revolution as something alien, invading, breaking the foundations and ruining lives. Pavel Alexandrovich decided to show the most terrible side of the revolution – armed clashes.

The work "On targets" is made in an exquisite pottery technique. These are stylized historical military weapons. The work looks dynamic, the main element of the composition is a torus, a figure that is quite complex in technique. This element is often found in the works of Pavel Alexandrovich. The natural terracotta color of the red clay from the Chelyabinsk deposit does not distract the viewer from analyzing the complex multi-layered composition (see Appendices).

The form in Pavel Pakharukov's work always comes first. Color is used only as an auxiliary element that gives the image a certain mood.

In 2021, Pavel Pakharukov took part in the exhibition "Over the Sky", dedicated to the 60th anniversary of the first human spaceflight. The exhibition is dedicated to the history and philosophy of space exploration, changing the worldview, realizing dreams and new mysteries of the universe. At this exhibition, Pavel Alexandrovich, in addition to the pottery sculptures characteristic of his work, showed himself to be an experienced shaper, creating the "Test Pilot" series. The dynamic composition of small sculptural plastics gives the impression of weightlessness. This effect is very difficult to achieve in ceramics, since there is a high risk of deformation of the product during drying and firing. In order to reduce the likelihood of marriage, stable sculptures are usually made in majolica ceramics.

In 2022 Pavel Alexandrovich became the winner in the All-Russian competition of folk craftsmen "Rus Masterovaya" in the pottery nomination. It was the first time he took part in the Rus Artisanal competition. According to the master, the idea, according to the theme of the show, "The power of traditions of the peoples of Russia," was born quickly and did not change during the implementation process. The decorative pottery composition "Makosh – patroness of crafts" is based on the compositional element of traditional embroidery (female image), symbolizing Makosh. The entire competitive product consists of layers and details that carry deep meaning, which the author explained in his abstract.:

- The stand is a symbol of water, the beginning of life and its continuation;

- A bird (a bird) is a symbol of a family hearth and a happy union (paired image);

- The female figure – the symbol of "Makosh" is the strongest female amulet: the Goddess of fate, the Great Mother, the Ancestor and Patroness of crafts. A symbol of life, the origin and continuation of the human race. A traditional theme in the work of artists, signifying the continuity of generations;

- Abundance (cornucopia) – gifts (symbol) of the fertile Mother Earth; traditions of hospitality;

- The horn (headdress) is a symbol of cosmic connection with the universe;

- Fire (candle holder, candles) is a symbol of the flame of the soul, human labor, a trace of earthly, eternal memory, glory to the gods.

Pavel Alexandrovich suggests that initially in Russia, women were engaged in stationary crafts (spinning, weaving, making clothes), therefore, patronage in craftsmanship is traditionally attributed to a female deity. In Slavic mythology, Makosh was called the wife of Veles and endowed with a whole set of functions and important roles: the goddess of universal destiny, the goddess of fertility, responsible for the harvest, the goddess of magic and sorcery, the protector and patroness of housewives, needlework, creativity, mistress of wildlife, the progenitor of the world, the Virgin, the goddess of heaven, water, earth and mother-nature, the giver of life.

The technique of performing the competition work was the traditional pottery hand shaping from clays of Chelyabinsk deposits (Poletaevo district, Uvelka settlement). The prototype was the traditional wooden utensils (scopkar, rook, duck, bratina, endova). The three-dimensional clay figure is a stylization of an embroidery element. The product complements traditional angoba decoration with techniques of sgraffito, franding (A ceramic painting technique where the master moves or mixes drops of angoba with a sharp stick or pen, resulting in a characteristic unique pattern or pattern), which also serves as a reference to traditional embroidery on fabric.

The decorative pottery composition "Makosh – patroness of crafts" vividly demonstrates a characteristic feature of Pavel Alexandrovich's work: deep immersion in the theme. This helps him create thoughtful works that are complex in their meaning and execution technology.

In the same year Pavel Pakharukov won the VIII All-Russian contest "Ural Artisan" in the nomination "Pottery".

The competition work was the pottery sculpture "Wheel of Life", which, like "Makosh", is filled with deep symbolism. The theme of the contest "Towards the origins" gave an impetus to the idea of work: movement, life and dynamics.

"I chose classical elements for folk crafts," says Pavel Pakharukov. In his work, the master combined two images from Indian and ancient Greek mythology. The wheel is a symbol that means the cycle of birth and death, an endless cycle in time and space. The sculpture embodies the idea of the ancient Hindus about the reincarnation of the soul after death into a new body. Pavel Pakharukov decided to implement such a complex idea. The basis of the future sculpture was made up of several components – a torus, a cylinder and an alum vessel, joined together in a complex multi-layered composition.

Pavel Alexandrovich has been a member of the Union of Artists of Russia since 2011, an active participant in competitions, exhibitions and festivals, a prize–winner of art events and exhibitions at regional, city, All-Russian and international levels, is a member of the jury of the All-Russian Bazhovsky Folk Art Festival. From 2014 to 2016, the chairman of the jury of the competition program "Danila Cup-master" has been participating in competitions for many years as a member of the jury of the Regional competition "Ural Artisan", "Master of the Urals", a member of the expert council "Ural decorations".

It is difficult to overestimate Pavel Alexandrovich's contribution to preserving the traditions of the most ancient folk art, to the development of pottery, to the popularization of this type of decorative and applied art, and to strengthening the bond between generations in art education.

"A frozen moment," we say, and we mean a photograph. "A frozen moment," the artists of the late 18th century said and implied... ceramics.

A moment, a moment of our life, can become frozen. Frozen in ceramics, in graphics, in sculpture. But not in the continuity of experience, knowledge and skill! The experience of the masters of previous generations helps representatives of the new generation not to stand still, not to degrade, but to move forward, preserving and developing the traditions of decorative and applied art, following the example of artists such as Pavel Alexandrovich Pakharukov!

* The study was funded by a grant from the Russian Science Foundation and the Chelyabinsk Region No. 23-28-10278, https://rscf.ru/project/23-28-10278 /.

Applications

Pottery compositions by Pavel Pakharukov

"Sea trip". Decorative composition, 2016

"On targets." Pottery composition, 2017

Torus and stylized historical military weapons. Pottery composition, 2017