Decorative art of Russian painted spinning wheels and the art of painted lacquer products in China during the Warring States of Qi Lien

Du juan Postgraduate student; Institute of Design and Arts; St. Petersburg State University of Industrial Technology and Design 199397, Russia, Saint Petersburg region, Saint Petersburg, 39k1 Korablestroiteley str. dujuan91930@gmail.com

Introduction

The beauty of lacquer products largely grows out of their colorfulness. Painting with saturated colors is the simplest method of decorating lacquer products. These objects of decorative and applied art, dating from the period of the Warring Kingdoms, were often decorated using lacquer liquids or oils of various shades. The stylistic features of the painted objects of the DPI are the object of research, and its subject is spinning wheels of the XIX century with Mezen painting and Chinese lacquer products from the Warring Kingdoms period (770 BC – 221 BC). The inhabitants of Ancient China heated untreated varnish to remove water from it. With this manipulation, it turned into a reddish-brown translucent lacquer liquid. The substance was then mixed with also translucent paint containing various vegetable oils and mineral pigments such as cinnabar, stone green, lapis lazuli, stone yellow, etc. So she turned into bright colored paints. The palette of lacquer painting during the Warring States period was very diverse: it included mainly black, red, yellow, green, gray, gold, silver. At the same time, in the famous Mezen painting of the XIX century, which glorified Russian folk art, and in the art of the Chu people about 3000 years ago, two colors were used to cover large areas – black and red. The research aims to explore this unusual artistic connection connecting time, space and different nationalities. His tasks include analyzing plots, techniques, coloristic features and methods of composition construction.

1. Russian painted spinning wheel and decorative and applied art - Mezen painting

A wooden spinning wheel is a subject of Russian traditional art, characterized by a unique national flavor, exquisite patterns and decorations, as well as a high level of knowledge of their craft by craftsmen. The combination of carving and painting is noteworthy. The spinning wheels were placed in the most prominent place in the house. They have become an indispensable item in people's daily lives. Around the 19th century, the average Russian girl had at least three spinning wheels. When she was a child, her father gave her the first one. Then, as marriage approached, he made her a second one by hand or looked for a master: ordering an extremely skillful spinning wheel – creating the best dowry. After the wedding, the husband already gave a spinning wheel to his wife. It was a symbol of family happiness. The first tool used for women's work was a sign of deep respect, also carrying the meaning of the gift of love and good wishes.

A characteristic feature of the Mezen painting is that it not only reflected the usual everyday environment and the subjects encountered in everyday life, but also embodied in the objects of decorative and applied art the ideas of the Slavs about the universe, carried a sacred meaning^[1]. Nevertheless, closer to the end of the XIX century. this value ceased to be relevant, as the masters began to adapt primarily to the taste of the buyer.^[2] The basic artistic and philosophical principles were violated for the sake of visual gain, giving the plots a more everyday touch. Some elements previously associated with cosmogony gradually acquired a purely decorative meaning^[3].Up to this point, the image had to comply with the very strict Palaszczel canons^[4], which have become fundamentally important for the entire tradition. Attention should be paid to the fact that traditional art is firmly rooted in local culture: at the moment, there are even children's institutions in Arkhangelsk^[5] that teach art crafts.

The origin of the Mezen painting is a controversial topic in Russian science. Unlike the problem of the development of Chinese lacquer products, it is explained by different versions. Some researchers believe that the compositions resemble the paintings of ancient ritual caves^[1]. Scientists mostly consider the creators of the traditional version of the Old Believers. However, the influence of the neighbors (Komi) is also noticeable^[6].

Several painted spinning wheels are on display in the collection of folk art of the Russian Museum in St. Petersburg. They are an excellent example of the Mezen painting, which was created in the Arkhangelsk province, one of the most famous fishing centers. It should be noted that the male masters worked there.^[7] The oldest surviving exhibit, which is decorated with the famous painting – spinning wheel of 1815 [fig. 1], available for viewing on the website of the Virtual Russian Museum.

The principle of tiering in the compositional structure is particularly noteworthy: the ornamental arrangement is strictly regulated. The products are very graphic, as their main artistic language is lines, silhouettes and contouring.^[2] When creating the Mezen painting, black and red (soot and ochre) were mainly used, building rhythmic patterns. Previously, paints were made only from natural raw materials: black was extracted from soot, carmine from local clay and larch resin. The painting was carried out by applying red paint to the spinning wheel first with a special wooden stick, and then with a bird's feather – in order to bring out a dark contour. To prevent the paint from fading and peeling off, the finished image was covered with a layer of drying oil – vegetable oil or resin, which gave the spinning wheel an oily golden sheen. This tradition goes back to the heritage of the Finno-Ugric tribes. Therefore, at first glance unexpected symbols such as the tree of life often appear in the Mezen painting. In the composition, zigzag and wavy lines symbolize water, dots in a square – grain, ducks – sunset, and horses – sunrise. Horses could also be associated with other manifestations of the elements: for example, with thunder.^[8] Symbolism is associated with the fact that the plots reflected the views of early Slavic farmers.^[9] The combination of a horse and a bird in traditional art can often symbolize a family.^[10] The most common theme of the Mezen painting, popular to this day^[11], even before the heyday of a rich semantic component^[12] and reflecting spiritual culture^[13], are images of horsemen and wagons, hunting scenes. This is very similar to the content of the motifs on the lacquer boxes of Chu during the periods of Spring and Autumn, as well as the Warring Kingdoms – the epochs of Chinese history about three thousand years ago. Back then, horses were used as a vehicle for characters depicted traveling, hunting, etc.

2. The art of painting lacquerware during the Warring States period in China – Qi lien

Two wooden vessels covered with layers of black lacquer were discovered at the Jingtoushan parking lot in Yuyao, Zhejiang Province of China in 2021. They have been identified as the earliest lacquerware currently in existence in China. They were created in Zhejiang in the south of Hangzhou Bay more than 8000 years ago. ^[14] The Ningshao district is the birthplace of the Chinese lacquer culture, as well as the Hamudu culture. These territories are the main region of early development and the main heir to the traditions of lacquer art. The Chinese "varnish" is written in Latin as "qiqi". In ancient times, it was called "raw varnish" (sheng varnish) and was a primitive coloring compound made directly from the juice of a lacquer tree. It was characterized by its resistance to high temperatures and corrosion, as well as its difference from modern technologies. "Qi" is a special container or casket for storing things related to lacquer ware. When creating it, special decorative techniques of folk applied art are used. This technique works successfully on a wide variety of surfaces, especially on wood, which can last for thousands of years.^[15] "Qi"/漆 is used to refer to the word "varnish", and "Lien"/奁 refers to jewelry boxes and a decorative container with a mirrored surface. The ancient Chinese used the latter when changing clothes, and also stored toiletries in it. So, Qi lien/漆奁 is a jewelry box decorated with a lacquer coating^[16]. Qi lien products first appeared during the Western Zhou Dynasty. They were small containers used to store food and good wine. The basis was copper and ceramics. During the period of Spring and Autumn, as well as during the Warring Kingdoms period (770 BC - 476 BC), with the improvement of production technology, lacquer tableware became widespread.^[17] Lacquer boxes were specially used for storing toiletries and gained popularity. It did not subside until the Ming and Qing dynasties. During the Warring States, the Qin and Han dynasties, most of the items that function as dowries belonged to lacquer ware. Their production process was complicated, and the supplies were expensive. Gold, silver, copper, porcelain, etc. were used. Lacquer boxes were a luxury item, and the exquisite patterns applied to their surface only increased the value of the thing. Only noble people, the aristocracy, could enjoy it.^[18] In 1987, an exquisite round piece of Qi lien art was discovered in the imperial tomb of Chu in Baoshan (Jingmen City, Hubei Province, China). Inside the product there were pepper, bronze mirrors, pressed powder and other means for cosmetic manipulation. This is the earliest toiletry discovered to date. The Qi lien item is a round box. The outer side of its lid is covered with exquisite lacquer painting. It is separated from the body. In the expanded form, a real panoramic picture is obtained with a length of 87.4 cm and a width of 5.2 cm. Named "Colored figures of travelers with carts and horses" [fig. 2], the casket is a reference work of the pre-Qin era, in which by now archaeologists have discovered the largest number of colors. The characters are completely painted in black lacquer.^[19] Mainly there is coloring with cinnabar, red, muted brown, brown, emerald green, ochre, white and other colors. The product demonstrates flat painting and a tendency to linearity. The parts are connections of hooks and dots. The patterns depict horses, horsemen and carts. Their rhythm is created by several concentric circles covering the lid. Geometric patterns with diamonds, images of birds with anatomical distortions for decorative effect, motifs of cirrus clouds, etc. are applied on the outer wall of the case. In the central part, the viewer can see carts and horses. There are 26 characters, 4 chariots, 10 horses, 9 geese, 1 pig and 2 dogs. These are scenes from the daily life of the nobility of the state of Chu during the Warring Kingdoms period: one autumn, Shang Dafu A (the owner of the tomb) went to visit Shang Dafu B. The journey took place in a chariot, ending with a warm welcome.

During the Warring States period, the Chu people participated in daring experiments. The decorative patterns of the Warring States period often depicted real-life creatures: relatively picturesque human figures, birds and horses, which turned from static compositions into vivid examples of dynamic movement.^[20] The masters of Chu introduced innovations in the painting of lacquer products. For example, composition (fig. 3): five interconnected groups in the image are separated by five trees. The sequence of the narrative is observed, the transitions of which become similar to the principles of building modern comics. Act One: the master of the tomb rides a horse, and the servants kneel to escort him. The horse is followed by an entourage, and then a lady in a carriage drawn by two elegant steeds. In front of the viewer is a grandiose scene of an aristocratic journey. Action two: the group has started an active path. Two wild geese have been added to the sky image to emphasize the movement. Act three: the transition between two trees. Pigs and dogs are present, indicating a peaceful and happy atmosphere. Act Four: The owner of the tomb has arrived at his destination, and people greet him. Act five: the master and his wife greet the subjects and head towards the point they need. In the work depicting travelers on chariots, a long composition is used-a scroll with a horizontal movement of the viewpoint. It is based on the round shape of the object. It can be said that this is the first set of stylistic features preserved for subsequent generations. Scholar Shao Xuehai believes that the meaning embodied by Qi lien in this case is culturally comprehensive and artistically extensive. Firstly, the artists of the Chu state were able to truly depict everyday life, vividly expressing its dynamics and the expression of characters through concise and generalized images. Secondly, in Qi lien one can see the master's ability to work with space. Thirdly, the researcher suggests that the art of Qi lien became the progenitor of the long scroll form in Chinese painting.^[21]

The Qi lien product depicting carts, horses and people from the time of the Eastern Jin Dynasty (317-420 AD) was discovered on the territory of the railway station of the Xihu district in Nanchang city in 1997 (fig. 4). The walls of the container are made of bamboo, and the bottom is wooden. It has a round shape, a height of 13 cm and a diameter of 25 cm. The exterior depicts a traditional plot. The background color is black. The golden lines serve to outline the characters and crew. The work highlights the painting of a planar nature using cinnabar and ochre. On each side there is a man driving a cart, and 15 escorts lined up in a straight line. There are many characters on the product that enhance the grandiose scene of the nobility's journey. They have great clothes, vivid images and a healthy look. The edges are bordered by repeating ornaments and patterns of clouds. The contrast of black and red colors plays a significant role in the work. The pattern on this example of Qi Lien's art continues the so-called "cheerful picture" of the life of the state of Chu. He is relatively independent, and the willow in the composition actually plays the role of a connecting link, making the plot transitions natural and realistic. The technique of scrolling a long composition with horizontally shifting viewpoints is used. Researcher Cui Renyi once remarked: "We assume that the main character of the work does not just greet guests. The painting is dedicated to the moment when they arrive, glorified by the messengers, while the owner greets the ambassadors. The scene has nothing to do with the rules of etiquette. This does not quite correspond to the ethical code when two gentlemen meet, so there is no such plot in the image."^[22] Scrolling instantly connects visual images with scenes of everyday life, which organically move through time, giving viewers freedom of artistic imagination. In other words, until there is a clarification of the sequence telling where the figures came from and how their path will develop, the recipient can freely interpret the image. He has the opportunity to present an aesthetically appealing scene so that it is close to his actual life experience.

Yang Hong in the "Preliminary Study of paintings from the Warring States Period"^[23] and researcher Pi Daojian analyze this composition in the "History of Art of Chu"^[24]; The archaeological team of the Sand Railway also scientifically discusses it in the study "Lacquer products from the tombs of Chu in Baoshan"^[25]. Based on the study of Qi lien subjects, most Chinese scholars believe that the art of Qi lien (and specifically Qi lien, which flourished under the Eastern Jin), whose monuments were found in tomb No. 2 in Baoshan, represents a kind of ethical code for the nobility traveling during the Warring States period.

Conclusion

Geometric shapes such as a square and a rhombus are actively present in the Mezen painting. There are also pronounced animalistic and vegetative motifs in it. Together they create Slavic images with a unique local flavor, telling stories rich in cosmogonic meanings about the life of the earth, sky and forest. In the art of Qi lien during the Warring States period, compositions similar to modern comics were used to demonstrate plots about the luxurious travels of the nobility. The theme of aesthetically sublime everyday life brings them closer to the Mezen painting of the late 19th century. Trees were skillfully used to zone scenes, and flying geese, jumping pigs and dogs were used to enhance the impression of artistic reality. The characters could move or sit, adjust the horses. Their clothes fluttered freely next to branches swaying in the wind and four-legged companions barking nearby, which together formed a fresh and timeless picture of life, full of dynamics, narrative coherence and characterized by high artistic value. Both cultures used images of horses more often than other animals. Although the stylistic features of the Mezen painting and Qi Lien art of the Warring States period may seem crude at first glance, they equally accurately convey the features of reality. The two areas of art are united by external primitivism, and from a technical point of view, the flatness of painting, the frequent use of wood, the reinforcement of compositions with contrasts, selective linearity and contouring, the use of pure colors, warm shades are highlighted. There is a noticeable desire for a narrative fixation of the exquisite moments of human existence, high plot aspirations. In both cases, the function of the dowry is important. The way the products are decorated gives them a special vitality and charm in the details. It reflects the taste preferences and artistic enthusiasm inherent in the life of the Chu people during the Warring Kingdoms period and the Russian people of the XIX century. This is of great importance for studying the converging Chinese and Russian culture, its customs, social trends and features of everyday life.

Illustrations

1. Spinning wheel. The end of the XIX – beginning of the XX century. Wood, Mezen painting, 103 x 24 x 59 cm. Arkhangelsk province. The State Russian Museum.

2. Qi Lien "Colored figures traveling with carts and horses", 316 BC, Hubei Provincial Museum.

3.Qi Lien Side view "Colored figures traveling with carts and horses", 316 BC, Hubei Provincial Museum.

4. Qi lien wooden container depicting carts, horses and people, Eastern Jin Dynasty, 317-420 AD, Nanchang Municipal Museum.