Khokhloma- an old Russian folk craft, born in the 17th century in the district of Nizhny Novgorod. The painting is done in red, green and black on a gold background. The traditional elements of Khokhloma are red juicy rowan and strawberry berries, flowers and branches. Often there are birds, fish and animals.

Gzhel- one of the traditional Russian centers for the production of ceramics. The word "Gzhel" comes, perhaps, from "burn". For the first time, the Gzhel area is mentioned among others in the spiritual writing of Ivan Kalita. The colors of Gzhel painting are juicy blue, bright blue, cornflower blue, color.

Zhostovo painting - folk craft of artistic painting of metal trays, existing in the village of Zhostovo, Mytishchi district, Moscow region.
The painting is usually done on a black background, sometimes on red, blue, green, silver, and the master works on several trays at once.
The main motif of the painting is a floral bouquet of a simple composition, in which large garden and small wild flowers alternate.

Mezen painting - one of the most ancient Russian art crafts. Its origins are lost in the distant centuries of the initial formation of the Slavic tribes.
The main motifs are geometric ornaments - solar discs, rhombuses, crosses - reminiscent of similar elements of trihedral-notched carving. Available in two colors black and red. The painted object was covered with drying oil, which protected the paint from erasing and gave the product a golden color.

Gorodets painting - Russian folk art craft. It has existed since the middle of the 19th century in the area of ​​​​the city of Gorodets. Gorodets masters used a peculiar technique - inlay: the figures were cut out of wood of a different breed and inserted into a recess corresponding in shape. Inserts made of dark bog oak stand out in relief against the light surface of the bottom. Thus, having only two shades of wood and a simple tool, craftsmen turned the surface of the bottom board into a real picture. Later, masters began to use tinting for fine richness, a bright combination of yellow with dark oak, the addition of blue, green, red colors made the bottom even more elegant and colorful.

Permogorie- this is a pier on the highest, mountainous bank of the Northern Dvina. The villages of Bolshoi Bereznik are located 4 kilometers from it. These villages, united by the common name Wet Evdoma, were the center of Permogorsk painting.
The basis of the Permogorsk painting is a floral pattern. Three-lobed, slightly curved leaves with sharp tips and tulip-shaped flowers are strung on flexible shoots, reminiscent of the ancient krin flower. Among them are bushes made of rounded leaves, sirens, elegant fabulous birds. In the folk paintings of the Permogorye of the 19th century, various genre scenes from peasant life usually fit into the floral pattern on almost all household items.

Khokhloma -

Painting on wood, in which rowan and strawberry berries, flowers and branches, and sometimes birds, fish and animals are applied in bright colors on a black lacquer background. The name of the style comes from the Nizhny Novgorod district of the same name. The main items on which Khokhloma is applied are dishes, furniture, figurines, nesting dolls.

Gorodets painting -

Painting on wood, in which genre scenes from the life of Russian merchants, as well as animals and flowers, are depicted in rich colors on a golden background. The name of the style comes from the city of Gorodets in the Nizhny Novgorod region. The main items on which Gorodets painting is applied are chests, spinning wheels, children's furniture.

Painting on ceramics, in which floral ornaments of different shades of blue with curls are drawn on a white background. The name of the style comes from the Gzhel Bush district, it is formed by 27 villages in the Ramensky district of the Moscow region. The main items on which Gzhel is applied are dishes, vases, figurines, teapots, cutting boards, nesting dolls.

Fedoskino painting -

Painting on wood, in which portraits of people are depicted on a black lacquer background. At the same time, reflective material is applied to the base - metal powder, gold leaf, gold leaf, mother-of-pearl, which gives the work a glowing effect and depth. The name of the style comes from the village of Fedoskino near Moscow. The main items on which Fedoskino painting is applied are chests, caskets, boxes, album covers, eyeglass cases, wallets, Easter eggs.

Painting of the Northern Dvina -

Painting on wood, in which fairy-tale characters and plants are applied in red and orange colors on a yellow background. The name of the style comes from the Northern Dvina River, which flows in the Komi Republic, the Arkhangelsk and Vologda regions. The main items on which the painting is applied: dishes, chests, caskets, headrests.

Kama painting -

Painting on wood, in which images of plants and animals are drawn with red paints on an orange background. The name of the style comes from the territory adjacent to the Kama River in the Perm Territory. The main objects on which the painting is applied are furniture, doors and walls of the house.

Zhostovo painting -

Painting of metal trays, in which simple compositions of large and small flowers are depicted on a black background. The name of the style comes from the village of Zhostovo, Moscow region. The main items on which the painting is applied: a variety of trays.

Mezenskaya (Palashchelskaya) painting -

Painting on wood, in which the unpainted background is covered with an archaic fractional pattern - stars, crosses, dashes. They are drawn in two colors: black - "soot" and red - "earth paint". The traditional elements of the Mezen painting are solar disks, rhombuses, crosses. The name of the style comes from the Mezen River, which flows in the Arkhangelsk region and the Komi Republic. The main items on which the painting is applied: spinning wheels, ladles, storage boxes, brothers *.

Painting on wood, in which the themes of Russian folk tales or historical events are depicted against a dark background. The name of the style comes from the village of Palekh in the Ivanovo region. The main objects on which the painting is applied: caskets, salt shakers, plates, nesting dolls, panels, brooches.

* Bratina - a kind of ladle, from which they drank wine during feasts in pre-Petrine times.

In contemporary art, painting on wood with acrylic paints, gouache, oil and aniline dyes is widely used. In history, wood painting is an ancient folk craft. For many centuries the tree prevailed in everyday life because of its availability and ease of processing. Before people learned to process metal, all furniture and kitchen utensils, chests, caskets, spinning wheels were made of wood, not to mention doors, gates, wooden shutters. Along with carpentry and wood carving, special technologies for wood processing and ornamental painting of products developed.

Types of artistic painting

In the middle of the 20th century, types of wood painting from a handicraft art form turned into art ones and they are also studied in schools of fine arts. Different types of techniques are characterized by their unique and recognizable ornamentation, which historically developed in step with the times and the evolution of colors and materials.

Nowadays, it is enough to use special paints for wood and purchase wood products, varnishes and strengthening agents for crafts. Many modern masters not only bring novelty to their work, but also continue the tradition of painting wooden products.

The first lessons for beginners are to learn the principles of drawing each type. Gorodets wood painting is characterized by floral ornaments in bright colors, mostly on a yellow background, but nowadays the background in this type of painting is given less attention, since the drawing looks good on a clean wooden texture.

The elements of the picture are made in a few simple steps, by painting with primary colors, shading with darker thin strokes and lightening with white or yellow paint.

Idealized images of birds, animals, in particular black horses, trees are also used. In ancient times, Gorodets painting also depicted the peasant and merchant life of those times. The pictures below show an example.

Khokhloma painting, which exists in mass production to this day, has become a hallmark of Russia. This is not just painting, but a whole technology for the production of wooden products, the processing of which uses drying oil, clay, aluminum powder and varnish. As a result of multi-stage actions, the products first acquire a silvery color, they are painted mainly with black and red paints, sometimes the leaves are made in green. At the end of the work, they are varnished, and the silver color becomes gilded. This painting technology came from icon painters.

The elements of Khokhloma painting are mainly dense vegetation, large flowers, curls, leaves, rowan berries, strawberries, there are decorative birds, roosters, swans, but the main symbol of Khokhloma is the firebird.

Also, this type of painting is divided into two types of technology - top and background. Horse painting involves drawing a picture on the background, and background drawing contours and applying a black or red background.

Mezen painting depicts black and red ornaments, more reminiscent of cave rock art.

Gzhel painting is also not to be confused with other art, with its blue lush flowers on a white background.

In the modern art of wood painting, master artists use various techniques to create a decor style, souvenir sets of dishes. As a gift, hand-painted plates, candy bowls, salad bowls, cutting boards are presented.

Tree preparation

Painting on wood with acrylic paints is a simple task for experienced artists, as the material is expensive, although suitable for working with wood.

To start painting on a wooden surface, you need to take the finished product, which are sold as blanks for decor, clean it with the finest sandpaper and prime the surface with the appropriate paint, after which you can start drawing.

Some drawings require for beginners to sketch with a simple pencil, which in principle is permissible. Any steps in the application of varnish or paint require complete drying before proceeding. At the end of the work, the product is covered with a transparent varnish to fix the paint.

Video on the topic of the article

The history of the emergence of painting on wood goes back centuries - it arose when painting itself arose - more than 30 thousand years ago. A person decorated household items and the walls of his dwellings in order to bring beauty to life and capture the events happening to him.

Wood has always been the most accessible material for decoration - and it was wood painting that shaped the fine arts and human culture in general. Unfortunately, wood has less durability than, for example, stone, so only a small part of the samples of wood painting has survived to this day.

The history of painting on wood in Russia

The history of the emergence of wood painting on the territory of our state also has a considerable number of centuries. The roots of this art are in archaic pagan times. Then our ancestors worshiped the natural elements, as well as Perun, Veles and many other gods. The plots of the ancient masters of wood painting were mainly devoted to nature or symbolized health, good luck and prosperity.

The facades of houses and interiors were decorated with wooden paintings. Historical monuments with examples of the ancient art of painting have survived to this day - houses with interiors decorated by painters can be seen in the Russian North. Peasant huts were painted mainly with images of flowers and birds.

Northern painting on wood, the technology of which was distinguished by the absence of a preliminary drawing and free, sweeping brush movements, was used to decorate entrance doors, walls, furniture, dishes, chests, collars. In winter, Russian northerners rode on sledges decorated with paintings. The main and most ancient schools of Russian wood painting art are Mezenskaya and Severodvinskaya. Later, such arts and crafts trends as Zhostovo painting, Palekh and Khokhloma emerged.

Technology of Mezen painting on wood

This is the oldest artistic painting in Russia. Boxes, spinning wheels, chests and dishes painted by northern craftsmen were known far beyond the Arkhangelsk region, the area where this school originated. The originality of the Mezen painting was given by a unique ornament, each detail of which had a deep meaning. Images of animals, birds, plants carried a full message about the world around the artist.

Mezen painting on wood, the technology of which involved the use of only two colors - black and red (soot and ocher), was applied using special tools - a wooden stick, a capercaillie feather and a brush made of human hair.

Technology of Severodvinsk painting on wood

Similar in technology and nature of the pattern to the Mezen painting is the Severodvinsk wood finishing technique. The originality of Severodvinsk painting is in its brightness and graphic images. Distaffs, which were painted with scenes from peasant life, were a favorite item of decoration for Dvina artists. Weddings, festivities, tea parties, hunting scenes were depicted.

Also, almost all mural items have a floral ornament, testifying to the love of artists for the nature of their region. In addition to red and black, Severodvinsk painting contains green, blue and yellow colors. Over time, the preferences of Severodvinsk artists changed, and other household items became objects of painting - kitchen boards, salt shakers, pieces of furniture. The Severodvinsk style of painting is often called the "rural renaissance" for its rich color and picturesque image.

The concept of "painting of the Severodvinsk type" includes independent varieties: Permogorsk, Rakul and Severodvinsk proper. The first is named after the village of Permogorie, near Solvychegodsk. The center of the second variety is the village of Ulyanovsk near the river Rakulka. The North Dvina painting is divided into three subspecies: Puchug, Boret and Totem.

Volkhov painting on wood

The Volkhov traditions of painting are part of the folk art crafts that have formed around Ladoga. Ladoga crafts, by the nature of their execution and pictorial representation, are distinguished by their inclination towards the baroque style with its brightness and splendor. Perhaps the most famous style of traditional wood painting that existed in St. Petersburg and in the settlements in the area of ​​Lake Ladoga was Volkhov painting, which arose and spread along the banks of the Volkhov.

Khokhloma is an ancient village, lost in the wilderness of dense Volga forests. Together with its history, the birth of the world-famous art of Khokhloma painting goes back to the distant past.
For the first time, this village is mentioned in documents of the 16th century. Even under Ivan the Terrible, Khokhloma was known as a forest area called "Khokhloma Ukhozheya". In the 17th century, a number of villages, together with Khokhloma, came into the possession of the Trinity-Sergius Monastery, located not far from Moscow (now the city of Zagorsk).

Rakul painting

Rakulskaya painting is an original phenomenon among the murals of the northern region: it is absolutely unlike the neighboring murals that existed near the area of ​​​​its distribution, it is multi-colored, but not bright, it is picturesque, but not replete with multiple elements, in other murals sometimes constituting a whole universe .

The earliest information about the Rakulka painting dates back to the end of the first half of the 19th century and indicates the place of its origin and existence - the village of Ulyanovsk, standing at the confluence of the Rakulka River with the Northern Dvina (now the Krasnoborsky district of the Arkhangelsk region). For the entire century of its traceable history, only one family was engaged in painting - the Vityazevs, who passed on the secrets of their trade from generation to generation. Although there is also evidence that in the village of Chereminenskaya, local masters were engaged in painting spinning wheels in the traditional Rakul style, but perhaps they were also related to the large Vityazev family.

The ornament of the Rakulsky painting, especially the ornament that adorns the earliest items that have come down to us, dating from the middle of the 19th century, is very close to the graphics of the miniatures of the famous Vygov manuscripts - liturgical and instructive books produced by the Old Believers who lived in sketes and "stans" (thus adherents of the "old "Faith" called the settlements of the laity Old Believers - in fact, ordinary villages) along the Vyg River (the so-called Vygoleksinsky community - the center of the numerous and influential Old Believer "Pomorsky consent"), flowing through the territory of the present Republic of Karelia. In the light of this similarity, it seems very likely that the Vityazevs are a family of Vygov Old Believers, as a result of the liquidation (“forcing”) of the Vygoleksinsky community by the authorities, which took place in several stages in the middle of the 19th century (for 20 years from 1830 to 1850, the number of inhabitants of the Old Believers settlements Vygovsky suzemka decreased by almost 10 times - from 3000 to 272), forced to move to live in the Rakulsky volost. The Vityazevs brought with them the ancient art of miniature, dating back to the pre-split Moscow book graphics, but it seems that increased persecution and isolation from the centers of the Old Believers forced the Vityazevs to paint peasant household items instead of rewriting and decorating books. An additional confirmation of this version is the coincidence of the date of the mass eviction of the Old Believers from Vyg and the date of the approximate origin of the Rakul craft.

The decorativeness of the painting, its bookish patterning, the absence of any pronounced plot in it can also be explained through Old Believer piety - everyday and fairy-tale plots were practically not depicted in the manuscripts, with the exception of caustic satires on government officials, and the depiction of plots of sacred writings and legends (in including hagiographic) on household items was blasphemous.

The murals of Rakulka are dominated, as a rule, by black and golden-ocher colors, which are accompanied by rich green and brown-red. The color scheme is very strict and harmonious, the plasticity of the elements is laconic. The elements of the rakul ornament are large, their shape is limited to a clear black outline. Small decorative elements - vignettes and veins are executed in black or white: leaf veins are predominantly drawn in white, running across a rich color background.

The pattern freely running on rakul products consists mainly of fantastic liana plants with large elegant leaves attached to a winding stem.

A characteristic floral ornament with massive multi-color teardrop-shaped leaves, originality and relative stinginess of the color palette, economical use of small independent elements of the ornament sharply distinguish Rakul painting from Boretskaya, Permogorskaya and Puchuzhskaya geographically adjacent to it.

The fantastic multi-colored plants that adorn the painted rakul products bear, perhaps unconsciously for the master who decorated them, the symbolism inherent in the beliefs of the inhabitants of the Russian North. Fantastic, never seen plants, blooming bouquets, iridescent multicolored colors of the plant world expressed the idea of ​​fertility, the eternal and inexhaustible wealth of the world, and, as if appealing to mother nature, represented a wish for happiness, prosperity in the house, rich harvests.
Rakul painting is also characterized by very characteristic and recognizable images of birds - schematically depicted, with an upturned tail outlined by thin shading, a heavy body and an elegant head crowned with a tuft.

Typical for the Severodvinsk paintings was the predominance of painted spinning wheels among the products of the trade. Rakulka was no exception, having developed her own special compositional canon for painting spinning wheels, which was clearly traced for almost a whole century - until the 1930s: the front part of the spinning wheel was divided into three almost equal parts - the lower one was decorated with a vertical large vertically placed branch with symmetrically located branches, the central one was occupied by an image of a bird bordered by an elegant frame, and the upper one was decorated with a large S-shaped liana with multi-colored leaves.

Until the extinction of the craft, which happened in the 30s of the XX century, the craftsmen from the Vityazev dynasty firmly followed the developed compositional canon, but the use of industrial aniline paints, adding brightness to the color of the products, deprived them of the harmony created by muffled modest tones.

The revival of Rakul painting as an art craft is associated with its discovery for science in 1959 by the expedition of the Zagorsk Museum-Reserve. And in the 1960s, in order to preserve the traditional folk art crafts of the Arkhangelsk region, the Belomorskiye Uzory enterprise was organized, the masters of which, preserving the centuries-old traditions and canons of painting, still produce products made in the traditional Rakul technique.

Gorodets painting

Gorodets painting originates from the 19th century. At that time, it became a Russian folk art craft, which arose in the Nizhny Novgorod province near the city of Gorodets.
The beginning of Gorodets painting can be seen in carved spinning wheels. They were special in Gorodets thanks to the bottoms (a plank on which the spinner sits) and the comb of the spinning wheel. The bottom was decorated by local craftsmen using a special inlay technique. Figures carved from wood of another species (for example, bog oak) were inserted into the recesses. Such elements differed in relief on the surface, and only two shades of wood in the hands of Gorodets craftsmen created real works of art based on an ordinary board. Later, craftsmen began to use tint (bright blue, green, red and yellow colors), which made the bottom even more colorful. The increased need for the production of spinning ends prompted the craftsmen to reconsider the decoration technique, making it simpler. In the second half of the 19th century, inlay as a complex and time-consuming technique was replaced by ordinary carving with painting, and already at the end of the century, picturesque elements became the predominant decoration of the Donets.
Technology

The technology of Gorodets painting is in many ways simpler than the creation of Khokhloma, especially in terms of preparing the base. Gorodets painting is done directly on a wooden base, which, if desired, can be covered with red, black or yellow ground paint. All the main colors used in the painting should have saturated and diluted shades. On the working surface, thin lines with a pencil outline the composition of the future pattern. The main task is to outline the size and position of the main elements, or nodes, for example, animals and flowers. Experienced craftsmen skip this stage, drawing immediately with paints. Knots, as a rule, are drawn with a lighter tone of paint (painting). Thin strokes of a dark shade (shadow) are applied to light spots, depicting details: flower petals, folds of clothes, interior details, etc. At the same stage, leaves and buds are depicted between large elements. The final stage of the painting is the application of black (liquid) and white (revival) paint with strokes and dots. These actions are performed with the thinnest brush and give the work a finished look. After the paint has dried, the product is covered with a colorless varnish.
Mezen painting

Mezen painting

Mezen painting on wood or palashchelskaya painting is a type of painting of household utensils - spinning wheels, ladles, boxes, brothers, which had developed by the beginning of the 19th century in the lower reaches of the Mezen River. The oldest dated spinning wheel with Mezen painting dates back to 1815, although pictorial motifs of such painting are found in handwritten books of the 18th century made in the Mezen region. In terms of style, Mezen painting can be attributed to the most archaic types of painting that survived until the 20th century. The objects are densely speckled with a fractional pattern - stars, crosses, dashes, made in two colors: black - soot and red - "earth paint", ocher. The main motifs of the geometric ornament - solar discs, rhombuses, crosses - resemble similar elements of trihedral-notched carving.

Boretskaya painting

Among the legends and legends that exist on the Dvina land, there is a legend about the origin of the wrestling painting.
Tsar Ivan III of Moscow, who ruled over 500 years ago, subjugated the Russian lands. Tribute was paid to him even by Pskov and free Novgorod. However, a group of Novgorod boyars, led by an imperious and strong woman, boyar Marfa Boretskaya, the wife of a former Novgorod mayor, could not come to terms with this. Ivan III sent an army there, conquered Novgorod, and Martha Boretskaya, together with the boyars, fled to the Northern Dvina. Here she settled on the high bank of the river, enclosing this place with a high rampart. Hence the name Gorodok (fenced area), and Borok - from the names of the owners. The possessions of the Boretskys stretched for hundreds of miles. Now Borok is only a marina 7 kilometers from Gorodok and several nearby villages.
Obviously, among those who fled there were also icon painters and artists of miniature painting and manuscript books. Passing on their skills from generation to generation, they have preserved the best traditions of the folk art of ancient Novgorod for several centuries.
At first, apparently, there was one center of painting - Borok in the middle reaches of the Northern Dvina. Subsequently, two more centers budded: with Puchug painting (the center in the village of Puchuga, 25 kilometers upstream from the Borok pier) and Toyem painting (even further upstream, the village of Zherliginskaya).
The spinning wheels decorated with these murals differ from each other, but in terms of color and compositional scheme they form a single type of Severodvinsk white-backed painting, different from other types of murals of the Northern Dvina - Permogorsk and Rakul.

The ability to spin was considered the dignity of a peasant woman, since it required great skill to pull the thread of the desired thickness, and the “sloven-spinner” was stigmatized. They went to gatherings with spinning wheels, and those who have a spinning wheel are more beautiful and have more honor. Grooms often gave brides spinning wheels, sometimes signed from someone to whom.
A woman especially took care of such a spinning wheel and bequeathed it to her daughter as a memory. They were proud of the colorful spinning wheel, and in the house it hung in the most prominent place.
The spinning wheel retained the shape and ornament traditional for its area. Boretsky spinning wheels are “root”, that is, made from one piece of wood. The blade is from the trunk, and the bottom is from the root. They are large in size, have a wide blade, a clear beautiful row of large towns (heads, bosses, beans), two round earrings, an elegant curly leg. Its painting sparkles with the whiteness of the background; the red leading color of the plant pattern burns brightly on it. Gold leaf, which was used to decorate the spinning wheels of this center, makes them festive and elegant.
If we trace the development of the Boretsk painting, compare the spinning wheels of the 17th-18th centuries. with spinning wheels of a later period, up to the beginning of the 20th century, it can be seen that they differ significantly in color and plot.
The artists of the 17th-18th centuries, who inherited the traditions of the Novgorod icon painters, introduced the shape of an iconostasis into the composition of the painting, divided the blade of the spinning wheel into tiers - staves, filled them with squares like icons, and below they painted a door similar to the royal gates of the altar. However, only external signs have been preserved from the icon painting. The content of the painting is original. From rectangular frames instead of saints, cheerful birds, a radiant sun and pointed stars look at us.
The central part of the lapaska is the front door with a rounded top, reminiscent of the richness of the royal gates of the iconostasis. Below is a front porch on a high pillar - a characteristic detail of the wooden architecture of the North. This is the bride's house, it is shown as a fabulous royal tower. Next is the scene of courtship (although there is another interpretation of the plot). An old man with a basket in his hands rises up the high stairs, and a young rider takes off his hat at the porch. Both are dressed in ancient Russian clothes with shoulders and belts decorated with stones,
The leading colors of the wrestling painting on the early spinning wheels, which depicted a scene of courtship, were bright cinnabar, deep emerald green with white animation and ocher, which is perceived as gold.
On the reverse side of the spinning wheel there is a scene of the grand departure of the bride and groom, the prince and princess. The bride and groom in red clothes with a gold border around the collar, along the sleeves, hem and with a three-petal gold crown on their heads.
The emerald horse sparkles with a cinnabar harness, around from the red cinnabar earth raised their golden heads regally - beautiful tulips. Dark emerald leaves with frills sway on their red stems. Tulip-like flowers were characteristic of the icon painting of the 17th-18th centuries. Floral pattern, large, juicy in color, full of dynamics.

Over time, the Boretsk painting ornament loses its large shape, loses the plasticity of the pattern, and loses its juicy color. At the end of the XIX century. comes a fractional pattern, devoid of a general rhythmic movement, bright, not always harmonious multicolor with the addition of gold leaf and complete stiffness of the composition.
At the turn of the XIX-XX centuries. The painting was mainly used to decorate spinning wheels. Although time has changed the decor and composition of the painting, ancient compositions and ancient schemes are still easily traced. A sledge with a rider is decorated with a fractional floral pattern - this part of the paddle began to be called “standing with a horse”.
Red, green, emerald, gold, ocher horses harnessed to carriages, painted carts, covered carts, sleighs, participated in riding scenes, in wedding and parade trips. Above, instead of the porch and the door of the tower, a lush flowering fabulous bush appeared, surrounded by bright fabulous birds. According to an ancient legend, “the beginning of all beginnings” is a tree standing in the middle of the expanses of water. Two birds settled on it, built a nest in its branches, and from here the first life on earth began. This plot has become one of the favorites in Russian folk art. It was associated with the idea of ​​the power of the forces of nature and the dependence on it of the well-being and happiness of man.
Birds were depicted on spinning wheels. They have also changed. They also changed. In the XVII-XVIII centuries. these are chickens, simple birds, that is, the master painted them the way he saw them. The birds were in various movements: pecking, with raised wings, with their heads turned back, sitting quietly, with outstretched wings. They are local in color, red and emerald. In the future, the birds became more elegant, bright, variegated colors, the tails lengthened, many additional decorations, dots, droplets, strokes appeared. They already looked a little like those that we see on spinning wheels of the 17th-18th centuries. These birds really became really those sweet-voiced birds of paradise that sat on the tree of life. The middle becoming was called "becoming with a tree