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Some pages in history of rare folk toys from Ryazan Oblast, Russia (Alexandra-Praskovyinka, Demidovo and Vyrkovo)
Section 1. Fine and applied arts and architecture
Bykov Alexander Vladimirovitch, World Folk Art Museum TRADART, Ph. D Ershova Yulia Arkadievna, World Folk Art Museum TRADART, Candidate of Philological Sciences E-mail: [email protected]
Some pages in history of rare folk toys from Ryazan Oblast,
Russia (Alexandra-Praskovyinka, Demidovo and Vyrkovo)
Abstract: The purpose of this article is to introduce old toy-making centers of Ryazan Oblast and their finest craftsmen. It presents the history of folk toys, describes their role in people’s lives as a characteristic manifestation of national culture.
Keywords: clay toys, decorative arts, folklore, Russia.
Russian peasant earthenware toys have a long-time history. Toys comprise symbols and philosophical conclusions formed in earliest stages of human collective. It should be remembered usual term “peasant clay toy" itself came into usage only in the beginning of this century. At this time traditional folk toy had already lost its sacral ritual meaning [3]. Nowadays in many Asian, African and South American countries similar clay toys placed on altars during various ceremonies.
In Russia and near abroad sacral sculptures begin transforming to folk toys from the first half of XVI century. This process had finished in the beginning of XX century [8; 4]; thereafter clay toys as a real plaything turn into cheap bulk commodity.
In old times ancillary crafts (such as pottery, lacemaking, wickerwork, embroidery, weaving and woodcarving), that appeared because of poorness of the soil, meant much for life of every Russian village in central Russia. In areas with the presence of plastic clay deposits people produced pottery from ancient times. In isolated by long distances pottery centers ancient traditions and techniques (in manufacturing, distinctive features of tools, ways ofclay production and etc.) survived for many years [10]. Such traditions became apparent in nature of clay toys made in many pottery centers throughout Russia. Toymaking turned into specific minor handicraft.
Toys from Vyrkovo and Alexandra-Praskovyinka are well-known from different magazine articles and art exhibitions [2; 6; 10;]. Demidovo toy is not so well-known. In 1985 M. Nikitin managed to find some toys made
by A. I. Ustinkina. A little time later author got to know M. S. Koroleva — the last craftswoman of Demidovo toys — and bought a set of her works.
In 1914, dozens pottery centers of Ryazan Oblast still functioned. Since brown ware manufacturing cease in 1950-s, caused by factory made goods abundance and government prohibition on private business, lots of those centers became history. But some craftsmen still made clay toys: it was easy and cheap to produce, simple to transport, moreover, government structures have not considered it as a serious business.
After World War II and till 1970-s, rag-and-bone men played very important role in folk toy tradition preservation. They came to villages for old clothes, bones, scrap metal and etc. Most part of it was brought to them by children, who received pennywhistles for exchange. This way simple clay toys and pennywhistles were spread on vast areas. We owe to these not so respectable profession people the salvation of many pottery centers after years of revolution, war, collectivization and other troubles of century [7].
From beginning of 1960-s interest in folk art have soared. Museum curators, artisans and collectors surveyed still functioning pottery centers, stimulated old craftsmen activity and provided them with orders. But it was impossible to preserve vanishing handicrafts. With death of many older generation craftsmen clay toy pro -duction ceased. From 1990-s toymaking moved into big cities. Toys were mould in souvenir workshops, art studios and junior schools.
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Section 1. Fine and applied arts and architecture
Till the present day in Ryazan Oblast clay toys were made in three centers: Alexandra-Praskovyinka village, Demidovo and Vyrkovo villages. Every pottery center has its own special features revealing during proper study.
Alexandra-Praskovyinka toys (Sapozhkovsky District)
Alexandra-Praskovyinka toys were made of light-coloured (yellowish grey) clay. Village women moulded toys, afterwards potters put it into furnaces together with brown ware for firing. Then part of the items was coated by green glaze and went to furnace again, while other part was returned to women and painted in bright colors.
Fig. 1
Alexandra-Praskovyinka toy extremely archaic. It had never entered wide market and never became separate handicraft. Consequently, relict folk forms could not transform under the pressure of customer preferences.
Fig. 2
Toys made by old craftswomen M. A. Sycheva (1912) and A. I. Zhutova (1912-1962) had kept sacral images of a bear, frog in labour pose, mysterious idol-looking dummies (they called it bolwan) and many other strange creatures. Human figurines made by them were placed on circular stands. Men were often pictured wearing hats and playing accordion, and soldiers in buttoned overcoats stood on wide coat flaps.
Image of “woman holding a bird", so widespread in Russia, is not typical for Demidovo toy. Here woman is holding a pair of children. This motif can be considered as an aftermath of ancient twin worship, primitive representation of pagan cult (Frumkin, 1994).
Among toys made by M. I. Sycheva we can frequently see mysterious creature with flat discal head, sometimes ridden by man. Craftswomen called it “Arys’ ” or “Rys’" (lynx). In collection ofAlexander Afanasyev’s “Russian Fairy Tales" there is the tale “Arys-pole” (Lynx in the field) about the young girl, transformed to lynx by an angry stepmother and later saved by her beloved (werewolf motif ATU 409, AaTh 409 “Das Mädchen als Wolf”). In his study (“Tales about stepdaughter and stepmother”, 1944) A. M. Smirnov-Kutachevsky proved that this motif is more archaic in comparison to famous tale about the drowned girl, turned into water nymph. It is quite possible that further research of this motif and its existence in Ryazan Oblast can essentially amplify with Alexandra-Praskovyinka toy history (Fig. 1).
The lack of many widespread images is typical of traditional Alexandra-Praskovyinka toys. Craftsmen hardly ever made figures of moose, cow, goat and sheep, so usual for other pottery centers. Very popular form of toy was so-called “ulyutki” — compactly moulded small birds (head just lightly marked, short wings spread) with whistle or horsemen, soldiers and women (Fig. 2).
Fig. 3
All these toys were of really minimalistic, nearly abstract forms. For example, the body of horseman was represented by small trunk, details were never made (Fig. 3).
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Some pages in history of rare folk toys from Ryazan Oblast, Russia (Alexandra-Praskovyinka, Demidovo and Vyrkovo)
Only when craftsmen started to receive orders from citizens (collectors and museum curators), toy figures were provided with hands, legs, headdresses and etc (Fig. 4).
Fig. 4
Many of Alexandra-Praskovyinka toys do not have whistle. It is obligatory only for above-mentioned ulyutki made for selling to children.
When figurines of birds and horsemen were made, whistle part was moulded together with the trunk and attached by clay to the body of bird\animal. Sometimes whistle is attached to the skirt of peasant woman, disturbing well-balanced form of figure. This can be considered as the evidence of antiquity and holiness of this image (the Caring Godmother), but later sacred meaning was gradually lost and craftsmen started to attach whistle to the figure (Fig. 5) [9].
Fig. 5
In 1980-1990-s, many old craftsmen died of age. But folk toys were so popular that many craftsmen, who never had such technical experience before, started making it. They learned the style and plastic art of Alexandra-Praskovyinka toys, but still were not familiar with many archaic images, usual to craftsmen ofprevious generation. In striving for diversify the range of toys they appeal to uncharacteristic and even alien images, try to imitate other styles, which sometimes lead to reckless negligence.
But this doesn’t concern works of famous potter T A. Kondrashov (1913-2012), who managed to raise plastic art of Alexandra-Praskovyinka toys to a new level. This skilled craftsman made small figurines of tremendous expressiveness. These toys concentrated mythological concepts on family and the Original Foremother (Fig. 6).
Fig. 6
Demidovo toys (Shatsky District)
Unfortunately we do not know much about this pottery center. But it can be certainly said that local clay toys and brown ware were even exported to neighbouring Mordovia, where it successfully competed with other pottery centers’ clay items from Tambov, Kasimov and etc. Old villagers told that local brown ware was sent to cities of Caucasus and Iran.
Clay toy was made not only in big village of Demi-dovo but in neighbouring small hamlets as well. In old times craftsmen used blue clay, which became white after firing. Surface of such toys was coated by glaze. But in the beginning of XX century cheaper yellow or light brown
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Section 1. Fine and applied arts and architecture
clay toys entered the market. After coating by white engobe these toys could be glazed too. Potters preferred to produce toys of the second type, but little can be known about that (scarce fragments ofbroken toys can be found during archeological excavations).
In 1920-s, craftsmen already started to paint yellowish clay toys using bright pigments. These toys were made by women. Later, when toymaking process changed to mass production, craftsmen started to whiten fresh-made toys. White surface of these toys was coloured with bright pigments. All the lines were painted by chicken feathers. These process reflects specific features of female toy manufacturing.
To the beginning of WW II mass production of toys practically became extinct. Some craftsmen time after time made toys on demand (A. I. Ustinkina (1912-1985), M. S. Koroleva (1910), A. L. Oborina (1890-1974)). There are only 200 toys that are still remained.
The range of Demidovo toy images and motifs is very peculiar. There’s no deer, bears or other wild animals, but the variety of bird images is really impressing. They can be seen sitting on horses’ withers, dogs’ and sheeps’ backs; peasant women hold birds on hands. Local turkey species (dialect name — pyrka) image is the most widespread one. Demidovo toys preserved ancient image of bird with nestling on the back. This image frequently occurs among toys found during archeological excavations in Moscow XVII century city quarters (Fig. 7).
Fig. 7
In contemporary folk toys image of this type is met only in Chludnevo toys (Kaluga Oblast). It should be said the same composition is typical for ritual wheat pastry named “zhavoronki” (skylarks) made for spring celebration.
As opposed to toys of other pottery centers, Demidovo clay peasant women do not hold birds under ones’ arms, but in front of the chest. Bodies of birds and animals more oblong and graceful; figures frequently decorated by plume made of chicken feathers (Fig. 8).
Fig. 8
Due to the lack of iconographic material specific character of Demidovo toy manufacturing cannot be thoroughly researched. There are some reasons to assume that in 1920-1930-s toy handicraft began separating from brown ware production and develop as an independent cultural phenomenon (same as Flimonovo toy or Khludnevo toy). Even if this process haven’t complete, Demidovo toy represents the new stage in development of folk craftsmen artistic thought.
Vyrkovo toy (Kasimov district)
Before the middle of XX century big pottery center situated in 20 kilometers from Vyrkovo village. Vyrkovo clay toys and brown ware were widely spread among neighboring areas. These items were sold not only in Ryazan Oblast, but also in Tambov Oblast and Kuban. There’s no evidence of Vyrkovo toy distribution by rag-and-bone men: apparently, they didn’t play any role in this process.
Same type of clay was used for making Vyrkovo brown ware and toys. All the items were fired together in one kiln: toys were placed among earthenware or sometimes even put inside big bowls and vessels. After first firing, toys were covered by red-lead paint and then went to second firing.
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Some pages in history of rare folk toys from Ryazan Oblast, Russia (Alexandra-Praskovyinka, Demidovo and Vyrkovo)
In case firing process took its normal course, glaze became greenish-brown and transparent [10].
Vyrkovo toys can be divided in two different groups. First group contains traditional goods fitted with whistle. These toys unite all the well-known images of Russian traditional pottery centers: bear, deer, moose, horse, horseman, cow and ox, sheep, goat, chicken and hen, duck, goose and etc. Usually it stands on three supporting points and has a whistle attached to the back side of the trunk. Forms of these toys are rather poor and sometimes naive, bodies of animals elongated, but the legs disproportionately short, protruding tail works as a whistle (Fig. 9).
Fig. 9
This type of toys “represent ancient form of folk sculpture originated from religious cult objects" [10].
Toys of second group tend to bear photographic accuracy and influenced by authors’ creative thought. These toys do not possess static folk toy character. Its complicated form depicting momentary mood, condition and movement. Among these toys appear images not typical for old traditional handicraft: figures of lamas, tigers, dinosaurs and etc. These animals depicted in dynamic postures: during running, turning head and hunting. Genre scenes also can be observed: men smoking pipes, guys playing Russian accordion, peasants fighting with bears. Sometimes craftsmen made compound multiple-figured compositions: carriage-and-three (Russian troika), carousel and scenes of everyday living (Fig. 10).
It is obvious that in 1920-s Vyrkovo toy production formed as a separate handicraft taken by men potters. Traditional figurines were replaced by realistic small sculptures that can be characterized by genre, become more ornamental, adorned by lots of attached details; images become more individual and custom-made. In first quarter of XX century special style of Vyrkovo toys came into being. New images are reconsidered, fully developed and consolidates by common efforts of local craftsmen.
Fig. 10
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Section 1. Fine and applied arts and architecture
After World War II, Vyrkovo toy cottage industry practically died away, but in 1970-s old potter I. L. Listov (1909-1990) decided to revive toymaking tradition, and then in 1980-s his work was continued by potter V. P. Esin (1920-2010). By virtue of these two craftsmen all the diversity of old Vyrkovo toys can be appreciated now. Old potters made toys with a number of technological breaches. They were not able to dig deep mines for clay production, build huge kilns for firing and etc. For example, I. L. Listov fired his toys in small traditional bathhouse stove. Therefore his toys had not obtained transparent surface and possessed lots of unfused glaze sags.
V. P. Esin could not afford glaze coating and sometimes even firing of toys. Craftsman painted his toys as if he felt shy for simple bare surface of clay. Toys of early time are realistically painted: squirrel is red, bear is brown. Later painting became poorer and limited to a few of strokes of the paint brush. Birds’ combs, animal horns, muzzles and faces of people were sometimes accentuated by red or brown paint. Many of toys made by V. P. Esin are decorated with piercings and carvings, which is not typical for Vyrkovo toys. According to his request works from our collection were fired and glazed by Kasimov ceramists Lebedevy according to his request (Fig. 11).
Fig. 11
V. P. Esin often used details from different materials. Muzzles of cats were decorated by whiskers made ofhair, eyes of animals were made of small beads, horses’ manes and tails made of hemp (Fig. 12).
Some toys of this type were later fired by collectors and inserted details had burned out (the burned marks can be seen on surfaces of toys).
Fig. 12
Conclusion
Above-mentioned pottery centers characterize three different stages of Russian toy manufacture developing.
In comparison with brown ware, Alexandra-Pras-kovyinka toy-making is a secondary craft and do not tend to stand apart. The tableware and toys were made of same clay and coated by typical green glaze. Toys were mainly made by women due to undeveloped product market. It is significant that toys made for selling to rag-and-bone men had a whistle attached to trunk. As a result, Alexan-dra-Praskovyinka toys retained archaic features.
Demidovo toys from the beginning of XX century were made by men. Toys were moulded from white clay and coated by glaze. In 1910-1920 toy producing separated as a sole handicraft made by women. The need of mass production caused usage of cheap red and brown clay. Craftswomen started to adorn toys: coat it with white engobe, whitewash and paint with bright colours. On the whole Demidovo toys as opposed to Alexandra-Praskovyinka toys had gained certain dynamics and turned into new stage of peasant toy manufacturing.
Vyrkovo clay toy production went it’s own special way. In first quarter of XX century it started to transform into independent handicraft existing in parallel to pottery. Brown ware and toys were made by the same craftsmen from the same clay and undergo same processing. Potters spread goods throughout vast territories including big cities on their own. Vyrkovo toys gradually lost whistle part and increasingly tend to imitate complicated genre sculpture. Country pottery became specialized on producing of small form sculpture: clay figurines were intended for sale to city customers.
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Some pages in history of rare folk toys from Ryazan Oblast, Russia (Alexandra-Praskovyinka, Demidovo and Vyrkovo)
References:
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3. Bykov A. V. Russkaya narodnaya glinyanaya igrushka.//Glinyanaya igrushka Rossii: sb. statej po materialam regionalnoj nauchno-prakticheskoj konferencii 29 maya 2009 g. [Russian clay folk toys: regional conference digest]. - Kirov, 2009. - P. 3-10.
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5. Dain G. L. Russian toys (from the collections of the Zagorsk Museum of toys). - Moscow, 1987. - 200 p.
6. Frumkin A. N. Ryazanskaya glinyanaya igrushka [Folk clay toys from Ryazan Oblast]//Ryazanskij etnogra-ficheskij vestnik. - Ryazan, 1994. - P. 117-137.
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8. Kuleshov A. G. Russkaya glinyanaya igrushka kak vid narodnogo tvorchestva [Russian clay toy as the folk art type]. - Moscow, 2012. - 184 p.
9. Latynin Leonid. Iskusstvo roda (Razmyshleniya pisatelya o narodnoj igrushke) [The art of generations (some reflections about folk toy)]//Dekorativnoe iskusstvo SSSR. - № 7 (272). - 1980. - P. 12-13.
10. Malinina M. D. Texnika goncharstva Meshchery. Derevni Vyrkovo i Erygino Kasimovskogo rajona [Pottery techniques from Meshchera district]. - In: Issledovaniya i materialy Ryazanskogo Sredne-Okskogo muzeya. -Vyp. U11. - Ryazan, 1931. - P. 17-21.
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