ВЗАИМОДЕЙСТВИЕ СЛАВЯНСКОЙ И ФИННО-УГОРСКОЙ КУЛЬТУР В СЕВЕРНЫХ РОСПИСЯХ ПО ДЕРЕВУ

• Main Authors: Гурленова, Л., Земцова, И.
• Format: Text
• Language: unknown
• Published: Федеральное государственное бюджетное учреждение науки Коми научный центр Уральского отделения Российской академии наук 2014
• Subjects: СЛАВЯНСКАЯ; ФИННО-УГОРСКАЯ КУЛЬТУРЫ; СЕВЕРНАЯ РОСПИСЬ ПО ДЕРЕВУ; СТАРОВЕРЫ; НАРОДНЫЕ РЕМЕСЛА; Izhma; Arkhangelsk; dvina; Mezen; Mezen'; nenets; Pechora; Ненцы
• Online Access: http://cyberleninka.ru/article/n/vzaimodeystvie-slavyanskoy-i-finno-ugorskoy-kultur-v-severnyh-rospisyah-po-derevu; http://cyberleninka.ru/article_covers/15720376.png

Исследование обращено к культуре Северо-Востока европейской части России, на которой длительное время проживают коми, русские и ненцы, совместно осваивавшие северные земли. Выдвигается как методологически необходимый принцип географического детерминизма. Рассматривается развитие двух уникальных северных графических росписей мезенской и пижемской. Ставится вопрос о характере отношений староверов с коми и ненцами. Делается вывод о наличии богатого разнообразия форм, ряд которых является мультинациональным. The study is addressed to culture of the northeast of the European part of Russia (territory of the present Republic of Komi and the areas of the Arkhangelsk and Vologda Regions adjoining it) where the Komi and the Russians live for a long time and jointly develop the northern lands. The severe geographicalclimatic conditions in which it was difficult for a man to survive, promoted development of a particular type of character which is expressed in calmness, goodwill, tolerance to each other and understanding of necessity to find contact with representatives of other nationalities. Throughout long time the two people established, supported and developed cultural relations. An example was the annual Epitaphy Fair held in the village of Vazhgort on the boundary between the present Arkhangelsk region and the Republic of Komi which even more strengthened the intercultural contacts. In the course of trade the exchange of goods and handicraft techniques took place. The researchers assume that chests, saltcellars and boxes were brought to the fair from the Northern Dvina, while the famous spinning wheels and boxes with Mezen-style paining from Palashchele village, Arhengelsk province, produced there. The artistic tradition that emerged in the village of Palashchele, Arkhangelsk Region, was adopted by the Komi population and developed further in imitative form, differing from traditional one by more free interpretation of composite construction, another treatment of motives and colour gamma. The unique northern woodpaining existing in villages along the Mezen river course, was further developed in territories of the present Udora and Ust-Kulom areas of the Republic of Komi that indicates of fruitful interaction between Slavic and Finno-Ugric cultures. Another not less unique style of woodpaining the Pizhma one emerged among the Russian Old Believers population living compactly since XVIII century together with the Komi and Nenets in the Pechora territory (territory of modern Ust-Tsilma region of the Republic of Komi). Religious isolation did not prevent the establishment of international and ethnocultural contacts. The Nenets, Komi-Izhma, Russians who settled in these lands in XVI century, and the Russian Old Believers adopted each other experience of survival in severe natural conditions. For a long time the Pechora craftsmen developed the richest traditions of wood processing and manufacturing of various items of work and life which were decorated with sculptural and three-edged-notched carving. Later on the masters-Old Believers began to decorate their woodwork with painting. Thus, one more unique northern wood painting the Pizhma style appeared.The principle of geographical determinism as methodologically necessary is put forward in the paper: development of two unique northern graphic painting -the Mezen and Pizhma ones is considered, the problem on the character of relations between various northern peoples is raised. The conclusion on rich variety of forms in northern wood painting, some of them being multinational, is made.