The paper examines the materials of long-term expeditions in 1977-2010, representing various areal-local variants of the artistic creativity of Russian Siberians, primarily carved and painted objects of utensils-spinning wheels. Distaffs as a part of material and spiritual culture are considered taking into account the ethno-cultural characteristics of groups of Russian old-timers and migrants. Ethnographic materials show that traditions of spinning wheel ornamentation in Siberia were formed under the influence of North Russian immigrants.

Keywords: Russian peasants of Siberia, folk art, spinning wheel ornamentation.

Introduction

Folk art has always served as a measure of value orientations characteristic of ethnic culture, and the most spectacular form of their implementation [Ryndina, Goncharova, 2009, p. 137]. The study of decorative and applied creativity of Russian peasants in Siberia, taking into account the regional specifics of specific spinning wheel samples, the origin and ethno-cultural orientation of the masters, is relevant for modeling the processes of evolution and transformation of traditional culture as the first settlers of the XVII-XVIII centuries. (old-timers, Siberians), and immigrants of the early XX century ("Russian"). First, we will clarify a number of terminological and categorical concepts. Folk / traditional art in this case is understood in a narrow sense as canons based on centuries-old visual traditions that existed in the rural (peasant) environment in the second half of the XIX - first third of the XX century. In this paper, when considering spinning wheel ornaments, instead of the term "art" as a cultural category, the concept of "artistic creativity" is used, which reflects belonging to an ethnic community and the entire complex of ethnic beliefs, preferences, and canons associated with this creativity. Folk art is an integral cultural system that fully deserves the most careful study.

There is a fairly extensive art history and ethnographic literature devoted to identifying the centers of spinning wheel production and dynasties of spinning wheel masters, as well as understanding the artistic and semantic features of this type of folk art. N. I. Lebedeva's major work reflects the first attempt at ethnographic mapping of East Slavic spinning wheels, taking into account the dialect division of East Slavic tribes and the boundaries of residence of non-Slavic peoples [1956, pp. 486-490].

The study was carried out with the financial support of the Russian State Scientific Foundation (project N 10 - 01 - 00470 a).

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In the context of solving general problems of the specifics of folk art, aesthetic understanding of nature in the works of masters T. M. Razina, Mezen, Gorodetsky, Vologda spinning wheels are considered [1970]. Manifestations of the pagan worldview and religious beliefs of the Slavs of the oldest period of their history were revealed in the ornamentation of typologically early types of spinning wheels by B. A. Rybakov [1981]. In the study of V. A. Sheleg, the ornaments of spinning wheels are analyzed, and their main ethno-cultural areas in Europe are outlined [1986]. Among the ethnographic works devoted to the study of the symbolism of specific variants of spinning wheels, their place in the ethnic worldview of the peasants of the Russian North, one of the first is the article by TA. Bernstam [1992].

N. I. Kaplan made a great contribution to the study of folk art of the Russian peasants of Siberia. She collected and analyzed material on painted household items and wall paintings of Altai, taking into account the existence of traditions in specific ethno-cultural (ethno-confessional) groups [1961]. In the works of Novosibirsk, Omsk, Tomsk, and Altai researchers published in the 1980s and 1990s, based on regional materials, the connections of local artistic traditions with the most archaic Northern Russian ones, with the art of latrine painting of Vyatka dyers, Ural craftsmen, and karma "petushniki" from Tyumen are traced [Bardina, 2009, pp. 111-115; Goncharik, 1998, p. 83; Belyaeva, 2007, p. 26; Rusakova, 1983, p. 302; Shishkina, 2002, p. 109; and others]. In the following period, we managed to collect new field material that allowed us to supplement the already known one and clarify our conclusions.

This study is based on the following methodological approaches: 1) spinning wheels as a part of ethnic, material and spiritual culture are considered in connection with the ethno-cultural characteristics of groups of Russian old-timers and migrants. It is important to take into account that modern ethno-cultural centers are often focused on popularizing "folklore and ethnographic patterns" that replace the ethnographic specifics of the population of a particular district or village [Fursova, 2007, p. 174]; 2) the range of material studied includes both highly artistic compositional solutions and inept drawings made by not very gifted people; 3 the ornamentation of spinning wheels carries ethnic codes that go back to the early elements of the religious systems of the Slavic peoples.

The present study is based on field materials collected by us in the 1970s-2000s in various regions of Western Siberia (viewed approx. 50 samples). More or less rich collections of spinning wheels are available in almost all museums in Russia - metropolitan, regional, and district. Spinning wheels kept in central museums are professionally systematized, described and put into scientific use, which cannot be said about collections in Siberian museums. If a lot of hypotheses have been expressed about the ornamentation of spinning wheels and the symbolism of the depicted images,then there is very little information about the existence, "life in culture" of this attribute and, as a result, scientific research.

In the complex of tools for the production of home spinning and weaving of the second half of the XIX - beginning of the XX century. the spinning wheel was among the oldest. It served as an auxiliary device to which the tow was tied. In Russian folk culture, many local types of spinning wheels are known, differing in shape, design of blades and legs, and ornamentation.

The process of spinning at home was the most labor-intensive-it took up all the free time of peasant women and girls. Therefore, according to our informants, girls were taught to work on the spinning wheel and spindle from the age of five to seven. Mothers and grandmothers were mentors. In the beginning, the children were only trusted to teach them to twist the "rags" (the fiber left after the flapping) with their palms. Small children were not allowed to go for a walk until they "put on their mother's pasmenka", i.e., they did not complete the required "lesson". In families with few daughters, boys were also involved in the spinning process [Fursova, 1998, p. 106]. The latter in their training reached the level of masters of spinning threads from thick coarse fiber for bags. During field research in the villages of the former Mykolaiv vol. Barnaul uyezd, Tomsk province. we have marked the products that the boy made yarn for. The rules were simple: I tried, strained-my mother wove, sewed pants, but no - " I ran around in one shirt until the guys laughed."

To become the owner of a spinning wheel, a girl, acquiring the necessary skills from an early age, had to be an established craftswoman. The spinning wheel served as a symbol of the special social status of an adult girl who entered the community of village pryakh and showed readiness to attend supryadki*. Spinning wheels accompanied a woman throughout her life: her father or grandfather gave her a spinning wheel as a child, girls and women came to work with spinning wheels, a spinning wheel was brought by a girl to her husband's house as a dowry. Bukhtarma Old Believers recalled that in their youth the spinning wheel was considered the best gift from the groom [Ibid.].

* Supryadki - a type of collective work of women (although men could also participate in it), they often gathered several dozen women and girls. At the end of spinning, the hostess who received the villagers arranged a treat.

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According to the quantity and quality of the spun thread, the character and merits of the future bride were judged. In song folklore, there are words about a needlework spinner, but it was considered a great shame to be known as a "non-spinneret" in the village. Until recently, immigrants from the Russian Old Believers 'milieu of Belarus kept "supryadochnye" songs in which the spinning girl was sung. In one of the songs, the guy addressed the girl he liked with the following words:: "Isn't my darling there all sitting on supryadkah... Oh, sitting, sitting sweet, spinning spinning white kuzhalek* "(PMA, 1993). Researchers suggest that at the mythological level, the spinning process was interpreted as one of the ways of "creating the world", and the spun thread was correlated with the fate of a person (Afanasyev, 1995, p.164, 204; Dmitrieva, 2009, p. 561; et al.).

In Western Siberia, as in European Russia, not only sledges, ice skates, but also donets spinning wheels were used in Shrovetide skating. In our special works, it was shown that in Siberia this custom was common among Russian immigrants from the Ryazan province: they rode on the Donets so that "flax was born" [Fursova, 1997, p. 131]. The idea of "fertility" common to Shrovetide skating, which was clearly expressed by informants born in 1900-1910, allows us to interpret the Donets as a male symbol.

Art historians, depending on the shape of the blade and leg, divided Russian spinning wheels into two groups: wood and wood-flower [Baradulin, 1988, p. 28]. Ethnographer T. A. Bernshtam, considering the semantics of distaff outlines that convey a "plant image" (a tree, flower, or bush), believed that in folk ideas, the blade corresponded to the silhouette of the tree crown, the leg to the trunk or stem, and the bottom to the root [1992, p.18].

Spinning wheels of Russian old-timers of Western Siberia

Using the Siberian spinning wheels viewed, you can get an idea of the design options (whole, made from one root, or composite), the ornamental composition and the technique of its execution. The spinning wheels we observed during our expeditions were mostly little or no ornamentation. As a rule, they do not have the signature of the master or owner, or gift inscriptions. Ornamented spinning wheels can be divided into carved, painted, and also combining both techniques according to the technique of drawing patterns. Painted spinning wheels were more often found in the south of Western Siberia, especially in the Altai, carved and decorated in mixed technique - in the Middle and Upper Ob region, Barab. It should be recognized that each ornamental spinning wheel is valuable as an embodiment of the unique work of a particular master, who may not have been engaged in a craft business (for example, a father of a family, a groom). Many of these household items are related to earlier prototypes stored in families or in the immediate environment. Depending on the ethnocultural characteristics of the studied group, the names of spinning wheels varied: "distaffs" (everywhere), "presnitsy" (Iskitim district, Novosibirsk region).), "pryasnitsy "(Maslyaninsky district of the Novosibirsk region)," pryasilki " (d.1 of the Tomsk region, Toguchinsky district of the Novosibirsk region), etc. (PMA). Similar names are also found in the Northern Russian regions (Dahl, 1990: 395, 533).

Spinning wheels, ornamented in the technique of deep-vented carving, are typologically the earliest. Ethnographers, archaeologists, and art historians have tried to reveal the magical and symbolic meaning of the geometric ornament made on them (see, for example: [Bobrinsky, 1910, issue 1, Table III, VI; issue 2, Table XIX; Rybakov, 1981, p. 240; et al.]). The compositions on such spinning wheels are complex, replete with many geometric shapes and their combinations, which hide content that can be understood not by the master who made them, but, obviously, by generations of a much earlier era. On the blade of one of these spinning wheels made in Baraba, the space is organized by a cross: it holds the entire scattering of patterns, in the center of the cross - a radiant circle (Fig. 1). At the bottom, two crosses ("four - leafed leaves") are inscribed in circles, between which there is a diamond-shaped figure. The contours of all these images are decorated with sharp corners- "rays". Notches are made between the concentric circles, which, on the one hand, connects them with each other, and on the other, "animates" the image. Such solar elements are well known in the ornamentation of spinning wheels of the Russian North (Razina, 1970, pp. 48-53). They are found on spinning wheels in the Altai, in the Irtysh region [Belyaeva, 2007, p. 34, 38, etc.], near the Semeyskiye islands of Transbaikalia [Bolonev, 1980, p.152], as well as on other flax processing tools. The dominance of the "sunny" theme is characteristic of the decor of not only Russian or Siberian, but also Slavic spinning wheels in general. The striking similarity of solar compositions on Russian and Serbian spinning wheels allows us to attribute their origin to very remote times and connect them with a single Slavic community [Rybakov, 1981, p. 239]. The ornamentation of the Barabinsk spinning wheel also has specific features. So, above the large cross, two large squares are shown, divided by crosses into four small ones, one of which is filled with notches, and the other three are empty. At the top and on the sides of the ornamented canvas of the spinning wheel, the halves of the "zhi" are depicted.-

* Here kuzhalek is a fine white linen of high quality.

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Fig. 1. A carved spinning wheel, collection of the Bagan Regional Museum of Local Lore, village. Bagan, Novosibirsk region.

"out" (with rays) of circles, at the top between them-halves of diamond-shaped figures. Finally, a zigzag line is shown at the very top. The lower edge of the blade is not even, on both sides of the leg are cut circles, ornamented along the contour with concentric triangles, along the edges-two circles ("icicles", "cones"), two more circles in the middle hold the blade on the leg. On the reverse side, on which the tow was tied, the blade is smooth, almost without patterns, only semicircles are cut out at the bottom. The contours of the ledge of the donets, in which the leg was attached, are ornamented with a circle with a cross inscribed in it ("four-leaf"). Visually, you can determine that the blade was either transferred here from another, older spinning wheel, or was re-strengthened several times on the leg (screwed with twine and wire). The round leg is chiseled, divided into three zones: rhythmically repeating circular depressions are cut out in the upper and lower ones (7 and 13, respectively), the middle zone is smooth, apparently, in this place the leg was wrapped around with the hand when the spinning wheel was carried.

In the multi-part composition, one can guess the desire of the carver to accurately copy the samples known to him, in which researchers see "all-powerful solar symbols", plowed and sown fields of mother earth (according to B. A. Rybakov). According to B. A. Rybakov, the sun circles framing the blades of typologically early spinning wheels convey the continuous (day and night) movement of the sun [Ibid., p. 244]. Based on the materials of the late XIX-early XX centuries, it can be assumed that solar symbols were leading, having apotropaic properties, designed to protect the spinner, as well as the results of her work from evil animistic forces. Among the Siberian materials, we identified similar carved patterns on looms and trepals. Interviews confirmed the preservation of ideas about the protective properties of solar signs from the "evil eye", "evil eye" , etc. [Fursova, 1998, p. 114].

In the Middle Ob region, there are spinning wheels, ornamented in a mixed technique-carved compositions include painted elements. On the blade of the "spinner" Alexandra Savelyevna Ogneva (born in 1912) - a resident of the village. Penkovo Maslyaninsky district, Novosibirsk region-various circles are depicted: with inscribed rosettes, outgoing rays - straight or curved (Fig. 2). On a blue background, the internal content of the rosettes is highlighted in white, yellow-brown, and red colors. Arkhip Yakovlevich Ognev*, who made a spinning wheel, used traditional elements of" reviving "solar signs in the form of corners - "rays", notches, zigzags.-

Fig. 2. "Spinning wheel", owned by A. S. Ogneva, staroobryadka D. Penkovo, Maslyaninsky district, Novosibirsk region. The end of the XIX century PMA, 1988.

* A. Ya. Ognev made a spinning wheel for A. S. Ogneva's mother when she was still a girl, around the 1870s.

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different lines, similar to those found on the carved spinning wheel described above. In general, the color scheme, which, apparently, has been updated more than once, should be recognized as bright and cheerful. This spinning wheel belongs to the hoof, in which the blade, leg and bottom are made of the same tree root. On the reverse side of the blade is a horizontally arranged image of an oval with a diamond inscribed in it, which, in turn, contains a vertically standing oval. Along the lower edge of the blade, it was originally decorated with two circles around the edges (one is lost), on which two concentric circles with a hole in the center are carved. A. S. Ogneva called such decorative elements on the blade "cones" or"icicles". At the junction of the leg with the bottom (at the bend of the hoof), a hemisphere is cut out - an element of the main motif with an inscribed rosette. On the flat leg there are five rhythmically repeating depressions and protrusions.

In terms of information content, the symbolism of the patterns on this product is no less capacious than on the Barabinsk spinning wheel: solar signs of different sizes and, most importantly, content are depicted on three levels. At the top, a circle is cut out with an inscribed six-petaled rosette, flanked by two smaller circles with axial symmetry of curved lines: on the right, the lines are directed clockwise (due to poor preservation, this part of the blade is lost), on the left-against. Archaic compositions were firmly preserved in everyday life; apparently, in the understanding of the peasants, they not only decorated life, but also promised protection and well-being. At the turn of the 19th and 20th centuries, their presence was sanctified by tradition, or, in popular parlance, "law".

The second pictorial level consists of two circles with a center in the form of small circles, cut into small squares. The field between the circles is filled with straight notches- "rays", grouped by color in pairs. At the bottom, more than a third of the blade is occupied by a large circle, in which a six-petalled rosette is inscribed. Triangles include smaller triangles and create a play of chiaroscuro between the "petals" connected by their ends. Elements of all levels are connected: the field is filled with zigzag and fan-shaped lines so that the composition is a single whole. Radiant circles with axial symmetry and circles with rosettes at the base are archetypal, found in traditional carvings and paintings in the Russian North [Gribova, 1980, pp. 52-62, 211]. By the nature of the composition, this spinning wheel is similar to the famous Olonetsky, in which the main figure is located in the geometric center or lower, which makes the spinning wheels seem weighted, as if "growing out of the ground" [Russkie distaffi..., 1970, p.13].

V. M. Vasilenko, in the course of historical and chronological analysis of the motifs of decorating Russian spinning wheels, proved that the village of the XVIII - mid-XIX centuries knew only geometric carvings, and in the middle of the XIX century colorful painting was born and flourished rapidly [1960, p. 101]. Ural-Siberian murals are characterized by a pictorial and graphic style, which combines folk traditions and techniques of Old Believer icon painting (feathery tree branches, picturesque flowers, whitewash patches-spaces) [Baradulin, 1977, p.9]. According to researchers, a certain influence on the development of ornamental painting of this type was exerted by the traditions of the Stroganov icon painting school of the late XVI-early XVII centuries, the art of the northern and Suzdal schools of the XVII century [Iskusstvo Prikamya..., 1987, p. 10; Sulotsky, 1871, p. 98]. According to archival data, members of the icon artel were allowed to travel "to cities along the Kama River and Siberia to exchange icons."

Siberian murals look elegant, colorful, pleasing to the eye with contrasting color combinations. The basis of the ornament on a spinning wheel made of wood. The zagora of the Maslyaninsky district of the Novosibirsk region is a tree that has sprouted not only branches and leaves, but also huge beautiful flowers, circles- "berries" (fruits), which probably translates the idea of a World Tree (Fig. 3, left). Although part of the blade on the sides is lost, but it is possible to judge the overall composition. On the reverse side, in the upper working part, the spinning wheel is not ornamented, and in the lower part it is decorated with a smaller copy of the tree described above with leaves and one flower.

Fig. 3. Painted spinning wheels, collection of the Open-air Historical and Architectural Museum of the Institute of Electrical and Electronic Engineering of the Siberian Branch of the Russian Academy of Sciences. Author's fees, 1989-1990.

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The Russian tradition of oral art in the XVIII-early XX centuries. she kept texts about the wonderful tree (whatever it was called-the World Tree or the Tree of Life). After all, the people who became the creators of spinning wheels, trepals, looms and other household utensils, did not live outside of folklore. The tree motif was clearly heard not only in the song, but also in the conspiracy tradition: "On the sea, on the ocean, on the island of Buyan there is an oak tree, on the island of Buyan - suchishche...", " At, oak-dubishche, take your zubishche...", "On the sea, on Okian, on the island of Buyan there is an oak tree neither naked nor clothed...","...on the sea Ocean, on the island of Kurgan there is an oak tree...", " ... a white birch, a curly birch grew in an open field... "[Russkie zagoryony..., 1998, pp. 74, 81, 233, 244, 277, etc.], etc. The idea of a spinning wheel-a plant/tree was taken to convey by masters who had undoubted professional skills painting skills, as well as farmers "from the plough". It is quite obvious that the researcher is not dealing with some vague ideas, unclear images, but with something that has organically entered the national life and cannot be quickly and easily lost.

On the blade of a spinning wheel from the village of Maslyanino, Novosibirsk region, you can see an alternation of leaves, flowers, and fruits arranged vertically, which also seems to symbolize a tree. The blue-and-white pattern is subtle and delicate, reminiscent of the most elegant examples of northern and Ural paintings. On a spinning wheel from the Ust-Tarksky district of the Novosibirsk region, the center of the composition is three large scarlet flowers framed by fruits and buds (Fig. 4). The drawing is "enlivened" by black sinuous lines flying in different directions, "herbs", and whitewash "revivals" give it volume, real tangibility. According to V. A. Baradulin, the arrangement of the main motifs - two or three flowers and fruits along the axis of symmetry-is typical for spinning wheels of the Vologda and Arkhangelsk, as well as the Kama (Accusing) tradition [Iskusstvo Prikamya..., 1987, p.25].

Another variant of the compositions of spinning wheel blades is represented by plant ornaments combined with images of birds. Similar ornamental motifs, well-known to the Old Russian masters who drew screensavers for books of the XI-XVI centuries, are found in handwritten and old printed books of the Old Believers of Siberia. According to our materials," bird symbols " are mainly represented on ritual towels, in particular, wedding towels in the form of "surfactants", "doves", "swans", etc. Paintings of spinning wheels, reflecting the personality of the master, are consonant with such images of oral and poetic creativity as" blue dove", which was the personification of a good fellow, a brave fellow (Fig. 5). Compositions with a wonderful tree and one or two birds sitting were filled with a specific meaning and could serve as a wedding gift (see: [Razina, 1970, p. 41]).

4. Painted spinning wheel, Ust-Tarka village, Novosibirsk region, PMA, 1999.

5. Painted spinning wheel, collection of the Ishim Museum of Local Lore.

6. A painted spinning wheel owned by A. N. Sidorova (Bukhtarma Old Believer), Korobikha village, Katon-Karagai district, East Kazakhstan region. Of the Republic of Kazakhstan. PMA, 1978.

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7. Painted spinning wheel, Murashi village, Ust-Tarksky district, Novosibirsk region. PMA, 1999.

8. Distaff painted, Popolnoye village, Soloneshensky district, Altai Krai. PMA, 1988.

Distaffs with similar paintings, "notes" * white and" postscripts " ** black colors are more often found in the south of Western Siberia; their paintings are a well-established composition and often quite picturesque. Among the painted spinning wheels, there are also those drawn in the famous "Vyatka technique" (see: [Iskusstvo Prikamya..., 1987, p. 12, il. 119; p. 32]). Vyatka masters, using the simplest techniques of handwriting and a small circle of plant motifs, decorated objects with simple compositions.

Consider a sketch of a spinning wheel made during the expedition from d. Korobikha of the Katon-Karagai district of East Kazakhstan region. 6). The plant compositions here are more diverse than on the spinning wheels described above, and seem different in meaning: images of unopened buds, leaves, fruits and two birds. The master used more techniques of applying paint; the drawing in a dark brown scale, with black sliding lines, is "enlightened" by white strokes of different thicknesses and sizes. At the bottom, schematic strokes show a flowerpot or earth, from which a fantastic tree stretches. At the top, black birds sit on both sides of the plant. Perhaps initially such murals were painted with less gloomy colors, but over time they could fade. An example of such changes is a spinning wheel from the village of Murashi, Ust-Tarksky district, Novosibirsk region, made more than 100 years ago (Fig.

On a spinning wheel from the Himalayas, a similar composition is shown using abstract forms: schematic lines, apparently, convey images of black birds. It is quite obvious that folk art has its own dialectic, and technique and technicality have never been an end in themselves. The master who made the spinning wheel painted it as best he could, according to the samples at his disposal. The spinning wheel belongs to the category of composite; its leg is chiseled, shaped, in the upper and lower parts decorated with "rings", the middle part is smooth, without thread, adapted, apparently, for hand girth. It is possible that the image is the result of clumsy updating of the primary drawing.

A rough, unskilful drawing was made by an obviously unprofessional craftsman and on a spinning wheel from the village of Poplar Soloneshensky district of the Altai Territory (Fig. 8). On the blade, you can read the image of a tree enclosed in a space bounded by wavy lines. Art historians consider ornamental motifs in the form of a bush growing from a pot to be the most ancient, dating back to the XVII century. [Kaplan, 1961, p. 28]. In the figure described, the plant comes from a crin***, which may later have been replaced by a flowerpot from the masters. The spinning wheel is composite, chiseled, at the junction of the legs and the bottom, an ornamental composition is made on the basis of wavy lines and rhombuses with a cross inscribed in a circle.

According to researchers, the high artistic merits of the Altai murals [Ibid., pp. 22, 55;

* Light brushstrokes with white paint.

** A thin line made with black paint.

*** Old Russian decorative motif in the form of a lily.

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9. Painted spinning wheel, Bolshoy Bashchelak village, Charyshsky district, Altai Krai. PMA. 1988.

10. Composite spinning wheel owned by A. I. Shestopalova, Yazovaya village, Katon-Karagai district, East Kazakhstan region, PMA, 1978.

11. Painted spinning wheel, Korobikha village, Katon-Karagai district, East Kazakhstan region, PMA, 1978.

Goncharik, 1998, p. 81; et al.] allow us to speak about a separate Altai school [Baradulin, 1977, p. 3]. N. I. Kaplan notes that Soloneshensk spinning wheels of the Old Believers-"Poles", may have been purchased in the district center - the village of Soloneshny, where annual fairs were held in pre-revolutionary times [1961, p. 50]. In the foothills of the Altai Mountains, there are specific compositions on spinning wheels with combinations of plant and solar motifs, transmitted in circles, squares with flowers inscribed inside (Fig. 9).

During the expeditions of 1978-1979 and 1988, 1997, we made sketches of spinning wheels that belonged mainly to the descendants of the Bukhtarma Old Believers. The compositions on these spinning wheels are characterized by plant motifs (flowers similar to poppies, roses, spikelets, etc.), enclosed in circles, squares or arranged in a certain order along the blade - in one vertical row, in the form of a bush, flowerbed. Some spinning wheels are painted in the Ural traditions. Unlike the well-known compositions on the spinning wheels of the Kama region, the Bukhtarma ones do not have artful whitewash streaks, masterfully painted roses, because, according to informants, they were made at home, not for sale. However, on Bukhtarma there are also other original paintings with concentric circles from the point of view of composition; they differ from the Ural and Ural ones in the technique of execution (cf.: [Baradulin, 1988, p. 37, 50, 51]), generalization techniques, rhythmic structure, i.e. decorative interpretation.

Old Believers often copied and decorated spiritual and service books. The hand of the master, who had drawing skills, drew out solid lines, clearly built compositions that resembled carved and painted images on North Russian spinning wheels. One of these craftsmen created a painting on a composite spinning wheel made of wood. Yazovaya Street, which belonged to the Old Believer A. I. Shestopalova (Fig. 10). An example of a painting that represents a different artistic style is the spinning wheel of Marfa Antropovna Osinina (born in 1886) from the neighboring village. Korobiha. On the dark ochre backgrounds of its lobes, an eight-petaled rosette flower is depicted, inscribed in concentric circles, meanders; graphic lines are highlighted in white and black (Fig. 11). The composition on this spinning wheel is more thorough compared to the Vyatka-Perm ones,

* The expeditions were organized by the Institute of Scientific Research of the Siberian Branch of the USSR Academy of Sciences (now the Institute of Theoretical and Applied Physics of the Siberian Branch of the Russian Academy of Sciences); in 1978-1979 - head of L. M. Rusakova, in 19881997 - head of E. F. Fursova.

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12. Painted spinning wheel, collection of Novosibirsk State Pedagogical University.

thin and elegantly drawn. The patterns are small and static, evoking a sense of balance and proportionality. It is possible that this spinning wheel is close to the well-known Accusing spinning wheels of the Kama region, although it is difficult to catch the characteristic features of the latter: they are very different in appearance (see: Iskusstvo Prikamya..., 1987, p. 169; et al.]).

Original and unique in its kind is a spinning wheel from the village of Bazov, Tomsk region, which can be classified not only as a gift, but also as a "portrait"one. Probably, the master tried to depict on it not traditional compositions, but Pelageya Ivanovna Vorobyova (nee Tonaeva), to whom the spinning wheel was intended (see Fig. 3, in the center). The work of her father-Ivan Stepanovich Tonaev (born in 1909) - can be said to be close to a secular portrait, it is obvious that the master sought to give the image the features of a specific person. The spinning wheel shows a smiling lady, dressed not in a peasant dress and waving a reticule. The maroon border that encloses the image enhances the similarity with the portrait. Interestingly, the reverse side is traditionally clearly divided into working and ornamented parts. The work area is marked with a burgundy border, below it - four St. Andrew's crosses inscribed in squares, and four crosses between them, made in the technique of deep-etched carving; at the very bottom of the surface there are three rows of notches.

The upper part of the blade of this spinning wheel is decorated with teardrop-shaped processes, known in ethnographic literature as "towns". They are typical of the northern Upper Volga spinning wheels, but are rarely observed in the south of Western Siberia. In the lower part of the blade, two cutouts are made along the edges. Perhaps the master visited Tomsk and saw portraits of secular beauties in a museum or at a fair, and his natural abilities allowed him to design a paddle in this genre. The distaff is interesting as an attempt by the folk master to move away from traditionalism and offer artistic means for decorating this originally female spinning tool.

Spinning wheels of Russian settlers of Western Siberia

Distaffs of Ukrainian immigrants differ from old-timers. For example, a composite spinning wheel from the collection of the Museum of Novosibirsk State Pedagogical University is clearly made by a master with a "set hand" (Fig. 12). Its blade shows a tree-bush growing out of a flowerpot with realistic cornflowers, which are depicted in profile, which is typical of Ukrainian painting [Kaplan, 1961, p.44].

Distaffs of Nizhny Novgorod immigrants brought to Siberia in the early XX - first third of the XX century are distinguished. Unlike the old-timers, these spinning wheels are always detachable, they have a special hole for the comb. According to a number of ethnographers, removable donets by origin are associated with the bench on which the spinner sat, and the evolution of their form was largely due to the tradition of Maslenitsa skating on the Donets from the hill. During field research in the village of Bazov, Tomsk region, this type of donets was found in natives of the Nizhny Novgorod region during the collectivization period (Fig. 13). The composition is divided into three parts by straight and curly lines marked with wooden nails. The drawing in the form of a rider on a horse is made in the technique of inlaid wood of a different breed (highlighted in color). The rider has a brave look, one hand on his hips, the other with an object that looks like a pipe, raised up. The figure of the horse is stylistically similar to the well-known Mezen images: an elongated torso, thin legs-cobwebs are curved, as if running at a gallop. Perhaps, typologically, this spinning wheel is earlier than the Gorodetsky spinning wheels known from museum collections with images of ladies and gentlemen, carriages, etc.,

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Fig. 13. Reznaya distaff, village 3 of Kozhevnikovsky district, Tomsk region.

PMA, 1989.

14. Reznaya distaff, Starososedovo village, Iskitim district, Novosibirsk region, 1930s PMA, 1990

that is, household items. The master, as it were, posed a riddle to posterity: who is blowing the trumpet, what is calling for?

The development of the most ancient motifs was reflected in the image on another spinning wheel with an inlaid Donets, which belonged to immigrants from Nizhny Novgorod. It is decorated with an unusual composition (Fig. 14). Closer to the stem, an image of a tree-flower is carved in the form of a rhombus with conditional petals, the bases of which are adjacent to the sides of the rhombus. On the second half of the donets, the drawing was probably scratched by the unsteady hand of the owner or owner. It differs from the compositions with the "tree" here not only in the technique of execution, but also in the content. It seems that the main thing for the performer was to convey the content of Christian symbols. Of course, it is surprising that the cross is shown in the lower part of the spinning wheel, where the spinner usually sat. Below the cross is a circle with a cross inscribed in it, parts of which are dissected by smaller crosses. Apparently, it was important for the spinner to have these Christian signs on the spinning wheel, in what place they are depicted-it did not matter. The irregularly shaped part into which the spinning wheel leg is inserted is again masterfully ornamented. A bird with a shortened but broad tail is shown-a motif well-known for women's needlework (embroidery). Precise expressive lines create the image of a peahen. Unfortunately, all the details carved from noble oak were lost by the time of our expedition.

Conclusion

The folklore tradition of the Eastern Slavs, both in the study area of the "secondary" development of Western Siberia and the Russian North, is characterized by the preservation of rudiments of archaic phenomena, in particular, in the ornamentation of utensils and tools. The culture of painting and carving spinning wheels in Siberia was formed, apparently, under the direct influence of the North Russian tradition, brought by immigrants from the Vologda region, Kargopol, and the Kama region. If in the Urals there were uniform methods of painting and composing compositions for all types of household utensils, then in Siberia they were not homogeneous and overlapped with other traditions, in particular, migration (for example, Ukrainian). The materials collected by us testify to the diversity and originality of artistic techniques and compositional design of spinning wheels in the Southern Altai, which confirms the observation of A. E. Ashchepkov [1950, p.126, 132, 133, 134].

Siberian spinning wheels are similar to North Russian and Upper Volga spinning wheels, but they have their own specific design techniques and ornamental motifs.: they rarely have sculptural blades, as a rule, there are no finials- "towns", signatures or autographs of the masters who made them. For the south of Western Siberia, the North Russian and Ural traditions were basic, they varied within the type depending on the ethno-cultural orientation of the population, the availability of trained craftsmen, the proximity of spiritual centers of the Orthodox Church (icon painting workshops) and the Old Believers. Nizhny Novgorod traditions were not widespread due to the small number and difficult living conditions of migrants. Artisans from among the Russian immigrants, who were familiar with highly professional samples, did not accept the Siberian traditions.

Distaffs of the root structure are characterized by a more subtle pattern, a certain locality of existence. On composite spinning wheels, among which there are also chiseled ones, there is a clumsily and crudely executed drawing, which often translates traditional archetypes.

The main archetypes of spinning wheel ornaments were brought to Western Siberia and are represented by two traditions of painting and carving: variants of solar ones

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patterns, floral and vegetal - with or without birds. The subjects of the murals are simple and typical in general for works of Russian folk art-images of the created world in the form of a garden of eden or the kingdom of heaven. The need to explain the sacred through the mundane with the help of the simplest visual means clearly manifested itself in the folk art of Siberian peasants.

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The article was submitted to the editorial Board on 20.12.10, in the final version-on 14.01.11.

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