Kunt Ernő szerk.: Kép-hagyomány – Nép-hagyomány (Miskolc, 1990)

I. RÉSZTANULMÁNYOK - Tatiana Voronina: A lubok helye és szerepe az orosz népi kultúra rendszerében a 19. század 20-as és 60-as évei között

the rising aesthetic requirements of urban population. In the 4s some official publishers made an effort to transformhe style, form and content of lubok pictures, and replaced them with subtler themes borrowed from literature, but the violation of traditional repertoire aroused indignation even among „bettereducated contemporaries": ..With the spread of lithography, crudely engraved pictures were replaced by crudely executed lithographic prints. The content transformed their Russian image: they almost completely ignored the topics of Russian everyday life, the irks and pranks of common people, and concentrated instead on French and German themes, distorting them with their attitude and explanation, and introducing a new and alien element into popular taste. They replaced the well-known images with those of mythological Gods, goddesses and nymphs, scenes from Goethe's „Werther", Chateaubriand's novel „Paul et Virginia", personification of Beauty, Modesty, Expectation and with various representations of Napoleon. Such representations alien to the folk spirit and daily life, led one to regret the early lubok pictures".

6 True, sheets representing pretty female heads and carrying inscriptions such as „Caroline", „Adele", „Laura", „Nannte" were emerging ever more frequently with the inscriptions being replaced by Russian names, such as „Varinka", „Sashinka", „OLinka", „Katinka". Undoubtedly, these pictures were painted not for ordinary people and were not produced by peasants. As from the late 2s workshop owners began to invite professional painters among which were pupils of Count Stroganov's drawing school: Strukov, and Ryabinin. Some of the painters, such as Kashintsev, Keppen, Sokolov, Kudryakov, etc. later on became renowned. This was confirmed in several sheets (III. 3). Petersburg produced fewer pictures than Moscow. Petersburg lubok pictures were marked by a more official air and were even closer to engravings produce by professionals. These were mainly reproductions of easel paintings, original pictures by professional painters, illustrations of episodes taken from the works of prominent writers, magazine supplements and appendixes of theatrical performances, as well as representations of the daily life of the middle classes and the images close to their hearts: the country house, the New Year tree, fancy-dress ball, an organ-grinder, a Tyrolean holiday and, in the end, scenes of country life. But the output of Moscow workshops, or „Moscow goods", were more popular. In the 4s, as contemproraries noted, lubok pictures salesmen were not to be seen in the central streets of the capital: there was nothing to be gained there. To see the salesmen, and particularly their pictures, one had to go to the Yamskaya, Peski, Okhta, Vyborg and Petersburg districts, or to the Nevsky monastery. There only could one meet a Yaroslavl resident with a long beard, carrying a long stick with rolls of pictures attached to it, all in turn attached to his neck by a rope.

7 Thus, the lubok served certain strata of society, and its function depended on the milieu where it was circulating. Everyday culture of a Russian city of the period under investigation represents a motley picture. It contained diverse individual types of houses, clothes, foodstuffs, entertainment, social activities, etc. Each type maintaining the traditional forms to various degrees or diverging from them, was to be found within its own more or less limited sphere. All this affected the destiny of national traditions within the culture and everyday life of the urban population. Perpetuation was determined by the social status of given urban population groups. The pecuniary luxury of the upper classes, their refined taste and prestige considerations, led to their divergence from national traditions, and to the permit for new means of distinguishing oneself from the broad masses. Amongst the poorer strata of the urban population, which had to manage with the minimal of material boons and obliged by the precariousness to a certain simplification of their daily life, the attachment to traditional lubok pictures displayed in bookshops persisted much longer. „More people would stop at the picture shop of the Schukin