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

life culture, an active process of its stratification was also taking place. The same process of differentiation was proceeding in the thematic repertoire of representation, especially in the 5s. That period in particular witnessed the emergence of „úrban type of lubok" serving the tastes of virtually all population strata. Illustrations of the themes of Russian popular songs, such as „There's a limetree in the field", etc, were manufactured in the same workshops as the sheets entitled „Morning in Milan", „Midday in Athens", ..Evening in Switzerland", „Night in Sicily" (1853). Pictures entitled „Der Einritt in den Serail", „Napoleon a Aspern" were produced alongside those entitled „My tender kitten", „The view of the Kremlin from the Moskva River", „Mahmud II. the Turkish Emperor" and „Don Juan". In the 6s the lubok pictures repertoire finally became stabilised. Starting from 1866, lubok pictures were manufactured in various editions, depending on the financial means of the publishers and popularity of the themes: from 150 to 70 000 copies annually. The most popular were the sheets entitled „This rabbit adores grapes", „We are great friends with the kitten". Below is the approximate list of pictures which in 1867 presented the finale of all topical samples: „Tsar Alexander Nikolayevich", „Industrious Children", „Claudius with his Minerva", „Adelaide", „Content with Oneself", „Rendezvous of the Lovers", „Lion Hunting", etc. The thematic repertoire of similar engravings showed that ever greater preference was given to pictures whose artistic and aesthetical properties approximated those of professional paintings. The urban lubok came to serve an aesthetic role only. Ever greater popularity was attained by brighter and more expensive chromolithography or oleography, which became widespread in the 70s. A considerable proportion of the pictures with traditional topics was consigned to the countryside, where they were still in great demand, as distinct from urban locations. This was taken into consideration by workshop owners. Early in the 19th century Russia remained an agrarian country. Hence, peasants made up the major part of its population. The diffusion of the pictures among peasants was considerably facilitated by the existence of a distinct network of numerous salesmen (about 10 000) in Russia's central regions: Vladimir, Oryol. Tula, etc. provinces. As a rule, the salesmen purchased large batches of pictures at the fairs held in Moscow, Nizhniy Novgorod, Kholuy and other cities, and then sold them in the Ukraine, Caucasus, the Don area and in the Siberia. With time the Moscow workshop owners started frequenting the fairs with the aim of securing an adequate sale. Among the salesmen were those who went as far as Poland, Serbia, Romania and Bulgaria with their produce. Enterprising Russian merchants sold the pictures of religious nature to residents of American North-Western coast, who used them as icons.

1

" In 1858 a large lithographic studio opened in Mstyora village, Vladimir province. The founder was a local peasant, Ivan Golyshov. The workshop daily produce amounted to 3 000 pictures of religious, historical and daily life nature. These were sold by special salesmen called „ofeny"." Numerous travellers visiting many Russian villages noted the decoration of peasants'homes with lubok pictures. As a rule, the huts' front corners accommodated a shelf for sacred images, painted in dark red or brown. A cupboard attached to a wall contained simple earthenware, half a dozen of plates, cups, a couple of knives and forks. The walls of the better-off peasants acquainted with urban daily life were decorated with pictures of various topics: lubok pictures of prince Bova, images of St. George, slayer of a dragon, the battle of Kulikovo, fighting at Alma and Inkerman, and the major episodes from the Scripture, as well as portraits of the nobility and of prominent personalities. The homes of rich peasants boasted even lithographic views of Russian and foreign towns.

12 The text coincided with what the painters depicted in their pictures. Thus, V. Rybinsky depicted a stage in a peasant wedding ceremony (III. 8). The modest