Based on the study of the collections of the Russian Ethnographic Museum, the National Museum of the Komi Republic, previously published materials and the results of field research conducted in 1989-2013 on the territory of the Komi Republic, the article examines the ethno-local tradition of peasant wood painting of the Upper Vychegod Komi-Zyryans, which existed at the turn of the XIX-XX centuries. in the villages and villages of Ust-Sysolsky and Yarensky uyezds of Vologda province (the territory of the modern Ust-Kulomsky and Kortkerossky districts of the Komi Republic). The article formulates the decorative canon of the Verkhnevychegodsk painting, and also puts forward a hypothesis about the origin of this ethno-cultural phenomenon in the area of joint or borderline residence of the Finno-Ugric and Russian populations, in particular, the Old Believers. According to the technique of writing, ornamentation and color, the paintings of Vychegodsk masters differ significantly from the peasant paintings of the Russian North and the Kama region.

Keywords: Vychegodsk Komi, wood painting, technique and composition of peasant painting, Komi Old Believers, ethnographic mapping.

Introduction

The problem of local / regional in the history of peasant art centers that developed at the end of the XIX century on the territory of the border / cohabitation of the Russian and Finno-Ugric populations of the European Northeast is one of the key issues in the ethnographic and art history study of folk art of the Russian North [Bernshtam, 2008, pp. 144-151; Dmitrieva, 2006, p. 78-79; Putilov, 1994]. This article offers an analysis of materials representing the ethno-local artistic tradition of wood painting, which until the beginning of the XX century existed in the Vychegda River basin in the north-east of European Russia*.

The actualization of the theme "Vychegodskaya painting" was largely due to the fact that in the history of peasant painting in the Russian North, the Urals and the Kama region, the territory of the Komi Territory**, with the exception of the Niz River basin. Pechora (Taranovskaya, 1968) is still a "white spot" (Sheleg, 1992; Sevan, 2007; Bernshtam, 2007; Baradulin, 1982, 1987). A clear illustration of this thesis is provided by ethnographic materials.

The article was prepared in the framework of the project "Cross-cultural interaction and construction of cultural borders in the European north of Russia" of the Ural Branch of the Russian Academy of Sciences (12 - 66 - 9-005-ARCTIC).

*At the initiative of the Ministry of Culture of the Russian Federation, a project to develop a Catalog of the Intangible Cultural heritage of the peoples of Russia has been implemented since 2009. As part of this project, in 2012 the authors of this article prepared a register of traditions of peasant painting on wood that existed before the beginning of the XX century in the Vychegda basin [Electronic catalog...].

** The territory of the present-day Komi Republic, formerly part of the Vologda and Arkhangelsk provinces.

page 119
maps published in the 1980s and 1990s. in the studies of V. A. Sheleg [1992, p. 129, 137, 142] and V. A. Baradulin [1982, p.31]. Modern academic publications often reproduce the opinion that "the population of the Vychegda River basin is not historically characterized by the tradition of artistic carving and painting on wood" [Sheleg, 1992, p. 140; Bernshtam, 2008, p. 152]. Unfortunately, these studies do not specify which part of the Vychegda basin they are referring to and whether this statement concerns the Vychegda Komi tradition. At the same time, it is known that the tradition of artistic wood processing, in particular free brush painting, was recorded in the upper and lower Vychegda basin in the Komi Territory as early as the end of the XIX century. [Kandinsky, 2008]. In a number of works on ethnography and folk art of the Komi Republic published in the second half of the XX century, this distinctive artistic tradition was repeatedly mentioned [Belitzer, 1958, p. 343; Koroleva, 1969, p. 16; Gribova, 1980, p.58-59].

Decorative Verkhnevychegodsky canon

The traditional decorative canon of the Verkhnevychegodsk painting, represented on weaving tools (spinning wheels and trepals), can be formulated as follows: geometric multi-colored three-part compositions consisting of multi-colored circles inscribed in each other, often mirror-symmetrical along the vertical axis, as well as four -, six -, eight-ray rosettes, which are shown in the center of multi-colored circles. circles framed around the perimeter by points of contrasting color (Figs. 1, 2). A special feature of the Verkhnevychegodsk painting technique is the application of picturesque geometric compositions with paints over a carved contour ornament previously made on a wooden product using chisels and carpenter's compasses (Figs. 3, 4).

1. Vychegodsk painted spinning wheels. Early XX century Kerchem village in the Ust-Kulomsky district of the Komi Republic. Field sketches by P. G. Mikushev. 1999

2. Vychegodsk painted spinning wheel (1) and trepala (2). Photo by V. E. Sharapov. 1989 1-the beginning of the XX century. Kerchem village of Ust-Kulomsky district of the Komi Republic; 2-early XX century. Don village of Ust-Kulomsky district of the Komi Republic.

3. Vychegodsk painted spinning wheel. Early XX century Kerchem village in the Ust-Kulomsky district of the Komi Republic. Photo by V. E. Sharapov. 2013

page 120

4. Contour ornament on Vychegodsk spinning wheels. Funds of the National Museum of the Komi Republic. Photo by I. V. Zemtsova. 2012

First, the master made contour markings of the ornamental composition in the form of concentric circles inscribed in each other, then made point depressions along the perimeter of the circles. The ornament was applied with a cutter in the technique of two-sided cuts-contour two-sided lines with clear relief outlines. Subsequent priming and multi-color contrasting coloring made it possible to shade the elements of a multi-part geometrized carved composition, saturate it with small details in the technique of brush writing. There is reason to believe that some painted geometrized compositions on the surface of wooden products were made in a special "finger" technique, without using a brush. Creating a raised border between the multi-colored elements of the composition was technologically justified: this border allowed the master to apply oil paint more evenly and not move to neighboring circles that were different in color*.

From the history of studying the Vychegodsk mural

The discovery of the Vychegda wood painting in the Komi Republic, as some researchers suggest, is associated with the name of V. V. Kandinsky, who in 1889 made a trip to Vychegda [Avtonomova; Aronov, 2010, pp. 44-94; Kandinsky, 1889] and made sketches of some samples of house painting in the Komi villages of Verkhnyaya Vychegda [Weiss, 1995, p. 10-26]. The ethnographic album "V. Kandinsky's Journey to the Zyryans in 1889", released in 2013 by the National Museum of the Komi Republic, presents some parallels in the artist's paintings and folk art of the Vychegodsk Komi Republic [2013]. However, the assumption about the" Zyryan palette " in the works of V. V. Kandinsky, presented in journalistic articles [Sivkova, 2009, 2013], remains only a hypothesis, which certainly requires confirmation by art historians.

In the 1940s, the well-known ethnographer V. N. Belitzer drew attention to the original tradition of wood painting in the Vychegodsk Komi. Her field diaries contain descriptions of compositions and motifs typical of house painting, as well as a few sketches of painted spinning wheels typical of the Verkhnevychegodsk Komi Republic [1946, 1947]. According to V. N. Belitser, the development of the artistic tradition of painting on Vychegda was associated with the activities of newcomers Vyatka and Cherdyn masters-otkhodniki, who worked here until the beginning of the XX century. In her monograph "Essays on the Ethnography of the Komi peoples", F. E. Popov is mentioned - one of the Komi masters who was engaged in wood painting in the village of Kerchem before the beginning of 1940 [1958, p. 343].

In the mid-1960s, the ethnographer M. A. Brown for the first time compiled a detailed ethnographic description of the complex of painted and carved wooden utensils (spinning wheels, sewing machines, trepals, loom blocks, spindles), traditional for the Vychegodsk Komi [Kolchina, 2007]. In the course of field research in the Komi villages on Verkhnyaya Vychegda, M. A. Brown collected a rich and unique collection of painted weaving tools (more than 30 items), which is currently available in the following areas:

* Some tools (chisels and carpenter's compasses) used by Viyegda craftsmen in the early 20th century to apply contour ornaments to wooden products were recorded and described in detail in 1907 by the Finnish ethnographer U. T. Sirelius during an expedition to Viyegda (Sirelius, 1907). It is interesting that U. T. Sirelius, a leading expert in the study of the history of material culture, associate professor at the University of Alexandria in Helsinki, did not attach any importance to the original wood painting. However, in his diaries and inventory of the collected exhibits, there is detailed information about wood carvings characteristic of the Vychegodsk Komi. According to Dr. I. Lehtinen (Finnish Museum Department, Helsinki), U. T. Sirelius was searching for an" authentic Finno-Ugric tradition "from the Komi people and probably considered this artistic tradition of painting "late", borrowed from the Russian population.

page 121

Fig. 5. Painted viyegodsky products of a trepala (1) and a spinning wheel (2). Sketches by I. V. Zemtsova. 1989 1-the end of the XIX century. Ust-Kulomsky district of the Komi Republic. Collector M. A. Brown. Funds of the Russian Ethnographic Museum, N 7766 - 30, 7766 - 35; 2 - early XX century Ust-Kulomsky district of the Komi Republic. Collector M. A. Brown. Funds of the Russian Ethnographic Museum, N 7766-28.

time is kept in the collections of the Russian Ethnographic Museum (Fig. 5) [1967].

The name "Vychegda painting" was first introduced into scientific use by the famous art critic N. S. Koroleva, who worked at Vychegda in the early 1960s. Her dissertation study "Folk art of the Perm Finno-Ugric peoples (Komi, Komi-Permyaks, Udmurts) of the XIX-XX centuries" emphasizes the originality of the technique and composition of Vychegod painting, noting that in the Komi villages the masters of painting were local residents who owned carpentry and carpentry [1969, p. 16]. It should be noted that thanks to the research of M. A. Brown and N. S. Koroleva, unique samples of Vychegodsk wood paintings were first presented at expositions of Moscow and Leningrad museums, as well as published in museum catalogs and art albums on decorative and applied art of the peoples of Russia [Narodnoe iskusstvo Rossiiskoi Federatsii..., 1981, p. 89].

Based on the materials of expeditions to Vychegda in the late 1970s, ethnographer L. S. Gribova identified several craft centers for the production of painted wooden utensils in the river basin-the villages of Don, Kerchem, and Nizh. L. S. Gribova managed to record the names of the inhabitants of these villages who were engaged in wood painting in the first half of the 20th century: Mikhail Alekseevich Gichev (died in 1945, mute), Semyon Andreevich Popov (died in the 1960s), Stepan Stepanovich Tarabukin (1895-1940), Dmitry Kondratievich Tarabukin (died in 1975), Dmitry Andreevich Timushev (died in the 1930s), Ivan Stepanovich Samarin (died in the 1930s) . According to the researcher, in the village of Derevyansk such masters were Alexander Nikolaevich Chuvyurov (died in 1962) and Pavel Anufrievich Mozym [Gribova].

Based on the analysis of the coloristic and compositional features of the Vychegodsk painting, L. S. Gribova identified a special Lower Vychegodsk style of free-leaf painting (the predominance of plant motifs), which, in her opinion, significantly differed from the Upper Vychegodsk style (emphasized geometrized) [1980, p.58]. L. S. Gribova's conclusions are also somewhat confirmed by the results of ethnographic mapping of traditional carvings and wood paintings in the Komi Republic: the area of the Verkhnevychegodsk mural clearly coincides with the area of distribution of traditional contour geometric wood carvings in the Komi Republic (Figs. 6, 7).

In the region under consideration, carved spinning wheels are widely distributed, identical to painted ones not only in design and shape, but also in the geometrized decor applied to the blades with contour lines. Subject to the dates shown on some products,

page 122
carved spinning wheels, made according to the "Vychegod canon", appeared on Vychegda much earlier than painted ones. The earliest known painted weaving implements date back to 1889. Some items decorated with carved ornaments have an earlier date-1860. It is noteworthy that the traditional" architecture " of Verkhnevychegodsk carved and painted spinning wheels with a characteristic leaf-shaped/paddle-shaped / lotus-shaped blade, which tapers symmetrically at the base and pommel, has no analogues in the Russian North, in the Kama region and in the Urals (Fig. 8).

Fig. 6. Ethnographic map "Territories of spreading traditions of wood carving and birch bark processing". And deut V. E. Sharapov. 1-contour carving; 2-trihedral recess and contour carving; 3-birch bark embossing; 4 - birch bark utensils; 5-wicker utensils; 6-carved tableware; 7-carved calendars; 8 - tools of spinning and weaving.

Fig. 7. Ethnographic map of the "Territory of distribution of wood painting traditions". Author: V. E. Sharapov. 1-verkhnevychegodskaya; 2-nizhnevychegodskaya; 3-svobodnokistevaya, graphic and plot; 4-plot and graphic; 5 - svobodnokistevaya; 6 - "individual"; 7 - brownie; 8-furniture; 9-dishes; 10-arcs; 11-spinning wheels; 12-chests.

8. "Architecture" of traditional painted spinning wheels of the Verkhnevychegodsk Komi Republic. The villages of Kerchem'ya, Don and Voch in the Ust-Kulomsky district of the Komi Republic. Computer graphics by P. G. Mikushev.

page 123
On the origin of the Verkhnevychegodsk painting

In the 1980s and 2010s, some samples of Vychegda murals from the collections of the National Museum of the Komi Republic and the Institute of Language, Literature and History of the Komi Scientific Center of the Ural Branch of the Russian Academy of Sciences were published in various art albums, museum catalogs, and encyclopedic publications on the history and culture of the Komi Republic [Gribova, 1973, p. 31;Folk Art of the Komi, 1992; Encyclopedia..., 1999, p. 19; Distaffs..., 2009, p. 20-23]. These works present the experience of ethnographic mapping of wood painting areas in the Komi Republic (Zenovskaya, 2001; Sharapov, 1997a, b; 2001, p. 167; 2011), which allows us to make assumptions about the origin of the Vychegda art tradition.

The study of the few collections of Vychegda paintings collected in the 1960s-1980s on the territory of the Komi Republic and presented in the collections of the Russian Ethnographic Museum and the National Museum of the Komi Republic, as well as field research materials conducted by the authors in the 1990s-2000s, suggests that this artistic tradition existed in the late XIX - early XX centuries. quarters of the XX century in the Komi villages and villages of the Vychegda basin in the territories of Ust-Sysolsky and Yarensky uyezds of the Vologda province. (modern Ust-Kulomsky (villages of Anyb, Don, Kerchem, Niz. And the Top. Voch, Ruch, Pomozdino, Derevyansk), Ust-Vymsky (village of Aikino) and Kortkerossky (villages of Vomyn and Nebdino) districts of the Komi Republic). Art history and ethnographic literature have repeatedly drawn attention to the "connection of northern art centers with the activities of Old Believers" (Bernstam, 1992, 2007, 2008). These observations are also confirmed in the tradition of artistic wood painting in the Komi Republic. According to the materials of field research, in the late XIX - early XX centuries. in the villages of Verkhnyaya Vychegda, Komi craftsmen (carpenters and joiners) were engaged in painting - they came from families of Old Believers-bespopovtsy of the Spassovsky type [Sharapov, 1997a, b; 2000]. Ethnographically, the Vychegda basin is of particular interest as an area of interaction between various ethno-confessional and ethno-cultural traditions [Zherebtsov and Lashuk, 1960, pp. 55-57]. It is known that since the XVIII century, the traditional culture of the Upper Vychegodsk Komi was greatly influenced by the alien, later assimilated, Russian Old Believer population. By the middle of the 19th century, a significant part of the population in Verkhnyaya Vychegda was made up of Old Believers, and by the beginning of the 20th century, the indigenous Komi people were mainly carriers of Old Believers ' traditions in this region [Gagarin, 1978, pp. 170-171; Vlasova, 2010, pp. 30-31].

The earliest known examples of the Verkhnevychegodsk painting based on inscriptions on products reliably date back to the 1880s, and the latest-to the end of the 1920s. It can be assumed that the appearance of original wood painting in the Komi villages on Vychegda chronologically coincides with the process of extinction of rural crafts associated with artistic wood processing, which can be traced throughout the Russian North from the middle of the XIX century. [Bernshtam, 2008, pp. 153-154]. Painted products of Komi masters are almost never found outside the Vychegda basin. According to informants, local craftsmen painted wooden utensils only for relatives and fellow villagers. Probably, the works of local craftsmen could not compete with the products of large Northern Russian and Kama trade centers for painting and therefore were not exported for sale at fairs.

Conclusion

The area of the Vychegda mural, which existed on the territory of the Komi region in the second half of the XIX - first quarter of the XX century, is included in the area of distribution of peasant northern paintings, which stretched from Karelia to the foothills of the Urals. Vychegodsk painting (its area is quite clearly localized in the south-east of the modern territory of the Komi Republic) is a connecting "interethnic link" between the artistic traditions of wood processing characteristic of the Northern Dvina basin and the Kama region. At the same time, it differs significantly from the paintings of the Russian North and the Urals: the samples of Vychegda painting are largely unique in their technique, ornamental canon, and artistic and stylistic features. The design of the Vychegod mural tradition took place in conditions of joint or borderline residence of the Finno-Ugric and Russian populations, in particular, the Old Believers. "Cultural bilingualism" in this case contributed to the fruitful development of an original ethno-cultural tradition.

List of literature

N. B. Avtonomova On the ethnographic research of Vasily Kandinsky (Vologda Expedition) - URL: http://www.komi.eom/pole/publ/history/13.asp

Aronov I. Kandinsky. Istoki. 1866-1907. - Moscow: Mosty kul'tury / Gesharim, 2010. - 344 p. - (View from Mount Scopus).

Baradulin V. A. Ural folk painting on wood, birch bark and metal. - Sverdlovsk: Wednesday. Ural Publishing House, 1982, 148 p. (in Russian)

Baradulin V. A. Folk painting on wood. Art of the Kama region. Perm: Kn. izd-vo, 1987, 190 p.

page 124
Belitser V. N. Expedition to the Komi ASSR. Ust-Kulomsky district. Selo Don. 1946 g. Polevaya tetrad [Field notebook]. archive of the IEA RAS. F. 10. Op. 1. N 2438.

Belitser V. N. Report on the work of a complex expedition to the Komi ASSR. Field research / / KSIA. - 1947. - Issue 3. - pp. 28-15.

Belitser V. N. Ocherki po etnografii narodov komi [Essays on the Ethnography of the Komi Peoples], Moscow: Publishing House of the USSR Academy of Sciences, 1958, 394 p.

Bernshtam T. A. Distaff in the symbolic context of culture / / From the cultural heritage of the peoples of Eastern Europe. St. Petersburg: Nauka Publ., 1992, pp. 14-43. (Collection of MAE; vol. XLV).

Bernshtam T. A. Russkie narodnye rospisi po derevu v svete staroobryadcheskoi izobrazhitel'noi kul'tury [Russian folk paintings on wood in the light of Old Believers ' visual culture]. Radlovskiy sbornik: nauchnye issledovaniya i muzeynye proekty MAE RAS v 2006 - SPb.: MAE RAS, 2007.- pp. 242-244.

Bernshtam T. A. Staroobryadtsy i krestyanskaya household painting in the North and in the Volga region: XVIII-XX vv. [Old Believers and peasant household painting in the North and in the Volga region: XVIII-XX centuries]. Directories. Research / comp. and rel. Edited by T. A. Bernshtam and A. I. Teryukov. St. Petersburg: Nauka Publ., 2008, pp. 144-202 (Collection of MAE; vol. 54).

Brown, M. A., Collection on the Ust-Kulomsky district of the Komi ASSR (received in 1967), Nauch. archive of the Volga and Ural Department of the Russian Ethnogr. the museum. Op. 7766.

Vlasova V. V. Old Believers ' groups of Komi: confessional features of social and ritual life. Syktyvkar: KSC Ural Branch of the Russian Academy of Sciences Publ., 2010, 172 p.

A. Istoriya religii i atheizma naroda komi [History of Religion and atheism of the Komi people]. Moscow: Nauka Publ., 1978, 328 p. (in Russian)

Gribova L. S. Narodnoe iskusstvo Komi [Folk Art of the Komi Republic]. Syktyvkar: Komi Publishing House, 1973, 57 p.

Gribova L. S. Decorative and applied art of the Komi peoples, Moscow: Nauka Publ., 1980, 240 p.

Gribova L. S. Personal fund. Field diaries of the Vychegod ethnographic expedition of 1977. archive of the KSC Ural Branch of the Russian Academy of Sciences. F. 11. Op. 1. d. 39 (3). l. 47-48; d. 47 (2). L. 42.

Dmitrieva S. N. Traditsionnoe iskusstvo russkikh Evropeyskogo Severa: etnograficheskiy albom [Traditional Art of the Russian European North: an ethnographic album].

Zherebtsov I. L., Lashuk L. P. Ethnographic structure of the Upper Vychegda population // Historical and philological collection. Syktyvkar, 1960, issue 5, pp. 53-98.

Zenovskaya V. N. Carving and painting on wood / / Historical and cultural Atlas of the Komi Republic, Moscow: DiK, 2001, pp. 162-163.

Kandinsky V. V. Vologda diary / / Izbrannye trudy po teorii iskusstva [Selected works on the theory of art], Moscow: Gileya Publ., 2008, vol. 2, pp. 373-393.

Kandinsky V. From materials on the ethnography of the Sysol and Vychegod Zyryans. National deities (according to modern beliefs) / / Ethnogr. obozrenie. - 1889. - N3. - p. 102-110.

Kolchina E. V. Polevye issledovaniya M. A. Brown po narodov Komi [Field research of M. A. Brown on the Komi peoples]. Syktyvkar: Kola Publ., 2007, pp. 164-180.

Koroleva N. S. Folk art of the Perm Finno-Ugric peoples (Komi, Komi-Permyaks, Udmurts). XIX-XX centuries: author's abstract. ... cand. art History, Moscow, 1969, 20 p.

Komi folk art = Komi jozimsa art: [album] / L. S. Gribova, E. A. Savelyeva; comp. by I. O. Vaksul, V. P. Zenovskaya, I. M. Utkina; transl. in Komi by R. I. Kosnyreva; transl. translated into English by N. V. Semenov, S. P. Ulyanov; art by G. I. Spiridonov. - M.: [B. I.], 1992. - 178 p.: tsv. il.

Narodnoe iskusstvo Rossiiskoi Federatsii iz sobraniye Gosudarstvennogo muzeya etnografii narodov SSSR [Folk Art of the Russian Federation from the collection of the State Museum of Ethnography of the Peoples of the USSR].

V. Kandinsky's Journey to the Zyryans in 1889 / ed.by I. N. Kotylev; edited by I. L. Zherebtsov and A. A. Pavlov. Syktyvkar: Komi Republic Press, 2013, 88 p. (in Russian)

Putilov B. N. Regional/local beginning in folklore / / Folklore and folk culture. Saint Petersburg: Nauka Publ., 1994, pp. 145-153.

Distaffs of the Komi-Zyryans: from the collection of the National Museum of the Komi Republic: [book-album / comp. by I. M. Utkina]. Syktyvkar: Komi Republic Press, 2009, 68 p. (in Russian)

Sivkova A. Zyryanskaya palitra Vasili Kandinsky's Zyryanskaya palitra // Smoke of the Fatherland. Syktyvkar, 2009. - July 25.

Sivkova A. "Zyryanityu nachnuju v May..." ["I'll start making Zyryanit in May..."]. - Syktyvkar, 2013. - June 29.

Sevan O. G. Murals of residential houses of the Russian North, Moscow: Progress-Traditsiya, 2007, 216 p.

Taranovskaya N. V. Rospisi na Mezen i Pechora [Paintings on the Mezen and Pechora Rivers]. Russkoe narodnoe iskusstvo [Russian Folk Art], Soviet Writer Publ., 1968, pp. 47-59.

Sharapov V. E. Painting on wood in the Komi Republic. Ethnographic map and description / / Historical and Cultural Atlas of the Komi Republic. Moscow: Drofa Publ., 1997a, pp. 264-267.

Sharapov V. E. Graficheskaya i svobodnokistevaya rospis ' po derevu na territorii Komi kraya v XIX - nachale XX veka [Graphic and free-leaf wood painting on the territory of the Komi Territory in the XIX-early XX century]. Syktyvkar: Nat. Museum of the Komi Republic, 1997b. - pp. 104-116.

Sharapov V. E. Komi Old Believers - masters of painting / / Art (Lad). Syktyvkar, 2000, No. 4, pp. 152-159.

Sharapov V. E. Graficheskaya i svobodnokistevaya rospis ' po derevu [Graphic and free-leaf painting on wood] / / Atlas of the Komi Republic / scientific ed. by E. A. Savelyev, Moscow: DiK, 2001, pp. 164-167.

Sharapov V. E. Rospis po derevu komi i russkogo starozhilcheskogo naseleniya [Painting on the tree of the Komi Republic and the Russian old-timers ' population]. Atlas Respubliki Komi [Atlas of the Komi Republic].

Sheleg V. A. Krestyanskie rospisi Severa [Russian paintings of the North]: Areas and cultural traditions. St. Petersburg: Nauka Publ., 1992, pp. 127-147.

Electronic catalog of the intangible cultural heritage of the peoples of Russia. - URT: http://www.rusfolknasledie.riiy

Encyclopedia of Ural Mythologies, Moscow: DiK, 1999, vol. I: Mifologiya Komi / edited by A.-L. Snikal, V. V. Napolskikh, M. Hoppal: ruk. avt. kollektiva N. D. Konakov. - 480 p.

Sirelius U.T. Permalaismatka, syrjaanit, 1907 // Kansallismuseon: suomalais-ugrilaiset kokoelmat. SU 4816:175 - 177, 186 - 187.

Weiss P. Kandinsky and Old Russia. The Artist as Ethnographer and Shaman. - New Haven; Г.: Yale University Press, 1995. - 291 p.

The article was submitted to the editorial Board on 11.06.13, in the final version-on 21.11.13.

page 125

Permanent link to this publication: