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Foreword
From the author
Russian-scandinavian artistic relations in chest production
Russian chests called «podgolovnik»: artistic style and cultural-historical context
The chest images in painting
Chests with the «comb painting» (Vologda province, II half of the XIX – beginning of the XX century)102
Branding and inscriptions on Ural chests and caskets
From the history of Nevyansk chest craft (masters, works, participation in exhibitions)
The so-called «mirror» chests (Ural, II half XIX – early XX century)
About chest craft in the village of Petrokamenskoe (Middle Ural, II half of the XIX – mid of the XX century)
The production of chests in the Vyatka province: history, technology, artistic style
The Belaya Kholunitsa chest (Vyatka province, II half of the XIX – beginning of the XX century)
From the history of the chest craft of the Murom district in the second half of the XIX – beginning of the XX century
From the history of the chest craft of the Murom district of the Vladimir province (post-revolutionary period)
The marking of chests of the Murom district of the Vladimir province (XIX – I half of the XX century)
Regional centers of chest production in RUSSIA in the XIX – I quarter of the XX century (materials to the history)
The historical heritage as the basis for the formation of cultural identity (on the example of Russian chests)
List of illustrations
The chest has been known in Russia since ancient times. Even in the annals and Novgorod birch bark letters there are references to chests and caskets. Many of them are admirable works of art. By the 19th century, Russian chest craft had turned into a powerful industry, in which hundreds of craftsmen were employed.
The history of chest production has been little studied until recently. There were only a few scientific articles and small notes in local newspapers. However, the situation has recently changed: monographs have been published in the major centers of chest production in Russia, as well as many scientific articles, the conclusions of which are based on previously unknown archival information. These works deal with many aspects of the chest production: the history of specific workshops, branding features, the specifics of certain types of chests and caskets, biographies of people who explored the craft in the 19th century, etc. But all of them were published in Russian and are known only to a narrow circle of local specialists. For foreign researchers, the history of Russian chest production remains terra incognita. Until now, information about it has hardly gone beyond the geographical borders of Russia.
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Norwegian products of this type (for example, items from the collection of the Vasa Museum28) have identical proportions, structure, they also use a combination of wood and iron. But they are almost devoid of ornaments, their main characteristics are reliability and durability.
Comparing all these items made their differences clear. They are similar only in design and shape, in all other respects they are different. This is due to the fact that chests called «podgolovnik» were made in different historical and cultural settings for different customers. The shape and design of this type of products have undergone changes not depending on the place and time of production, but the purpose and decoration.
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