Gender dimension and semiotic ideology of tradition. Crafting the Russian folk

Figures & data

Figure 1. Clay toys by Ivan Druzhinin, from the collection of the Kargopol State Historical, Architectural and Art Museum. Three female figures and three animals (a elk, a deer, and a goat). Photo by V. Kobyshcha.

Figure 2. Traditional clay toys created by the craftswomen of the Center for Folk Crafts “Bereginya.” A bearded male figure sitting on a bench, a female figure with a basket, and a horse. Photo by V. Kobyshcha.

Figure 3. A church statuette made of kargopol clay by Tamara Vodyanitskaya from the Center for Folk Crafts “Bereginya.” Photo by V. Kobyshcha.

Figure 4. Bespoke clay toys representing a surgent operating on a patient, a nurse helping a patient with broken arm and leg, and a border guard in the forest of pine trees. Created by the crafswomen of the Center for Folk Crafts “Bereginya.” Photo by V. Kobyshcha.

Figure 5. Several dozens of colorful kargopol clay toys displayed in a kiosk window along with other tourist souvenirs made in a folk style. Photo by V. Kobyshcha.

Table

Canonical The toys created by the ‘oldtimers’ that are preserved in museum and private collections or at the factories and used as the type-form of authentic traditional Kargopol clay toys (Figure 1).
Traditional Contemporary toys that meet the basic requirements of Kargopol clay toy production and are created for folk-art contests, exhibitions, museum collections, and for sale (Figure 2).
Artistic The innovative toys ‘invented’ by a particular crafts(wo)man but produced in the same technique and style as traditional Kargopol toys (Figure 3).
Bespoke The toys ordered by a particular customer (person or organization) but produced in the ‘Kargapol style’. The subject of such toys is defined by the customer, while the craftswomen are responsible for their final form, aesthetic details, and technical issues (Figure 4).
Souvenir The toys produced for sale for tourists on a regular basis. They have a limited set of subjects and characters listed in the factories’ catalogues (Figure 5).

Figure 6. Four portraits of Ul’yana Babkina: 1. a painting by G.A. Kuleshov from the collection of the Kargopol State Historical, Architectural and Art Museum; 2. a photograph of Ul’yana Babkina and Georgy Durasov in Grinev village from the collection of the Kargopol Georgy Durasov (Babkina painting a toy while a female child next to her observing how she photo).

Figure 7. A large two-color poster with the title of the “Bereginya” folk craft centre, an image of Bereginya toy with two birds in her hands raised up to the sky, the address of the Centre, and a welcoming phrase underneath. The poster is hanging on a wall of a wooden building in the city centre. Photo by V. Kobyshcha.

Figure 8. A work desk from the “Bereginya” craft centre: the surface is covered with oilcloth and white paper, a Bereginya toy standing in the centre, it is already fully covered in white colour paint, but only her head, face and birds have colour and pattern, the rest is not painted yet. There are thin brushes, a pen, small jars, and pieces of cloth with stains of clay laying around the toy. Photo by V. Kobyshcha.

Figure 9. The hands of a female master from the “Belomorskie Uzory” company, modelling a female statuette of raw clay. Photo by V. Kobyshcha.

Figure 10. A glass shelf at the Centre for Folk Crafts “Bereginya” with several bespoke clay toys representing various sport activities. Men in traditional peasant outfits, bears and A glass shelf at the Centre for Folk Crafts “Bereginya” with several bespoke clay photograph, stands a female athlete who holds a kettlebell, has a stocky body, is dressed in short-sleeve top and shorts, and stays steadily on two separate legs. Photo by V. Kobyshcha.