UDK 745/749(571.51)




Original article


Actualization of the Northern Dvina painting traditions in the arts and crafts of Krasnoyarsk


Belaya L. M., Smolina M. G.



The relevance of the topic of northern Russian cultural traditions is dictated by the cultural and historical situation of the 2020s in Russia. As a result of the strengthening of the Russian national and cultural identity of the people, the uniqueness of the northern Russian arts and crafts makes it interesting from the point of view of art history studies. The works of Krasnoyarsk arts and crafts, based on the northern Russian folk traditions, on the Northern Dvina paintings are considered in the article; the current situation of preservation and development of this type of cultural tradition is characterized; samples in the technique of Severodvinsk painting, created in Krasnoyarsk, are analyzed. It is concluded that when Krasnoyarsk specialists study and master the best traditions of the Severodvinsk painting, attention is drawn to the fact that the artistic solutions of the past are perceived in a lively development, in connection with the new era and regional identity, and do not turn into a set of elements mechanically transferred to the culture of the region. In the author's works in the technique of Severodvinsk painting, students of the Dmitri Hvorostovsky Siberian State Academy of Arts create variants close to the Arkhangelsk painting. The Arkhangelsk painting gives scope for the creative imagination. The author’s compositions are solved in the works in an interesting (sometimes non-standard) way. The creativity of young Krasnoyarsk decorators shows the birth of regional ethnic traditions, and also supports the trend of constructing the unity of a new Siberian, as well as all-Russian identity


Keywords: Russian North, Severodvinsk painting, wood painting, arts and crafts, Siberia, Krasnoyarsk


For citation: Belaya LM, Smolina MG. Actualization of the Northern Dvina painting traditions in the arts and crafts of Krasnoyarsk. Center and Periphery. 2023;18(4):67—74. EDN CXRAUQ




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Information about the authors:

Lyudmila M. Belaia, Senior Lecturer of Department of Music and Art Education of the Krasnoyarsk State Pedagogical University named after V. P. Astafyev (89 Ada Lebedeva Str., Krasnoyarsk 660049, Russia); Senior Lecturer of Department of Folk Art Culture of the Dmitri Hvorostovsky Siberian State Academy of Arts (22 Lenin Str., Krasnoyarsk 660049, Russia), belaya.liuda@gmail.com

Maya G. Smolina, Assistant Professor of Department of Music and Art Education of the Krasnoyarsk State Pedagogical University named after V. P. Astafyev (89 Ada Lebedeva Str., Krasnyarsk 660049, Russia); Assistant Professor of Department of Cultural Studies and Art History of the Siberian Federal University (79, Svobodny Avenue, Krasnoyarsk 660041, Russia), Candidate of Philosophical Sciences, Associate Professor, ORCID: https://orcid.org/0000-0002-8336-5237, smomg@yandex.ru


Contribution of the authors:

Belaya L. M. — concept development, methodology development, data collection and literature analysis, writing the introduction and the first part of the article;

Smolina M. G. — critical analysis, writing the second part of the article, scientific editing of the text.


Conflict of interests: the authors declare no conflict of interests.


The authors have read and approved the final version of the manuscript.


The article was submitted 04.04.2023; approved after reviewing 13.06.2023; accepted for publication 19.06.2023.