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Matrysoshka (Nesting Dolls)

 

 

 

Historical Background

In the late 19th century, rapid industrialization began to slowly ruin Russia’s traditional craft industries. In response, wealthy Russian merchant families sought to revitalize such industries through patronage and financial support. Their social justice ideals reflected a desire to reinvigorate Russia’s handicraft trades by advocating a renewed interest in historicism and national-identity. Matryoshkas were the most successful outcome of this effort.

 

The Marmontov family was heavily involved in these ambitions. As a wealthy industrialist, Savva Marmontov felt compelled to create an applied arts studio at his Abramtsevo estate (just outside Moscow).  Attempting to reinforce Russian national-identity, he sought to combine Russian folk art with new and/or progressive art supporters.

 

Accordingly, popular interest in establishing a neo-Russian style and a willingness to try new ideas led to the first matryoshka.  As a toyshop owner, Savva Marmontov’s brother Anatoly became the first to import a bullet-shaped nested doll from Japan, the eventual inspiration for the Russian matryoshka. Named Fukuruma, the doll was shaped as an old, pot-bellied Buddhist monk said to have lost use of arms and legs from long meditations. Consequently, artisans under Anatoly Marmontov’s employ, Sergei Malyutin (a children’s illustrator) and Vasily Zvyozdochkin (a lathe craftsman), created an 8-piece Russian matryoshka as a brightly dressed peasant girl in 1899.

 

By 1905, the matryoshka’s growing popularity encouraged craftsmen in Sergiev Posad (later Zagorsk), to create 3-, 6-, and 8-piece sets.  Their craftsmanship was rewarded after the dolls were exhibited at the Paris World’s Fair (1900), begetting even larger production orders. As demand increased, craftsmen were encouraged to produce more inexpensive, folk-oriented nesting doll sets. However, matryoshka dolls would eventually come to depict folklore characters (from Pushkin), fictional characters (created by Gogol), and famous patriotic figures from the 19^th century as well.

As with other handicrafts, Soviet production was given new impetus by facilitating further workshop centralization and standardization. Accordingly, Soviet authorities were uninterested in exploring artistic creativity, opting to produce traditionally successful (peasant girl) dolls instead. In the Soviet era, most nesting dolls could be traced to the Souvenir Factory in Semyonov, the largest producer of standardized peasant-girl matryoshkas. Indeed, over 10 million sets were made for the 1980 Olympics.

Experimentation with rye grass applications (in Kirov) and other minor innovations occurred during the 1960s. By the late ‘80s, glasnost would presage the “Gorby doll”, a highly popular doll that unavoidably signaled greater tolerance for artistic diversity. Nevertheless, few craftsmen felt compelled to quickly move beyond the traditional peasant girl design. Indeed, revitalizing the craft would remain a slow and uneven process until the mid-‘90s.

 

By century’s end, independent artists had finally emerged.  In this competitive climate, matryoshka production centers began to either flourish (Kirov) or decline (Semionov). Today, individual artists have increasingly become recognized for their imaginative designs and craftsmanship.

 

 

Production
Matryoshka dolls are made from linden or birch trees. Linden wood is soft and easy to work with, keeping larger nesting dolls from cracking over time. The less expensive Birch cracks more easily and is reserved for making small dolls only. Other woods used include lime, alder, and aspen.  Before the wood can be crafted, craftsmen wait up to three years for the wood to cure. Dolls made from uncured wood risk losing their shape and/or cracking. Accordingly, nesting doll halves that shrink will become either too loose (bottom half shrinks) or too tight (top half shrinks).

Once ready, a lathe operator makes the matryoshka doll from a single piece of block wood. Working in assembly, lathers intuitively chisel, cut, and sand the interior edges to get the right fit.  The doll is then cleaned before being primed with liquid starch, creating a smooth surface and preventing paint smudging. Gouache (like a heavier form of watercolor) or aniline is then used for painting. Once doll is painted, 2-3 layers of lacquer are applied for protection and color enhancement. Other finishing options include matte, acrylic, poker (wood burning), and non-lacquered. Finally, expensive dolls may employ potal (a heavy gold-like foil) with paper backing underneath by applying a heated block to the wood.

 

 

Traditional and Classical Matryoshkas

During the early 1900s, underemployed icon painters painted nesting dolls on the side. Their stylistic influence is reflected through the doll’s facial features (large eyes, long nose, and small mouth), characteristics clearly borrowed from icons. Perhaps these painters found these facial   characteristics to still symbolically denote religious virtue (faith, dignity, humility).  Regardless, they ably transferred their expertise.

Traditional, factory-made matryoshkas still follow this format, adding large eyelashes and red cheeks as well. Less notably, gentle highlights are applied to the nose and chin to promote facial relief. The peach-brown glow inherent in lacquering helps give the face a real-life appearance as well. Aside from the face, Traditional Matryoshka typically display a shawl, apron and (on occasion) several medallions. The body’s surface will likely be framed by flowers and painted in a recognizable style (such as palekh, khokhloma, or zhostovo). These Traditional nesting dolls are generally 6” tall and come in a 5-piece set.

 

In contrast, the 'Classical Matryoshka' lacks hands, arms, or an apron. Instead, facial features are more given greater emphasis, often more varied, detailed, and expressive. Medallions on the stomach showcase story characters, landscapes, or floral patterns, the latter replicated in various sizes throughout. Unlike factory dolls, 'Classicals' are commonly painted in dark colors (most notably blue and burgundy). These nesting dolls are 5” tall and typically come in a 6-piece set. Less commonly, nesting dolls may combine both traditional and classical features.

 

When demand finally allowed, nesting dolls began to be crafted in 3-, 6-, and 8-piece sets. However, nesting dolls may have any number of pieces (and are classified as such on the bottom). For instance, "10m" denoted on the bottom signifies a 10 piece set (“m” for mesto, the Russian word for matryoshka). Beyond the above-mentioned industry standards, 5-, 7-, 10-, and 15-piece sets are common (though 20- and 30-set pieces are the standard for expensive pieces). Nesting dolls are famously known for depicting folktale and fairytale characters.  Also widely admired are political, religious, or historical figures, animal characters, and sport team members.

 

FACTORY LOCATIONS

All of Russia’s five major matryoshka production centers are northeast of Moscow. Many have thrived by locating relatively close to Nizhny Novgorod, a city with a strong commercial and artistic heritage. Here are a few:

 

Semyonov
The two Semyonov factories employ more matryoshka workers than any other. Together they supply more than 10,000 nesting dolls a month. Though known for producing standardized matryoshkas (peasant girls), today the Semyonov factories are attempting to produce more artistically appealing dolls.

 

The traditional ‘peasant girl’ nesting doll portrays a maiden wearing a yellow scarf, a red dress, black hair parted down the middle, with distinctive black eyes (a line above and below pupils) and carrying a bouquet of flowers. Likewise, the interior dolls are portrayed in a similar manner. The bright, detailed floral design (similar to Zhostovo) is the doll’s centerpiece and sets the tone for the rest of the matryoshka.  For coloring, Semyonov artists use oil paint and black India ink with yellow, red, and blue primary colors. To give the floral centerpiece definition, grass sap is used.

 

The standard nesting doll set incorporates 6 pieces and reaches 5 inches tall, Semyonov dolls may have as many as 15 to 18 pieces. Slender in shape, Semyonov dolls also have a larger head and bottom than those made in Sergiev Posad.

Kirov (formerly Vyatka)

In Kirov (northwest of Semyonov) the largest single nesting doll factory in Russia employs over 200 artisans. Today, the factory is said to be thriving and expanding production.  Their maidens resemble those found in Semyonov except for a few notable differences: orange hair instead of black, larger (solid) black eyes, a straight-line brow, and a smaller red mouth. Kirov craftsman also do not outline the floral design. Instead, Kirov nesting dolls display aprons with geometric or floral designs outlined from small, flattened pieces of rye straw (adapted from Kirov’s tradition for decorating wooden boxes with rye straw). Kirov also produces Bell dolls.

 

Polkhovsky Maidan

In Polkhovsky Maidan, almost everyone is either a lathe operator or matryoshka painter.  Consequently, matryoshka work is often a family affair (mostly done in private homes since the local factory closed down in the ‘70’s). Located southwest of Nizhny Novgorod, this small village is known for producing colorful yet simple matryoshkas. During the Soviet era, Polkhovsky Maidan produced many more nesting dolls than at current.

 
Polkhovsky Maidan artists typically paint with pink, red, blue, or orange aniline dyes (instead of oil as in Semyonov).  These dolls are traditionally inexpensive and lack the traditional lacquer luster.  Indeed, though black India ink is employed to heavily outline floral designs, red dye can often be found bleeding outside the lines. The maiden typically displays pink circles for cheeks, a yellow shawl, and occasionally black or red fingerprints over the doll’s heads and shoulders. Distinctive three-pedaled, blue/pink flowers are likely at the forefront of the shawl.  These dolls come in a 5-piece set, are 6’” tall, and a little wider in the stomach than Semyonov dolls. Most matryoshka blanks (or zagatovki) come from Maidan.

Sergeiv Posad (Zagorsk in Soviet era)

In Sergeiv Posad, Russia’s traditional toy center, craftsmen began creating popular wooden toys (animals, people, & objects) long before nesting dolls became popular. Today the village contains four factories, including the famous Souvenir factory and newer Sergievskaya Igrushka (Sergiev Toy) factory. Though the long-standing Souvenir factory has shrunk considerably, Sergiev Toy is reproducing early creations and thriving. Together, they produce a large volume of nesting dolls.

Early nesting dolls incorporated wood burning around the edges for outline. However, Sergeiv Posad dolls are better known for employing gouache painting(an opaque watercolor) in muted colors.  Also portrayed are tiny eyes, heart-shaped mouths, sarafans with straps, and a picnic basket (carried instead of flowers). In contrast to Semyonov dolls, these dolls are slightly wider, and have a larger and more rounded top as well. Dubna, near Sergiev Posad, also makes spherical matryoshkas.

Nolinsk
Nolinsk produces nesting dolls similar to those produced by its neighbor Semyonov. Like Kirov, it applies flattened rye straw to its dolls in geometric shapes. Though the least advanced nesting doll factory, today it employ over 100 artists.

 

 

REGIONAL VARIATIONS

Abramtsevo
Not far from Sergeiv Posad, the Abramtsevo workshop remains a haven for highly artistic carvers. Graduates from the local Vasnetsov School of Art excel at creating imaginative matryoshkas, many with religious themes.

Yoscar Ola

Though its factory closed several years ago, many Yoscar Ola artists still work at home. Located further east, their matryoshkas have a more Asian look to them and many are cone-shaped.

Ukraine
Ukrainian nesting dolls are relatively rare. They’re easily recognized for their distinctive conical and bullet (gutsulka) shapes. Some Ukrainian nesting dolls portray a singing maiden with mouth open, eyes closed, and arms folded. Natural wood is a prominent feature

 

Doll Shapes

Besides matryoshka, the Russian imagination has provided us with many variations:

·          Cone shapes (3-piece), once common in Ukraine, have reappeared from the 1920s and are a unique contrast to traditional matryoshka.

·          Also common, pot-bellied matroshkas (almost same height as width) from Sergiev Posad,  fitting 10 pieces within a 5” doll.

·          Widely known is a nevalyashka, an unnested and weighted-down doll rounded on the bottom (much like what Americans call a webelo). These dolls produce a ringing sound when tipped over and are thus referred to as bells.

·          Very popular are babushkas (from "grandmother"). The babushka (see picture) opens up to reveal three smaller non-nested    daughter dolls. Each of these three dolls open again to reveal three smaller non-nested dolls (these nine and the other three make twelve inside the babushka altogether).

·          Bogorodskoye Toys are unpainted, wood-carved bears shown painting matryoshkas or enacting scenes from peasant life. These famous Nolinsk-made figures are 5” tall and have movable parts.

·          Spherical matryoshki, originally globes, have 14 or 15 wooden figures inside (picture) often representing peoples or animals of the world, a nativity scene, or simply circus animals. They have a 3” tall base and are 8” tall altogether.

 

Other Forms

Popular during Christmas time are korobeink.  Similar to matryoshka, they have Christmas ornaments inside and are either 4” or 8-9” tall.  For adults, large “bottle openers” that resemble matryoshkas are used to hide liquor (picture).  Flat-based egg-shaped nesting dolls have had a long and symbolic heritage for Easter (many women would wear egg necklaces during the season).

Summary
Today, matryoshkas are instantly recognized around the world and are quickly associated with Russia itself. Yet, this toy is even more than fine art, it is a symbolic reminder of generations to come as well. Few toys can be as appreciated and meaningful to adults as these are.

 

Bibliography
Rett, Ertl et al.  The Art of the Russian Matryoshka. . Vernissage Press. June, 2003.
Lefkovitz, Michelle. A Collector's Guide to Nesting Dolls Histories, Identification, Values. Books Americana 1989.

Famous Matryoshka Artists
Malyutin, Sergei
Sokolov, v.i.