Bachelorette party Alexey Korzukhin (1835-1894)
Alexey Korzukhin – Bachelorette party
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Painter: Alexey Korzukhin
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Never been to a Russian bachelorette party? Not the one they have now, but the one that Russian families have had for ages before they send off the bride. It’s a special ritual, special chanting and special dancing. As a rule, the tone at such a feast was set by shutikha-choirswomen. They were the ones who started singing songs, dancing and each of them, and there were at least five of them, had its own ceremonial purpose. Take a look at this canvas, and everything becomes a little clearer at once.
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Description of Alexei Korzukhin’s painting "Girls’ Night Out"
Never been to a Russian bachelorette party? Not the one they have now, but the one that Russian families have had for ages before they send off the bride. It’s a special ritual, special chanting and special dancing. As a rule, the tone at such a feast was set by shutikha-choirswomen. They were the ones who started singing songs, dancing and each of them, and there were at least five of them, had its own ceremonial purpose.
Take a look at this canvas, and everything becomes a little clearer at once. In the middle of the circle there is a daughter-in-law, and jokers are singing and dancing around her. Each of them is holding an object of domestic use. One has a broom that she sweeps in front of her daughter-in-law to make the family way clear; another has a bucket with a cleaver to prevent water leakage between the spouses, so that they can hold each other tightly; another has a basin with a poker to make the table hospitable, and two other jesters have objects to clatter and scare away evil spirits. And all this action takes place exactly in front of the banya. The bride just came out of the bathhouse, covered her head with a kerchief and covered her nakedness with a sheepskin coat.
And a little aside, the midwife’s grandmothers are looking after it all, and the relatives. That’s important, too. There’s no way someone could jinx or something bad could happen. They drink from their mugs and talk quietly among themselves about what is going on. And at the door of the banya, the bride-to-be was probably already lingering, watching the ceremony with amusement. She probably understands that next year she will have to stand in a circle and quietly take the ritual words to her maidenly mind.
The artist has caught this moment, gave it a bright folk, but at the same time tried not to go too far in the ancient customs. If the countrywomen are dressed in festive rustic, it is not too dressy. He tried to portray everything in a simple, rustic way. And the daughter-in-law is good, and the painting itself is dynamic.
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The composition is carefully structured. A line of women extends from the central pair toward a rustic wooden building situated on the right side of the canvas. The building’s presence implies a communal space, perhaps a home or gathering place for the village. To the left, a horse-drawn cart and a scattering of onlookers further establish the scene as taking place within a rural community.
The women are dressed in traditional attire, characterized by vibrant colors and intricate patterns. Their clothing suggests a specific regional identity, hinting at cultural customs and heritage. The variety in headwear – turbans, scarves, and elaborate headdresses – adds to the visual richness and reinforces the sense of local distinctiveness.
Beyond the immediate depiction of celebration, subtexts emerge concerning gender roles and community dynamics. The kneeling woman’s posture conveys a degree of submission or reverence towards the one above her. This could be interpreted as symbolic of the societal expectations placed upon women in this culture, particularly regarding marriage. However, the overall atmosphere is not one of oppression; rather, it appears to be a joyous occasion where tradition and community are celebrated.
The artist’s use of light contributes significantly to the mood. The golden hues illuminate the figures faces, emphasizing their expressions of happiness and camaraderie. The background landscape – a dense forest receding into the distance – provides depth and context, grounding the scene in a natural setting. This interplay between human activity and the surrounding environment underscores the importance of tradition and connection to place within this community.
The painting captures a moment of transition and celebration, offering a glimpse into the customs and values of a rural society while simultaneously prompting reflection on gender roles and cultural heritage.