the lubok, or broadside, was a very popular form of folk art in Russia from the seventeenth to nineteenth centuries. These beautiful prints were originally made from woodblocks created from boards made of linden wood (hence their name, from the word for a splint of wood, lub), then colored by hand with tempera paints. As the technology of printing progressed, the woodblock prints increasingly gave way to colored engravings, and by the late nineteenth century lubki were mass-produced by chromolithography, in the process losing their individuality and much of their charm.
Lubki treated many subjects, from edifying religious themes and folk mythology to political and social concerns that constituted a kind of up-to-the-minute reportage; some were even bawdy. The most enduring lubki were vividly colored, with flat figures whose lack of perspective was more than made up for by the prints’ lavish ornamentation. In almost all cases the imagery was accompanied by text, often in the form of verse.
The lubok illustrated here, The Feast of the Pious and Impious, dates from the late seventeenth or early eighteenth century. This colored woodcut was printed on four separate sheets of paper, which were then glued together to make a final print approximately two feet square in size. The cutaway architectural view reveals two groups of people feasting in Muscovite-style chambers. It is interesting to note the mingling of pagan and Christian iconography: an anthropomorphic sun looking out from the upper left-hand corner is balanced on the right by the figure of Christ in a decorative cartouche. The frame and the architectural details show a wonderful combination of organic forms and geometric patterning.
This lubok is based on the homilies of St. John Chrysostom, who equated luxurious food with prostitution and indolence; it also echoes the teachings of the Domostroi, the sixteenth-century household manual that offered prescriptions for moral living. Thus this lubok is meant not simply for decoration but for instruction, to teach people how to conduct themselves righteously at table.
In the top center of the illustration we see the pious, the blagochestivye, at a feast table presided over by a guardian angel. Below, at a more lavishly set table, the impious consort with demons. The accompanying text describes this latter group as ungrateful, idle blasphemers and foul-mouthed liars. Meanwhile, the pious enjoy their meal closer to heaven, nearer to the figure of Christ. The angel who blesses this meal holds a long spear whose point is visible under the table, where a demon lies slain. The pious diners remain focused on their meal, their hands reaching for simple bread and perhaps fish on one of the few plates arrayed on the spare table. Significantly, no utensils appear here, reflecting the idea that our hands are God-given tools for eating that keep us connected to our food. Neither is there any sign of drink at this table. All are engaged in the sacred act of eating.
By contrast, the festive table below is set with various utensils, including forks, which the early Church associated with the Devil due to the tines, seen as an abstraction of the Devil’s horns. The revelers are not focused on their food and obviously are not thanking God for His gift of sustenance. No wonder they are surrounded by winged demons, one of which is actually defecating into a bowl on the table. The demons carry staffs that look like hooks, a symbolic representation of their ability to lure people into temptation. Temptation exists here in the form of the woman seated at the table, as well as in the minstrels in the lower right-hand corner, whose playing on lute and bagpipes serves as a distraction. A carafe on the table implies the consumption of spirits. The guardian angel is seen fleeing from this feast, distraught at such goings-on.
Although this lubok was designed to teach manners and morals, and to remind people of the importance of faith in God, it succeeds not so much for its prescriptive lesson, but for the colorfulness and even humor of its depiction.
FRESH CHECK: “It is important to assure that the fish is fresh, because only fresh fish is tasty and healthy. If the flesh around the gills is red, the fish is fresh, but if the flesh is very dark or pale, the fish should not be used. The eyes must be whole and clear, not cloudy and sunken. The skin must be firm.” (A Guide to Young Housewives, by Elena Molokhovets, translated by Joyce Toomre, Indiana University Press, 1992)
Steamed Trout
A no-frills recipe for plain steamed fish seems appropriate for a pious table. This recipe, similar to the famed French preparation truite au bleu, is adapted from The Borzoi Cookbook, compiled and translated by Princess Alexandra Gagarine in 1923.
4 very fresh medium trout, cleaned
2 tablespoons vinegar
3 cups fish stock
Pour the vinegar into a shallow dish and let the trout soak in it for a few minutes on each side. Meanwhile, bring the fish stock to a simmer in a pot large enough to hold a steaming rack. Place the trout on the rack and poach gently for 8 to 10 minutes, until the flesh just flakes when pierced with a fork. Remove the fish from the pot and serve immediately. Boiled potatoes make a very nice accompaniment, even though they would not have been available to medieval Russian monks.
Serves 4.
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