History of Gzhel:
from ancient traditions to modern masters Automatic translate

Gzhel is a world-famous art of Russian masters, combining folk motifs and aristocratic sophistication of color and form. Elegant snow-white dishes made of fine ceramics, covered with intricate ornaments of blue and light blue shades, are one of the most recognizable and popular Russian brands abroad.

Each Gzhel product is unique, bearing the imprint of the taste and style of a particular master, while preserving the characteristic features of the entire movement. Painting white porcelain with cobalt exists in many countries, but it was Gzhel that managed to achieve a unique unity of composition, sufficient to form an entire genre. The craft has come a long way from simple peasant dishes to exquisite works of art, survived periods of prosperity and decline, but has managed to preserve its originality and national character to this day.

Origin

The origins of the Gzhel craft go deep into Russian history. The first reliable information about Gzhel as a place where high-quality clay for pottery was mined dates back to the 14th century.

The first written mention of Gzhel is found in the spiritual charter of the Moscow prince Ivan Kalita in 1328. Later, the name of this area is repeated in the will of Ivan the Terrible in the period 1572-1578. Archaeological finds indicate that pottery production in this area existed even earlier - discovered fragments of clay dishes date back to the 4th century.

An important stage in the history of the craft was the decree of Tsar Alexei Mikhailovich in 1663, according to which Gzhel clays were to be used for the production of medical vessels. This fact confirms the high quality of local raw materials and the skill of Gzhel potters already in the 17th century.

There are several versions of the origin of the name "Gzhel". The most common one connects it with the verb "to burn". This is explained by the main occupation of local residents - firing clay products in pottery kilns. According to another version, the name may come from the word "zhgel" (yellow, burning) - this is how clay could be called because of its color or qualities.

Initially, Gzhel was the name of a village not far from Moscow, but over time this name spread to an entire region – the “Gzhel bush”, which united about 30 settlements. In the Russian Empire, these settlements were part of the Gzhel volost of the Bronnitsky district.

Development of pottery in the Gzhel volost

The geographical and geological features of the Gzhel volost predetermined the main trade of the local residents. The clay soil was unsuitable for agriculture, but was rich in high-quality clay of various grades.

"If you don’t know anything, keep quiet. We don’t feed on earth, but on clay" - these words, attributed to Gzhel masters, reflect the peculiarity of the local craft well. In winter, peasants mined clay of different types: yellow, white, red (potter’s), brick, blue. They felled trees for fuel for stoves, made various dishes and delivered them to Moscow.

Until the mid-18th century, Gzhel produced traditional pottery, bricks, pottery pipes, tiles and clay toys. Products of Gzhel masters were in great demand in Moscow and other cities. The village of Gzhel itself was a unique phenomenon – a settlement of ceramic artisans whose skills were passed down from generation to generation.

The Gzhel craft reached its highest historical peak at the end of the 18th century. At that time, craftsmen who made jugs, kumgans (flat jugs with a spout like a teapot) and kvassniks achieved particular mastery. These items were often decorated with decorative figures and had a complex design.

In the mid-18th century, peasants in Gzhel and the surrounding area produced dishes from local red clay, covered them with white glaze and painted them with four colors: yellow, green, blue and brown. This multi-colored majolica was distinguished by its brightness and folk character of painting, often depicting scenes from peasant life, plant motifs, birds and animals.

Evolution of Gzhel ceramics

The history of Gzhel ceramics is marked by constant development and changes in technology, forms and decor. Craftsmen responded sensitively to changes in consumer tastes and fashion trends, while maintaining the originality of the craft.

An important transition in the development of the Gzhel craft occurred in the 19th century, when the masters mastered the technology of producing faience and porcelain dishes. Porcelain products were more elegant and thin compared to majolica. At this time, a change in painting also occurred - from a multi-color range, the masters moved to blue and white, which later became the hallmark of Gzhel.

This transition was due to several factors. Firstly, the influence of Dutch tiles and Chinese porcelain, which were popular in Russia. Secondly, technical considerations - cobalt painting simplified production, as it required only two firings, which significantly saved fuel.

By the middle of the 19th century, the classic Gzhel style that we know today had formed - white porcelain with underglaze painting in cobalt. During this period, Gzhel became a real brand, with about 120 porcelain and faience factories operating in the area.

In the 19th century, there were 25 porcelain factories in the Russian Empire. Among them, the enterprises founded in the "Gzhel bush" stood out - the factories of the Kuznetsovs, the Barmin brothers, the Sazonovs, the Terekhovs, the Kiselevs, the Zhadins, the Tulins. These enterprises produced not only traditional tableware, but also decorative items and interior items.

Particularly famous were items with gold and a unique cobalt background coating. Each master had his own style of painting, and the items reflected his idea of ​​the surrounding world. The craft was also greatly influenced by the tastes of buyers, which led to a constant renewal of the range and technologies.

Gzhel ware was exported to the countries of the Middle East and Central Asia, and was called "the best of all ware of this kind made in Russia." However, by the end of the 19th century, Gzhel began to lose out to larger competitors, which led to a gradual decline of the craft.

Revival of Gzhel traditions

After the end of the Great Patriotic War, many folk crafts began to revive, including Gzhel ceramics. This revival is associated with the names of specific people, thanks to whom the classic Gzhel style received a new life.

After the war, it was decided to return to the production of tableware. At first, essential items were produced, such as spill-proof inkwells, which were in great demand. Then, when life began to improve and people had the opportunity to buy not only essential items, but also items for interior decoration, painted tableware and figurines entered production.

The key role in the revival of the Gzhel craft was played by art historian Alexander Saltykov and artist Natalia Bessarabova. They studied museum exhibits and took as a basis the simple and bright blue painting, characteristic of Gzhel products of the early 19th century. It was their work that allowed the Gzhel craft to experience a "second birth".

Artists S. Dunashova, N.I. Bessarabova and Z.V. Okulova also made a great contribution to the formation and development of Gzhel art and to the creation of the modern style of Gzhel crafts.

A special feature of the revived Gzhel was the "ABC of brushstrokes" developed by Natalia Bessarabova and Alexander Saltykov - a system of standardized painting elements that allowed a new generation of artists to be trained. This alphabet was created based on the study of ancient examples of Gzhel ceramics and included various types of brushstrokes, roses, droplets, petals and other elements.

The blue and white style of Gzhel was finally established in the post-war years. This choice was determined not only by aesthetic considerations, but also by practical ones – cobalt painting is easier to work with and economical, since it requires only two firings.

The peak of popularity of the revived Gzhel came in the 1970-80s. Tens of thousands of souvenirs with Gzhel painting were produced for the 1980 Olympics in Moscow – Olympic bears, boxes, vases and other items. Gzhel once again became a recognizable symbol of Russian culture.

Technology of production of Gzhel ceramics

The process of creating Gzhel products is a complex and multi-stage process that requires high skill and adherence to traditional technologies. From the quality of the source materials to the features of painting and firing - each stage is important to obtain a product worthy of being called a real Gzhel.

The basis for the production of Gzhel ceramics is a special white clay, which is mined in the Gzhel region. To achieve the desired properties of the ceramic mass, quartz sand, feldspar, nepheline-syenite, perlite are added to the clay. These additives allow achieving the necessary plasticity, density and fire resistance of the material.

The quality of clay determines many properties of the finished product – strength, whiteness, ability to retain shape when fired. Historically, it was the rich reserves of high-quality clay in the Gzhel region that became the basis for the development of the ceramic industry in this area.

The process of creating a Gzhel product begins with the preparation of the ceramic mass. Then comes the molding of the product, which can be done in various ways - pottery, casting in plaster molds or hand modeling.

To create small sculptures (sculptures, figurines), double-leaf plaster molds are often used. At the same time, as experts note, “due to the use of double-leaf plaster molds for modeling, the figurines lost the thoroughness of the model, but retained the liveliness and expressiveness of the plasticity.”

After molding, the product undergoes the first (utility) firing. The firing temperature depends on the type of ceramics: earthenware is fired at 1200 degrees Celsius, majolica at 850-950 degrees, and porcelain at higher temperatures.

After the first firing, the product is coated with glaze – a thin glassy film that makes the ceramics waterproof and smooth. Between the two firings, the product is painted.

Gzhel painting is done exclusively by hand. Each master has special techniques and his own style, which makes each product unique.

For traditional blue and white Gzhel, a special paint is used – cobalt oxide. Interestingly, before firing, the painting is not blue, but black. Only after repeated firing does the characteristic blue color appear. This fact can be used to determine the authenticity of Gzhel – the painting of counterfeit products is often done simply with blue or light blue paint, bypassing the complex process of color transformation during firing.

The Gzhel artist’s tool kit is quite simple: a glass palette for mixing shades, different types of brushes, spatulas, and containers for the cobalt oxide mixture. The master applies the design to an unfired piece covered with white enamel, which requires great patience and high skills.

After applying the painting, the second (watered) firing follows. For porcelain, it is carried out at a temperature of about 1400 degrees, for faience - 1200, and for majolica - 980-1050 degrees. During this firing, the product significantly decreases in size, and the cobalt painting acquires a characteristic blue color.

Artistic features of Gzhel

Gzhel painting has a number of characteristic features that make it recognizable and distinguish it from other types of decorative and applied art. These features were formed over many generations of masters and reflect both local traditions and the influence of all-Russian and world artistic trends.

Classic Gzhel is known for its blue and white palette. Blue in Gzhel painting is represented by more than 20 shades – from soft blue to rich cobalt. This palette is not accidental – blue in Russian folk culture was often associated with the sky, water, and purity.

The white background of porcelain symbolizes purity, winter, snow – images close to the Russian people. The combination of white and blue creates a feeling of freshness, lightness and airiness, giving the products a special expressiveness.

It is important to note that initially Gzhel dishes were multi-colored. In the painting of majolica of the 18th century, green, yellow, brown, and red colors were used. Modern masters sometimes return to this tradition, creating colored Gzhel, which is a revival of historical forms of the craft.

Gzhel painting has its own set of traditional elements and motifs. Among them, several groups can be distinguished:

1. Ornamental elements are traditional for Gzhel: comb-nets, tendrils, pearls, droplets, checkers and edgings.
2. Plant motifs – cereals, berries, flowers (especially roses, or “Gzhel roses”), buds, grass, branches. Plant motifs are most often found in Gzhel painting and are its calling card.
3. Images of animals and birds – these images are often stylized and integrated into the overall composition of the painting.

Gzhel painting patterns follow a specific system of drawing. The technique of their execution and the blue color on a white background define the Gzhel style.

In the composition of Gzhel painting, the ratio of the white background and the blue pattern plays an important role. The masters skillfully use empty space, creating light, airy compositions in which the background becomes an active element of the painting.

One of the characteristic techniques of Gzhel painting is a brushstroke with a stretch of color - from rich blue to almost white. This technique creates the effect of volume and movement, giving the painting a special liveliness.

Gzhel masters often use asymmetrical compositions that maintain overall balance. Painting can cover the entire surface of the product or concentrate on individual parts, creating accents.

Assortment of products by Gzhel masters

Over the centuries-long history of the craft, the range of Gzhel products has undergone significant changes, reflecting both the needs of society and the creative searches of the masters. From utilitarian dishes to complex decorative compositions, Gzhel masters constantly expanded the scope of their art.

Tableware has always been the basis of the Gzhel masters’ assortment. In the 18th century, kvassniks, kumgans, jugs - vessels of complex shape, often decorated with sculptural elements - were especially popular. These products were not only functional household items, but also unique works of art that decorated the home.

In the 19th century, with the transition to the production of faience and porcelain, the range of tableware expanded. Elegant tea and table sets appeared, consisting of many items - cups, saucers, teapots, sugar bowls, milk jugs, plates for various purposes.

Modern Gzhel masters continue the tradition of creating tableware, combining traditional forms with new ideas. In the assortment of modern Gzhel manufacturers, you can find both traditional items (teapots, mugs, sets) and new types of tableware that meet modern needs.

Another important area of ​​Gzhel craft is decorative sculpture, or "small plastic art". Historically, clay toys were produced in Gzhel, which were in great demand - the masters made hundreds of thousands of clay toys a year.

In the 19th century, small majolica sculpture developed, depicting scenes from everyday life - soldiers, peasant women, ladies and men busy with their affairs. These small sculptures were distinguished by their expressiveness and liveliness, despite the simplicity of their forms.

In modern Gzhel, decorative sculpture is represented by a wide range of products - from traditional figures of people, animals, birds to complex compositions on various topics. Particularly popular are boxes, candlesticks, bells, decorative plates with volumetric elements.

Lyudmila Pavlovna Azarova, People’s Artist of the USSR, made a significant contribution to the development of sculptural forms in Gzhel. She revived the main tradition of old Gzhel masters - the creation of teapots, jugs, boxes in the form of animals, birds, people or decorated with figurines, flowers, architectural elements.

Historically, Gzhel masters produced not only tableware and decorative items, but also architectural elements – tiles for stoves and fireplaces, decorative panels, and tiles.

Stove and fireplace tiles, the production of which was established in Gzhel, were distinguished by their high quality and artistic expressiveness. Each tile had a unique pattern, which created a unique look for the stove or fireplace.

Modern Gzhel masters

Gzhel craft is alive and well thanks to talented artists and craftsmen who continue the traditions and bring new ideas to the art of Gzhel. Their creativity ensures the continuity of generations and the preservation of the craft’s originality.

Among the outstanding Gzhel masters of the 20th-21st centuries, one can name many talented artists whose works have become classics of modern Gzhel ceramics.

Lyudmila Pavlovna Azarova is a People’s Artist of the USSR, a unique master who made a significant contribution to the revival of the traditions of Gzhel sculpture. In her works, the traditions of the Gzhel folk masters were gradually revived: laconism, departure from illustrativeness and realism.

Tatyana Sergeevna Dunashova, Natalia Ivanovna Bessarabova and Zinaida Vasilyevna Okulova were recognized for “achievements in the revival, formation and development of Gzhel art, in the creation of a modern style of Gzhel crafts.”

Elena Borisovna Sukhorukova is a member of the Union of Artists of Russia, and has been working as an artist in the creative group "Gzhel Association" since 1985. Her works are distinguished by their deep attention to the traditions of 19th-century Russian porcelain and the heritage of tile art. She is currently one of the leading artists of the Gzhel craft.

Victoria Nedelina is a ceramic artist, a graduate of the Gzhel State University, and a representative of a new generation of Gzhel masters.

Each of these artists has their own recognizable style, their own creative signature, but they all work within the framework of the traditions of the Gzhel craft, preserving its originality and developing its potential.

Modern Gzhel masters, while preserving traditions, are not afraid to experiment and introduce new things into their works. Innovative approaches are manifested in various aspects of their creativity.

One of the development paths is to turn to the historical roots of the craft and revive forgotten techniques and forms. Thus, some modern artists are reviving the tradition of multi-colored majolica, characteristic of the early period of the Gzhel craft.

Another direction is the search for new forms and compositional solutions, expanding the range of products taking into account modern needs and tastes. Modern craftsmen create not only traditional tableware and decorative figurines, but also new types of products - from jewelry to modern design items.

An important aspect of the development of the craft is the synthesis of Gzhel traditions with other types of art and design. Gzhel painting is used in the decoration of architectural structures, in clothing design, and in jewelry.

New directions in Gzhel ceramics

Modern Gzhel ceramics is not a frozen tradition, but a living, developing art. New trends in Gzhel ceramics reflect both a return to the historical roots of the craft and a search for new means of expression.

One of the interesting trends in modern Gzhel is the revival of color painting. As noted earlier, initially Gzhel dishes of the 18th century (mainly majolica) were multi-colored - green, yellow, brown, red colors were used in paintings.

Today, the Gzhel Porcelain Factory, which traces its history back to 1818, is actively reviving the tradition of colored Gzhel. The "colored" traditions are even older than the "white and blue" ones, and are of interest to modern craftsmen and buyers.

It should be noted that colored Gzhel was also produced in Soviet times. According to Sergei Simonov, the chief artist of the Gzhel Porcelain Factory, at one time 40% of the artists at the Gzhel Association factory painted colored Gzhel. This tradition was never completely interrupted, but is now experiencing a new upsurge.

For colored majolica, the so-called “five-color” is used – a white background and painting with paints obtained from salts of various metals: yellow (antimony salts), green (copper salts), blue (cobalt salts), cherry (manganese salts).

Modern Gzhel masters actively experiment with the form of products and the content of painting, expanding the traditional boundaries of the craft. New types of products are created that were not previously characteristic of Gzhel ceramics, but are made in the recognizable Gzhel style.

Among such experiments, one can note the creation of complex compositions that combine several functional objects, the use of non-traditional forms, and an appeal to new subjects in painting that reflect modern life.

An interesting direction is the creation of author’s works, which are not mass-produced, but unique works of art. Such works are often made in a single copy and have high artistic value.

Some masters experiment with painting techniques, creating new effects and textures, combining traditional Gzhel painting with other ceramic decorating techniques.

In recent years, traditional Gzhel painting has been actively used in modern design, going beyond traditional ceramics. Designers of different directions turn to the aesthetics of Gzhel, interpreting it in a modern context.

Fashion is especially active in adopting Gzhel traditions. Gzhel painting motifs are used in clothing, accessories, and footwear, creating unusual and memorable images.

Gzhel motifs are used in graphic design, interior design, packaging. The characteristic blue and white palette and recognizable Gzhel ornaments are becoming elements of modern visual culture.

The cultural significance of Gzhel craft

Gzhel craft has an important cultural significance both for Russia and for the world cultural heritage. It is not just the production of ceramics, but a unique phenomenon of folk artistic culture, reflecting the history, worldview, and aesthetic preferences of the Russian people.

Gzhel is one of the most recognizable symbols of Russian culture throughout the world. Elegant dishes with bright blue patterns are a kind of calling card of Russia, along with the matryoshka doll, balalaika, and samovar.

Gzhel porcelain is a “world-famous art of Russian masters, combining folk motifs and aristocratic sophistication of color and form.” It is a unique example of how a folk craft that arose in a peasant environment became a phenomenon of high art, recognized throughout the world.

Products of Gzhel masters are presented in the largest museums of Moscow and St. Petersburg, which testifies to the recognition of their artistic value. Collections of Gzhel ceramics are kept in many museums of Russia and the world, are studied by art historians, and inspire modern artists and designers.

Gzhel is a "fairy tale, a national treasure that cultivates in people a love for the beautiful and the sublime." This type of craft not only preserves traditions, but also develops, enriching itself with new ideas and technologies, while remaining true to its roots.

To preserve and popularize the Gzhel craft, museums and exhibitions dedicated to the history and modernity of Gzhel are created. These museums play an important role in preserving cultural heritage and educating the general public.

The All-Russian Museum of Decorative Arts houses a rich collection of Gzhel ceramics – about 1.7 thousand storage units. In 2025, the museum hosted the exhibition "Gzhel Formula", which presented about 700 exhibits tracing all stages of the history of the revived craft.

There is also a museum in Gzhel itself, which houses unique exhibits, including remains of 4th-century pottery found on the site of a modern settlement. This museum is an important center for the study and preservation of Gzhel craft traditions.

Many tourist routes include visits to Gzhel enterprises and museums, which helps popularize the craft among a wider audience and maintain interest in traditional Russian culture.

An important aspect of the preservation and development of the Gzhel craft is educational activities aimed at training new generations of masters and popularizing Gzhel traditions.

Gzhel State University is a center for training specialists in the field of ceramics and Gzhel painting. Here, students study traditional techniques and master new approaches to creating ceramic products, preserving the continuity of generations.

Various master classes on Gzhel painting are held, which allow everyone to join this art. For example, a series of master classes “Mysteries of Russian Patterns” are being developed, where participants can try themselves in the role of Gzhel artists.

Books and manuals on the Gzhel painting technique are published for professionals and amateurs, and educational videos are created. These resources help preserve and disseminate knowledge about the technology and artistic features of Gzhel.

Gzhel craft is a striking example of how traditional art can remain relevant and in demand in the modern world, adapting to new conditions and demands, but at the same time preserving its originality and cultural value.