Matryoshka doll

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A matryoshka doll or a Russian nested doll, also called a stacking doll or Babooshka doll, is a set of dolls of decreasing sizes placed one inside the other. "Matryoshka" is a derivative of the Russian female first name "Matryona", which is traditionally associated with a fat, robust Russian woman.

A set of matryoshkas consists of a wooden figure which can be pulled apart to reveal another figure of the same sort inside. It has, in turn, another figure inside, and so on. The number of nested figures is usually five or more. The shape is mostly cylindrical, rounded at the top for the head and tapered towards the bottom, but little else; the dolls have no hands (except those that are painted). Traditionally the outer layer is a woman, dressed in a sarafan, holding a rooster. Inside, it contains other figures that may be of both genders, usually ending in a baby that does not open. The artistry is in the painting of each doll, which can be extremely elaborate.

Matryoshkas are often designed to follow a particular theme, for instance peasant girls in traditional dress, but the theme can be anything, from fairy tale characters to Soviet leaders.

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Matryoshkas date from 1890, and are said to have been inspired by souvenir dolls from Japan. However, the concept of nested objects was familiar in Russia, having been applied to carved wooden apples and Easter eggs; the first Fabergé egg, in 1885, had a nesting of egg, yolk, hen, and chick.

The story goes that Sergei Maliutin, a painter from a folk crafts workshop in the Abramtsevo estate of a famous Russian industrialist and patron of arts Savva Mamontov, saw a set of Japanese wooden dolls representing Shichi-fuku-jin, the Seven Gods of Fortune. The largest doll was that of Fukurokuju - a happy, bald god with an unusually long chin - and within it nested the six remaining deities. Inspired, Maliutin drew a sketch of a Russian version of the toy. It was carved by Vasiliy Zvezdochkin in a toy workshop in Sergiyev Posad and painted by Sergei Maliutin. It consisted of eight dolls; the outermost was a girl in an apron, then the dolls alternated between boy and girl, with the innermost – a baby.

In 1900, M.A. Mamontova, the wife of Savva Mamontov, presented the dolls at the World Exhibition in Paris and the toy earned a bronze medal. Soon, many other places in Russia started making matryoshki of various styles.

During Perestroika, the leaders of the Soviet Union became a common theme depicted on matreshki. Starting with the largest, Mikhail Gorbachev, then Leonid Brezhnev (Yuri Andropov and Konstantin Chernenko almost never appear due to the short length of their respective terms), then Nikita Khrushchev, Josef Stalin and finally the smallest, Vladimir Lenin. Newer versions start with Vladimir Putin and then follow with Boris Yeltsin, Mikhail Gorbachev, Joseph Stalin and then Vladimir Lenin.

Modern artists create many new styles of nesting dolls. The most common themes feature animal collections, portraits and caricatures of famous politicians, musicians and popular movie stars. Matryoshka dolls that feature communist leaders of Russia became very popular among Russian people in the early 90's, after the collapse of the Soviet Union. Today, many talented Russian artists specialize in painting themed matryoshka dolls that feature specific categories of subjects, people or nature.

A doll which represents an old woman is often called a baboushka or babushka, that which represents an old man a dedoushka or dedushka.

There are several areas with notable matryoshka styles; Sergiyev Posad, Semionovo (currently town of Semyonov), Polkholvsky Maidan, and Kirov.

Matryoshkas are also used metaphorically, as a design paradigm, known as the "matryoshka principle" or "nested doll principle". It denotes a recognizable relationship of "similar object-within-similar object" that appears in the design of many other natural and man-made objects. Examples include the Matryoshka brain and the Matroska media container format.

The onion metaphor is of similar character. If you peel the outer layer off an onion, a similar onion exists within the outer layer. This structure is employed by designers in applications such as the layering of clothes or the design of tables, where a smaller table sits within a larger table and a yet smaller one within that. See also onion routing.

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