History and tradition were passed on from generation to generation through legends, ballads, proverbs, and cautionary tales. This folklore has formed the basis of much of Bulgarian literature and art since independence from the Turks.
Other forms of folk arts were woodcarving, highly colored embroidery, rug weaving, and icon painting. Although distinct in their regional variations, the traditional costumes of Bulgarian peasants are simple and drab when compared to those of other parts of Europe. Because any wealth or material possessions were subject to Turkish confiscation, Bulgarian peasants strove to present an image of poverty through simple dress and housing.
In common with other Eastern European governments, the Bulgarian government has striven to support and promote the traditional folk arts as part of the cultural heritage of the people. Artisan co-*operatives produce carved woodenware, rugs, weavings, embroideries, and traditional musical instruments for sale in government shops. Numerous folk dance groups give performances at local tourist centers and abroad. The various folk arts have been free from restriction even during periods of strict cultural controls; therefore, they have afforded the best outlet for individual creativity of the serious artists as well as the folk artists.
PAINTING AND SCULPTURE
The golden age of Bulgarian art was, without doubt, the Middle Ages. No art since that time has matched the magnificence and quality of the icons and frescoes that adorn the churches and monasteries constructed during that period. Some of the best and most prized examples of Byzantine painting are found in the Boyana Church near Sofia, in the Zemen Monastery in the mountains along the Yugoslav border, and in several other small village churches. A masterpiece of early Bulgarian art is the icon of Saint Theodor of Plateina near Preslav; it was made of colored faience in the tenth century. True to the Byzantine style, medieval Bulgarian art used muted colors, mostly the earthy tones of yellows and browns, to depict somber saints and other religious figures.
Some of the Bulgarian painters developed a special style known as the Turnovo School of art. In addition to decorating churches and monasteries, Turnovo School artists also painted miniatures to illustrate chronicles and religious texts. Several of these are preserved in major European museums.
Woodcarving, silversmithing, goldsmithing, and other crafts also reached a high level of artistry in medieval Bulgaria. Human and animal figures were common motifs in carved wooden doors and other architectural features.
Medieval creativity came to an abrupt halt with the Turkish invasion, which not only prevented new artistic expression but also destroyed and damaged much of the existing art. Not until the National Revival of the nineteenth century did Bulgarian artists again begin to express their creativity in painting and sculpture.
Modern Bulgarian art had its beginning in the national awakening and the struggle for independence of the late eighteenth and the nineteenth centuries. As in literature, National Revival art found its themes in the beauty of the countryside, the charm of old customs, traditional folktales, and the heroic deeds of brave men. Stylistic inspiration came from peasant art and ancient Bulgarian religious art. Most significant among revival artists were Nikola Pavlovich and Vladislav Dospevaki, the former for his introduction of Western-style realism and the latter for his modernization of church art. As a whole, however, National Revival art is more significant for its historic role than for its artistic merit.
In the early years of independence, the simplicity of National Revival art gave way to an academic style and to impressionism. Best known in that period was Ivan Murkvichka, a Bohemian by birth, whose most appreciated paintings dealt with peasant life. He founded the Academy of Fine Arts in Sofia and organized the first Bulgarian art exhibit.