Based on the study of the collections of the Russian Ethnographic Museum, the National Museum of the Komi Republic, previously published materials and the results of field research conducted in 1989-2013 on the territory of the Komi Republic, the article examines the ethno-local tradition of peasant wood painting of the Upper Vychegod Komi-Zyryans, which existed at the turn of the XIX-XX centuries. in the villages and villages of Ust-Sysolsky and Yarensky uyezds of Vologda province (the territory of the modern Ust-Kulomsky and Kortkerossky districts of the Komi Republic). The article formulates the decorative canon of the Verkhnevychegodsk painting, and also puts forward a hypothesis about the origin of this ethno-cultural phenomenon in the area of joint or borderline residence of the Finno-Ugric and Russian populations, in particular, the Old Believers. According to the technique of writing, ornamentation and color, the paintings of Vychegodsk masters differ significantly from the peasant paintings of the Russian North and the Kama region. Keywords: Vychegodsk Komi, wood painting, technique and composition of peasant painting, Komi Old Believers, ethnographic mapping. Introduction The problem of local / regional in the history of peasant art centers that developed at the end of the XIX century on the territory of the border / cohabitation of the Russian and Finno-Ugric populations of the European Northeast is one of the key issues in the ethnographic and art history study of folk art of the Russian North [Bernshtam, 2008, pp. 144-151; Dmitrieva, 2006, p. 78-79; Putilov, 1994]. This article offers an analysis of materials representing the ethno-local artistic tradition of wood painting, which until the beginning of the XX century existed in the Vychegda River basin in the north-east of European Russia*. The actualization of the theme "Vychegodskaya painting" was largely due to the fact that in the history of peasant painting in the Russian North, the Urals and the K ... Read more