Sacred meaning of the ornaments of the ancient Slavs in the Matrix of the Universe

Consider a ritual towel - the trench of the ancient Slavs with the ornamentwhich is shown in Figure 1. Next, we will combine the image of the mockup of the towel with the matrix of the universe.

Fig. one. Fragment of the embroidery of the Seversky Towel - the Rushnik, as it is believed, depicts the goddes of fertility and a magic ornament, symbolizing fertility. Such towels were used to ritual purposes. "Rushnik - expanded decorative towel from a domain canvas. The subject of the folk culture and folk art of the Eastern Slavs.

Ancient times in Russia, the Rushnik had not only aesthetic purpose, but also ritual ritual. Patterns embroidered on the tower serve not only to the decoration of everyday life, but also are a symbolic reminder of invisible connections connecting each person with his native ancestors.

The trench is made of linen or hemp cloth 30-40 centimeters width and from 3 or more long. To decorate the tumper, eat embroidery, lace, paved weaving, ribbons. In the embroidery on the towers, various symbols were used. Other zoomorphic ornaments were embroidered - symbolic roosters, chickens, swans, ducks, eagles, deer, lions, horses, etc.; vegetable - oak, hops, viburnum, poppy, lily, rose, grapes, etc.; geometric - rhombus, circles, swastiki, zigzag lines and other patterns; as well as household, anthropomorphic and cult in different combinations.

Until the XVIII-XIX century, each embroidered pattern had his sacred meaning, ritual purpose. After Petrovsky reforms in embroidery on the tanks, household motives began to appear, not carrying the ritual semantic load, and by the end of the XIX century, embroidery almost completely lost its ritual meaning. ".

In the dictionary of the Dalya about a number of destinations of the Towel - " rushnik, shirinka"The following is said in Slavic customs:

« Rushnik - Towel - Handling - Hand Blur, rite between the purse and grandmother (obey). On the 9th day after the birth of the child, both hands werehed together, and the second (obey) receives a broadcast (towel) from the feminine.

Width - Nizannaya Pearl. Fata, boards (handkerchief towel). It is not a slamming that is not cut or two unwitting handkerchief together, long boards. " The young all covers the broadcast, carrying the wool under the width. Magic Masheat and make all miracles!»».

Slavs knew that the one who took childbirth should be "unleashed" with the "fate" of this child. And this is not a superstition - this is the sacred knowledge of the ancients. Moreover, the placenta in which the child grew in the mother of the mother should be "buried" and in no case should be used for the manufacture of "drugs".

For example, dogs at birth puppies eat this place, and the place of the seamless umbilical cord on the puppy body is licking. They make it instinctively, but this "knowledge" gives the opportunity to be healthy. Modern godless society with the help of ignorant of fashion designers section of young girls and women, exposing "deposit" by the demonic forces all the critical "areas" of the latter. What healthy offspring of the nation can go after that. These ignorants, which are unknown, is not known, just the killers of the nation and not only in our country. Slavic women, even in a simple embodiment, wore aprons with "protective" ornaments. Our ancestors were smarter than modern "fashion wise men", you may not doubt it. And I am not a hunger.

Figure 2 shows the result of combining the mock-up of the towel with the Severorus embroidery at its ends with the matrix of the universe.

Fig. 2. Figure shows model of a ritual towel combined with a matrix of the universe. The key to combine the layout of a ritual towel with the matrix was a horizontal "base of the ornament" and the characteristic pattern of the ornament as shown in the figure. By changing the character of the drawing on the side parts of the ornament on the model of the towel, I retained the number of branches of the ornament in its center.

The model is identical to the original, which is shown in Figure 2.

1. The level of the upper and lower world of the matrix, with which the ornament on the towel is aligned.

2. - respectively, the 15th level of the world of the matrix.

3. - 9th level of the matrix. The hands of large "goddesses" are located at the 17th level, and their heads concern the 18th level of the matrix. The hands of a small "goddess" are located at the 16th level of the matrix, and the base at the 15th level.

A - the place of transition between the upper and lower world of the matrix, where two sacred tetractis and the "star of David" are shown. The characteristic ornament covers 7 levels (vertical arc bracket) of the upper and lower world of the matrix.

It can be seen from the drawing that the characteristic "hook" ornament, large and small "goddesses" and the base of the ornament with alternating small vertical "tags" are accurately combined with the matrix, and the latter was a template or a canon to build the ornament of the Slavic embroidery. Usually, the tumors had a size in a diameter equal to 30 and centimeters and a length of 3 meters and more - "The trench is made from a linen or hemp cloth with a width of 30-40 centimeters and from 3 or more long.".

The transverse size of the ornament, as can be seen from the drawing is 9 levels. Then, respectively, 9 levels of the matrix, for example, correspond to 30 cm, and three methms in centimeters - (300cm / 30cm) \u003d will correspond to 100 levels of the matrix of the universe. Taking into account the size of the lower world of the matrix of the universe in 36 levels (one of the secrets of Brahma-Samhita about the sizes of the spiritual and material world in the matrix of the universe) in the spiritual world of the matrix of the universe The upper edge of the ornament of the ritual towel will reach - 100 levels - 36 levels \u003d 64 level of the spiritual world of the matrix . To the abode of the Supreme Lord remains - 108 levels - 64 levels \u003d 44 of the level of the matrix of the universe. Then the length of the towel should be increased by - (30cm / 9 levels) \u003d 3.34 x 44 level \u003d 147 cm. And the ritual towel with a width of 30 cm and 447 cm long will "stretch" from God's "bottom of the universe" in the material world of the matrix to "Residents "Supreme Lord at the 108th level of the spiritual world of the matrix. At the same time, it "will cover" 144 levels of the matrix of the universe!

And these are not empty calculations. They lead to us to understand the sacred meaning of the ritual towel of Slavs. Obviously "wipe" after washing a 4.5 meter long towel, at least not convenient.

In the following figure with the reconstruction of the traditional decoration of Ukrainian huts, we will see a practically stylized image of a matrix of the universe on the towers with ornaments.

Matcher Composite.

Its lower parts were attached to the main strips of factory kisa, which literally crumbled into the dust, and I had to replace it with modern lace.

The upper major part of the towel is decorated with rows of figures and signs. If we take conventionally two rows of birds that make up the semantic unity, for the first row, we counted seven rows. Each series differs from other rows by quantity, shape and variance of images.

Let's start trying to read patterns from the top row. It has long been noticed that roosters, birds in the upper tiers of Russian embroidery mean the sky. But not just the sky, and the sky with a capital letter, paradise, the irony, from which they arrive to the ground. The seventh sky is synonymous with the word "paradise", and our cocks are occupied just the seventh, the top row of embroidery. Consequently, it can be assumed that below on the trench is depicted all the other heavens.

Sixth row Decorated with small four ray "snowflakes". Their small value and a large amount (compared to other figures) suggests that this is the image of the "frequent stars." In one Russian folk song, there are words that the girl embroidered "... Red Sun, a clear month, frequent stars." Our towel is an illustration for this folk text.

Fifth row Consider three huge splaspling figures on the background of "frequent stars." As noted above, the ethnographers' scientists call similar images by the "woman-vason", then the "Snakenogo Goddess", then "Rozhanitsa". Pay attention to the fact that researchers converge in one are women's figures. Their tripod and isometric scale reminded me of an idea reflected in folklore about some three mothers. For example, in the magnitude of the Maslennitsa, among other definitions, the mysterious phrase "Three Mothers daughter" is mentioned. Deciphering this gives a semi-speaking "pigeon book":

"The first mother - the Most Holy Mother of God,
Second Mother - Cheese Earth,
The third mother - Kaya's grief accepted. (Goal. KN.220) ".

Relying on these widespread presentations, it can be assumed that on the roasting shifts three Mothers, average of which Mother - Cheese Earth In her divine, heavenly hypostasis.

The third mother in the text is the mother of each individual. But the native mother is the name of his native dad, his spouse. In ancient Russian, the spouse means the word "Lada". Heavenly goddess Lada There was a patroness of the wives that born children. It was her, Mother Lada, and not just a terrestrial mother, to make it logically next to the Grand Mother - Earth.

In the official Old Russian pagan pantheon installed by Prince Vladimir, we will find the name of the goddess, the scale of not inferior to the two above: it Makosh - Harvest mother, happy lot, fate and other.

So, three Great Mothers: Makos, Mother - Cheese Earth and Mother Lada Are in the upper part of the heaven, which is separated from the four "lower" heavens with a clear line of line.

On the 4 sky We see three large outlets. It has long been established that such figures are the image of the Sun. His triple means morning, day and evening, in other words, the morning dawn, noon and evening zary.

On the 3 sky There are four four petal sockets as if the crushed cross on the cross "for all four sides." This persistent repetition of the "fourth" and a smaller scale compared to solar signs, suggest the idea of \u200b\u200bthe 4 phases of the moon. I may argue that full and new Moon They differ from the growing and flawed month, and on the rushnik, all four sockets look equally. I believe that the embroidery could not put the image of each phase of the moon, but to note only the fact that they are and their four, showing it their idea of \u200b\u200bthe cyclicity of time.

In the second heaven Watch rounds similar to flowers or trees female figures. They are significantly less than similar "vegetable" goddesses from 5 sky. Their multiplicity, "landing" and "major mood" suggests that it is Beregini.

First sky It is two parallel features, between which zigzag lines are depicted. It all looks very capital, it is truly "hard ceiling" with the reserves of heavenly moisture.

Earth is susceptible to unshakable sky strip of air lace. It is shown not in his divine hypostasis, but very specifically, the land, on which we go kick. Unlike some encryption of the upper celestial signs, the images on the ground are easy to read.

On it we see 2 men's figures alternating with floral sockets. The first thing that rushes to the eyes in the outlets is carnations or cornflowers, sticking out again "for all four sides." Between the colors are embroidered exorbitantly lush ears, and all this originates in crossed diamonds with a point in the middle grouped into oblique crosses. The center of the rosette is undoubtedly a plowed and snowy field, an ears - some kind of cereal culture. It is known that in wheat fields grows mainly wild poppy, and in the face - cornflowers. Flowers on our towean do not make Macs, and, as it turned out, not a carnation, and the famous field weed Vasileuk, therefore, the ears depict rye. Interestingly, since ancient times, the cultivation of rye was a distinctive feature of the Slavic tribes from, for example, the German tribes, which rye did not cultivate.

The whole composition as a whole is a slim system of the universe, the pagan universe. It has seven heavens separated on top and bottom. On the upper, starry heavens are the goddesses of the mother and paradise, on the lower, separated from the land of solids with water reserves, shining and benevolent perfume. On earth, a person is engaged in agriculture, and invoking Slavic.
I can not not note some feminist orientation of this universe. If men reign on earth, only women are depicted in heaven.

We should not be embarrassed by the fact that the universe, depicted on this towel, does not coincide with the universe identified by other researchers of the Russian tradition based on oral folklore, wood threads or painting. The fact is that, in contrast to Christianity, representing a "fairly solid, stable, structurally uniform, closed system of dogmas and religious symbols, the Slavic paganism was heterogeneous open system, in which the new got along with the old, constantly complemented it, forming a number of suggestions. ".

Our embroidery or her predecessors who have studied, had the full right to see the world so, and not otherwise. The main thing is that this vision is fully stacked in some not very hard, but still having borders ethnic framework, distinguishing the Slavic system of worldviews from the systems of worldviews of neighboring ethnic groups.

Next RushnikAt first glance, it has a minor pattern and does not attract attention. I even doubted whether it was worth acquiring it. But still bought, I looked more carefully and realized that he was amazing!

A clear band shares the pattern horizontally. All that under it, embroidered upside down. This is known for the introduction of an underground "other" world, "of the world". What does the embroidery imagination put on there? There, as well as at the top, the trees and herbs bloom, the underground water (zigzag line, snake) flow, that is, nothing to do with the Christian hell!

Top, "White Light"has a traditional three-part composition. However, the central and lateral figures contrast sharply with each other.

In the middle of a slim geometric image "Post" with an eight-liter outlet. In her center depicts a rhombus with a slant cross - ancient sign of the earth, soil treated for sowing.

The figure is crowned with an oak leaves - symbol Perun. The tie of thumb (in the Christian tradition of Ilya) with agriculture can be traced in Russian spell songs.

For example:

And Saint Ilya
Integham went,
Integham went,
Zhidushko Rhodie.

Around and on the sides of the central image bend and how will the plants be inclined in front of him (roses?). This contrast suggests the antithesis: living - non-living, natural - man-made, namely: Perun's Kapish among the forest. Rybakov mentions in its study of Russian embroidery, that "idols were depicted sometimes ... Among the trees, which can be considered an expression of the idea of \u200b\u200ba sacred grove." However, it does not illustrate its message. It seems that the trench in question and depicts such a sacred grove with an idol.

The central socket has in each of its eight petals in a large red point and reminds the archaeological monument of Novgorod in the pendler's tract. Here is his description:

"As a result ... the excavation revealed a round site, ... in the center of which there was a round pit with the traces of the tree in it. The researcher rightly considers pit to the basis of a wooden idol Perun. A shallow ditch with eight expansions on the sides of the light, in each expansion at the bottom of the Rib, was found in each expansion at the bottom of the Rib. The capital was illuminated by eight fires".

In general, the embroidery can be deciphered as follows: a straight road among the forest leading to the eight fires surrounding the sacred oak, at the foot of which the sign of the plowed field is depicted, the subject of the main concern of the peasantry for not one millennium.

If the decryption is correct, then, given the Ilinskiy songs, it can be concluded that a fairly wide distribution of the cult of Perun among the peasantry, contrary to the problem that it was the deity of only military aristocracy.

I showed this towel to many interested parties. Someone was agreed with me regarding the reading patterns, someone is not. The main argument did not agree that the flowers and sockets were randomly and did not mean anything. I will give the following objections on this.

Russian embroidery is a sample of styled style. On the towel, the mixture of geometric and vegetable geometrized image is rushed into the eyes, worries its imbalance, makes it attentive to look at the plot and think about the plot. It has long been noticed that there is nothing casual in the embroidery. "Each separate ornamental motive on towels is a complete symbol itself, but all together they represent artistic and semantic unity."

Addition

Wavy line - water sign. The rain is depicted by vertical lines, rivers, underground water - horizontal, "celestial pests" - horizontal.

Symbol of the Sun. You can meet most often on the platbands of houses. But it is in embroidery:

Often found in embroidery various animals, for example, moose.
Well rozhenicaOf course, as a symbol of fertility:

Original entries and comments on

Manual weaving in the past was one of the most common types of art. Every woman knew how and spin, and weave. More than five thousand works are kept in the collection of fabrics of the State Russian Museum. Most of them are brought from expeditions to the north, to the central and southern regions of European Russia in 1930-190s. The collection with sufficient completeness reflects the artistic peculiarity of the tissues of different centers of the XIX - XX centuries. And at the same time shows the features of Russian patterned weaving as a whole.

Ways to decorate fabrics with patterns were complex and time-consuming. Weavsky Stan is a massive wooden structure with a footboard, block of blocks and other devices for different types of textiles. The main part of the mill - frame with stretched smooth rows of bases, which are intertwined across the duck threads. The ornament is created in the process of textile, and it is impossible to correct the slightest inaccuracy of the figure: the background threads and patterns form a single structure. Therefore, the ability of the tipples to produce the most complex calculations of the patterns is valued as high as the natural taste and fantasy.

The technique of weaving causes the geometric nature of the ornament, which combines stripes and triangles, squares, diamonds and other figures. Among them are diamonds - linear, with extended parties, comb, hooked. The rhombic ornament originated in antiquity and a deep meaning in himself. Rhombus was a symbol of the Sun, the personification of the seeded field. The magical meaning of the figures gradually changed, the ornament is enriched with new motifs.

Towel. End XIX. century.

Towel. 1887.
Holmogorsky county of the Arkhangelsk lips.

But all the same ancient elements remained mainly in ritual objects - wedding shoes, towels with long patterned ends. The museum meeting has wedding towels, rare on the beauty of the ornament and a variety of decorative solutions. Two of them are distinguished by two, insulated with taking water weaving with a red dodge over a white background. This technique got the widespread in the north. Two ducks - white and color - at the same time create background and pattern. On the back of the fabric, a negative figure is obtained.

The ends of the towel from the Kholmogorsk district of the Arkhangelsk province are decorated with eight stripes, as if flowing into each other. In each strip, the pattern is different, the rhythm of the alternation of elements. The thick pattern is made up of small strokes and large parts with a loose texture forming convex sections, so that the surface of the tissue acquires textured wealth.

Towel. XIX century.
Kargopol County Olonetsk Lip.
State Russian Museum

A large rhombic towel pattern from Kargopol County Olonetskaya province attracts the classic severity of a linear pattern, completion and equilibious composition.

Detail of a towel. The beginning of the XX century.
Colorgian county of the Kostroma lips.
State Russian Museum

Strong fabrics demonstrate a lot of local ornaments. The peculiarity of the tissues of the Colorge County of the Kostroma province is the vertical construction of patterns. Roma, the paint sockets are connected to the longitudinal rows, adopting the vertices. The background and pattern, as it were, be changed in places: the red surface of the fabric seems like white strokes forming diameters and miniature hooked crosses. Such crosses in antiquity symbolized fire, life. In a geometric ornament in a peculiar form, the presentations of people about nature are revealed, about the device of the world.

Towel end. XIX century
Velikyustyugian County of the Vologda Lip.
State Russian Museum

In the ornaments of fabrics, the image of a person is extremely rare. The unique exhibits in the Museum's meeting are the ends of towels, shim banks, shells of shoes with geometric human figures from the Velikostugian County of the Vologda province.

Women's lower skirt. End of the XIX century.
Kadnikovsky county of the Vologda lips. Master E.N.Konovova
State Russian Museum

In the works of Vologda masters, patterned weaving is often combined with other types of decoration of fabrics. In the Kadnikovsky district of the Vologda province at the end of the XIX century. There was an interesting center of lacewood and weaving. The alternation of white lace lace bars and woven spacers from bright gap threads can be seen on female lower skirts, shelters. Small thick pattern, fluffy texture of tissues contrast with openwork lace.

Hem of women's shirt. End of the XIX century.
Gryazovetsky county of the Vologda lips.
State Russian Museum

Among the fabrics from the Gryazovetsky County of the Vologda province in the collection of the museum prevailing the picers, but they are more stringent: the dark blue cubic sleeping and colored woven spacers of red, pink, green colors make up a few gloomy combinations. Only in the gyrome tissues patterns are performed on a black background, a clear dry dry pattern.

Skirt. The beginning of the XX century.
Poshekhonsky County of Yaroslavl lips.
State Russian Museum

Ornament-saturated marriage fabrics are often connected in one subject with a plaid or striped fading. The simplicity of its drawing and invoices is replenished with a wide choice of color combinations. The checkered red and white skirt from the Popehon County of the Yaroslavl province is decorated with a dark-red stone border crossing, in which blue-blue sockets flashes asterlers.

Detail of the subzor. Mid XIX century
Solvychygodsky county of the Vologda lips.
State Russian Museum

Folk costume is presented in the museum of individual objects from different centers, and only a meeting of Ryazan costumes shows entire sets of clothing of this area.

Women costume. The beginning of the XX century.
State Russian Museum

The costume of the peasant of the Casimovsky district of the Ryazan province (River River area) as if the wealth of the colors of the Meshchersky region did. From a bright red striped, checkered fabric, a shrine of a shirt, a short "craver" and the apron, decorated with the fiber inserts of silk ribbons, sittsev stripes, lace, bright embroidery, imitating patterned weaver. Wide wear, in which cross-membership of patterns prevail, attached a figment.

Part detail. The second half of the XIX century.
Casimovsky district of the Ryazan lips.
State Russian Museum

Kasimov region - severe dense skirts - do not have analogies in Russian weaving. In the meeting of the museum there are two lies from the Parachinsky parish with the same ornament and pattern, unique in difficulty and harmonicity of the drawing. On woolen fabric to a large crimson-red and dark blue cage, a silver patterned grid, composed of meander, was added. Large sockets lie in the center of colored cells. Such renewers were rare already at the beginning of the 20th century.

M.A.Sorokina

Literature:
. M.A.Sorokina. Patterned weaving. - In the book. Russian folk art in the meeting of the State Russian Museum. L., artist RSFSR, 1984.
. Russian folk weaving and ceramics. Catalog of the exhibition. Authors. Articles and compilers of the catalog N. S. Grigorieva and E.A. Corsun. L., 1976.
. G. S. Maslova, People's Clothing of Russians, Ukrainians and Belarusians of the XX. - East Slavic ethnographic compilation.
. N. I. Sizoeva. Casimov patterned weaving in the XIX - early XX century. M., 1963.

Russian culture originated many centuries ago. Back in the pagan times, Rusii decorated themselves and space for life (house, yard, household items) with original patterns. If the drawing repeats and alternates individual parts, it is called an ornament.

People's ornament necessarily uses traditional motifs. They are their own people. Russian ornaments are no exception. When we hear this phrase in the imagination immediately arise embroidered shirts, the towers. They are horses, clarification, roosters and geometric shapes.

Traditional Russian ornament

Excursion in history

The primary cell of society is a family. And it is families that we owe the first folk patterns. In antiquity, animals and plants had a stenched meaning. Each family believed that he had one or another patron. Family members have used objects with symbols of kind, considering their protection and help.

Gradually, the family drawing went beyond the limits of the family and became the property of relatives. Several childbirth exchanged their patterns. Thus, all the tribe used the characters originally belonging to certain families.

Over time, the patterns became larger, the circle of their users expanded. So Russian folk ornaments appeared in Russia.

Even in the exterior of houses, symbolism was traced

It can be noted that different colors for needlework were used in various areas. This is a simple explanation. In the old days, only natural dyes were used. Produced them with a handicraft way. So, the presence of raw materials for paints often determined the entire palette of the work.

In different regions were their favorite "decoras". It is not by chance "Paisley" is one of the motives for ornamental regions. Motherland of the "Indian Cucumber" Persia in the East.

Meaning and meaning

Creative alloy of nature and religion. So briefly can be described by national, including Russian ornaments. In other words, the ornament is a symbolic description of the world.

The elements of the ornament were not only an ornament. They carried the semantic and ritual load. They can not only be considered, but also to read. Very often these are conspiracies and charms.

Each character has a definite value:

• Alatyr, perhaps, the main of the Russian and Slavic signs. This is a symbol of the endless universe, world doubles and its equilibrium. The source of life consisting of male and female began. Often in the patterns used the eight-pointed star Alatyr and Stone Alatyr. They were waiting for help in different life situations.

Sacred Alatyr

• Another symbol that was very reading and was often used in the world tree of life (or the reign tree). It was believed that it grows on Alatyr stone and gods rest under his crown. So people tried to protect themselves and their boring under the branches of the Tree of Life and with the help of celers.

One of the options for the image of the reign tree

• Various swastiki is also a popular motive in Russian and Slavic needlework. From the swastik more often than others can be found Kolovrat. Ancient symbol of sun, happiness and good.

Sun symbol image options for Slavs

• Orel or gravel is a rhombus with combs on the sides. Its other names: comb rhombus, oak, well, burdock. It was considered a symbol of happiness, wealth, self-confidence. When location at different parts of the clothes had different interpretation.

Symbol of Orpeci

• Animals and plants that surrounded people and were deified, this is a constant theme of patterns.

Slavic symbolism is very diverse

Of particular importance was the number of alternating elements in the ornament. Each number has an additional semantic load.

Beauty and protection

The aesthetic value of the ornaments was combined with a totem. Magitis and shamans applied symbols on ritual clothes and utensils. Ordinary people also put a special meaning in traditional drawings. They tried to protect themselves with an embroidery, applying it to certain parts of clothing (to protect the body). Table underwear, household items, furniture, parts of buildings were also decorated with appropriate patterns (to protect the family and at home).

Easy and beauty of vintage ornaments leave them popular today.

Traditional ornaments decorated overlap dolls

Crafts and crafts

Gradually, with the development of civilization, the vintage patterns were transformed, some became identical signs of individual folk crafts. Stood out in independent crafts. Usually crafts are called the corresponding area, where they are produced.

The most popular can be called:

• Porcelain and ceramics "Gzhel". Her style is a characteristic drawing of blue paint on a white background. Named by the name of the village Gzhel of the Moscow Region, where production is located.

Painting Gzhel - ancient fishing

• Zhostovskaya painting can be found in flower bouquets on black (less often in green, blue, red) metal tray, covered with varnish. The center of the fishery is located in Zhostovo (Moscow region). The beginning of this craft was laid in Nizhny Tagil, where there are production of the lower Tagil trays now.

Luxurious Zhostovskaya painting

• "Khokhloma" is a decorative painting on wood. It is characterized by black, red sometimes green patterns on a golden background. Her homeland and the place of registration of the Nizhny Novgorod region.

Khokhloma is popular and today

• Sloboda Dymkovo Domkokovsky, and the city of Kargopol, respectively, Kargopolskaya, the village of Filimonovo Filimonovskaya, Stary Oskol Staroscolskaya clay toys. All of them have a characteristic pattern and color.

Staroscolsky clay toys

• Pavlovoposadsky woolen shaved a business card of Pavlovsky Posad. They are characterized by a volumetric stuffing floral pattern. Red and black their traditional colors.

Traditional Pavloposad Card - Truly Luxurious Accessory

A continuation can be very long: Fedoskinskaya and Phahnian miniatures, Gorodetskaya painting, Orenburg Pooh handkerchief, Vologda, Yelets, Mtsenskoe lace. Etc. Everything is very difficult to list.

We draw folk style

Today, many are clothing and use things in folklore style. Many craftswomen want to create something unique. They can take the framework of the finished product, or create their own sketch.

To successfully fulfill this idea, you first need:

1. Decide, there will be a separate pattern or ornament.
2. Dismix drawing on simple details.
3. Take millimeter paper, make markup, noting every fragment and its middle.
4. The first simple item is drawn in the center.
5. Gradually, step by step add the following fragments.

And now the unique pattern is already ready.

Similar pattern for power to draw everyone

About Russian embroidery

Patterns, techniques, the colors of Russian embroidery are very diverse. Embroidery art has a centuries-old history. It is closely related to weight lifestyle, customs and rites.

The color is an important component of the needlework.

People endowed it with sacred properties:

• Red life, fire and sun. Of course it was often used when embroidered. After all, it is also beauty. As a charm, he was designed to protect life.
• White color of pure snow. Symbol of freedom and purity. Considered a defender from the dark forces.
• Blue color of water and clear sky. Symbolized courage and power.
• Black in ornament meant land. Zigzag and wave, respectively, not plowed and plowed field.
• Green is grass, forest and their help man.

Traditional Russian embroidery

The thread also ended with certain qualities:

• Flax symbol of masculinity.
• Wool is protection, patronage.

In combination with patterns, special purpose products were created.

For example:

• The roosters and red horses should have protected the baby.
• For the successful completion of the work, embroidered with green and blue flas.
• From diseases and against bad effects embroidered wool.
• Women things more often embroidered black to protect motherhood.
• Men were protected by a green and blue pattern.

Of course, a special set of characters and drawings was developed for each case.

Such embroidery will look elegant on any fabric

Folk costume

Folk suit embodies and reflects traditions. For centuries, the craftsmen turned an unbroken tissue into a unique work of art. From an early age, the girls have suffered mysteries of needlework. By fifteen years, they had to make themselves everyday and festive clothing and a set of towels, tablecloths and subzors for several years.

Cruise suit itself simplest, rectangular. Linen fabric or woolen quality. Women lasted tissue (removed part of the threads) and received a new tissue. It was performed by measurements and other embroidery.

Russian folk costume is distinguished by a variety

Of course, clothing differed according to the characteristic patterns depending on the terrain. It can be divided into two groups:

1. Central Russian. Differs in a multi-flowering. From the techniques often found a countable smooth, cross, pigtails, merrys. Lace, ribbons or fabric stripes are also used in the southern regions for decorating clothing. Figure is often geometric. Especially she was loved by Oropes in different versions.
2. North. For her, characteristic techniques are smooth (color and white), cross, painting, white stitching and cutouts. Artistic motifs were used more often than geometric. Compositions were performed mainly in one color.

Russian embroidery is unique. It is distinguished by stylized images of animals and plants, as well as a large variety of geometric patterns.

Keeping tradition

Exploring the national traditions and techniques of needlework on the preserved products, modern masters adapt them to modern requirements. On their basis, fashionable original things are created. This is clothing, shoes, linen.

One of the recognized fashion designers, which includes folk motives in every collection of Valentin Yudashkin. Foreign couturiers, such as Yves Saint Laurent, are also inspired by the Russian legacy.

Russian Collection of Yves Saint Laurent

In addition, the folk crafts continue tradition and improve skill in accordance with modern requirements. You can add enthusiasts not indifferent to traditional creativity. They study themselves, collect and work in folk style.

Russian patterns continue to carry beauty and joy to people, and also retain historical information.

From the dowry of the bride. Olonetskaya province, Kargopol County, Gar village.
The beginning of the XX century.

Of all the items of Severus weaving at the most honorable place - towels. Their decoration in the Russian village has always attached special importance. These patterns and today are striking harmonic beauty. Most often they are hot-red, with a strict embossed pattern, which will distinguished on silver flares. How much taste, skills, labor! Any little thing says that we are truly a truly big art.

Unfortunately, we almost do not know anything about him. Where is his origins? How and when did these amazing patterns originate? Why exactly they, not any others? What finally meant the "decorated" towels for our distant ancestors? All this modern man No doom. Therefore, our look only slides on the surface of things, and the essence of ancient art remains a mystery.

So let's try to penetrate it. Although a little - one is only one step ...

Behind the skins.
Fragment of the miniatures of the XVIII century.

Let's start with the fact that they decorated the towel so generously, of course, it's not by chance. In the old days it was one of the most important things in the life of things and accompanied a person from birth to death, as if noting the main points of his fate. Special towel otiraili newborn. During the wedding rank of the bride and the bride, they set the bride and tied up with a towel, symbolizing the marriage bonds. A man died - his coffin was covered with a towel.

The thing was so appreciated that it was often paid for her work or purchase. And leaked the peasant to a foreign land or took him to the soldiers - gave the "Towns" on the road. As the best farewell.

Towel. Fragment. Arkhangelsk region, Pinezhsky district, Kevrole village. 1978.

Also and on weekdays were always there. Some - "manotes" with a modest pattern - hung at the Hoodyman. You leave the face - will serve you "Rubbish". The most elegant decorated the hut. I hung in the "red" angle on the image, later - on the frame with family photos. On the mirrors, on the windows and just along the walls on the hooks.

They did not only for beauty: according to an old belief, these patterns carried the power of good and defeated against all evil. There was even a special rite of their reading. But at the beginning of our century, much remembered. This is what a curious conversation that happened at the time, gave us an eyewitness. One rustic girl was preparing his god, and his mother carefully followed the work. Seeing that in the batch of towels, young weaves put two rows of triangles to the top, she stopped her:

It is impossible to do this, daughter! Dragons teeth are obtained. You put the soles of the sole to the sole - the sun rays will be released. And they will shine to you until the towel itself is.

True, it is interesting? As if not a towel was decorated, and the magic fairy tale told ... Among the usual motifs of folk weakness, crosses and rhoms are particularly often found - the infinite varieties are mandatory for any woven ornament. What could they mean?

The end of the towel is "paints".
Vologda province, Ustyuzhensky County, Kuzmin village. End of the XIX century.

Sprinkle your eyes and take a look at the sun. You will see the four rays from him in the form of a cross.

To all free light, a clear one shines on all four kids, "the people said in the people." The Svyatouruser land is great, and everywhere Sunny.

On mysterious at that time, heavenly phenomena, when the sun is seen by a large cross, surrounded by rainbow rays, repeatedly inform the chronicle: "Wonder to be a sign in the SOLCI, a fence in the middle of the circles." Direct plane cross and was in a folk symbolics of the sun. The diamond was also revered by a symbol of fertility and often combined with a sunny sign inscribed in it. If you add that the rhombus was called the "circle" people, it is easy to see the similarity between the pattern and marked in the chronicle of the celestial phenomenon.

Casual coincidence? Let's go further. Now we once again used the word "pattern" - and will not tell me anything interesting? Falling dictionaries, we learn that in Slavic languages \u200b\u200bit has one root with the words "Zarya", "Zarla", "Zarnitsa". It turns out that the very concept of embroidered and woven ornament, or, as they said before, "patterns", is also somehow connected with heavenly fire. From the same circle and the old name, now half-selling, improvised weaving mill - "CROZNA", located in the blood relationship with the ancient Russian word "cubs" - flame, fire. "Heavenly Lights" cresses called heavenly light during the summer solstice, and June himself "the hematus". According to the people's legend, the king of the Sun is singing in his panels these days, and the rays-arrows are bullied in the air.

But the most striking thing is that the entire space of the mill, where the woven pattern was created, saturated with solar signs. The image of the sun and its rays occurs at all major parts of the cross. The horizontal basis on which they are attached, directly called the "subnet"! And it means that the pattern of the towel itself is born as if under sunshine.

Drops such patterns are not easy: good memory and intelligence, intense attention and perfection are needed. Distribute even one thread - the error is immediately evident. And the case is moving soon: according to the masters themselves, for the day of work, do not cut down and one elegant end to the towel.

The end of the towel is "paints".
Vologda province, Ustyuzhensky County, Kuzmin village. End XIX - early XX century.

In each terrain, the towels had their own distinctive features. On the Pinege River, they have long, with three or broader, gradually narrowing up "firmware". The ornament is clear and harmonious.

On Onega River and the Towel itself, and decorated with an intricate "lace" pattern. End is smaller.

The ornament of Kokshengi and Veliable Towels is still more stronger, with an oblique white grid, eight-pointed stars and light comb robes.

In Nimudren, at first glance, works created by the hands of rustic weaves, not only the fate of their creators. The worldview, moral foundations and the artistic taste of residents of the Russian North, were embodied here, which are centuries-old traditions of the whole people. For us, these are invaluable monuments of material and spiritual culture. How much can tell scientists one end of a household towel! After all, an ornament decorating him is the Millennium language: each sign concludes a whole concept, and several characters standing in a row, as if phrase in the letter.

In the weaving of the north with a special brightness, all the variety of geometric motifs was revealed. Significantly smaller here of the pictorial patterns. By keeping your own, they are all in close connection with the ornament of local embroidery. Compared to her, the woven pattern for a long time remained more archaic. But new motives came and here. For example, in Velikyustugian tissues, these are "punks" - male and female figures in the peasant costume of the XIX century.

All patterns of woven towels are subject to the law of symmetry: it has symbolized the harmony of the universe from ancient times. Well, the horizontal course of the ornament, whose motifs lined up an endless turn, speaks of the eternal cycle of life in nature.

Towel end. Olonetskaya province, Kargopol County, Village of the Graveyard.
End of the XIX century.

Yes, an amazing area is folk art. It can tell about many ways. We are all bad if, is good, heard about antique mythology. She is beautiful, there is no dispute. But what do we know about poetic views on the nature of your own ancestors? As if they did not have their own excellent legends.

According to the ancient people's ideas, the world consists of four elements: "Tsaritsa-Water", "Tsar-Fire", "Mother of Raw Earth" and "Air-Mr.".

Water is related to earth, is its component. Therefore, "raw." And why "mother"? For the Russian peasant the earth as if a living being. Falls asleep for winter and wakes up from the hot rays of the Sun Sun. Drinks water and give birth to harvest. Gently, Maternity takes care of people: feeds, sew, dresses, protects from trouble.

Fire and air, without which he cannot live, make up another group of elements. To the fire Russian man has been published deep respect. In Starina, believed that he would protect from the ailments, purifies from diseases. Therefore, they jumped through it, fured out clothes over him.

Well, the fire and the sun, of course, in kinship: both of them are the sons of the sky. "What is the most beautiful in the world?" - Asks a mystery. " The fire ". "What is the fire brighter than all? " - "The sun". Recall the rustic mill - Crus again. Now we understand that the name of it from the same heavenly fire, the image of which was embodied in weaving patterns. According to one poetic legend, the sun scatters his gold curls across the sky and straight the filaments of the rays. So the female peasant woman will primarily give a linen Cudel carved on a spicy shine and tidys out of it, as if from sun races, threads. Of these, it will then be weave. Lovers of Russians folk fairy talesOf course, remember how the towel abandoned to earth turned into a fiery river. But the real are similar to it - so generously decorated with hot-red patterns.

Towel. Olonetskaya province, Kargopol County, Gar village.
End of the XIX century.

Let's take a closer look at them again. The background on the tissues of the craftsmen called "Earth". You probably guessed why: in the symbolic ancient art Linen canvas personified mother to the ground. It's not by chance that she is white - our ancestors tied this color with the concept of good, and who in the world is kinder than the mother? And here on the gloves silver "land" the woven ornament is raised. If the canvas itself has a direct weave of the threads, the pattern like covers its oblique grid. . And creates the impression of movement! Before us is a visible image of fire, which comes back on the silver plain of the Earth and its transforming. This is the most common and most important image of the pattern of weaving.

The ancient Slavic legend says that everything in the world began to live after the fire caught fire in the ground. Doesn't they say and decorate? You finally make sure that if you find out when the craftsmen made a towel. It turns out that there was a strictly defined time. For the work of the Tkachi, they sat only in spring, but before the start of field work. Weaving them with something resembled spell. By creating his fiery patterns, the peasants as if they asked the sun shining all the stronger and hotter and rather to drive from the ground to Stupua and the darkness so that she gave the joy to people rich fruits. Yes, in the patrony of Russian folk weft, we first appear a truly cosmic image. The land, resurrected from a long winter sleep and fertilized by heavenly fire, taking the power to give a harvest and feed a person, animals, birds - everything that lives under the sun. And the sun itself, giving all the living on Earth its transforming light and its own life-quality heat ... That's what secrets are stored patterns of ancient towels. And it seemed just beautiful.

Ancient times in Russia at each subject of utensils, on each clothes, as well as houses depicted various elements, symbols that were in patterns. Each item had its own value. So the Russian folk pattern was formed.

Historical information about Russian folk pattern

It should be understood that there are two terms - pattern and ornament. And it was originally not the same thing. Even now the ornament can be called not every pattern. For example, if it is a constantly repeating pattern (rapport).

In Russia it was believed that the pattern is much deeper, he means more. The word ornament is borrowed from Latin, and it appeared much later and denotes the decoration. In Russia, he was an analogue - "Ukrainian". It was believed that it is intended for decorative stylization. However, in the future, these two concepts intertwined and began to complement each other.

The Russian folk pattern is a combination of various lines, symbols, other elements that can be repeated and be in a single option. In different areas, drawings may differ. So, in the eastern regions in Russia, in the pattern, you can meet such an element as the "Indian cucumber", which today is popular.

Each terrain also had its own color range of patterns and ornaments.

Signs and symbols in the Russian pattern

If we consider the Russian folk pattern from the point of view of symbolism, it can be said that no element is shown there just like that. Everyone has its meaning and is in its place.

The most popular symbols in the pattern are:

• Star Alatyr, or, as it is also called, the cross of the Svarog. It has eight petals and symbolizes the universe, its folding and unfolding cycles.
• Also very popular is the symbol of Beregini (Genznica). This is a schematic representation of a woman who protects.
• A very significant symbol is sometimes called global tree. It combines the world axis, universe and genus.
• All known in the time of Hitler, the swastika became a symbol of war and fascism, but initially it was not at all.
• Also popular with Opephey symbol, which is a comb rhombus. This symbol brings happiness, equilibrium and peace of mind.
• In addition, flowers, stars, spirals and other characters are used in the pattern and ornament, each of which carries a certain value, reinforcing the positive and protective energy of the person.

In addition to the above items, there are many others. In addition, almost all patterns of the scheme are quite varied. The same symbol can be depicted in different ways, while maintaining, however, common features and lines. So there are whole coast phrases, as well as small stories or conspiracies.

Sacred meaning of the pattern

It should be known that the same symbol, but depicted in different parts of the clothing, could have a different meaning. For example, the sign of Oropes, depicted in the elbow zone on women's clothing, indicated the ancestor. If he was depicted on Podol, he was an entrance to the other world.

Also symbolically portrayed the ancient gods that moved on the chariots. They had various animals that personified a specific deity had been harnessed.

Some Russian patterns (photos are presented below) in its numeric repeatability carried a specific code. So, the following numbers were important:

• three (absolute, trinity, time, space);
• four (sides of light, time of year);
• seven (symbol of harmony);
• twelve.

In such patterns and ornaments, the attitude towards the mother nature of our ancestors appears. They seem to ask her protection and patronage from various evil, troubles and misfortunes.

Where do Russian folk patterns use?

The use of patterns is quite varied. They are used in towels, napkins, for painting utensils, houses, with wood carving, metal. In the old days, no item was left without a picture.

Russian patterns (there are pictures of them in our review) - this is not only the beauty of the subject, but also the protection, the owner walked. It is known that even before writing, people have already portrayed various symbols (rhombus, lines, points) on objects of utensils.

Difference of patterns in different regions

Each region of Russia has its own history of painting, embroidery, patterns and ornaments. Consider the Russian People's Pattern (some will be presented below) on some species and locations:

• gzhel painting - characterized by blue and white color scheme in drawings, which are made on ceramic, porcelain products;
• painting, which is Slavna Zhostovo village, on metal trays;
• a very interesting Khokhloma painting in various patterns is characterized by golden color (there is also red, yellow and orange);
• in addition, in many regions they made their own toys (Dymkovskaya, Kargopol, Staroscolskaya), each of which had its own, unique pattern in the mural;
• also very well-known Pavlovoposadian shawls, which are performed in red and black colors, with floral patterns.

And it is not even all known crafts where the Russian folk pattern is applied.

The most ancient patterns

The most ancient patterns include the set of different signs, which in the old days had special importance and simply did not appreciate any product. Each family had a set of embroidery, paintings, which were transmitted from generation to generation. They even possess a special meaning for the family, to be her own symbol. Of course, with the time of knowledge was lost.

Vintage Russian patterns breathe on us mysteriousness, the power of the faith, the meaning of each curl or sign.

Now very many collect similar images to their piggy bank that make sense.

How to start painting Russian folk patterns

Now people are increasingly turning to our legacy of the ancestors, wanting to revive the lost traditions. For example, many are wondering how to draw a Russian pattern. Why start?

At first it should be understood that there are many paintings technicians in Russia, embroidery that have their own characteristics. For beginners, patterns need to be taken not very complicated, having a repeating pattern. So it will be easier to catch his essence itself.

Before the drawing itself, it is necessary to practice with simple components: dots, lines, strokes, droplets, loops, etc. In essence, the most difficult pattern and consists of the above parts. From these simple forms, after some time, workouts can be created more complicated.

In order to understand how to draw a Russian pattern, do not hurry. Some forms can really seem complicated, but you need to remember that they all consist of simple. Enclosing first repeating pattern on the items, depicting it from the easiest and most important, for example, points. Around it, gradually draw other forms, and so at the very end you can get your finished pattern. Take a look at the photo below, which contains all stages of drawing. And make sure that this process is not so complicated.

Thus, you can learn how to create ornaments and patterns yourself. In principle, you can also take ready-made schemes, and after carrying them to the surface.

Using patterns on home utensils

Also, patterns and ornaments in antiquity were performed on the item items, for example, in Russia, in the solonks, a six-board outlet was depicted. It had a symbolic meaning. This socket indicated the sun, and the salt was considered associated with it. Also, its image was often found on a bark, like an infinite time symbol.

In addition to the symbolic painting utensils, there also also existed and just adorning the product. Of course, it appeared not immediately, and the technique was developed for years.

It should be noted that some patterns, the schemes of which are quite complex, are manufactured and still masters. This, for example, Khokhloma painting, which looks very beautiful and ornate. However, its manufacture is quite complex and multi-step.

Using patterns in embroidery

Russian embroidery in Russia is traditionally not just decorated with clothes, roasts, bedspreads and other products from the canvas, but also is a faith. The weave of the patterns is not accidental. All characters are in place.

In addition, it matters in the embroidery and the color of the thread used. Consider some points:

• to protect the baby, an embroidered rooster or horse in red or black colors is suitable;
• for successful activity, embroidery should be performed in blue or golden-green tones;
• woolen embroidery will be suitable if there are some kind of energy holes, they are made in the field of human chakra;
• flax uses for peace, they embroidered trees, birds, stars or sun;
• for women in embroidery, you need to use a black color to protect yourself from infertility;
• for men - green (protects from wounds), blue (protects from elements).

In addition, the embroidery uses the symbols - the cross (obstacle and protection against evil), the star (heavenly fire), the circle (denotes fertility, abundance and motherhood) and others.

Thus, the Russian embroidery is a whole set of knowledge that our ancestors applied in antiquity, defending themselves, relatives and their own.

Using patterns on clothes in ancient

Probably, the most famous application of the pattern and ornament is even the most disastrous person in this business recognizes this embroidery. True, colors and patterns will again differ by region.

For example, than the south of the terrain, the brighter the clothes were in humans. It was due to the fact that before the paint was natural origin, and the warmer was, the more existed a variety of opportunities to produce it.

If we talk about men's and women's clothing, then the first almost did not have differences in the regions, except for preferences in color and pattern. But women's clothing was quite diverse and was significantly different.

As well as embroidery of a variety of animal figures was very popular in the northern part of Russia. But the southern had more color embroidery (often red).

The use of a Russian folk pattern in modern clothes

The Russian folk pattern on clothing periodically returns to fashion. Famous fashion designers produce collections with folk motifs (for example, in 1976 by Russian Collection from Yves Saint Laurent).

Nowadays, Russian patterns have long been priority for true connoisseurs. In addition to colorful traditional, bright floral (or other folk) prints are used. I remember the vintage patterns that craftsmen embroider on clothes for their family and friends. Also, you can also order like clothes for yourself if desired.

It also remains popular products that have long deserved recognition both in quality and style (for example, Pavlovoposad's scarves).

Thus, the Russian pattern simply cannot go into non-existence. His influence on the people is indisputable, this is his heritage, and once he will rightly take the place to him in the hearts of people. After all, the vintage Russian patterns truly carry harmony and beauty that was known to our ancestors. It is also our story that it is necessary to forget.