Any nation during its existence used various ornaments and patterns. Many images of stunning beauty have come down to us from time immemorial. Each nation has its own unique handwriting, depending on many factors. Culture, location on the planet and the individual characteristics of each master play a role. It is impossible not to be glad that these national ornaments and patterns are an art that has reached our days, and has not disappeared so far.
Any nation during its existence used various ornaments and patterns.
The tendency to keep dishes with folk paintings at home, to decorate the interior with ornaments and patterns, is becoming more fashionable every day. Even if you are not an artist, you can purchase stencils or print them. Then use the ready-made templates as the inner voice prompts.
Folk workshops, where you can order such stencils or invite an artist, usually exist in the outback. But even in the capital, if you wish, you can find craftsmen who can apply both a simple ornament or pattern, and a more complex one. To decorate, for example, a child's room with such a painting is a great joy for children.
There are geometric ornaments that do not carry any subtext. There are those that contain some meanings and symbols.
Russian ornament: stencils that are easy to make yourself
Russian ornament, for example, on embroidery, is known to everyone. Everyone has seen folk costumes at least once in their life. Such beauty comes out from under the hands of masters. And these are not the most difficult options. Nothing to say - art is art. And Rus' has always been rich in talents.
If a decision is made to engage in the art of ornamentation, you need to start with stencils, which are simpler. And it’s worth taking a Russian ornament for a start. If you can't get stencils, you can make them yourself. Anyone can do this, you just need to show perseverance and patience.
If a decision is made to engage in the art of ornamentation, you need to start with stencils that are simpler
After they get simple patterns, you can switch to more complex
Gallery: ornaments and patterns (25 photos)
Buryat patterns: song of the steppe
The Buryat ornament, like the murals of all Mongolian-speaking representatives, basically consists of simple geometric shapes:
- broken lines;
- zigzags;
- circles;
- diamonds;
- other figures.
If the hand is at least a little trained on the most simple drawings, you can take on the Buryat ornament and Mongolian drawings. Here are some of them. It is easy to see Buddhist motifs and the Bashkir style in them.
Yakut ornament
Yakut works of art of the pattern amaze with their beauty. It is especially difficult to look away from works made in gold. Keeping in mind the Yakut gold, it would be surprising not to see it in folk art.
It seems to be nothing complicated, but it looks magical.
Yakut art works of the pattern amaze with their beauty
As in any art form, there are simpler ornaments. Of the geometric shapes, the Yakut people are very fond of using circles.
Tatar pattern: patterns of the great people
Tatar and Bashkir craftsmen specialized in bright ornaments and patterns. This is especially evident in national clothes(headwear, shoes with colorful mosaics).
Decorating your home with carpets of stunning beauty is one of the main highlights of the Tatar nation. Any housing, whether rural or urban, was always filled with carpets that surpassed Persian ones in beauty. Tatars have always been dominated by bright floral motifs.
Embroidered flowers can be seen not only on clothes, but also on household items. Towels, pillowcases, tablecloths, aprons, prayer rugs.
You can talk about head scarves for a very long time. In each house, a whole chest is filled with such scarves. Everyday, festive, wedding - for each event there is a scarf, and for each scarf - its own special pattern. Here is such a beauty - a Tatar and Bashkir embroidered scarf that you can’t take your eyes off
Tatar and Bashkir craftsmen specialized in bright ornaments and patterns.
The most common was the art of ornamentation in carved wooden architecture. Then there was embroidery, a pattern on shoes and carpets. A very small place was occupied by the Tatar people for fabric appliqué. But on the other hand, in this application, which is interesting, oriental and Greek motifs were clearly visible.
The most popular was and remains a floral ornament. Shamrock, carnation, tulip, dahlias, peonies and chrysanthemums - all this is very popular with Tatar craftswomen.
????????????????????????????
Looking at these works of folk craft, I want the house to have at least one such pattern that pleases the eye
Geometric patterns in the interior: the trend of the season
Geometric solutions in interior design - the most fashion trend of the year. Strictness, harmony, aristocratic aesthetics - all this delights and is used more and more often in the work of designers.
Geometric style came to houses in different types:
- like furniture
- as accessories
- like patterns and ornaments.
Such ideas are embodied today by designers in the design of apartments and offices.
Geometric solutions in interior design - the most fashionable trend of the year
Simple and beautiful. And this becomes the motto of fashionable modern designers and those who strive for harmony in such an interior.
Oriental patterns: a visit to a fairy tale
Oriental patterns are gaining popularity again today. More often they are used for painting fabrics, silk, large canvases. Oriental ornament is based on the rhythm and construction of elements, on abstraction and stylization of real things. The roots of this art go back to the culture of Persia and Mesopotamia. Each of the patterns symbolizes something. For example, an ordinary socket is a symbol of the universal cycle. Made in the form of a flower, it had many varieties. This is only one of the few deciphered characters. What other patterns hide in themselves may remain an eternal mystery.
Oriental patterns are gaining popularity again today
The most frequent motifs of oriental patterns are a plant motif, magical birds and the World Tree. In the latter, a lot of symbols are combined along with real details. Oriental pattern has another feature. This is carpet filling. It is difficult to find an unoccupied space on the surface of the pattern. Lines, leaves, cones, spikelets, blades of grass - they fill the whole space. In particular, this technique is used in architecture, the manufacture of decorative dishes and clothing.
Patterns for children: we create together with the kids
Developing a child's abilities by teaching him the art of patterns and ornaments is a way that gives excellent results. Try to make a light floral pattern first. Below is a step-by-step instruction on which to do everything is very simple.
The order of work is as follows:
Divide the selected area into eight identical sections. Draw horizontal lines and proceed with the ornament.
Make the next sketch.
Add some small details of your choice.
Already unnecessary lines along which the sketch was made must be erased with an eraser.
Russian culture originated many centuries ago. Even in pagan times, the Russians decorated themselves and their living space (house, yard, household items) with original patterns. If the pattern repeats and alternates individual details, it is called an ornament.
Folk ornament necessarily uses traditional motifs. They are in every nation. Russian ornaments are no exception. When we hear this phrase, embroidered shirts and towels immediately appear in our imagination. They have horses, ducks, roosters and geometric shapes.
Traditional Russian ornament
Excursion into history
The primary unit of society is the family. And it is to families that we owe the first folk patterns. In ancient times, animals and plants had a totemic meaning. Each family believed that it had one or another patron. For generations, family members used items with the symbols of their kind, considering them protection and help.
Gradually, the family drawing went beyond the family and became the property of relatives. Several genera exchanged their patterns. Thus, already the whole tribe used symbols originally belonging to certain families.
Over time, there were more patterns, the circle of their users expanded. This is how Russian folk ornaments appeared in Russia.
Even in the exterior of the houses, symbolism was traced You can see that in different areas different colors were used for needlework. There is a simple explanation for this. In the old days, only natural dyes were used. They were made in a handicraft way. So, the availability of raw materials for paints often determined the entire palette of works.
IN different regions had their favorite "decorations". It is no coincidence that "paisley" is one of the motifs for the ornaments of the eastern regions. Homeland "Indian cucumber" Persia in the east.
Meaning and Meaning
A creative fusion of nature and religion. So briefly you can describe national, including Russian ornaments. In other words, an ornament is a symbolic description of the world.
Ornamental elements were not only decoration. They carried a semantic and ritual load. They can not only be viewed, but also read. Very often these are conspiracies and amulets.
Each character has a specific meaning:
- Alatyr is perhaps the main of the Russian and Slavic signs. It is a symbol of the infinite universe, the dual unity of the world and its balance. The source of life, consisting of male and female principles. Often the eight-pointed Star Alatyr and the Alatyr Stone were used in patterns. They were expected to help in various life situations.
Holy Alatyr - Another symbol that was very revered and often used in patterns was the World Tree of Life (or Kingship Tree). It was believed that it grows on the Alatyr Stone and the gods rest under its crown. So people tried to protect themselves and their family under the branches of the Tree of Life and with the help of celestials.
One of the variants of the image of the Kingdom Tree - Various swastikas are also a popular motif in Russian and Slavic needlework. Of the swastikas, Kolovrat can be found more often than others. ancient symbol sun, happiness and kindness.
Variants of the image of the symbol of the sun among the Slavs - Orepey or Arepey is a rhombus with combs on the sides. His other names: Comb rhombus, Oak, Well, Burdock. It was considered a symbol of happiness, wealth, self-confidence. When located on different parts clothes had different interpretations.
Orepei symbol - Animals and plants that surrounded people and were deified by them, this is a constant theme of patterns.
Slavic symbolism is very diverse Of particular importance was the number of alternations of elements in the ornament. Each number carried an additional semantic load.
Beauty and protection
The aesthetic value of the ornaments was combined with the totemic one. Magi and shamans put symbols on ritual clothes and utensils. Ordinary people also put a special meaning into traditional drawings. They tried to protect themselves with talisman embroidery, applying it to certain parts of clothing (to protect the body). Table linen, household items, furniture, parts of buildings were also decorated with appropriate patterns (to protect the family and home).
The simplicity and beauty of ancient ornaments make them popular today.
Charm dolls were decorated with traditional ornaments. Trades and crafts
Gradually, with the development of civilization, ancient patterns were transformed, some of them became identification marks of individual folk crafts. Separated into independent crafts. Usually crafts have a name corresponding to the area where they are produced.
The most popular are:
- Porcelain and ceramics "Gzhel". Her style is a distinctive drawing of blue paint on a white background. It is named after the Gzhel settlement of the Moscow Region, where the production is located.
Gzhel painting - an old craft - “Zhostovo painting” can be recognized by flower bouquets on a black (rarely green, blue, red) metal tray covered with varnish. The fishing center is located in Zhostovo (Moscow region). The beginning of this craft was laid in Nizhny Tagil, where the production of Nizhny Tagil trays still exists.
Luxurious Zhostovo painting - "Khokhloma" is a decorative painting on wood. It is characterized by black, red, sometimes green patterns on a golden background. Her homeland and place of residence is the Nizhny Novgorod region.
Khokhloma is still popular today - Sloboda Dymkovo is the birthplace of Dymkovskaya, and the city of Kargopol, respectively, Kargopolskaya, the village of Filimonovo, Filimonovskaya, Stary Oskol, Starooskolskaya clay toys. All of them have a characteristic pattern and color.
Stary Oskol clay toys - Pavlovo Posad woolen shawls business card Pavlovsky Posad. They are characterized by a voluminous printed floral pattern. Red and black are their traditional colors.
The traditional Pavloposad shawl is a truly luxurious accessory The continuation can be very long: Fedoskino and Palekh miniatures, Gorodets painting, Orenburg downy shawl, Vologda, Yelets, Mtsensk lace. And so on. It is very difficult to list everything.
Draw in folk style
Today, many wear clothes and use things in folklore style. Many craftswomen want to create something unique themselves. They can take the rapport of the finished product as a basis or create their own sketch.
To successfully complete this idea, you first need:
- Decide whether it will be a separate pattern or ornament.
- Break the drawing down into simple pieces.
- Take graph paper, make markings, marking each fragment and its middle.
- We draw the first elementary detail in the center.
- Gradually, step by step, we add the following fragments.
And now a unique pattern is ready.
Everyone can draw a similar pattern About Russian embroidery
Patterns, techniques, colors of Russian embroidery are very diverse. The art of embroidery has a long history. It is closely connected with the way of life, customs and rituals.
Color is an important component of needlework.
People endowed it with sacred properties:
- Red is the color of life, fire and sun. Of course, it was often used in embroidery. After all, it is also beauty. As a talisman, he was called upon to protect life.
- The white color of pure snow. Symbol of freedom and purity. It was considered a protector from dark forces.
- Blue color of water and clear sky. Symbolized courage and strength.
- Black in the ornament meant the earth. Zigzag and wave, respectively, not plowed and plowed field.
- Green is grass, forest and their help to man.
Traditional Russian embroidery The thread was also endowed with certain qualities:
- Flax is a symbol of masculinity.
- Wool is protection, patronage.
In combination with patterns, special-purpose products were created.
For example:
- Roosters and red horses were supposed to protect the baby.
- For the successful completion of the work, they embroidered with green and blue linen.
- From diseases and against bad influences they embroidered with wool.
- For women, things were more often embroidered in black to protect motherhood.
- The men were protected by a green and blue pattern.
Of course, a special set of symbols and drawings was developed for each case and person.
This embroidery will look elegant on any fabric. Folk costume
Folk costume embodies and reflects traditions. For centuries, craftswomen have turned plain fabric into a unique work of art. WITH early age girls comprehended the secrets of needlework. By the age of fifteen, they had to prepare for themselves everyday and festive clothes and a set of towels, tablecloths and valances for several years.
The cut of the suit itself is simple, rectangular. Linen or woolen fabric of various quality. Women pulled the fabric (removed part of the threads) and received a new fabric. Hemstitches and other embroideries were made on it.
Russian folk costume is diverse Of course, clothing differed in characteristic patterns depending on the area. It can be divided into two groups:
- Central Russian. Differs in multicolor. Of the techniques, counting smoothness, a cross, pigtails, and hemstitches are often found. In the southern regions, lace, ribbons or strips of fabric are also used to decorate clothes. The pattern is often geometric. Orepey was especially loved in different versions.
- Northern. For her, the characteristic techniques are smooth surface (colored and white), cross, painting, white stitching and cutouts. Artistic motives used more often than geometric ones. The 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 wide variety of geometric patterns.
Keeping traditions
Exploring national traditions and needlework techniques based on preserved products, modern craftsmen adapt them to modern requirements. On their basis, fashionable original things are created. These are clothes, shoes, underwear.
One of the recognized fashion designers who includes folk motifs in each of his collections is Valentin Yudashkin. Foreign couturiers, such as Yves Saint Laurent, are also inspired by the Russian heritage.
Russian collection of Yves Saint Laurent In addition, folk crafts continue traditions and improve craftsmanship in accordance with modern requirements. You can add enthusiasts who are not indifferent to traditional art. They independently study, collect and create in folk style.
Russian patterns continue to bring beauty and joy to people, and also preserve historical information.
In the modern world, an ornament is a pattern that adorns household items without carrying semantic load. For us, rhombuses on a carpet are just rhombuses, and circles are just circles. But there were times when people could read ornaments, encrypted their ideas about life, about the other world, about eternal truths in them.
It can be said that a decorative pattern is the result of a found relationship between the perception of nature and a decorative reflection of reality. Over the many years of the existence of decorative art, various types of patterns have developed: geometric, floral, complex, etc., from simple articulations to complex intricacies.
An ornament can consist of subject and non-objective motifs, it may include forms of a person, animal world and mythological creatures, in the ornament, naturalistic elements are intertwined and articulated with stylized and geometric patterns. At certain stages of artistic evolution, the line between ornamental and narrative painting is “erased”. This can be observed in the art of Egypt (Amaran period), the art of Crete, in ancient Roman art, in late Gothic, modern.
First there was a geometric ornament, it was at the dawn of human culture. What could be simpler than straight or wavy lines, circles, cells, crosses? It is these motifs that adorn the walls of clay vessels. primitive people, the oldest products made of stone, metal, wood and bone. For ancient man, they were conventional signs with which he could express his concept of the world. Straight horizontal line meant earth, wavy - water, cross - fire, rhombus, circle or square - the sun.
According to an old belief, the symbols in the patterns carried a spiritual power that could conjure any evil and injustice of the elemental forces of nature. These symbolic signs, which came to us from ancient ritual holidays, are with magical symbols. For example, in the Filimonovo toy (Russia) we see symbols of the sun, earth, water, fertility. The masters let through all the images and symbols through their worldview and showed their perception of the world in the painting. Ancient symbols are also found in the Dymkovo and Kargopol toys. But they are everywhere different in ornament. In every craft, we notice symbols of the sun, water, etc. The ancient symbolism of the peasant religion runs like a thin thread through them.
And an ornament in a Russian folk costume. The main motives of which were solar signs - circles, crosses; images of a female figure - a symbol of fertility, mother - damp earth; wavy rhythmic lines - signs of water; horizontal straight lines denoting the ground; images of a tree are the personification of eternally living nature. Embroidery on peasant clothes not only adorned it and delighted those around with the charm of patterns, but also had to protect the one who wore this clothes from trouble, from evil person. A woman embroidered a Christmas tree - which means she wished the person a prosperous and happy life because spruce is the tree of life and goodness. A child was born to a peasant woman. And she will decorate his first simple shirt with embroidery in the form of a straight line of bright, joyful color. This is a straight and bright road that a child should follow. May this journey be happy and joyful for him.
The image of the sun occupies one of the main places in arts and crafts. The sun in the form of round rosettes, rhombuses, can be found in various types of folk art.
A straight equilateral cross was also the image of the sun in folk symbolism. The rhombus was revered as a symbol of fertility and was often combined with the solar sign inscribed in it.
The tree of Life
In addition to the geometric, in the ornament Ancient Rus', very often you can find various ancient pagan stories. For example, the female figure personified the goddess of the earth, fertility. In pagan art, the tree of life embodied the power of living nature, it depicted the divine tree, on which the growth of herbs, cereals, trees and the "growth" of man himself depended. Very often you can find plots of magical calendar rites, which are associated with the main stages of agricultural work.
The most diverse symbolism is characteristic of images flora, which included flowers, trees, herbs.
In the ornament of Egypt, the decoration often used a lotus flower or lotus petals - an attribute of the goddess Isis, a symbol of the divine productive power of nature, resurgent life, high moral purity, chastity, mental and physical health, and in the funeral cult he was considered a magical means of reviving the dead. This flower was personified with the sun, and its petals - with the sun's rays. The lotus motif was widely used in the ornamental forms of the Ancient East (China, Japan, India, etc.).
The Egyptians also used the image of aloe in the ornament - this drought-resistant plant symbolized life in the other world. Of the trees, date and coconut palms, sycamore, acacia, tamarisk, blackthorn, perseus (Osiris tree), mulberry tree were especially revered - they embodied the life-affirming principle, the idea of the ever-fruitful Tree of Life ..
Laurel in ancient Greece was dedicated to the god Apollo and served as a symbol of cleansing from sins, as the sacred laurel branch was fanned to be cleansed. Laurel wreaths were awarded to the winners in musical and gymnastic competitions in Delphi, the main center of the Apollo cult. Laurel served as a symbol of glory.
Hop is a cultivated plant, scenic view which contributed to the widespread use of plant forms in ornamentation. The image of hops combined with ears of corn was used as a decoration on household utensils.
Grapevine - bunches and branches enjoyed special reverence in antiquity and in the Middle Ages. IN ancient Greek mythology this is an attribute of the god Bacchus, among Christians - in conjunction with ears of corn (bread and wine, meaning the sacrament of communion) - a symbol of the suffering of Christ. 
Ivy is an evergreen climbing shrub, sometimes a tree; like a vine was dedicated to Bacchus. Its leaves have a variety of shapes, most often heart-shaped or with pointed lobes. They were often used in ancient art to decorate vases and wine vessels.
Oak is the king of forests, a symbol of strength and power. Oak leaves were widely used in Roman ornamentation. Their images are often found on friezes and capitals, church utensils and in other forms. applied arts Gothic, as well as in the works of masters Italian Renaissance. Currently, the image of oak leaves along with laurel can be found on medals and coins.
Oak is a symbol of power, endurance, longevity and nobility, as well as glory.
IN ancient China pine symbolizes immortality, longevity. a truly noble personality. The image of a cypress, which in Chinese beliefs was endowed with special protective and healing properties, including protection from the dead, echoes the image of a pine tree. Among the flowering trees important place occupies a wild plum - meihua - this tree is a symbol of the New Year, spring and the birth of everything new. Among the flowers, the central place is given to the peony. The peony is associated with female beauty and family happiness. Orchid and chrysanthemum are associated with the divine world and ritual rituals. The most common symbol among vegetables is gourd gourd, which has become a symbol of immortality and longevity.
Painted gourd, vessel and talisman (China, 19th century)
"Happy fruits": pomegranate, tangerine, orange - symbols of longevity and a successful career.
Sakura motifs are often found in Japanese arts and crafts. It is a symbol of beauty, youth, tenderness, the inevitable variability of the transient world.
Flowers are widely used in ornamental motifs of all times and styles. They serve as decoration for fabrics, wallpaper, tableware and other types of decorative art.
The rose has polar symbolism: it is heavenly perfection and earthly passion, time and eternity, life and death, fertility and virginity. It is also a symbol of the heart, the center of the universe, the cosmic wheel, divine, romantic and sensual love. Rose - completeness, the mystery of life, its focus, the unknown, beauty, grace, happiness, but also voluptuousness, passion, and in combination with wine - sensuality and seduction. The rosebud is a symbol of virginity; withered rose - the transience of life, death, sorrow; its thorns are pain, blood and martyrdom.
Heraldic roses: 1 - Lancaster; 2 - Yorks; 3 - Tudors; 4 - England (badge); 5 - German Rose Rosenov; 6 - Russian stamp.
The heraldic medieval rose has five or ten petals, which connects it with the Pythagorean pentad and decade. A rose with red petals and white stamens is the emblem of England, the most famous badge of the English kings. After the "War of the Scarlet and White Roses", named after the breastplates of the families that fought for the English crown, the scarlet rose of Lancaster and the white rose of York were combined in the form of the "Tudor Rose". The bright crimson rose is the unofficial emblem of Bulgaria. The famous tea rose is the emblem of Beijing. Nine white roses are in the coat of arms of Finland.
In ancient ornaments, along with plants, various animals are often depicted: birds, horses, deer, wolves, unicorns, lions. They form the horizontal structure of the tree of life: at the top are birds; at the level of the trunk - people, animals, as well as bees; under the roots - snakes, frogs, mice, fish, beavers, otters.
Animals can be seen on embroidered towels and aprons ,
on a painted chest X, on carved and painted spinning wheels; on the walls of ancient Russian cathedrals and in the decorations of huts ,
in letter ornaments. Ancient images of a horse and a bird have been preserved in folk toys and utensils. Pommels for horse whips and combat bows were carved in the form of animal or bird heads. Stylized animals and birds adorned hair combs, utensils and utensils. In ancient times, many natural phenomena were personified in the images of animals, and everyone looked at these phenomena from the point of view that was closer to him, depending on the way of life and occupation: the point of view of the shepherd was different from the views of the hunter, and both of them - from the warrior. People transferred their knowledge about terrestrial animals to atmospheric phenomena.
A bird in folk arts and crafts could personify wind, cloud, lightning, thunderstorm, storm and sunlight. Ladles and salt shakers were carved in the form of birds, embroidered birds decorated women's clothing .
The image of a bird is widely included in the folklore of almost all peoples of the world.
The horse also personified all natural phenomena associated with rapid movement - wind, storm, clouds. He was often depicted as fire-breathing, with a clear sun or a moon in his forehead, and a golden mane. A wooden horse, made for children's fun, was often all decorated solar signs or flowers .
It was believed that this protects the child from evil forces. Images of horses can often be seen on household items (ladle handles, spinning wheels ,
spindles), on clothes .
In the northern regions, natural phenomena associated with horses were also attributed by ancient people to deer. .
Deer were often depicted near the tree of life on an embroidered towel, sometimes they were placed instead of a ridge on the roof of the hut. The sacred role of the horse, deer in Scythian art is often associated with the hope of a successful ascension of the soul to another world.
The lion in the mythology of many peoples was a symbol of the sun and fire, and also in different times among different peoples, he personified higher power, power, power and greatness, generosity, nobility, mind. The image of a lion has existed in arts and crafts since ancient times.
For many centuries, the lion has remained one of the favorite figures in Russian symbolism. In ancient Russian images associated with the great princely power, the image of a lion, depending on what surrounded him, had two meanings: the power bestowed by God, and the defeated power of evil.
Folk craftsmen often carved lions on the frontal board of the hut or painted on chests surrounded by floral ornaments, the craftswomen embroidered them.
feminine beginning. The Great Mother, in her terrible form as weaver of fate, is sometimes depicted as a spider. All moon goddesses are spinners and weavers of fate. The web that the spider weaves is woven from the center in a spiral - a symbol of the creative forces of the Universe, a symbol of the universe. The spider in the center of the web symbolizes the center of the world; Sun surrounded by rays; The moon, personifying the cycles of life and death, spinning the web of time. The spider is often associated with good luck, wealth or rain. Killing a spider is bad luck.
Spider depicted on an American Indian amulet
Due to the stability of religious canons, the meaning of symbols in the ornamentation of Egypt, the art of the countries of the Ancient East remained unchanged for many millennia. Therefore, for ethnographers and archaeologists, ancient ornaments are signs with which you can "read" a kind of magical texts.
Ethnocultural contacts, trade, military campaigns, religious missions, embassy gifts and invited artists contributed to the movement of works of art from one country to another, which led to the spread artistic ideas and styles.
Often subsequent generations of artists use the previous art and create their own variations on its basis. Such a striking example is the element of the swastika, one of the earliest symbols that is found in the ornaments of almost all the peoples of Europe, Asia, America, and others. e. In ancient and medieval cultures, the swastika is a solar symbol, a lucky sign, which is associated with ideas about fertility, generosity, prosperity, movement and power of the sun.
Kolovrat or Solstice is one of the oldest ancient Russian symbols, personifying the Sun and the solar gods Svarog, Dazhdbog and Yarila. The name of the symbol came from the word "kolo" - the sun.
The symbol itself looks like a circle with curved rays, which is why many people associate it with the Nazi swastika. Although this is fundamentally not the case: the Nazis did use this solar symbol, but not vice versa. 
In 1852, the French scientist Eugene Burnouf first gave the four-pointed cross with curved ends the Sanskrit name "swastika", which roughly means "bearing good." Buddhism made the swastika its symbol, giving it the mystical meaning of the eternal rotation of the world.
In the ornaments of the new time is virtually absent modern symbols, despite the fact that it exists in abundance in the surrounding reality. As an exception, there may be the work of modernist artists. IN late XIX- the beginning of the 20th century. these artists attempted to create their own symbolism and reproduce it in their work.
The ornament in their works no longer played an auxiliary role, but became an integral part of the image, organically woven into the outline of the plot.
At the same time, A. Bely, the theorist of Russian symbolism, wrote: “The symbolist artist, saturating the image with experience, translates it into his work; such a transformed (modified) image is a symbol. And then A. Bely fixes the main slogans of symbolism in art: “1. a symbol always reflects reality; 2. a symbol is an image modified by experience; 3. the form of the artistic image is inseparable from the content.
In these three points famous poet and the prose writer accurately formulated the main provisions for creating a symbolic work that can be used in any kind of art, including ornamental.
Ah, these Russian folk patterns ! As their subtle ligature attracts attention, so something in the soul resonates! And it seems that these lace ornaments exude the intoxicating aroma of ancient secrets and, flickering, they are trying to say a hundred things. Alas! Not many people know the symbolic language of Slavic patterns, not many people understand their multi-layered images, their meaning. Slavic patterns are beautiful, like a summer nightingale song, but, of course, you need to have some kind of spiritual resonance with the heritage of your ancestors in order to hear their soft music. This article shows whichRussian folk patterns and their meaning were used in the artel "Northern Fairy Tale" when creating a model of a women's sweater with protective patterns.
The true beauty of Slavic patterns- in their meaning
Slavic patterns are like a holographic picture - they must be viewed with defocused vision, switching attention either to a dark pattern, or to a light one. Meaning Slavic patterns can only be understood by combining in the mind the meaning of a dark pattern that “speaks” on behalf of the earthly, manifest world, and the meaning of a light pattern that “speaks” on behalf of the heavenly world, the world of Rule. In addition, the interpretationRussian folk patterns changes depending on the place where they are located - after all, Slavic clothing had a three-part division (preserved, by the way, in the ancient archaic canons of the Mezen painting).
The hem of the clothes symbolized the Sky, the World of Rule, the sleeves and the throat were ritually connected with the Earth, close to the world of Navi, and between them is the space of Reveal. Now try to imagine how the meaning of at least one Slavic pattern will change when it “moves” to “different worlds”. It is impossible to comprehend the beauty and meaning of Slavic patterns on the run, in a hurry - you need a subtle attitude, a special spiritual state in which a person is open to the call of the heart, the call of nature.
Consider embroidery patterns. So, on a women's sweater with protective patterns from the "Northern Fairy Tale", there is a sign "ringed cross", symbolically associated with the First Ancestor. This is the most powerful protective sign, its strength rests on the roots of your family tree. It is present in all "three Worlds" on our sweater (below you can see illustrations).
On the hem (remember that this is the heavenly world) the Slavic pattern of the First Ancestor is made in white, that is, it is symbolically associated with Heaven. This is the most powerful heavenly patronage of the Native Gods, the First Ancestors of the Slavs. Further, on the chest, on the territory of the explicit world, the sign of the First Ancestor is already red (dark) in color, these are the roots of your family, supporting the life trunk of your family tree “here and now”, carrying the earth energy, And, finally, the third time the sign of the First Ancestor appears on the sleeves, woven into a pattern that protects the wearer from premature departure to Nav. Here the sign of the First Ancestor is precisely red (dark), earthly, holding.
Let us consider in more detail the schemes of Slavic patterns
“Patterns are great travelers in Time and Space,” writes Marina Kachaeva, whose magnificent and thoughtful studies of Slavic patterns served as the basis for the symbolism of the women's sweater, made in the artel of the Northern Fairy Tale.
I will try to tell you as much as possible about this handmade sweater, which even professional knitters can knit in only three weeks.
The first thing to see: Earth or Sky?
And, considering the general scheme of the Slavic pattern, evaluate what is more in it - light or dark. In all the protective patterns of this sweater, the balance of dark (red) and light (primary color) is observed, and only on the large protective pattern on the back there is a predominance of the red color of the Earth. This means that this piece of clothing, harmonizing the flows of male and female energy, yet gives its mistress a little more feminine softness, so necessary in our cruel world.
In general, remember that:
if there is more dark, the pattern connects its owner with the earthly world of the living, its purpose is to activate physical processes in the body and energy (let's call it the trance effect);
if there is more light (there are even “white thread on white” options), then the pattern stretches its powerful connecting threads between the owner and the Sky. Such a pattern helps spiritual work;
if the pattern includes an equal number of light and dark threads, then its purpose is to harmonize the Earth-Man-Sky system as a whole.
The second thing to see: what Slavic patterns are located on the "Earth" and "Heaven"
Let's take a closer look at the patterns on clothes with a story from the artel "Northern Fairy Tale".
Sky (world of Rule)
This is the hem of our sweater. It has a dark pattern, made with red threads, and a light one, of the main color in equal proportions (there are equal numbers of light and red threads).
What does the light pattern tell us, whose energy is maximum in this place?
The first thing that is important is the "ringed cross" of the First Ancestor. Its meaning has already been said, we will just enjoy contemplating this Slavic ornament, beautiful in its geometry. Here this symbol is “white in Heaven”, which gives it a key meaning in this ornamental tie, symbolizing the patronage of the Gods of Rule themselves. Perhaps Svarog himself is looking after the owner of this sweater? Then the hostess is provided with a bright, creative, creative life and good health - after all, Svarog, the Supreme God-blacksmith, is also the God of Fertility; he created the Blue Svarga - a country in the sky where our glorious ancestors live.
Prayers are sent to him for the abundance of the fruits of the earth. Svarog taught people how to cook (create) cottage cheese and cheese from milk, which were once considered sacred food, a gift from the Gods. "To bung" still means - in a wonderful, masterful way to create something new, previously unknown.
And, for the harmony of such a strong energy of the Heavenly First Ancestor, the Goddess-Earth herself, the Mother of Cheese Earth, appears to us in the form of the Slavic symbol of “germinating grain”. The meaning of thisSlavic pattern- the power of the Earth, the power of life-giving energy, a clot of earthly, explicit incarnation.
Thus, meeting on this hem, the higher powers of Earth and Heaven favor the creation of new life. It is no coincidence that this ornament in a sweater from the "Northern Fairy Tale" closes the loins, protecting the very center of female power.
Now let's make a mental effort and switch our perception to the consideration of a dark (in our case, red) pattern.
Earth energy, maximally enhanced by the sign of the "sown field", symbolically associated with the Great Goddess Mother of Cheese Earth, meets here with Slavic sign"Horned", the sign of Makosh, the Goddess of Fate and Magic. Her appearance gives new depth to the meaning of this Slavic pattern.
In it is the opposition and unification of the earthly and the heavenly, the desire for simple, everyday life and a talent for feminine magic.
And here it is already impossible to understand this "intrigue" without digging deeper into the difficult relationship between the two most important female patronesses. Mother Earth Cheese patronizes joy in a simple everyday life, and Makosh, the Goddess of Fate- a mysterious companion of female magic, divination and divination.
Russian folk pattern "horned" is associated with Makosh, as its influence is enhanced along with the moon. The Goddess Makosh herself was depicted in a "horned" headdress, and the traditional headdress of Slavic women - "kichka" was beautiful decoration, which had pronounced horns in honor of Makosh, the Goddess of Fate and Magic.
- If you want to know more about it, read the article« »
So, interacting "in Heaven", the two Goddesses came here to give the owner of this garment their power.
In general, on In the scheme of the Slavic pattern of this hem, we see the strong influence of Svarog and Makosh, the Gods of Rule, and the light influence of the sign of the First Ancestor is so strong that it is enough to support the “horned” sign, made in a red, earthly version.
In order to hold and even resist this radiant energy, the sign of the Earth Goddess is repeated twice on this ornament, in white and red, which generally creates a warm protective field for the mistress of this wonderful clothes.
The central field of this pattern is framed by two stripes with a “wave” pattern - this is a symbol of water, life, movement.
Earth (border between Yavu and Naviu)
Nav is the lower world into which the righteous Soul goes, joining his relatives and becoming the guardian of the next generations. The soul is in the world of Navi until its new incarnation. Unfortunately, the Souls of those who lived incorrectly and died unjustly also go to Nav. Their existence in Navi regenerates them into dark and terrible Navi, seeking to return to the manifest world. The meaning of the ornaments in this place of clothing is very simple - it was believed that the patterns on the sleeves do not allow evil, dark navyas to penetrate into a person.
What a magical action takes place right before our eyes, under the enchanting eyes of miraculousSlavic patterns?
We look closely at the ornament with white, heavenly energy and see the “sprouting grain» Goddesses of the Earth. This sign was "in Heaven", and now appeared here, "on Earth".Such mastery of the entire space of this sign promises the owner of this sweater health and an increase in wealth.
The appearance of "orepia", of course, is also not accidental. This is the sign of Ognedeva, who embodies the strength and vitality of the entire manifest world. And here, on the “territory of the Earth”, it appears in the form of a variant of the drawing, which was called the “labyrinth”. It is said that one who walks through the spirals of the Hyperborean stone labyrinth, keeping in mind the obvious intention to see the future,while moving, he can feel a hidden, but powerful force coming from ancient stones. Walking, as it were, goes through mirages, at first rather blurry, but leaving a tangible vibration in the whole body, an inaudible powerful hum in the ears, a flicker of light in the eyes, an unprecedented concentration in thoughts. A measured step, circles, soft turns, merging in the consciousness into some new path according to all conceivable sensations, lead the questioner to the center. A forced stop - and a bright flash will sparkle before the mind's eye of the traveler divine illumination, penetration through time and space.
Perhaps such an impression will be received by a connoisseur of connoisseurs, considering thisslavic patternon this sweater.
Much is said about labyrinths as doors to another world. It is dangerous when these doors are open, special rites are needed to welcome the Ancestors and protect themselves from the Navi. In this pattern, Ognedeva's labyrinth is tightly sealed with four locks and securely keeps its owner.
- If you want to know more about labyrinths, read the article
Dark, red pattern having here maximum strength, includes a "grid" - gives us a new meaning of what is happening. Here Ognedeva, who sealed the passage to the lower world with celestial energy, appears in the form of a luminous Goddess rushing in a cart drawn by the Pribogs. As Marina Kachaeva writes, “she rushes in a fiery chariot drawn by a pair of Gemini - swans or horses. This image of the Virgin corresponds to the lunar cults associated with love magic. An attentive connoisseur of the meaning of Slavic patterns will, of course, remember the energy of Makosh, the Goddess of Fate and Magic, which fills the ornament of the hem.
And, of course, the power and tranquility of the "ringed cross" that bears the age-old protection of the First Ancestor.
Here, on the border of the world of Reveal and Navi, it is made with threads of red, earth, female color, it reigns here, radiant with its protective energy. All Mothers of your kind are on guard, protecting the unwanted penetration of dark navi.
Let us consider the meaning of the Slavic pattern as a whole. The scheme is this. Connecting and protecting, the sign of Ognedeva in the form of a white labyrinth and the red sign of the First Ancestor block unwanted energy from both principles - male and female.
At the same time, here lies the growth of the female spiritual principle (white sprout) and the ability to influence men (the red Ognedeva, which gives strength in love magic).
Third: look at the patterns guarding the wrist and throat
On the women's sweater from Severnaya Skazka, as well as on the men's, there is the famous "Russian cross". The patterns in this place are extremely important, they hold the Soul in the body. Russian cross - a pattern consisting of female "rhombuses" and male "crosses", and in the correct color solution- a dark female rhombus and a light male cross. What is there to say for a long time - it turns out that this pattern, harmonizing the feminine and masculine, holds the Soul precisely by the power of Love, which is such an attractive part of our Explicit life.
Fourth: look at the world of Reveal
Between the hem and sleeves-collar there is a space symbolizing our explicit world in which we exist on the physical plane. In Slavic clothes, there were patterns on the chest and back, and, importantly, all clothes were girded with a belt, preferably also patterned.
On the sweater from the artel "Northern Fairy Tale" in the area of \u200b\u200bthe belt, a patterned protective strip has already been made. Let's take a closer look at her treasures.
On a wave of white, masculine energy, Ognedeva is located here - in the form of a “orepia” protecting the hostess from unnecessary ill-wishers of the obvious, physical world and she, on a white chariotin a lattice pattern giving strength to love and be loved.
And look at the female powers bestowed by these patterns - the red “horned”, Makosh, the Goddess of the Moon, the Goddess of Fate and Magic, repeated twice (in a direct and mirror version) promises an easy, bright fate in this obvious life.
Folk ornament of weaving and embroidery - ancient writings. But at the same time, this is an unusual sign system for transmitting information with a rigidly fixed meaning of each element, since the components of the ornament are always mythological image and a whole range of ideas associated with this image. Arising at the origins of time, in the depths of pra-culture, where thinking is not yet differentiated, ornamental symbols are in principle the same for all peoples of the world, differing only in the type of graphics or minor details. So, there is a case when a Mexican weaver recognized the ornament of the Arkhangelsk province of Russia as her national pattern. Elements of the ornament will have different names (and sometimes meaning!) for different peoples, but everywhere they will denote a close mythological complex of ideas, a similar archetype, the assessment and understanding of which can be polar opposites. Therefore, an ornamental composition cannot be read as a simple combination of certain signs: when deciphering it, the meaning of each symbol has to be chosen from a number of options depending on all the elements used in it, as well as the color and location, purpose of the ornament, clarifying certain shades of the described images. .
The images of archetypes underlying the ornamental compositions are associated with the depiction of two main schemes of the cosmogonic process known to ancient mythology.
Scheme 1
At a time when Heaven and Earth were not yet separated from each other, in the center of the World Ocean stood the World Mountain - Alatyr - the stone of Russian folk conspiracies and fairy tales - on top of which there was a deep well full of water and leading into the bowels of the mountain - the other world - where in the underground palace - a cave - the Labyrinth lived the God of the Earth - the Underworld - the Bear-Thunderer:
Most of the time the Bear slept in darkness and cold, vigilantly guarding his treasure - fire, in the form of a cauldron full of molten gold or precious stone. Once a year, the Goddess of Heaven, the Horned Deer, descended into the Labyrinth, bypassing the water whirlpool-tunnel: 
, dipped her horns in gold and returned back to Heaven. Heat and Light emanating from the horns melted snow and ice; water penetrated the Labyrinth and woke up the sleeping Thunderer: .
When he woke up, he threw off his bearskin 
, turning into a bird, and rushed in pursuit of the kidnapper.
Having overtaken the fugitive, the God of the Earth entered into marriage with her, making a thunderstorm and pouring streams of life-giving waters onto the Earth:
.
Mighty wings raised fiery whirlwinds, spreading the seeds of life in different sides: .
(Later the whirlwind was transformed into an independent deity of the wind - Stribog 
.)
The deer threw off the golden horns, which were returned to the winner as a pledge of marriage, and hid in the underground palace.
Deprived of heat and light, the Earth was covered with snow and ice. The giant bird fell asleep, gradually overgrown with wool and fur, and again turned into a Bear.
It is easy to see that this scheme describes the alternation of polar day and night in the northern latitudes of the Earth with the absence of solar eclipses characteristic of this region. The penetration of the carriers of the myth into the middle and southern latitudes, their collision with the phenomenon of a solar eclipse and contact with the inhabitants of the southern regions develops the myth...
Once, when the Deer with fiery horns had already risen to the Sky, and the Bear had not yet woken up, a Dragon (Lion, Leopard, Cat, Boar ...) crawled out from the depths of the Abyss (Pekelny World), attacked the defenseless Deer, and, tearing it to pieces pieces, took possession of the Golden Horns. Not knowing how to handle fire, the Beast caused a global flood, and then almost caused a global fire, but the awakened Thunderer defeated his opponent in a fierce struggle, chained him with an eternal guard at the entrance to the palace 
and brought back the fire.
The Thunderer watered the remains of the Deer with dead and living water, which is why the Horns sprouted into the World Tree 
separating Heaven from Earth. On the branches of this tree, Fleece and Horns of the Deer rose into the sky, turning into the Sun, Moon and Stars. The Thunderer could now ascend into the Sky and descend to the Earth along the trunk and branches of the Tree, connecting the worlds in the form of the Moon: 
.
To prevent the misfortune from happening again, they were assigned guards from the four corners of the world, designed to protect the Tree from the penetration of creatures from the Abyss.
Scheme 2:
At the beginning of time, the Great Maiden Goddess
fell into the waters of the primordial ocean and found salvation on the back of a giant Serpent (Lizard, Turtle, etc.):
Having become pregnant, she became the mother of two twin sons, one of whom was very stubborn (angry, cruel, etc.), and the other just (kind, cordial, etc.). When the time of birth approached, the stubborn child, in spite of the warnings of his brother, made his own exit from the mother's body, killing her, while the second child was born in the proper way. The soul of the Goddess ascended to Heaven along the branches of the World Tree that grew out of her body, but since evil entered the world with her death, the inhabitants of the Heavenly World surrounded the “affected” area of space with guards so that death and evil could not penetrate into other worlds.
Born twin brothers 
started to create own world, moreover, one of them all the time interfered with the other - spoiling or destroying what was created.
A variant of the same myth is the legend of twins - brother and sister, who, out of ignorance of kinship, entered into a love affair. Upon learning of the perfect incest, one of them dies (or the brother kills the sister), as a result of which the world is desecrated.
The same type includes myths about the struggle of the Sun-Virgo and the Serpent, or myths about the furious Fire-maiden-Sun, racing across the sky in a chariot drawn by two charioteers. 
.
***
No matter how this world arose, traditional thinking ordered the people living in it to behave in the image and likeness of the progenitors-Gods who created it: things, clothes, housing were made according to the established pattern once and for all, weddings were played, formalized significant events and dates. In ornamental compositions, this was reflected in the use of the same symbols with different meanings depending on their location on the clothes. For example, the same sign "Orepey":
in the shoulder area women's costume will be read as a world mountain or Alatyr-stone with the Deity sitting on it: 
;
in the elbow area as "ancestor" ;
at the hem- as an entrance to the underworld 
, or also "ancestor".
The images of the Gods can be distinguished by a characteristic auxiliary pattern - the image of chariots, in which, according to the ideas of the ancients, the Deities moved in space. These chariots were driven by animal charioteers characteristic of each Deity - snakes, birds, horses, deer, animals...
With the release of new Divine hypostases, shades appear in the reading of certain elements of the ornament, their graphic changes. Thus, the selection from the Archetype of the World Deity of images personifying its individual qualities - the wind (Stribog), Thunder (Perun), the Water King (Vodishe), the Lord of the Other World - Svarga (Svarog), the Deity of the Earth, Fertility (Veles), the Keeper of Grain, Harvest, Grain Stocks, Fruitful power of Grain (Yari), fruitful fire (Perplut, Yarilo, Semargl) - leads to the emergence of symbols based on one graphic image, just like themselves mythological characters retain common properties or attributes - the ability to control waters, cause a whirlwind, rain, etc., forge, command lightning:
With the change in the leading social roles in society - the emergence and development of the patriarchal way of life - cultural heroes change their gender and the "gender" interpretation of symbols also changes:
And here is the meaning of the combined symbol - the eight-pointed cross
remains the same: the union of the feminine and the masculine, the monad, the fertilized egg, life and death - destiny. It is no coincidence that with the adoption of Christianity, he receives the popular name "Star of the Virgin". The interpretation stands out somewhat due to the variant of this symbol - . A number of ethnographers note the presence in the languages of peoples North Caucasus and Ancient Scythia traces of the ancient idea of the Universe as a fivefold structure: in addition to the familiar three-dimensional concepts - Heaven, the Middle World, Earth (or Underworld) - Peklo and Bok (Side space) were present in it. At the same time, the most ancient cosmogonic models usually characterize the Universe as a feminine principle. The five-row space of the Universe - the Great Mother, spread over the four cardinal directions and giving birth to Life - this is how you can clarify the reading of this symbol.
How does symbolism work? Let's start with the fact that any graphic image has a weak torsion field that distorts the surrounding space:
Energy (lepton) models (damage, evil eye, etc.), getting into the zone of curved space, either repel or become fixed in the image zone, or self-destruct as a result of uneven curvature. Uniform grid of graphic images on the surface of clothing or household items, created during patterned weaving or embroidery, provides its energy effect. At the same time, the most uniform grid (and, therefore, a stronger effect) is given by an ornament of a geometric and geometrized type, in which the thickness of all lines is the same (Reference: the famous Mezen knitted patterns were always typed according to the following principle - at the beginning of the pattern there was a row of alternating 3 loops of the colors used - the ornamental grid was initially homogeneous). Another important principle of the energy work of the ornamental network is the principle of polarity change in the ornamental line and in the composition as a whole.
Contributes its mite and color. For example, on the territory of our Ryazan Territory, the leading element, from which the pattern got its name, was always white, and the background field was filled with color, mainly shades of red; the white color of the ornament let the influence of the surrounding energies pass to the owner or "reflected" the negative, as if "broken" through the prism of the form and meaning of the symbol, scattering everything else; and the background field - energies of a certain frequency ...
And, of course, magical meaning symbol...
in women's and men's suit it is possible to allocate zones of correspondence to the Sky, the Middle World and the Earth. Depending on the location in a particular zone, the magical effect of the applied image changes.
Female
Male
In addition, the places where the densest ornamental grid is applied coincide with the locations of the largest nerve plexuses of the human body, corresponding to the main energy centers or chakras. The zone of the heart center is strongly protected - literally "from four sides". There is another subtlety - in women's suit the pattern located on the front always protects its owner and her expected child in the first place, but in a men's suit it first of all actively affects others (the same woman, for example), and the protective pattern itself comes from the back - this explains the presence of "female" symbols on the chest embroidery of men's shirts, especially festive, wedding ones.
Where did the symbols come from? Why are they almost the same for all nations? Symbols are information. The most ancient of them have a geometric or geometrized form. Suppose that it is based on information about some universal processes.
There is a curious scheme of understanding the structure of the Universe among the ancient Slavs-Rus, published by A. Ivanitsky in the essay "The Ways of the Great Russian" (almanac "Slavs") and abbreviated by M. Shatunov ("Russian Health", M., 1998, p. 159). Let's continue this scheme, completing it in accordance with the movement of the Solar ecliptic across the sky from the position of an earthly observer relative to the change of seasons (Fig. 1). Let's get an egg-shaped matrix (in accordance with Russian traditions, I'll call it the "egg of the Family") and look at this testicle from the end side (Fig. 2). Comparing both projections with the drawings of Leonardo da Vinci and the "golden section" spirals of Drunvalo Melchizedek (D. Melchizedek. " ancient secret flower of life", vol. 1, pp. 229-230, "Sofia", 2001), we will see that the egg explains their origin. Now let's combine all three drawings. We got a matrix in which it is easy to see all the elements of Russian known to us ( and not only) of the ornament, further divided by belonging to the Worlds of Rule (frontal projection), Navi (side projection) and Reveal (geometrized form of "golden section" spirals).
 Mara Minina |
