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Komi national ornament. Summary of GCD on fine arts in the preparatory group

Komi national ornament. Summary of GCD on fine arts in the preparatory group

26.05.2019

Municipal budgetary educational institution

“Secondary school No. 5” Sosnogorsk

“The meaning of ornament in the Komi Izhesma costume.”

(Educational and research work.)

student of 11A class

Head Maria Volkova

Arkadyevna

Sosnogorsk

2011

Introduction………………………………………………………………………………..4

Origin and ethnic history of the Komi people………………….5

1.1 Ethnographic groups of the people…………………………………………. 8

Izhemtsy traditions associated with costume……………………………10

Casual and festive costumes of peasant women of Izhma………..12

1.1 Description of the suit and fabrics used for its manufacture……. 12
1.2 Features of cut and design……………………………………………………… 15
Ornaments of the Komi peoples…………………………………………………………….16

4.1. The history of the ornament…………………………………….. 16

4.2. Typology of Komi ornament……………………………………………... 18

4.3 Brief description of the Komi-Permyak ornament………………. 19

4.4. The meaning of the Komi passes that make up the ornament……………………….. 20

Reflection of the elements of the Komi Izhem costume in

modern fashion…………………………………………………………….22

Conclusion………………………………………………………………………………23

List of references……………………………………………………….25

Appendix 1 Costume of Izhma peasants, late 19th century

Appendix 2. Design drawing of a shirt and sundress

Appendix 3, 4 Photos of interlocutors in Komi national costume

Application 5 Komi ornament consisting of passes

Appendix 6 Household items decorated with ornaments

annotation

In recent years, there has been an active growth in the national self-awareness of the Komi people, which causes increased interest in their history and traditional culture.

We live on Komi land and must know the history, culture and traditions of the Komi people. The work consists of two parts: theoretical and practical. The theoretical part reveals the features of the Izhemsky costume: the history of the appearance of Komi national clothing, the features of the cut, the manufacturing technology of this product and the features of the Komi-Permyak ornament. In the practical part, a reduced model of the Komi Izhem costume, decorated with embroidery, was made in compliance with all the rules.

This work contains: 25 pages, 6 appendices. To write the work, many literary sources were used, and a conversation was also held with the indigenous residents of the village. Izhma and the village of Akim and workers of the Komi center in Sosnogorsk.

The work was carried out by a student of class 11 “A” Bulgakova Ekaterina, supervisor Volkova M.A.

Introduction

Any national culture that has a centuries-old history manifests and carries within itself unique components inherent in this particular ethnic group, starting with the arrangement of life and everyday life, housing construction and ending with the traditions of folk applied and oral poetry. The decorative and applied arts of the Komi people were multicolored and varied, so I chose the topic “History and development of the Komi Izhem costume.”

An integral part of the material culture of any people is costume. Today we can distinguish one nation from another by the features of the costume, the cut of the clothing, and the accompanying jewelry.

Komi folk clothing has For Komi folk art, the most characteristic form of decoration is an ornament - a pattern consisting of repeating, rhythmically ordered motifs.

In the Komi ornament, the pass is defined as one of the leading principles of the ornament and several functions of the pass are distinguished: a sign of tribal affiliation, a magical function (amulet), and a decorative function.

has much in common with the clothing of the population of the Russian North and some Finno-Ugric peoples. But there are also features of the Komi national costume. Currently, in Komi there are five types of women's costume: Priluzsky, upper - Vychegda, Udora, Sysolsky and Izhemsky. All of them differ from each other in the variety of styles, cut of parts, embroidery, and ornaments.

1. Origin and ethnic history of the Komi

In ancient times, the distant ancestors of the Komi, Finns, Hungarians, Nenets and a number of other peoples formed a single large ethnolinguistic community. This is evidenced by similarities in the languages spoken by these peoples. Linguists call this community the Ural language family.

In the 5th - 4th millennia BC, the Ural community was divided into Samoyed (ancestors of the Nenets, Selkups and some other peoples) and Finno-Ugric.

In the 3rd millennium BC, the Chalcolithic-Bronze Age began. The population of the Pechora and Vychegda basins was then very ethnically diverse, but, as researchers emphasize, the leading role in the ethnic history of the European Northeast was still played by Finno-Ugric tribes. Over time, the Finno-Ugric community was divided into Proto-Ugric and Paraffin-Perm. The latter later split into the Paraffin-Volga (ancestors of the Mari, Mordovians and possibly the ancestors of some other peoples) and the Right-Volga.

In the 1st millennium BC, on the basis of the Paraffin-Volga community, the Baltic-Finnish (ancestors of the Finns, Korels, Estonians and some other peoples) and the Right-Volga communities arose.

Representatives of the Proto-Perm linguistic community inhabited the banks of the Kama, Vyatka, Vychegda, Pechora and some other rivers. In the last centuries BC - the first centuries AD, this community was divided. New cultures formed, one of which is associated with the ancestors of the Udmurts, the other with the ancestors of the Komi and Komi-Permyaks.

In the middle of the first millennium AD, the era of the great migration of peoples began. The European North-East was invaded by warlike nomads - cattle breeders of the Hunnic tribal union. According to archaeologists, it is precisely this invasion that is associated with the division of the single community of the ancestors of the Komi and Komi-Permyaks into two different ones.

The territory of Komi began to be populated since the Paleolithic era. Paleolithic settlements in the north could not have been long-term. People appeared here in pursuit of prey and did not stay in one place for long. In addition, the onset of cooling forced Paleolithic man to retreat south. Therefore, there is no doubt that in the Paleolithic era there was no permanent population in the region, but there were occasional occasional visits by hunting hordes. We can say that the “birth” of the Komi people was a consequence of climate change. After all, migrations from the Kama region to the territory of the modern Komi Republic probably began in the 8th century AD, when the warming climate made the natural conditions of the North more suitable for farmers and livestock breeders living to the south. Moreover, migrations did not go over long distances, not immediately from the Kama to the Vychegda, but gradually with the development of intermediate territories.

A stable population in the region appeared only from the Mesolithic period. It can be assumed that from about the seventeenth millennium BC, people began to completely master the territory of modern Komi, and at first they settled in separate pockets on the shores of large lakes (Sindorskoe, Yam - lake and others). However, temporary sites of wandering Mesolithic hunters on the banks of the Pechora, Vychegda and their tributaries have been found in significant numbers.

Thus, research in recent years suggests the existence of a wide Mesolithic area, distributed from the Lower Volga to Pechora.

The main occupation of the population continued to be hunting with bows and arrows. Along with it, fishing with nets and with the help of special barriers occupied a prominent place. The population used skis, sleighs and boats, made birch bark utensils and used polished stone tools.

Thus, ethnic ties in the Early Neolithic, as in the Mesolithic, covered a fairly wide area and stretched both to the east in the Trans-Urals and to the south to the Urals.

One can only speak speculatively about the ethnicity of the Late Neolithic. According to O.N. Bader, it was at this time that the Permian-Finnish branch separated from the ancient common Finno-Ugric trunk.

The main occupations of the population were still hunting and fishing. A new important step was taken in the development of economy and culture. Ceramics appeared, stone tools became noticeably more diverse and better made: various arrowheads, darts and spears, scrapers, knives, chisels, adzes, chisels, axes, picks, saws, ground tools, and so on. Bone was widely used in crafts.

In the second millennium BC, the Neolithic gave way to the Bronze Age in the region. Occupations in the Bronze Age remain the same. The tools were mostly stone, with few bronze ones: arrowheads, celt axes. Metal was used more for decoration.

The Early Iron Age was characterized by the settlement of the Ananyinsky and later Glyadenovsky tribes, which some researchers consider Finno-Permian, implying possible participation among the creators of these cultures, in addition to the Permians, representatives of the future Volga-Finnish peoples. Among the monuments of this time there are sites confirming the habitation of trans-Ural settlers in the region. Consequently, the direct participation of the Trans-Ural people in the process of ethnogenesis can be considered undeniable. The main occupations of the population continued to be hunting and fishing. The beginnings of cattle breeding appear.

Fur trade emerges. Tools were made of bone (arrowheads, copies, etc.) and stone (rough scrapers). Not enough metal. Copper and bronze were mainly used to make jewelry. Iron objects are rare.

To summarize the above, it can be argued that over the previous centuries (and millennia), the Komi region was inhabited by people of various ethnic communities and was periodically part of different ethnic areas. In the first millennium BC to the first millennium AD, the region firmly entered the circle of settlement of the Finno-Perm tribes. As a result of various, including ethnic, contacts of these tribes with related unrelated neighbors, the Vychegda Perm culture arose (10-14 centuries AD).

The tenth to fourteenth centuries AD play a special role in the ethnic history of the Komi people. There are Permian Vychegda tribes - the direct and immediate ancestors of modern Komi (Zyryans).

In subsequent centuries, further changes occurred in the territory of Komi settlement. Shrinking in the west and south, expanding to the east and north, it is gradually approaching modern borders. According to an established, but not scientifically supported by anyone, tradition, it is generally accepted that the Komi have always lived approximately within the borders that outline the borders of the Komi Autonomous Soviet Socialist Republic. In reality, this was far from the case. Close to modern borders, Komi settlements in the west took shape by the sixteenth century. Somewhat later, the limits of Komi settlement in the east and north took shape. In the east, the Ural Mountains became the border, and in the north, where the Izhemtsy were engaged in reindeer herding, a wide, vague contact zone arose between the two reindeer-herding peoples of the Severakomi and Nenets.

What were the Komi people like during the Middle Ages? The main occupation was hunting and fishing. Agriculture and cattle breeding developed, which, in the course of economic development and under the influence of the Russian peasantry, gained increasing importance, and from the eighteenth century began to play a decisive role. In the fourteenth and fifteenth centuries, the Komi experienced the collapse of the clan system. Feudal relations began to develop. However, the development of feudal relations among the Komi already occurred within the framework of the Russian state, and this left its mark. The nascent local nobility was quickly replaced by the governors and proteges of the Russian Tsar, including the Vymsky princes, and the free Komi community members turned into black-growing state peasants, obliged to bear numerous taxes and duties in favor of the feudal state.

In subsequent centuries, through the collapse of the ancient ethnic community of the Vychegda Permians, through the period of formation of neighboring associations, the process of resettlement and mixing of representatives of these “compatriots” communities, the Komizyr people and their culture gradually emerged.

And only in the 11th century the ancient Komi were formed. The final stage in the formation of the Komi people occurred in the 17th and 18th centuries. At this time, there was an increase in productive forces. The areas occupied by agriculture increased, the role of which increased in the Komi economy. Local socio-economic conditions, which were getting closer to the national ones, were leveled out. Small crafts grew, the marketability of agriculture increased, industrial enterprises arose, and internal exchange developed. The framework of land unions, which at first had little connection with each other, was gradually overcome. This was facilitated by both strengthening trade ties and mutual relocations of residents from one area of the region to another.

1.1. Ethnographic groups of people

In the course of the ethnic history of the Komi people, the boundaries of their settlement have repeatedly changed, and new territories have been developed. Accordingly, environmental conditions changed, new cultural and economic ties were established with neighboring peoples. Representatives of other ethnic groups entered the territory of the Komi region and settled there. There was a certain isolation between individual regions of the region, caused both by a certain isolation of territorial peasant communities and by the roadlessness typical of the European Northeast. For these reasons, the Komi-Zyryan population developed and consolidated in traditional culture regional differences in its individual elements, in language, clothing, ornaments, economic activities, and others.

As a result of analyzing these differences, ethnographers identified areas distinguished by their cultural specificity and identified the main ethnographic groups of the Komi people. Some of these groups - the Vymchi, Nizhnevychegdtsy, Priluztsy, Sysoltsy, Udortsy - formed already in the 16th and 17th centuries, others - the Izhmtsy, Upper Vychegdtsy, Pechorytsy - later, as a result of further settlement of the Komi-Zyryans in the territory of the region. The northernmost Komi ethnographic group was the Izhemskaya.

Despite the fact that the processes of interethnic consolidation and the formation of the Komi people were largely completed in the 18th century, differences in the culture and life of ethnographic groups persisted for a long time. The erasure of these differences occurred especially intensively already in Soviet times, and this was associated with the general breakdown of the traditional way of life of the Komi people. Nowadays, only the Izhma Komi retain certain features of their national culture. Among other ethnographic groups, regional ethical specificity has been largely lost, excluding the dialectal features of the language.

2. Izhemtsy traditions associated with costume

Traditionally, among the Komi, clothing was perceived as a “cover, a shell” and at the same time a “trace, shadow” of a person. All the clothes that a person wears during his life were considered inextricably linked with him and his destiny. The expression “man without clothes” refers not only to an undressed person, but also to an exhausted, sick person, about whom they can also say that he has no shadow—an amulet. It is no coincidence that in the past, those who wore tattered clothes not only violated the norms of traditional etiquette, but also exposed themselves to serious danger. Damage or loss of clothing may portend misfortune or illness for its owner.

The Komi had a special witchcraft technique called stealing a shirt: they tried to steal a woman’s shirt with traces of menstruation, and then place it in a crevice in a creaking tree. As a result, the owner of the shirt will be chronically ill and “creak” like this tree.

With the help of your own clothes you can get rid of your enemy. Among the Izhemsky Komi, it is believed that the patient or his relatives should take “clothes with illness or damage” to the forest and leave them on the trunk of an aspen or any drying tree until they completely decay. To this day, the Izhem Komi have maintained the tradition of leaving the clothes of a sick person (or a fragment of it) as a butt on a votive cross, according to the covenant.

There is an idea everywhere that you can get rid of a disease by “transferring” it to another person along with your clothes. In the past, the Komi people were strictly forbidden to give away their clothes, even for temporary use. For this reason, worn-out clothes were never thrown away, but were hung in the attic or shed of the house until they completely decayed. A person who showed excessive persistence in the desire to receive or acquire someone’s clothes, as a rule, was suspected of wanting to damage the owner of a particular outfit. To prevent possible damage or the evil eye through clothing, it was prescribed to burn it.

According to a tradition that is widely practiced among the Komi people to this day, on the eve of leaving for another world, elderly people give away some of their personal clothing to their relatives and friends (women, as a rule, give most of their headscarves in this case) “to commemorate their souls after death.” Clothes associated with certain milestones in a person’s life were especially carefully preserved: a gift for a child when cutting his first teeth; a shirt given by the godmother during the baptism ceremony. Clothing received by a person as ritual gifts was also considered an effective amulet. Everywhere among the Komi, ritual and everyday belts were supposed to be kept, first tied with a knot or a loop; an untied belt could be perceived by others as a sign of wishing someone illness or death.

Unlike everyday clothes, festive and ritual clothing was forbidden to be washed. Once a year (in summer) it was weathered in the sun or evaporated over a heater in a bathhouse. Certain prohibitions were also observed when washing everyday clothes: women's outfits should not be washed together with men's and children's clothing - men will not have luck in hunting, and children may get sick. Among the Komi, the symbol of marital ties is a scarf, the ends of which the newlyweds held during the wedding. After the death of one of the spouses, this scarf is torn in half: one part is placed in the coffin of the deceased, and the other is kept by the widow (or widower) until his departure to the next world.

The traditional perception of clothing as a shadow-amulet for a person has largely determined the strict observance of prohibitions associated with the order of putting it on, wearing and storing it every day. Until now, a certain sequence has been observed in putting on various items of clothing. Violating this order is fraught with various troubles for a person throughout the day. The procedure for removing clothes before going to bed is no less strictly observed. So, for example, it was prescribed to take off a sundress inside out and over the head (removing it through the legs is a sin, “this is how they only take it off a dead person”). You can only store a sundress turned inside out in a chest - “if you leave such a sundress uncovered at night, then the devils will wear it later.” For this reason, everyday clothing taken off at night was always left inside out.

Any changing of clothes during the day was condemned, since it was perceived by others as tunavny (witchcraft, divination). Women, putting on a sundress in the morning, tried not to take it off during the day, and if necessary, put on other clothes over it. Only during the holidays was it not forbidden to change clothes repeatedly during the day in different clothes, although many women even in this case put on two or three sundresses at once, one under the other, and in the same way several skirts for the splendor of the outfit.

In fairy-tale folklore and Komi beliefs, not only clothing as a whole, but also its individual elements are endowed with magical powers. With the help of a mitten, you can easily determine whether a stolen item will be found or not: if a thrown mitten falls to the ground with your thumb pointing up, it means that the loss will soon be discovered. A patterned glove tucked into a belt in the summer is considered the best amulet against midges and mosquitoes. You can easily provoke a headache in a person if you toss his hat several times or twirl it.

Ritual dressing in the “outfit” of the deceased to participate in Christmas fortune-telling was also considered unsafe for human life. The idea of a direct connection between the soul of the deceased and his clothes is reflected in a number of Komi beliefs: you cannot leave knots tied on the clothes of the person being buried at the moment the coffin is lowered into the grave - otherwise the deceased will often disturb the living in their dreams; If you do not wash the clothes and linen in which a person died for a long time, then the soul of the deceased will suffer, etc.

In rituals, a person’s clothing is considered both as a “border” from the influence of another world, and as a means of establishing contact with the other world. In Komi family rituals and love magic, the integrity of the personal clothing of the spouses acts as a metaphor for their closeness and a symbol of family well-being.

3. EVERYDAY AND HOLIDAY COSTUMES OF IZHMA PEASANT WOMEN

3.1.Description of the suit and fabrics used for it

manufacturing

The historical development of the main types of Komi clothing took place in close connection with natural conditions, the economic specifics of certain population groups, and cultural ties with neighboring peoples. However, it is difficult to trace the entire path of evolution of folk clothing, since there is no reliable data on the material culture of the Komi over entire historical eras.

The ancient clothing of the Komi ancestors - the Zyryans - is being restored based on materials from archaeological excavations. It was made from fabrics woven from wool and plant fibers.

Komi folk clothing has much in common with the clothing of the population of the Russian North and some Finno-Ugric peoples. At the same time, in the very complex of traditional Komi clothing, in the features of cut, in the nature of decoration, in some specific attributes of the folk costume, ethnic specificity is clearly manifested. It should be noted that the presence of common types of clothing among different peoples should not always be considered as direct borrowing. The origin of certain common elements in traditional clothing among different peoples could be due to similar natural and climatic conditions and, accordingly, general types of farming.

From the words of our interlocutors, we learned that until the beginning of the 20th century, the Komi sewed clothes mainly from home-made fabrics: canvas (white and colored) and cloth. In addition to cloth, half-woolen fabrics were also used to make outerwear.

Komi women's clothing is characterized by a sundress complex of the Northern Great Russian type with some unique details of the cut of the sundress and shirt and specific headdresses.

The main element of a woman's costume was a shirt, the upper part of which was made of motley cloth, calico or embroidered canvas, and the lower part was made of coarser white canvas. Very often they bought chintz for the upper part, and silk and satin for rich fabrics, and for the lower part of the shirt, which was covered with a sundress, they used old canvas or new fabric, but of poorer quality. The shirt was decorated with inserts of fabric of a contrasting color: gussets on the shoulders and kunlos under the arms. A straight cut was made on the chest, in the middle, with a one-button clasp at the collar. The collar, hem and sleeve edges were embroidered with a pattern. In Izhma they often wore two shirts - a long lower one, made of white fabric, and an upper one, reaching to the waist, made of brocade, lined with cloth. A sundress was worn over the shirt. Traditional Komi clothing is diverse; its different types had different purposes and different methods of production. Everyday outfits were made from coarser homespun materials in modest colors.

Festive clothing was made from the best quality fabrics (thin canvas, thin cloth, and later silk factory fabrics). In Izhma there was a festive sundress made of brocade - “damask”. The damask was usually sewn on a harsh canvas lining, so they were very heavy. On such a sundress they wore an apron decorated with embroidery, sewn ribbons or lace.

Komi women's headdresses varied according to age. Girls' hats left some of their hair uncovered. Of particular interest are wedding headdresses. For example, during a wedding, Izhem Komi brides changed up to five different headdresses. On the eve of the wedding, after a ritual ablution in the bathhouse, the bride’s loose hair is covered with a yurnoi - a headband without a bottom, covered with red cloth, embroidered with beads and decorated with fur (to protect the bride’s beauty from the evil eye). Married women braided their hair into two braids, placing them around their heads, and covered their heads with a special cap - a “hair cap”. When going out into the street, when guests came to the house, a woman would put a scarf or other headwear over her hair, which completely covered her hair. The headdresses of married women were very diverse. So on Izhma there are various kinds of embroidered headbands on a soft basis: treukh, or oshuvka.

Komi women's outerwear was close to men's. Women's fur coats were made of straight cut from tanned yellow sheepskins. Fur clothing of the Komi - Izhemok (Malitsa) differed from men's in more beautiful trim at the hem, fur frill, as well as decorations from various pieces of fur and cloth.

Traditional Komi shoes for both sexes were almost the same in cut. In summer and autumn they wore: pistons, sewn from rawhide and tied at the ankle with a strap; cats - leather shoes with a low cloth top. These shoes were worn over canvas foot wraps or woolen stockings.

Currently, Izhemsky reindeer herders continue to wear clothes and shoes made from reindeer fur according to the traditional cut.

The richness of the fabric and the peculiarity of the cut make Izhemsky shirts with sleeves stand out. Their width at the armhole can reach 45–60 cm. The sleeve at the wrist is gathered into double-sided or one-sided folds that form a cuff. Women of the Izhemsky region wore so-called round sundresses. For their sewing, silks with floral patterns were used, mainly in cold shades - dark purple, dark green. The hem was decorated with lace. Before the advent of factory lace, the hem of the sundress was trimmed with homemade fringe, which was made from cotton threads or garus, dyed black. ANNEX 1.

The description of the appearance of the Izhem Komi costume was compiled from the words of an old-timer Arteeva Polina Moiseevna(village Akim) and Kozhevina Elena Yakovlevna(village Izhma). For us, they kindly agreed to be photographed in their costumes, which they inherited from their ancestors. Handmade costumes made by their great-great-grandmothers. According to interlocutors, suits are of great value to them. APPENDIX 3.4.

3.2. Features of the design and technology of the suit

Komi women's clothing is characterized by a sundress complex of the Northern Great Russian type with some unique details in the cut of the sundress and shirt.

A long women's shirt consisted of two parts: the top (“sos”) and the bottom — “myg” (bed, camp). The shirt was sewn with straight shoulder inserts - “lastovich” or polyki, with a stand-up collar, gathered at the collar into a gather. A straight cut was made on the chest with a one-button closure at the collar. The sleeves were long and wide, for which wedges were inserted into them. Small square gussets called “kunlos” were sewn under the sleeves. Sometimes the sleeves were made very wide with large wedges without kunlos. The sleeves and shoulders of ancient shirts were trimmed with a woven fabric ornament in the form of transverse stripes made of red cotton threads. The lower part of the shirt was usually sewn from three straight panels - two in the front and one in the back; wedges were inserted into the sides to increase the width at the hem. The hem of a bozhdor shirt was often decorated with a red stripe, the width of which reached 20–30 cm. With the development of commodity relations in the village, the upper part of the shirt began to be sewn from factory fabrics. The cut of the shirt and sleeves has changed. The cut of Komi women's shirts differed from the tunic-like shirts of other Finno-Ugric peoples, which is explained by early Russian cultural influence. However, the ancient Komi women's shirts were also tunic-like.

A sundress was worn over the shirt, which was girded with a patterned belt.

According to the cut, sundresses can be divided into slanted and straight ones, with gatherings at the waist and with a bodice. The oblique sundress - shushun basically had three straight panels - two in the front and one in the back, and four wedges inserted two into the sides. The sundress was supported by straps, which were knitted at the back and sewn on at the front. The front of the shushuna was straight, and the back was gathered. Up to half of the shushuns were made on a lining of rough canvas to make the bottom heavier so that the hem would not lift during the wind. The front of the shushun had a seam, on both sides of which a braid was often sewn, and in the middle there were buttons. The length of the shushun is 110 – 115 cm. APPENDIX 2.

The appearance of the straight sundress among the Komi people is associated with the spread of factory-made fabrics. A straight sundress with straps was a skirt with narrow sewn-on straps, sewn from five or six panels of fabric. The front of the sundress was often made in a holding pattern, and the back was folded or gathered. Trims made of colored fabric, lace and fringe were sewn onto the hem of the sundress. At the front, the sundress did not have a longitudinal seam and this also distinguished it from the clinic. The length of the sundress reaches one meter.

They wore a straight sundress much lower than a slanted one, but they also always belted it with a woven or braided strap. The width of the sundress at the hem reached 4–5 meters. Ancient sundresses were even wider. Under the hem. To make it lie better, we sewed a 0.5 meter wide lining made of satin, calico or calico. For pomp, one or more skirts, and sometimes an old sundress, were worn under the sundress. For a straight sundress with a bodice, the skirt was sewn from one transverse piece of fabric, and the bodice was folded into a small fold. The skirt was made with a canvas lining. The bodice was fastened at the front with two iron hooks. This sundress was also held on the shoulders by means of straps. Its length is 85 - 90 cm. On top of the Komi sundress, women wore a zapon - an apron without a bib. The embroidery was done with silk and wool, mainly dark red in combination with black, the ornament was geometric (a rhombus with continuing sides). The embroidery uses multi-colored beads, which stand out brightly against the background of red material. In ancient Komi items, chain stitch embroidery is often found - red threads on white fabric or white threads on red fabric.

4. Ornaments of the Komi peoples

4.1 History of the appearance of the ornament

For Komi folk art, the most characteristic form of decoration is an ornament - a pattern consisting of repeating, rhythmically ordered motifs. Researchers note the closeness of the geometric patterns of the Komi to the ornament of the Volga Finns, the peoples of North-Eastern Europe (Estonians, Karelians, the population of the Russian North) and North-Western Siberia (Khanty, Mansi). Probably, the similarity of the ornamental motifs of different peoples was due to their common ancient basis.

Scientists define the pass as one of the leading foundations of the ornament of the Finno-Ugric peoples and identify several functions of the pass: a sign of tribal affiliation, a magical function (amulet), and a decorative function. In their opinion, with the loss of the first two functions, the pass was preserved as an ornamental motif. This statement does not agree with the traditional ideas, characteristic of many peoples, that the ornament serves as a talisman against evil spirits.

G.N. Klimova in her monograph “Textile Ornament of the Komi” examines the dynamics of the development of the geometric ornament of the Komi over the last two centuries and comes to the conclusion that its development was determined by a number of factors: materials of manufacture (clay, wood, leather, fabric); technical methods of its execution; influence of other cultural traditions.

The author identifies several local variants of the Komi geometric ornament, the appearance of which he considers a natural result of the historical conditions in which various Komi ethnographic groups developed. In particular, in the geometric patterns of Komi knitted products there are three main variants: Izhemsky - with a predominance of the so-called seven-fold borders; Vashko-Mezensky and Srednesysolsky - wide borders and mesh patterns; Verkhnevychegda, which is characterized by features of groups 1 and 2 of patterns. It should be noted that when considering the issue of the spread of various variants of diagonal geometric patterns on Komi territory, G.N. Klimova clearly exaggerates the role of external influence. The researcher, in particular, notes that the same decorative features could not have developed independently among different peoples, but could only appear as a result of population connections. This statement contradicts another thesis of the author that the laws of development of ornamental compositions are largely determined by the technique of their execution. Despite the presence of common features in the geometric patterns of the population of the Russian North, the Finno-Ugric peoples and even the Turkic peoples, in most cases significant differences are found, which manifest themselves in the combination of technology, the ratio of parts of ornamental compositions and, finally, in the color scheme.

4.2 Typology of Komi ornament

Depending on the motives, several groups of Komi geometric patterns are distinguished:

Patterns of simple geometric motifs - dots, squares, rectangles, diamonds, crosses, diagonal lines, triangles - are presented in most types of technology.

Patterns with transverse and longitudinal stripes, patterns of combined squares, rectangles and stepped diamonds are typical for knitting, carved items and fur mosaics.

In Komi textiles, the most numerous and varied are diagonal geometric patterns, in which several main compositions are distinguished:

a) so-called seven-shaped borders (discontinuous and continuous);

b) mesh patterns;

c) patterns of asymmetric structure (tangle);

d) symmetrical patterns, which are characterized by equality of pattern and background.

Most of the variants of the diagonal-geometric ornament developed on the territory of the Komi from signs of property - passes, which were initially applied to clay, birch bark and wooden products, and were later reproduced in the textile ornament of the Komi.

Floral ornamental motifs are found in embroidery on clothes, towels and various bedspreads among the Izhma, Verkhnevychegda, Vym and Udora Komi. Towels often combine embroidered (floral) and woven (geometric) patterns. The hems of aprons, bedspreads and the ends of towels were often decorated with lace with floral patterns.

Floral and ornithomorphic ornamental motifs are also characteristic of printed homespun canvas, covered with a pattern using special printed boards. Komi people mainly sewed sundresses from printed fabric. The most common printed cloth among the Komi is blue fabric with a simple floral pattern in white or yellow. More complex printing was made using several printing boards and paints of different colors: several ornamental stripes of different motifs and colors were printed on one piece of fabric.

Researchers of Komi folk art believe that floral ornaments became widespread on Komi territory in the late 19th - early 20th centuries, together with the technique of lace weaving and the manufacture of printed fabrics under the influence of Russian culture and has no local specificity. Nevertheless, folk craftsmen skillfully combined innovations with local geometric ornamental traditions (geometric ornamental motifs are often found in Komi embroidery and lace products). APPENDIX V

In traditional Komi life, wooden utensils, tools, furniture, buildings, and clothing were decorated with ornaments. The Komi ornament is extremely diverse in its technical implementation: knitting, weaving, embossing on fabric, birch bark, clay, leather, wood and bone carving, wood painting. APPENDIX VI

4.3. Brief description of the Komi-Permyat ornament

Ornament is a Latin word meaning decoration. This is a pattern consisting of rhythmic elements to decorate any objects or architectural structures.

One of the main parts of the folk art of the Komi-Permyaks was ornament. They were used to decorate various household items made of wood, fabric, and fur. The art of ornament has been passed down from generation to generation. The instillation of skills began in childhood. Along with mastering the methods of making this or that product, children developed a sense of rhythm, color harmony, and proportionality.

The ornaments of the Komi people are mostly dominated by geometric motifs, which go back to ancient times, to the origins of human culture. Among them are an oblique cross, a simple rhombus, a multi-layered one, with crossed and extended sides, straight and wavy lines, an oblique grid, and a checkerboard pattern. In addition to typical geometric motifs, there are stylized figures of humans and animals, as well as floral motifs: rosette flowers, stems with buds, flowering branches. Sometimes geometric elements are combined with plant motifs.

4.4. The meaning of the Komi passes that make up the ornament

The word pas means sign, brand, tamga, brand. They are placed on plots of land, on bags in which grain bread is carried for grinding, on trees in the forest, to indicate the direction of the path, or the area of \u200b\u200bwhose path it is; also on sticks or oblong tablets, for various economic calculations; finally, these signs are placed on the actual passes or tags.

“Pass-calendar,” says Mr. Savvaitov, “there is a hexagonal stick about four inches long, thickened in the middle and divided into two equal parts by a notch. The edges of this stick appear jagged because notches are made on them; against some notches on all sides of this sticks are carved with special signs. The number of cuts on the edges - 365 indicates the number of days of a non-leap year, and the cuts on the sides - fixed holidays indicated in the calendar, and some household notes. On each edge there are two months, which are separated from each other by a cut on middle The beginning of the year on March 1 is indicated by a special clipping.

In fact, the meaning of Komi passes is much broader. The main definition of passes in the Komi language is Rödvuzh, the main goal is to resist mystical forces and diseases, which were considered the result of evil spiritual power and damage. The concepts of “Rödvuzh”, “Nim” and “Pas” are central to the traditional worldview and ethnography of the Komi-Zyryans.

Pass calendars, exhibits of the Komi National Museum, Syktyvkar (length about 20 cm). Wooden hexagonal (there is one tetrahedral) carved, known from the 12th century, these examples are from the end of the 19th century. On each edge there are notches for the number of days in two months. There are many passes (signs) on all sides. On these samples of calendar passes, the new year begins on March 1, the passes mark the personal ancestral memorial dates of the owner, and the passes themselves have at the same time a personal, magical witchcraft and practical purpose.

You can also learn Komi passes on a spinning wheel. There were spinning wheels in almost every house, and each family painted them in its own way. The main purpose of the drawings and passes was to protect the family from evil spirits and evil spirits, and to convey the history and spirit of their family line. Application……

A written spell has more power than a spoken spell. Passes have the main magical significance. Different ornaments mean different sacramental meanings and purposes, also on our website. The drawings mean an appeal to various gods; images of domestic animals were made to protect them from damage. Most of the circles symbolize the sun. Such necessary and important elements according to Alexey Sidorov, such as round holes and metal inclusions, are technologically available in spinning wheels. Superimposed arc lines are characteristic of the northern Komi associated with reindeer herding.

Deciphering the images gives a general picture of the life and everyday life of the traditional Zyryan family and clan, although many elements allow for the multidimensionality inherent in Komi culture. For example, an oblique cross X on passes, according to Lyudmila Koroleva (Kortkeros), can have meanings and names: edge; intersecting rays; howl ser (new pattern); fire; Sun; cross or slanted cross as a protest against Orthodoxy. Moreover, it can usually have several different meanings at the same time. A simple diamond ◊ on passes can have the following meanings: circle; fire; Sun. And of course, each clan or family can give any element its own generic meaning.

5 . Reflection of elements of the Komi Izhem costume

in modern fashion.

Various industries have developed in the Republic. Large cities and urban-type settlements appeared. There have been fundamental changes in the traditional way of life and spiritual life of the people. Gradually, there was a decline in original folk art. The spread of factory-made urban clothing led to the displacement of traditional folk costume and the disappearance of local woven and knitted patterned products.

Exploring the modern trend of fashion, it was revealed that the craving for traditional art has not disappeared at all. It was expressed in preserving samples of patterned fabrics and embroidered things that people continued to use, occasionally wearing them. Interest in the traditional is manifested in the preference to buy factory fabrics with colors reminiscent of homemade ones. White and light fabrics, red or burgundy colors, as well as blue satin, dark-colored chintz with a small light pattern, reminiscent of folk printed fabrics, and various striped and checkered fabrics were and are still considered favorites. The Komi-Izhma people used purchased fabrics for sewing clothes, including elegant and expensive ones (satin, velvet, brocade, etc.), with very bright and at the same time noble designs.

The similarity can be seen not only in the fabrics used, but also in the cut and design of the clothes. In modern fashion, decorative and structural elements are relevant, such as a stand-up collar, decorating products with embroidery and beads.

Many leading fashion designers produce clothing collections in folklore style, using the design of traditional national clothing.

From the above we can conclude that elements of Komi clothing have found application in modern fashion and are quite relevant. Traditional Komi folk art has now found a new life. This is one of the manifestations of the spiritual revival of the Komi people, their rich original culture, which occupies a worthy place in the treasury of world culture.

CONCLUSION

The active growth of national self-awareness of the Komi people is causing increased interest in their history and traditional culture. Having completed this work, I learned many new facts from the life and traditions of the Komi Izhemsky people, and also gained knowledge about the Komi national Izhemsky costume.

In the 11th century, the ancient Komi people formed. The final stage in the formation of the Komi people occurred in the 17th and 18th centuries. At this time, there was an increase in productive forces. The areas occupied by agriculture increased, the role of which increased in the Komi economy. Local socio-economic conditions, which were getting closer to the national ones, were leveled out. Small crafts grew, the marketability of agriculture increased, industrial enterprises arose, and internal exchange developed. The framework of land unions, which at first had little connection with each other, was gradually overcome. This was facilitated by both strengthening trade ties and mutual relocations of residents from one area of the region to another.

During the 17th and 18th centuries, the process of forming the Izhemsk Komi ethnographic group was basically completed. As a result of long-term interethnic mixing and ethnocultural mutual influence, the Izhma people developed unique features in the anthropological type. A special Izhem dialect arose with significant borrowings from the Russian and Nenets languages. Changes have occurred in the traditional economic complex, and other significant differences from other Komi ethnic groups have emerged.

Nowadays, only the Izhma Komi retain certain features of their national culture. Among other ethnographic groups, regional ethical specificity has been largely lost, excluding the dialectal features of the language.

The settlement where the Komi Izhma people lived was first the village of Izhma (1567) - the center of the Izhma region. Named after the river Izhma of the same name, on which it is located. Today this is the city of Sosnogorsk, which is known as a large railway junction, a center of oil production, gas processing and energy. From here, trains with oil, coal, timber leave to all corners of Russia, and electricity runs through wires. The city is a financial donor to the Komi Republic.

The Izhma people, like all peoples, had their own traditions, rituals and their own unique national costume. Traditionally, among the Komi, clothing was perceived as a “cover, a shell” and at the same time a “trace, shadow” of a person. All the clothes that a person wears during his life were considered inextricably linked with him and his destiny. The expression “man without clothes” refers not only to an undressed person, but also to an exhausted, sick person, about whom they can also say that he does not have a shadow-amulet.

Komi folk clothing has much in common with the clothing of the population of the Russian North and some Finno-Ugric peoples. Komi women's clothing is characterized by a sundress complex of the North Russian type with some specific details. The Izhemsky costume is one of the most colorful costumes of the Komi people and has its own characteristic features. It differs primarily in that purchased fabrics were used for its sewing. Women's shirts were made of silk with a special detail on the collar and sleeves. Sundresses are a type of round sundress. Silk was used to sew costumes, often with floral patterns. Braid, lace, embroidery and beads were used in decoration. The headdress in a suit was of great importance. It was a kokoshnik, embroidered with beads and mother-of-pearl buttons, worn over a large silk shawl with long tassels.

Some elements of the Komi costume have found wide use in modern fashion. Fashion designers in their models are increasingly using designs and drawings developed many years ago by our ancestors. It has become fashionable to use embroidery and beads to decorate modern products.

This topic is quite interesting and relevant. The work can be used in technology lessons when explaining topics related to the regional component.

List of used literature

Northern expanses // - 2001 No. 2 – pp. 30 - 33.

Savelyeva E.A., Korolev K.S., In the footsteps of the legendary miracle. - Syktyvkar: Komi Book Publishing House, 1989. – p.120.

Zherebtsov I.L., Konakov N.D., From the life of ancient Komi. - Syktyvkar: Komi Book Publishing House, 1985. – p.133.

Ilyina I.V., Zherebtsov I.L., Nesanelis D.A. et al., Traditional culture of the Komi people./ I.V. Ilyina, I.L. Zherebtsov, D.A. Nesanelis et al.; Ethnographic essays. – Syktyvkar: “Komi Book Publishing House”, 1994.-p. 269.

Belitser V.N., Komi - Zyryans./ V.N. Belitser; Historical and ethnographic reference book. - Syktyvkar: Komi Book Publishing House, 1993. - With. 176.

Zherebtsov I.P., Where do you live: Populated areas of the Komi Republic./ I.P. Zherebtsov - Historical and demographic reference book – Syktyvkar: “Komi Book Publishing House”, 2000. – p. 185.

Sosnogorsk: at the turn of two millennia. – Regional Printing House LLC, 1999.

The fate of a changing zigzag: dedicated to the 60th anniversary of the Sosnogorsk gas processing plant - Severgazprom LLC, 2001.

Gribova L.S., Savelyeva E.A., Folk art of Komi./ L.S. Gribova, E.A. Savelyeva - Ministry of Culture of the Komi Republic: Publishing house - in the republican center "Veterans for Peace", 1992. - p. 270.

Zyryansky world - Essays on the traditional culture of the Komi people - Syktyvkar: “Komi Book Publishing House”, 2004. – p. 256.

Monuments of the Fatherland Land of Komi. – almanac of the All-Russian Society for the Protection of Historical and Cultural Monuments. - Syktyvkar: Komi Book Publishing House, 2004.

Klimova G.N. “Textile ornaments of Komi” - Monograph.

Topic of the lesson: “Komi - Permyak ornament. Elements of ornament"

Purpose of the lesson:

Tasks:

Type of lesson:

Required technical equipment:

Materials:

Musical series:

Progress of the lesson

I. Organizational stage.

Teacher:

II. Preparatory stage.

Teacher:

An excerpt from the song “Maryamol” sounds - Komi folk songs
The guys listen to the melody

Children's answers:

Teacher:

Children's answers:

Teacher:

The teacher puts two dolls made of cardboard on the desk, both dolls are dressed in the same outfit, but one has an outfit (the apron, sleeves and collar of the shirt are embroidered with patterns, the other does not

Teacher:

The guys say hello to the dolls

Teacher:

Children's answers:

Teacher:

guide the dolls with leading questions

Children's answers:

Teacher:

Children's answers:

Teacher:

Children's answers:

Teacher:

III. Repetition of covered material.

Teacher:

Children's answers:

Teacher:

Children's answers:

Teacher:

(the teacher hangs up the visuals).

Teacher:

Children's answers:

Teacher:

IV. Assimilation of new knowledge and methods of action.

(Working with dolls)

Children's answers:

Teacher:

Children's answers:

Teacher:

(Visibility)

Working with visibility

V. Primary check of understanding of what has been learned.

Teacher:

(leaflets with the names of the elements are prepared in advance, the hint is not removed from the board, the teacher draws a strip on the board with a marker to complete the elements of the ornament)

Children come out to the board and draw elements of the Komi-Permyak ornament with markers, and the rest guess.

VI. Control stage.

Teacher:

The teacher invites the children to create an ornamental composition using the elements they liked best. Children are given complete creative freedom while receiving individual assistance.
Children design and apply ornaments
on pre-prepared A-4 sheets

(cut in the shape of an apron, with a stripe for ornamentation at the bottom)

VII. Final stage

Teacher:

The results of the work are summed up, attaching each sheet to Glasha’s sundress.

Teacher:

Cleaning workplaces.

Abstract of GCD for visual activities. Topic: “Komi - Permyak ornament. Elements of ornament"

Target:

Tasks

Educational

Developmental.

Educational.

Equipment:

Preliminary work.

Progress of the lesson.

Teacher.

Main part.

Teacher.

Teacher: Did you like the melody?
Children's answers: Yes, a very funny song.
Teacher: Guys, do you understand what the song is about?
Children's answers: No, because it is not in Russian.
Teacher: You are right, this song is not in Russian or even in English. It is in the Komi-Permyak language. You and I know that in the Perm region there live people who not only speak Russian, but also people of other nationalities. Which ones do you remember?
Children's answers. Russians, Tatars, Bashkirs, Komi-Permyaks, Udmurts, Mari, Mansi.
Teacher. Well done. And today I invite you to look into the past of the small but very interesting Komi nation - Permyaks. Two sisters, Masha and Glasha, will help us. The teacher hangs two dolls made of cardboard on the board, both dolls are dressed in the same outfit, but one has an outfit (an apron, shirt sleeves are embroidered with patterns, the other does not)
Teacher: Meet Masha and Glasha. They are Komi-Permyaks. Masha and Glasha will be happy to help us understand some of the peculiarities of the Komi-Permyak people.
Teacher: Guys, look at them carefully. Tell me, are they similar?
Children's answers: Yes!
Teacher: And with what? (bring leading questions to the dolls’ outfit)
Children's answers: Face, hair. They have the same outfit.
Teacher: So, do you think that Masha and Glasha are wearing exactly the same clothes? (points to dolls)
Teacher: Masha has a white shirt and sundress and Glasha has everything exactly the same, do you agree with me?
Children's answers: No, we don't agree. Masha looks more elegant.
Teacher: Why does Masha look more elegant?
Children's answers: Masha is elegant, just like the patterns on her clothes.
Teacher: Everything is correct and today we will find out what kind of magical patterns decorate the outfit of our guest Masha. Let's find out and try to decorate Glasha's boring outfit.
Physical education minute.
I'm going and you're going.
I'm going and you're going - one, two, three.(We walk in place.)
I sing and you sing - one, two, three.(Clap our hands.)
We walk and we sing - one, two, three.(Jumping in place.)
We live very friendly - one, two, three.(We walk in place.)
Teacher: Guys, this pattern is called an ornament. An ornament is a pattern built on the repetition and alternation of its constituent elements.
Teacher: Look carefully at Masha’s outfit, on which parts of the clothing is there an ornament? (Working with dolls)
Children's answers: On the sleeves of the shirt, on the belt, on the collar
Teacher: All this is not accidental. In the old days, the ornament served not only as decoration, it also performed other roles: it protected against the evil eye, and had a magical meaning. The belt protected against evil spirits, and helped the hunter not to get lost in the forest. Embroideries were made on the sleeves and collars of shirts, which also “protected” from “all evil spirits.” Guys, what elements do you see on Masha’s ornament?
Children's answers: we can see crosses and checkmarks.
Teacher: All the elements that make up the pattern are specific symbols and did not appear in these patterns by chance. In the ornaments on Masha’s outfit, there are simple geometric elements: dots, squares, rectangles, diamonds, crosses, triangles, diagonal lines. The source for creating interesting compositions in Komi-Permyak ornaments for humans was nature and the surrounding world. As a result, Komi-Permyak ornaments can be divided into several main groups:
- some are associated with tools and other objects (teeth, saws, cross, compass...

Teacher:

Summary of the lesson.

Analysis and evaluation of success in achieving the goal.
Teacher: I see that everyone's work is ready. Let's admire our aprons.

Teacher:

Goals:

1. Educational:

determining the role of symmetry in life and nature;
shape transformation;
finding studied geometric transformations in Komi ornaments.

2. Developmental:

development of horizons and cognitive interest based on practical application.

3. Educational:

enriching the spiritual experience of students with the values of regional culture;
development of interest in the culture of the Komi people.

Tasks:

To maintain students' interest in studying mathematics and experiencing the beauty of the Komi region.
To form an idea of the integrity of Komi cultures.

Hypothesis. The relationship between geometric concepts and Komi national ornament.

Relevance. It is good to know the culture and heritage of your people.

Symmetry is the fundamental principle of the structure of the world.
Ornament is an imprint of the soul of the people - the art of ornament.
National ornament of Komi.

"Symmetry is the fundamental principle of the structure of the world"

"Symmetry, no matter how wide or narrow
we didn't understand this word, there is an idea,
with which a person tried
explain and create order,
beauty and perfection."
Hermann Weil.

Symmetry or movement is the immutability of an object in relation to any transformations performed on it.

Let's touch on an amazing mathematical phenomenon - symmetry. In ancient times, the word "symmetry" was used as "beauty", "harmony" ("harmony" translated from Greek means "proportionality, uniformity in the arrangement of parts"). The famous German scientist and mathematician of the 20th century, Hermann Weyl, defined symmetry in this way: “Symmetry is the idea with which man has been trying for centuries to explain and create order, beauty and perfection.” The concept of axial symmetry is often used in solving geometric problems, when constructing a graph of an even function, in architecture, in crystallography, and in fabric painting.

Everything beautiful makes us happy. We involuntarily note to ourselves the unusual sunset, the unusual leaves of plants, the strict forms of crystals. When we talk about something amazing, we mentally contemplate it again. Gradually, we form a picture of the world around us, we find commonality in various objects.

What is symmetry?
What deep meaning lies in this concept?
Why does symmetry literally permeate the entire world around us?

It turns out that symmetry is the idea through which man for centuries has tried to comprehend and create order, beauty and perfection.

Symmetry is the correctness of forms and a certain order.

Let us repeat together what types of symmetry you already know:

Central symmetry, or symmetry about a point.

O – fixed point. Any point (A) of figure F goes to the corresponding point (B) of figure F1, i.e. The equality must be satisfied: OA = OB.

Picture 1

Axial symmetry, or symmetry about a straight line.

J – fixed straight line. Any point (X) of figure F goes to the corresponding point (Y) of figure F1, i.e. the equality must be satisfied: XO = OU and XY is perpendicular to J.

Figure 2

Symmetry of rotation.

O – fixed point. Beam OA transforms into ray OA1 when rotated by a given angle and OA = OA1, and this is done with any point of the original figure.

Figure 3

Parallel transfer.

All points of the figure are shifted in the same direction by the same distance. In Cartesian coordinates, parallel translation is given by the formulas: X1 = X + a, Y1 = Y + b.

Figure 4

"Ornament is like an imprint of the soul of the people"

"The art of ornament contains implicitly
the most ancient part known to us
higher mathematics."
Hermann Weil.

Admiring the man-made beauty of the ornaments embodied in objects of decorative and applied art - carpets, tapestries, embroidery - we did not think about the role of geometry in the creation of these works. Meanwhile, the combination of the master’s talent and his geometric skills occupies an important place in ornamental art. Ornament (from the Latin ornamentum - decoration) is a pattern consisting of repeating, rhythmically ordered elements. The ornament is intended to decorate various objects (dishes, furniture, textiles, weapons) and architectural structures.

In the construction of the ornament, the principle of symmetry is used mainly. Looking at different compositions, it is easy to see that the ornament can be continued in different directions, even if its original composition is limited and closed.

Depending on the nature of the composition and location on the surface to be decorated, the ornament can be of several types:

ribbon (also called border);
mesh;
rosette.

In folk art, where ornament was most widespread, stable forms and principles of ornament construction gradually took shape, which largely determined the national artistic traditions of different peoples. Each era, each national culture has developed its own system of ornamentation - motifs, shapes, placement on the decorated surface. Therefore, it is often possible to determine by the ornament to what time and to what country a particular work of art belongs.

In each of us there is a family memory or genetic memory that stores everything that surrounded our ancestors. The multicolored ornaments helped us awaken this dormant memory. Each era, each culture developed its own system of ornaments.

In each national ornament, the patterns were not random, but deeply symbolic.

Russian ornament, contains an ornamental composition depicting female figures. Russian ornaments contain symbols of the sun, fertility, wishes for happiness, motherhood; trees and female figures accompanied by horses and birds were depicted.

Ancient pagan ornament, which depicts two horsewomen Lada and Lelya, whose hands are lowered to the ground, where the harvest is ripening, and the entire composition is saturated with solar signs, belongs to the peoples of the North of Russia.

Mordovian ornament It looks like a carpet, thanks to the tightly laid stitches. It used woolen threads, and red and black tones predominated.

Tatar ornament pleases with the riot of colors of the floral ornament, on which images of animals, and especially people, are practically not found. One of the reasons for this is the prohibitions of the Muslim religion on the depiction of living beings.

Chuvash ornament Characterized by a combination of geometric patterns with plant and animal motifs. The main colors are muted - red, madder with yellow, green, blue.

On Ukrainian ornament I admire the naturalness of fresh flowers. Ukrainian ornaments are dominated by geometric patterns of rosettes, rhombuses, stars, and flowers, the images of which are conveyed very naturally.

Eastern ornament amazes with the brilliance of the golden vignettes and the intricacy of the design.

"National ornament of Komi"

In the scientific literature devoted to the study of Komi folk art, several points of view are expressed regarding the origin and development of various compositions and variants of geometric patterns among the Komi. In particular, in the geometric patterns of Komi knitted products, three main variants are distinguished: Izhemsky - with a predominance of the so-called seven-fold borders; Vashko-Mezensky and Srednesysolsky - wide borders and mesh patterns; Verkhnevychegda - which is characterized by features of groups 1 and 2 of patterns.

Depending on the motives, several groups of Komi geometric patterns are distinguished:

Patterns of simple geometric motifs - dots, squares, rectangles, diamonds, crosses, diagonal lines, triangles - are presented in most types of technology.
Patterns with transverse and longitudinal stripes, patterns of combined squares, rectangles and stepped diamonds are typical for knitting, carved items and fur mosaics.

In Komi textiles, the most numerous and varied are diagonal geometric patterns, in which several main compositions are distinguished:

(a) so-called seven-shaped borders (discontinuous and continuous);
(b) mesh patterns;
(c) patterns of asymmetrical structure (tangle);
(d) symmetrical patterns, which are characterized by equality between the pattern and the background.

Plant and ornithomorphic ornamental motifs are found in embroidery on clothes, towels and various bedspreads among the Izhem, Verkhnevychegda, Vym and Udora Komi. Towels often combine embroidered (floral) and woven (geometric) patterns. The hems of aprons, bedspreads and the ends of towels were often decorated with lace with floral patterns.

Floral and ornithomorphic ornamental motifs are also typical for printed homespun canvas, covered with a pattern using special printed boards. Komi people mainly sewed sundresses from printed fabric.
The most common printed cloth among the Komi is blue fabric with a simple floral pattern in white or yellow. More complex printing was made using several printing boards and paints of different colors: several ornamental stripes of different motifs and colors were printed on one piece of fabric.

It turns out that one of the main parts of Komi folk art is ornament. They were used to decorate various household items, including fabrics and furs. The art of ornament has been passed down from generation to generation. Along with mastering the methods of making a particular product, a sense of rhythm, color harmony, and proportionality develops.

From the point of view of symmetry, the entire variety of Komi ornamental compositions comes down to several categories. The ornament of the Komi peoples includes the following types: border; mesh pattern; diagonally - geometric patterns; septenary borders.

Let us give an example of just this type of border - this is a pattern consisting of a number of equal figures, rhythmically located along one straight line, i.e. curb axes.

Any border has transfer symmetry along an axis (transfer axis).

The borders also have mirror symmetry.

Borders that have transverse axes of symmetry.

Borders in which the translation axis is the axis of sliding reflection.

Curbs that have 2nd order rotary axes perpendicular to the plane of the curb.

Curbs that are based on combining a sliding reflection axis with 2nd order rotation axes perpendicular to the plane of the curb.

Borders based on a combination of mirror images.

In the decorative and applied arts of the Komi peoples, the element used in ornamentation is "pass".

The word "pas" in the Komi language is ambiguous: it means a mark; personal or family signature; signs of ownership: brand, brand, tamga, seal, numerical and counting signs, alphabet signs. The passes bear the names of various animals or their parts, trees, etc. And if we look at the images of passes, we will see in them a familiar symmetry.

This table shows the elements of the Komi geometric pattern and their names.

Possessing its uniqueness and originality, Komi applied art carries universal human values, being an integral part of Russian and world culture.

It was the custom of Komi craftswomen to embroider headdresses, sleeves of clothes, hems of sundresses, shoulders of shirts, belts, sashes, and aprons with ornaments. The variety of ornaments is difficult to imagine.

Patterned knitting on five knitting needles occupies one of the significant places among other types of traditional Komi art. Mostly mittens and stockings are decorated, and less often gloves.

Geometric transformations are associated with the great and deep art that the Komi people possess.

Ornament for the Komi is a kind of sign system, partly replacing writing and accompanying every person throughout his entire life path. The art of ornament contains in an implicit form the most ancient part of the higher mathematics known to us.

Conclusion.

The twentieth century, with its desire to break everything down into parts and analyze it, could not help but show close interest in the ancient art of ornament - almost the first form of aesthetic transformation by man of the surrounding world.

It is known that art is constantly evolving. Old technologies are constantly being layered with more and more advanced ones, and old forms are being used more and more whimsically. Does the art of ornament change over time? It seems that ancient Egyptian or ancient Russian ornaments are already perfect and are not prone to further transformations and development. However, in the middle of the 20th century, M. Escher (1898-1972) came from mathematics to art and surprised the world with the creation of previously unseen ornaments. Lizards and birds, fish and people are intertwined in his graphic sheets in dense, mathematically strict patterns. And quite soon it became obvious that the 20th century, which so clearly gravitated towards the exact sciences, was most clearly expressed precisely in these patterns. Moreover, today it is clear that the worldview of the people, their originality is most clearly revealed precisely in ornamental compositions, which obviously presuppose a high level of understanding of the world.

In the 19th century, only a few researchers collected examples of ornamental art within the framework of ethnography. In the 20th century, scientists of various specialties began to study ornament in all its diversity: in everyday objects of ancient cultures, in poetry and music, in architecture and dance.

They began to see the ornament as something more than just decoration. The basis of any ornament is a strict rhythmic pattern. And since various rhythms constitute the very essence of any work of art, each of them can be considered as a unique ornament. Almost all constructivist and abstractionist movements in the art of the 20th century did this. Artists of these movements decomposed a living impression into the smallest component parts and then put them together into a painting, a sculptural volume, an architectural space, a dance or a film. Moreover, today, at the very beginning of the 21st century, it is already possible to determine the most profound feature of the thinking of a person of the past century - ornamentality. Everything in the physical, mental and spiritual world of a person is made up of simple and fairly clear elements (the motif of an ornament), which, one way or another, interacting with each other, make up a multidimensional picture.

There is not and cannot be any narrative in the ornament.

This is not a story about anything or the transfer of information. The ornament does not try to tell a person anything. It only captures rhythms. These are the rhythms of human feelings, actions and thoughts. A person cuts down a tree or paints a picture, plays the violin or goes to work - all these are rhythmically organized elementary movements of the arms, legs, and whole body. And thanks to this organization, a person achieves his goal, and does not make random movements. Joys and sorrows alternate rhythmically in our lives. We even think in a certain rhythm. We are trying to express the structure of this rhythm in ornament.

Through rhythms, their strict ordering (or better said, through their sensitive perception) mathematics enters into the ornament. It is difficult to say who is more involved in the study of ornament today – art historians or mathematicians. In understanding the structure and technology of creating (perceiving) ornaments, mathematicians have perhaps achieved more. After all, mathematical correctness, purely numerical relationships, enter into the very essence of the art of ornament and become an expressive means. Think about it, this is very characteristic of the art of the 20th century: “Number becomes a means of expression.”

The ubiquity of symmetry seems strange if you do not see that symmetry is the very essence of ourselves and the world in which we live. A person's body is symmetrical, and his life is symmetrical. The future and past are symmetrical in relation to the present. The "Lower World" is the symmetrical reverse of the "Upper World". The bizarre patterns of cause and effect in all our actions are also unusually symmetrical.

The main types of symmetry, which were fully used in the ornaments of ancient eras, are reflection, rotation and translation. Mirror symmetry (reflection) remains a symbol of symmetry today.

Children's turntable toys and Russian round dances, the Greek meander and the raking movement of the melody in a strict polyphonic style - all this is an expression of the symmetry of rotation. The pattern itself remains the same, only the point of view on it has changed. This change is reflected by ornaments based on the symmetry of rotation.

The most common type of symmetry, which in everyday life we do not accept as symmetry, is transfer (translation). Almost all human actions (external and internal) are the transfer of simple elementary movements of the body or soul.

We retell an interesting story to someone, put on an outfit that someone else liked, think the way we were taught at school, just walk down the street - all these are transferences.

And it’s probably worth saying that three main types of symmetry are simply necessary for us in our everyday mental life. With the help of turning, we seem to fence off “our space”, “our time”, “our world”, placing ourselves in the center, considering ourselves the axis of rotation. Using reflection, we can look at ourselves from the outside. And with the help of transference we master the world around us, expanding, as far as possible, our own.

Literature:

Zherebtsov I.L. "Settlements of the Komi Republic", Historical and Demographic Directory, Moscow, 2001.
"Heraldry of the Komi Land", National Museum of the Republic of Kazakhstan, compiled by Ananina E.A.
"Link of Times", comp. Zherebtsov I.L. and Kurochkin M.I., Repentance Foundation, Syktyvkar, 2000.
SYKTYVKARinfo – http://www.syktyvkar.komi.ru
Encyclopedia "Komi Republic", KSC Ural Branch RAS, Syktyvkar, 1999.
"Komi Republic. Administrative-territorial division", Presidium of the Supreme Council of the Komi Republic, Syktyvkar, 1992.
Klimova G. "Textile ornament of Komi", Syktyvkar, 1984.

Mitten, scarf, hat... At first glance, it’s an ordinary knitted item. Yes, different colors, different patterns. Have you ever thought that each symbol in an ornament has its own meaning, its own sacred meaning?

Komi mythology is very interesting. The Komi worshiped sacred trees and believed that after death a person’s soul moves into a tree. They also revered animals. The most significant among the Komi are the cult of the bear (Osh) and the myth of the duck - the ancestor of all life on earth.

Among the ancient Komi, the world was divided into 3 parts: the upper world (the gods lived there, birds flew and the sun shone), the middle world (the world of animals and people) and the lower world (fish and spirits, personifying material values and the underworld). The symbolism of ornaments is closely related to these ideas.

The Komi ornament has many varieties; it has common features with the ornaments of the Slavs and Finno-Ugric peoples. It is not surprising, because Komi has many neighbors: Vologda, Kirov, Arkhangelsk regions, Perm Territory, Nenets, Yamalo-Nenets and Khanty-Mansi districts. Residents of the Ust-Tsilemsky and Izhemsky districts managed to preserve a special type of ornaments. As a result of all this, each region has formed its own artistic variety of ornament, all together they create the unique look of patterned knitting of the Komi people.

These symbols did not appear on household items or clothing by chance. They were considered protective - that is, they protected the owner from evil spirits and misfortunes, and attracted good luck and health.

The Komi have no common color meanings; each region had its own preferences. Most often, products for women were brighter, more elegant, for men - more calm in color, and sometimes black and white. But, as a rule, red was still considered a talisman. Komi often used black or dark brown for contrast.

ZIGZAGS. This is an image of water that takes away all negative aspects from your life. Zigzag also distorts space, preventing evil spirits from influencing you.

BEREGINYA (among the Slavs Makosh) is a sacred female deity that protects women’s health, well-being, and family.

DEER (deer antlers). Among the Komi, deer is a symbol of life; without it, life in the north is impossible. Among the Slavs, the deer is full of solar symbolism. Branched horns have always been associated in people's minds with the sun's rays, the crown, and the “tree of life.” The ability to replace old horns with new ones was seen as a special power of renewal and rebirth.

HOME is stability, protection, family well-being.

THE SUN (in Komi SHONDI) is a bright amulet, like the sun it protects life, warms, and protects from evil spirits. This ornament is used mainly in the region of Sysola and Vychegda, and less frequently in other regions of Komi.

OREPEY, BURRODY - a Slavic protective sign, “catchy”, attracting happiness, good luck and prosperity. A symbol of happiness, peace of mind, and balance. Suitable for both women and men.

FISH is a symbol of wealth, material well-being. According to the Komi, fish is a representative of the lower world, which is also responsible for material values.

Previously, on the territory of Komi, silver coins were in use, and fish scales look exactly like these coins, perhaps that is why in the Komi language the word “money” and “scales” are called the same - “SEM”

FIELD (VIDZ) - among the Komi and Slavs - a symbol of fertility, continuation of life. A sown field is one of the main ancient symbols. This symbol was treated with the same reverence as the sun and water. A sown field meant prosperity and wealth, prosperity and success. The symbol allows you to increase a person’s vitality, make him more self-confident, and enhances his ability to bear children.