The book examines the archaeological materials that are given.
The opportunity to study the ancient Russian costume - its composition, individual details and general appearance. Written, visual sources of the 10th - 17th centuries are also involved. And ethnographic materials of the 18th - 20th centuries.

Sections are devoted to clothes, jewelry, sets of women's and men's costumes. The socio - age and local features of the ancient Russian costume of various territories of ancient Rus' are studied.

The evolution of the Russian costume during the 10th - 17th centuries is considered.
The work is intended for a wide range of readers, including as.
Specialists - historians, archaeologists, museum workers, students -.
Historians and amateurs interested in the history of ancient Rus', schoolchildren, members of historical reconstruction clubs.
What did the ancient Russian look like?

Neither utensils, nor household tools, nor weapons give us the opportunity to imagine the appearance of a person as vividly as clothes, jewelry, headdress and shoes allow us to do.

Clothing and jewelry were very important to the people of the Middle Ages. It is no coincidence that in Russian fairy tales and epics they are sometimes endowed with magical properties. Many of them tell about Russian beauties and their magical outfits, about craftswomen who mastered skillful sewing and embroidery. Let us recall at least the princess - the frog, Vasilisa the beautiful and Mary - the master.

A suit is an ensemble, a complex in the center of which it is located.
Human. This complex combines clothes, shoes, as well as additional items for decorating both clothes and body parts, or accessories, as well as cosmetics, hair, make-up.

Clothing is understood as a set of separate types of body coverings (dress, shirt, stockings, etc. . a suit combines practical and aesthetic functions, helping a person organize life, work and communication. Any traditional costume, including Old Russian, is not is something static, frozen.In the process of its folding over the centuries, its appearance was affected by changes in life, social structure, interconnection and influence.
Various peoples.

Most of these changes left a mark in the complex of the folk costume as a whole (the appearance of new elements) or in various components (material, cut, ornaments) and use (manner of wearing.

All this makes the traditional costume the most important source for studying the origin of ethnic groups, their historical fate, cultural ties and contacts.

Old Russian costume has long been a special subject.
Studies for representatives of many disciplines: historians, art historians, ethnographers, archaeologists, restorers, jewelers, philologists.

Theoretical questions of the history of the Russian traditional costume were developed in ethnographic research.

Large independent sections are devoted to the Russian folk costume in historical and ethnographic atlases, reference books on the history of clothing.

Ethnographic materials make it possible to consider the problems of the typology of the Russian costume, to identify the types of everyday and festive, ritual clothing, social - age and territorial complexes.

The suit is traditionally considered by researchers in two.
The main aspects: functional and iconic.

It is the full complex of clothing and other details of the costume that depends on the conditions dictated by practical purposes, and includes shades of symbolic meaning.

The cover was created by man to protect the body from the effects of the environment: cold, heat, atmospheric phenomena, helped him in adapting to external conditions. However, already in the early stages of the development of society, a person made attempts to designate himself, to come up with signs that give an idea of ​​him and his actions. Coloring the body, applying signs to it, tattooing, a special hairstyle corresponded to the psychological appearance of people, their worldview.

Thus, clothing and accessories appeared simultaneously, and if the functional side of the costume, its subordination to specific conditions, is manifested in clothing, then individual elements of its design, a certain set of accessories were designed to correspond to the peculiarities of the worldview, behavior, and established tradition existing in society.

Here, the decisive role was played by the convenience of not practical wearing, but the perception of the costume by oneself and other people.

The study of Russian costume X - XIII centuries. Complicated by the fact that full.
His samples are practically not preserved. This circumstance makes an integrated approach particularly relevant for its researchers, involving the use of all types of historical sources:
Archaeological, written, pictorial, ethnographic.

Written sources contain, as a rule, only fragmentary information about the appearance of ancient Russian people and their clothes.

Birch bark letters and chronicles allow us to judge the names of clothes, the material from which they were made, their belonging and place in the general ensemble, and even cost. But in rare cases, one can accurately imagine how one or another element of the costume was cut, sewn, fastened, worn, and ultimately looked like.

Old Russian pictorial sources are few and controversial. As a rule, the names of ancient Russian clothes, known from written sources, are very difficult to correlate with images or archaeological finds. However, in combination, these sources complement each other and make it possible to draw up relatively.
A complete picture of the costume and its individual elements, and sometimes.
Follow the patterns in its development.

Fragmentary data of pictorial and written sources.
They turn out to be more informative when compared with archaeological materials. They are the main ones for most researchers of the ancient Russian costume.

Archeology usually deals with costume accessories. They make up a significant part of the circle of Russian antiquities - basically, these are various decorations and fasteners. Archaeologists find a wide variety of jewelry, fasteners and scraps of clothing, on.
Any taste - and a boyar, and a commoner, a noble townswoman - a fashionista and.
A simple resident of the countryside.
Thus, archaeological materials are of particular importance for study.
Old Russian costume. In this book, an old Russian costume.
Considered on the basis of archaeological sources, supported.
Written evidence and images.
In M.'s researches and. saburova, a. V. Artsikhovsky and M. G. Rabinovich presents a systemic characteristic of the costume, including.
Description of the material of clothing, its cut, ornament, the most important items of clothing, the complex of rural and urban costume, its functions in the family and society. These studies used a wide range of archaeological and ethnographic sources, images, descriptions in medieval literary works, acts and other written monuments. These works and the difficulties of such an integrated approach have demonstrated.

After all, written sources contain, as a rule, only fragmentary information about the appearance of ancient Russian people and their clothes. Old Russian pictorial sources are few and far between.
Controversial. As a rule, the names of ancient Russian clothes are difficult to correlate with.
Images or archaeological finds.

Costume researchers focused on the study.
Funeral monuments and burials performed according to the rite.
Inhumations (corpse positions. They are the main ones.
Sources for the reconstruction of the costume since the inventory's set.
The burial, preserved "in Situ" ("in their places"), allows.
Jewelry and fasteners should be considered as parts of a single complex.

Therefore, a significant number of scientific works are devoted to this topic.
Directly analyze the location of objects in specific.
Burials and reconstruction of specific elements of the costume based on these data.

Maria Andreevna Saburova was one of the first in Russian archeology to specifically consider the possibilities of reconstructing a costume after.
Materials of ancient Russian funerary monuments and developed methods for the reconstruction of ancient Russian headdresses. She also wrote a general work on the history of ancient Russian costume, which not only took into account the categories of ancient Russian jewelry, but also, which is especially valuable, for the first time summarized data on numerous fragmented finds of clothing.

Reconstructions of costumes and their individual elements on a wide scale.
The burial material was proposed by N. v. Khvoshchinskaya, E. a.
Ryabinin, N. a. Makarov, in P. Levashova, M. a. Saburova and a. To.
Elkina, N. b. Krylasova, M. s. Pavlova, a. G. shpilev, Yu. v.
Stepanova.

The study of clothing and jewelry of the East Slavic tribes was engaged in. V. Sedov. T. g. Saracheva and a. With. Agapov studied.
Ways to wear temporal jewelry. Based on the materials of the Upper Volga.
Funeral monuments of the reconstruction of the costume and some of it.
Elements were carried out by F. Kh. Arslanova, and. V. islanova, a. N.
Khokhlov and a. With. Dvornikov, Yu. v. Stepanova.

Studying the burial materials of various parts of ancient Rus', the researchers noted the diversity of burial costume complexes, highlighting the local complexes of the female costume, reflecting the ways of its formation and the multi-ethnic character of the population of these territories in ancient Russian times.

A significant part of the known categories of ancient Russian things.
Refers to costume accessories. Thus, for the researcher.
Of the Old Russian costume, it is especially important to study the typology of Old Russian things, their chronology and territorial distribution.

Currently, archaeologists rely on a number of type - chronological scales of individual categories of things, the study of their morphology, technology and origin. These works are especially important in connection with the solution of the problem of the chronology of the ancient Russian costume.
Materials of ethnography of Russia in the 18th - 20th centuries. Show that each.
Of the social - age groups of the population was inherent in its own type of costume.
The peasant costume was a reflection of the position of a person in the family and at the same time was evidence of his wealth. Researchers - ethnographers noted that each age group occupied a special place in the creation of material wealth, which was reflected in the wearing of a certain type of clothing.

The transition from one group to another was accompanied by certain rituals, in which a certain type of costume also took part.

The division of society into social - age groups can be traced from ancient times. The reflection of this phenomenon in the costume remained until the 20th century.

The typology of ancient Russian funeral clothing was proposed by M.A. sabur. Age features of the costume were studied b. A. Rybakov based on the excavations of Chernigov.

Socio - age features can be traced in the funeral costume of the Upper Volga.

Ways to wear individual items as part of a costume.
Reconstructed by many researchers.
N. in. Zhilina studied the design features and ways of wearing the ancient Russian precious attire, p. With. ryabtseva - composition and variants Findings of textiles, originating from various monuments of Rus' in the 10th - 17th centuries, significantly expanded the knowledge base about the technology of making clothes, made it possible to significantly advance in understanding the origin of its individual types.

All researchers noted that the possibility of reconstruction.
According to burial data, costumes are limited due to poor preservation.
Organic materials and the absence of clothing residues sufficient to reconstruct its cut. In this regard, the works raised such issues as the use of ethnographic data for the study of ancient costume and the development of field research methods, the use of natural science methods to study the remains of the costume.

The undeniable fact is that the archaeological data on the ancient.
Rus' and data from ethnographic sources of the 18th - 20th centuries. Are separated.
Significant chronological period, resulting in direct.
Analogies, especially when reconstructing individual specimens.
Suits are illegal. At the same time, when isolating individual species.
Clothes by researchers designed by ethnographers are involved.
Costume typology.

So, in M.'s works and. saburova, v. V. Sedova, N. v. Zhilina, a. G. Shpileva, Fr. V. Orfinskaya, Yu. v. Stepanova made comparisons with ethnographic data on the materials of specific monuments. The obtained conclusions testify to the legitimacy of these comparisons.

Thus, when studying and reconstructing an ancient costume, knowledge of relic clothing, its typology and formation patterns is necessary. This allows us to confirm and clarify the conclusions about the types of costume, their cultural interpretation and chronology. Russian late medieval costume became the subject of research by both historians and art critics, restorers and artists. Yu. Stepanova Rus_life_history_sources.

The history of the ancient Russian costume

Teaching aid for students of the Faculty of History, majoring in "archaeology"

Reviewer: Zhilina N.V., Doctor of Historical Sciences, Leading Researcher at the Institute of Archeology of the Russian Academy of Sciences.

Stepanova Yu.V., 2006

TVGU, 2006

Purpose, objectives, course content

A costume is an ensemble, a complex, in the center of which there is a person. This complex combines clothes, shoes, as well as additional items for decorating both clothes and body parts, or accessories, as well as cosmetics, hairstyle, makeup. Clothing is understood as a set of separate types of body coverings (dress, shirt, stockings, etc.). The suit combines practical and aesthetic functions, helping a person to organize life, work and communication. Any traditional costume, including ancient Russian, is not something static, frozen. In the process of its formation over the centuries, its appearance was affected by changes in life, social structure, interconnection and influence of various peoples. Most of these changes left a trace in the complex of the folk costume as a whole (the appearance of new elements) or in various components (material, cut, ornaments) and use (manner of wearing). All this makes the traditional costume the most important source for studying the origin of ethnic groups, their historical fate, cultural ties and contacts.

The purpose of the discipline "History of the Old Russian Costume", studied within the framework of the specialization "Archaeology" at the Faculty of History of the Tver State University, is to study the Old Russian costume as a multifunctional system that reflects the ways of the formation of the Old Russian ethnos, its socio-economic and ethno-cultural history. The course covers the following areas:

- the history of the study of ancient Russian costume;

- the main sources on the history of ancient Russian costume (written, pictorial and archaeological) and methods for studying them;

- the composition of the ancient Russian women's and men's costume (based on materials from rural funerary monuments in the Upper Volga region).

The study of these areas involves theoretical studies, independent work on the preparation of reports, visits to museums and practical work with materials from archaeological collections.

Overview of historiography

Studies in the theory and history of costume

Questions of the history of the costume were studied mainly on the basis of chronologically and territorially broad material. Currently, there are a number of generalizing studies based on written, pictorial and ethnographic sources. This is one of the most famous works - "The history of the costume from ancient times" by M.N. Mertsalova (Mertsalova, 1993). The nature of the sources often allowed researchers to consider in sufficient detail the costume of certain groups of the population: for example, the upper strata of Roman and Byzantine society, Western European countries of the Middle Ages. At the same time, a number of points remained less developed, for example, a folk costume, poorly reflected in the sources. Preference in research was given to visual sources that give a visual representation of the appearance of a person. Their consideration in combination with written sources, general historical knowledge allows us to draw conclusions about the development of fashion, the significance of the costume in the life of society, and the reflection of historical processes and phenomena in it. Thus, the development of medieval Western European fashion in the X-XV centuries. were considered by A.L. Yastrebitskaya, L.M. Gorbacheva (Yastrebitskaya, 1988; Gorbacheva, 2000), ancient Russian women's costume - N.L. Pushkareva (Pushkareva, 1989). Theoretical questions of the history of the Russian traditional costume were developed in ethnographic studies. Large independent sections are devoted to the Russian folk costume in historical and ethnographic atlases, reference publications on the history of clothing (Maslova, 1987; Russians. Historical and ethnographic atlas, 1967, 1970; Sosnina, Shangina, 1998). Ethnographic materials make it possible to consider the problems of the typology of the Russian costume, to identify the types of everyday and festive, ritual clothing, social-age and territorial complexes (Voronov, 1924; Grinkova, 1936; Zelenin, 1991; Maslova, 1987).

The costume is traditionally considered by researchers in two main aspects: functional and symbolic (Kalmykova, 1995; Maslova, 1956, 1984, 1987; Mertsalova, 1993, etc.). It is the full complex of clothing and other details of the costume that depends on the conditions dictated by practical purposes, and includes shades of symbolic meaning. The cover was created by man to protect the body from the effects of the environment: cold, heat, atmospheric phenomena, helped him to adapt to external conditions. However, already at the early stages of the development of society, man made attempts to designate himself, to come up with signs that give an idea of ​​him and his actions. Coloring the body, applying signs to it, tattooing, a special hairstyle corresponded to the psychological appearance of people, their worldview. Thus, clothes and accessories appeared at the same time, and if the functional side of the costume, its subordination to specific conditions, is manifested in clothes, then the individual elements of its design, a certain set of accessories were called upon to correspond to the peculiarities of the worldview, behavior, and established tradition that exist in society. Here the decisive role was played by the convenience of not practical wearing, but the perception of the suit by oneself and other people.

Studies in the history of medieval costume

The most important factor determining approaches to the study of ancient Russian costume is that its complete samples have not been preserved. It would seem that this circumstance makes an integrated approach especially relevant for its researchers, involving the use of all types of sources. However, there are few such generalizing complex works on the history of ancient Russian costume. The most ambitious are the studies of A.V. Artsikhovsky and M.G. Rabinovich, which presents a systematic description of the costume, including a description of the material of clothing, its cut, ornament, the most important items of clothing, the complex of rural and urban costume, its functions in the family and society (Artsikhovsky, 1969; Rabinovich, 1986). These studies used a wide range of archaeological and ethnographic sources, images, descriptions in medieval literary works, acts and other written monuments. These works also demonstrated the difficulties of such an integrated approach. After all, written sources contain, as a rule, only fragmentary information about the appearance of ancient Russian people and their clothes. Old Russian figurative sources are few and controversial (see the relevant sections of this manual). As a rule, the names of ancient Russian clothes are very difficult to correlate with images or archaeological finds.

Archaeological sources are the main ones for most researchers of the ancient Russian costume. Archeology deals primarily with costume accessories. They make up a significant part of the circle of Russian antiquities - basically, these are various decorations and fasteners. Thus, work on the study of the complex of ancient Russian costume is inextricably linked with the study of medieval antiquities in general. However, this contains both the advantages of archaeological sources on the history of clothing and costume, and the difficulty associated with their study. The short-lived basis of external decoration, its forms are practically absent, the clothing itself, the "background" on which accessories are superimposed, as a rule, disappears. Whole samples of clothing are extremely rare archaeological finds. In this regard, almost all researchers of the ancient Russian costume, relying on archaeological sources, resort to ethnographic analogies.

Considering the works devoted to the ancient Russian costume according to archeology, we can distinguish the following general problems in its study:

1. The problem of identifying costume complexes. Costume researchers focused on the study of funerary monuments and burials made according to the rite of inhumation as the main sources for costume reconstruction. The set of inventory in the burial, preserved "in situ", allows us to consider jewelry and clasps as parts of a single complex. Therefore, a significant number of works on this topic are devoted directly to the reconstruction of the costume, the analysis of the location of objects in specific burials. M.A. Saburova developed methods for reconstructing Old Russian headdresses, and considered the possibilities of reconstructing a costume based on materials from Old Russian funerary monuments (Saburova, 1974, 1975, 1978, 1988). She also wrote a general work on the history of ancient Russian costume, which not only took into account the categories of ancient Russian jewelry, but also, which is especially valuable, for the first time summarized data on numerous fragmented finds of clothing (Saburova, 1997). Reconstructions of costumes and their individual elements based on materials burials were proposed by M.A. Saburova, A.K. Elkina, N.V. Khvoshchinskaya, E.A. Ryabinin, I.I. Elkina (Saburova, 1974, 1988; Saburova and Elkina, 1991; Khvoshchinskaya, 1984, 1993; Ryabinin and Khvoshchinskaya, 1980; Tukhtina, 1997; Elkina, 2001). Based on the materials of the Upper Volga burial sites, the reconstruction of the costume and its individual elements was carried out by F.Kh. Arslanova, I.V. Islanova, A.N. Khokhlov and A.S. Dvornikov, Yu.V. Stepanova (Arslanova, 1994; Islanova, 1988, 1996; Khokhlov and Dvornikov, 1988; Stepanova, 1999, 2000; etc.). Studying the burial materials over a wide area, the researchers noted the diversity of burial costume complexes. So, I.V. Islanova on the materials of the Msta-Molozhsky interfluve, E.A. Ryabinin and N.V. Khvoshchinskaya - on the materials of the North-West of the Novgorod land, several complexes of women's costume were identified, reflecting the ways of its formation and the diverse ethnic character of the population of these territories in ancient Russian times (Islanova, 1996; Ryabinin, Khvoshchinskaya, 1980).

2. The problem of the preservation of archaeological sources and the development of new methods for their study, using ethnographic data. All researchers noted that the possibilities of costume reconstruction based on burial data are limited due to the poor preservation of organic materials and the absence of clothing residues sufficient to reconstruct its cut. In this regard, the works raised such questions as: 1) using ethnographic data to study the ancient costume, 2) developing field research methods, using natural science methods to study the remains of the costume. It is an indisputable fact that the archaeological data on Ancient Rus' and the data of ethnographic sources of the 18th-20th centuries. are separated by a significant chronological period, as a result of which direct analogies, especially in the reconstruction of individual copies of the costume, are illegal. At the same time, when identifying certain types of clothing, researchers use costume typologies developed by ethnographers (Grinkova, 1936; Zelenin, 1991; Maslova, 1987). So, in the works of M.A. Saburova, V.V. Sedov, on the basis of materials from specific sites, comparisons were made with ethnographic data (Saburova, 1988; Sedov, 1994). The obtained conclusions testify to the legitimacy of these comparisons. Thus, when studying and reconstructing an ancient costume, knowledge of relic clothing, its typology and formation patterns is necessary. This allows us to confirm and clarify the conclusions about the types of costume, their cultural interpretation and chronology. In connection with the development of field research methods, the involvement of natural science methods for studying the remains of the costume, the studies of the Baltic and Western European authors devoted to the costume of the population of the Baltic and Northern Europe in the Middle Ages are of particular interest. but also organic materials. Their thorough fixation was allowed to reconstruct a medieval costume with great reliability, including the cut of clothing and its individual parts (Wolkite-Kulikauskene, 1986; Vyashkyavichuta, 1982; Zarina, 1975, 1986; Laul, 1986; Urbanavichene, 1988; Geejer, 1938; Hägg, 1983; Lehtosalo-Hilander, 1985 and others).

3. The problem of studying individual types of costume accessories. As already mentioned, a significant part of the known categories of ancient Russian things belongs to them. Thus, for a researcher of Old Russian costume, it is especially important to study the typology of Old Russian things, their chronology and territorial distribution. Currently, archaeologists rely on a number of type-chronological scales of individual categories of things, studies of their morphology, technology and origin (Essays on the history of the Russian village X-XIII centuries, 1956, 1967, 1973; Sedova, 1981; Kolchin, 1982; Lesman, 1984, 1990 and others). These works are especially important in connection with the solution of the problem of the chronology of the ancient Russian costume.

4. Reconstruction of individual elements of the costume according to archeological data. The ways of wearing individual items in the composition of the costume were reconstructed by B.A. Rybakov (Rybakov, 1959). N.V. Zhilina studied the design features and ways of wearing ancient Russian precious attire (Zhilina, 1997, 2001, 2005), S.S. Ryabtseva - composition and variants of ancient Russian jewelry based on materials from ancient Russian treasures (Ryabtseva, 2005). M.A. Saburova, T.G. Saracheva and A.S. Agapov studied ways of wearing temporal jewelry (Saburova, 1974; Agapov, Saracheva, 1997). Urban costume decorations were studied by L.V. Pokrovskaya based on the materials of the estates of ancient Novgorod (Pokrovskaya, 1998, 2000, 2003). A.V. Kurbatov, using extensive materials from Western and Northern Europe, examined the types of ancient Russian footwear, their development and connection with European medieval fashion (Kurbatov, 2002, 2004a, b).

So, a fairly wide range of literature addresses the issues of the methodology for studying and reconstructing a costume, and certain categories of accessories. Archaeological evidence is the basis for the vast majority of these studies. Almost all researchers note the difficulty in studying the ancient Russian costume, associated with the nature and safety of the sources.

Written sources on the history of ancient Russian costume

In the corpus of Russian written sources of the XI-XV centuries. the history of the ancient Russian costume includes chronicles, birch bark letters (see Appendix 1), spiritual letters of Russian princes. Altogether they give over 90 terms related to costume. Of these, about 40 refer to clothing, 8 denote different types or parts of headgear, 13 ornaments, 16 denote different types of fabrics, 2 leathers, another 10 denote colors of clothes or fabrics, and 3 refer to footwear. The number of references to the costume in written sources generally exceeds 200. Written sources make it possible to judge the material from which this or that clothing was made, its belonging and even cost. But in rare cases, one can accurately imagine how one or another element of the costume was cut, sewn, fastened, worn, and ultimately looked like. These fragmentary data turn out to be more informative when compared with archaeological materials. A large number of terms denoting clothing testifies to the complex composition, or rather, the multilayered nature of ancient Russian clothing.

Only the term can be clearly attributed to underwear shirt(srachka, shirt). The materials of ancient Russian burials allow us to say that women's and men's underwear were similar: they had a blank cut and a small slit in front. Elegant shirts had low collars, embroidered with colored silk and gold threads.

Unlike underwear, outerwear is denoted by a much larger number of different terms (approximately 24). The most frequently mentioned among the types of outerwear is casing, which, apparently, was the warmest (and topmost) men's and women's clothing. The available evidence of written sources about these clothes allows us to say that both clothes with sleeves and a type of cape could be called a casing. According to the finds in ancient Russian burials, the remains of outer clothing sewn with fur inside, fastened with air loops, are known. Thus, the lower women's and men's clothes had the same names. The uppermost women's and men's clothes were also called the same. Apparently, they were similar in their cut. The remaining terms discussed below refer exclusively to men's or women's costume. It should be noted that the ancient Russian men's costume in written sources is described by 24 terms and is mentioned much more often, while women's - only 13 singularly occurring names. At the same time, 21 of the “male” terms denote clothes, 3 – a headdress, and 1 – shoes, while from the “female” terms 5 denote parts of a headdress, another 5 – jewelry, and only 3 – clothes. A number of concepts refer to men's outer shoulder clothing such as capes. Perhaps this is the only type of clothing designated by such a number of terms: korzno, mint, luda (ludits), kots, yapkyt, manatya. First of all, there are obvious differences in the material of these types of capes (luda is a raincoat made of heavy material using a gold thread, yapkyt is apparently a felt cloak) and their accessories (manatya is the clothes of the clergy, kots is exclusively a princely cloak). Cloak-type clothing is well known from archaeological sources. Capes fastened with brooches are reconstructed based on the materials of ancient Russian burials. Different ways of wearing them are fixed: 1) with a clasp around the neck or at the shoulder, 2) with a clasp on the side (while one arm remained open). It is possible that cloaks with different fasteners and cuts could have different names, but the written sources here do not provide an opportunity for clarification. In addition to cape-type clothing, written sources make it possible to single out a group of over-the-shoulder swing outerwear, which includes retinue, bully, ohaben, opashen, terlik. This clothing is known only from archaeological materials of the late Middle Ages and is practically not recorded in the funerary monuments of the 10th-13th centuries. The group of terms relating exclusively to women's costume includes mainly the names of jewelry ( koltki, useryazi, monisto, necklace, alam), as well as headgear or parts thereof ( ubrus, brow, warrior, graft), and only three names can be attributed to women's clothing ( chuprun, ceiling, ponyavitsa). It is important to note that this small number of concepts quite fully characterizes the composition of a women's headdress. All these elements, despite their fragmentary nature, are fixed on the basis of archaeological materials. In addition, all of the above names are well known from ethnography. The brow or ochele is the front part of the headdress that rises above the forehead. Povoyets (povoynik), which looked like a soft cap, was the lower part of the headdress worn under the kokoshnik, magpie, and ubrus. Yubrus (ubrus) - a towel part of a headdress worn over its main elements (kiki, warrior). Kolts (kolts) is a decoration of a headdress, well known from the materials of ancient Russian treasures. Useryazi, according to N.V. Zhilina - temporal pendants, characteristic of the ancient Russian women's attire. Written sources do not tell us anything about how all these details of the headdress could be combined. However, a number of ancient Russian burials and treasures are known, based on the materials of which archaeologists reconstruct various combinations of the listed elements: ubrus, povoynik, ochelye in combination with temporal rings, pendants. All of them could be worn at the same time, making up a complex headdress, similar to the Russian ethnographic headdress.

Pictorial sources on the history of ancient Russian costume

Figurative sources on the history of ancient Russian costume are few. Among them are images on bracelets, bracers, initial letters in the form of human figures, works of small plastic arts, some works of icon painting and fresco painting. The most important sources are miniature chronicles.

Images on cuff bracelets XII-XIII centuries, according to researchers, have ritual significance. The figures of people on them are intertwined in one composition with fantastic creatures and floral ornaments. At the same time, these compositions, apparently, reflect the pagan ritualism that surrounded the man of Ancient Rus' in everyday life, which makes it possible to consider the images of people in them quite reliable (according to B.A. Rybakov, the compositions on the bracelets depict mermaid " games", which included round dances, music, feasts and various dances (Rybakov, 1967)). In addition, certain patterns can be traced in the images of clothes on bracelets. Thus, on bracelets from Kyiv, from the Staroryazan treasure of 1966, and on the casting mold of a bracelet from Serensk (see Appendix 2), women are depicted in clothes with very long sleeves. Apparently, it was ceremonial clothing for performing ritual dances. Long sleeves, for grabbing which the bracelets-bracers themselves served, were removed before the dance. A similar dance "slipped" is also depicted on one of the miniatures of the Radziwill Chronicle. The bracelet from the Tver treasure of 1906 depicts women with gathered sleeves. All compositions depict women in belted or belted clothes. Images from Serenskaya and Staraya Ryazan suggest that women are wearing ponevas - their unsewn cloths are clearly visible, from under which the hems of long shirts are visible. Men's clothing is knee-length, in the center of the chest area it has an ornamental stripe (perhaps along the fastener). Both men's and women's clothing have ornamental stripes on the shoulders, probably at the seams.

A more detailed image of men's clothing is on one of the reliefs of the Dmitrievsky Cathedral in Vladimir, depicting, according to G.K. Wagner (Wagner, 1980), Prince Vsevolod III with his sons (see Appendix 2). The prince is depicted in long clothes and a patterned cloak fastened with a fibula on his right shoulder. The sons of the prince are depicted in short clothes similar in design. These clothes have a rounded neckline, which is bordered by a wide strip, or this is a mantle that was worn additionally. In the center, a small rectangular detail adjoins the edge of the neckline. Probably, this is the design of the collar (like the decorative design of the fasteners of Russian blouses). The clothes are equally bordered with wide stripes along the bottom, the edges of the sleeves. Another recurring detail of the clothes of the prince and sons is the stripes on the shoulder parts of the sleeves. The images make it possible to distinguish the following main features of the clothes of the prince and sons - blind cut, knee-length, rounded neckline, small chest slit, decorated with a decorative strip, narrow sleeves, bordered by wide stripes at the wrists and in the forearm area, a wide border along the hem. This type of clothing is repeatedly repeated in the images on the bracelets and, apparently, corresponds to the real type of ancient Russian men's clothing.

Works of ancient Russian icon painting and facial sewing, oriented to Byzantine patterns and subordinate to the pictorial canon, provide little information about the ancient Russian costume, especially the common people. Only in isolated cases, when the depicted plots demanded it, did the icons reflect the everyday realities of Ancient Rus'. Such, for example, are the icon "Praying Novgorodians" (1467), the shroud "Church Procession", made in the workshop of Princess Elena Stefanovna (1498) (Mayasova, 1971) (see Appendix 2).

Of particular interest as a source on the history of ancient Russian costume are the miniatures of the Radziwill Chronicle, created at the turn of the 15th-16th centuries. (see Appendix 2). The chronicle that has come down to us was based on the protograph (or protographs), the formation of which most researchers trace back to the 13th century. For more than two hundred years, it has attracted the attention of researchers. The complex composition of the chronicle, the originality of its miniatures led to the emergence of new attributions of the monument, the unflagging interest in the problem of the origin of the chronicle. Most researchers come to the conclusion that in the annals, images made in the Byzantine-Russian tradition are combined with miniatures that have experienced Western European influence. At the same time, it is obvious that ancient Russian everyday realities were also reflected in the miniatures (Artsikhovsky, 1944). The sources cited contain images of clothes different from Western European ones of the same time (in particular, long-skirted clothes, both women's and men's, with a fastener with many loops, with turn-down collars), soft hats with lapels, women's closed towel hats.

Thus, individual pictorial sources contain information about the nature of the ancient Russian costume. However, most of them apply only to XV century, the images on them are difficult to correlate with the known names of ancient Russian clothes, it is difficult to determine both the composition of the clothes and the individual details of the cut.

Archaeological sources on the history of ancient Russian costume. The composition of the ancient Russian women's and men's costume based on materials from the burial sites of the Upper Volga region.

As already noted, the most complete archaeological sources for the reconstruction of the Old Russian costume are the materials of the Old Russian burials and treasures, since they usually contain a whole range of things that are elements of the costume. Consider the composition of the ancient Russian costume, based on the materials of the burial sites of the Upper Volga region X-XIII centuries (see Annex 3, map).

The materials of the field documentation of the excavations of the Old Russian burial sites of the Upper Volga region contain rather detailed descriptions and images of the burials and provide wide informative opportunities for the reconstruction of the burial costume complex of the Old Russian population.

Organic remains of the suit

Costume details made of textiles, leather, fur, felt, birch bark, as a rule, are poorly preserved in the cultural layer due to their organic origin. Even individual fragments, not to mention whole specimens of clothing, are a rare find that attracts special attention of archaeologists (see Appendix 3). The most representative for the Upper Volga region are collections of organic remains from the burials of the Pleshkovo-1 barrow groups, Izbrizhye, and the Berezovets burial ground. Among the discovered remains - fragments, prints of textiles, threads, decay along with decorations. In most cases, the material for making fabric was wool. Textiles made from plant fibers (flax, hemp) were found only in two cases. As a rule, it is quickly destroyed in the soil environment and disappears without a trace. It can be assumed that the prints on the objects may be traces of a fabric made from plant fibers. There are also remains of combined textiles, where linen (usually as weft) and woolen (warp) threads were used. Finds of silk fabrics are rare. Only 7 fragments of silk from 4 burials of the Upper Volga region were found. Silk in the era of the early Middle Ages was one of the significant imports of Rus' from Byzantium and the countries of the Muslim East, but was widely used only in princely and church life. The ordinary rural population used cheap varieties of silk to decorate dresses. Silk trim is well known from the surviving examples of clothing from the monuments of Northern Europe. Decorations are known both from woven patterned ribbons and from strips cut from silk cloth. The silk was cut into strips used for sheathing sleeves, hem, and collars. These stripes could be decorated with embroidery. In the Upper Volga region there are single finds of silk, different in origin, processing and use. In the mound near the village of Vorobyevo, fragments of two-color silk (on a yellow background - a green ornament arranged in stripes), twill weave, with a base of thin, non-twisted yarn, were found. Fragments of yellow silk fabric with a pattern in the form of red flowers were also found here. According to M.V. Fekhner, this fabric is of Central Asian origin (Fechner, 1973). Similar fabrics were produced in the 7th-11th centuries. in the vicinity of Bukhara in the village of Zandana and were known under the name "Zandanechi". ). Such a fabric was called "samit" and was produced by the silk-weaving workshops of Byzantium and the Middle East. A fragment of a monastic headdress decorated with a floral ornament made with gold threads was found in a burial XII V. Borisoglebsky Monastery in Torzhok (Berenstein, Malygin, 1995). In the Pekunovo-2 kurgan group, a fragment of the edge of a garment found on a chest buried under beads has been preserved. It is a piece of thin silk fabric of plain weave, on which a silk fabric, apparently green, with a small weaving pattern in the form of rhombuses, is sewn. Between the two layers of fabric, the remains of a layer of birch bark have been preserved. Green fabric, apparently - the remains of a woven ribbon. It is sewn on a silk lining with a stalked seam. Three parallel seams have been preserved. Possibly, this fragment is the remains of the lining of the neckline of a woman's dress. These finds of silk fabrics reflect the range of silk fabrics that came to Rus', and the nature of their use in the clothes of the rural population. Fabrics with a colored woven pattern are fixed. The warp and weft threads are of different colors and form a geometric pattern when weaved.

One of the most striking and interesting finds are the remains of woven multi-colored ribbons. Basically, these are samples of weaving, the methods of which (weaving on slabs) are widely represented in ethnographic materials. It is interesting to note that the width of these ribbons is fixed, and it could be very diverse, depending on the number of planks and warp threads. Finding tapes in burials - as a rule, in zones corresponding to the collar, sleeves, belt. A special type of woven decor in the composition of the costume is woven pendants: fringe, cords, including braids, bells. Braided cords were found in most cases with metal clips in the chest area of ​​the burials, and are considered by researchers as the remains of a kosnik. According to ethnographic data, a kosnik is a detail of a hairstyle and serves to decorate and fix hair in a braid. A ribbon can act as a braid, a cord woven into a braid, the ends can be shaped with bells, beads. Among the materials examined, samples of ancient Russian embroidery with colored woolen threads were also identified.

Woman suit

The most informative are female burials, which include a large number of pendants, beads, buttons and other clasps and costume decorations. Their distribution by zones in the burial - the upper (the zone of the neck, shoulders), belt and sleeves - to a certain extent reflects the composition of the female funeral costume, which included certain types of clothing, headgear, shoes, accessories. Comparison with the data of visual sources and samples of ethnographic costume makes it possible to clarify the design features of ancient Russian women's clothing. In accordance with the set of things in the burials of the Upper Volga region, the following parts of the women's costume can be distinguished:

- a headdress, which included temporal rings, various pendants, head rims, a rigid base and head covers, represented by fragments of fabric, leather and birch bark;

- clothing, represented by remnants of fabric and accessories: hryvnias, beads, pendants, buttons, brooches and other things; in its composition, separate complexes are distinguished - chest and waist parts;

- hand decorations: bracelets and rings;

- shoes, represented by fragments of leather.

For the early stage - the end X - middle XI V. - local variants of headdresses are distinguished in the western and eastern parts of the Upper Volga region, gravitating towards the Baltic and Finno-Ugric types of headdresses. Later, from the second half XI c., there is a spread of headdresses with bracelet-shaped temporal rings throughout the Upper Volga region (see Appendix 3). At the same time, in the second half of the 11th century, there is a great variety in head decorations. In large burial grounds, there are headdresses with various types of temporal rings.

The nature of the cut of clothes is evidenced, first of all, by fasteners - brooches, buckles, as well as jewelry - chains, pendants and sewn-on plaques indicating the places of seams or cuts in clothes, the presence of a belt.

There is a group of burials with a small number of beads - from 1 to 5 pieces. The beads are usually located under the lower jaw, at the level of 2-3 cervical vertebrae, vertically, in the center or on the left side. Beads in quantity from 2 to 5 are usually of the same type, most often carnelian or metallic. In this position, gold-glass, multi-colored glass, clay beads, as well as pendants-bells and buttons, were also fixed. There are also burials with a large number of beads, in which the beads lying in the region of the lower jaw and cervical vertebrae are separated by their location from the rest of the beads and differ from them in size, material, and color. Together with beads, the remnants of cloth were found in separate burials. These observations suggest that the beads in question were used as buttons and sewn onto the collar of clothing. The vertical arrangement of these beads, bells and buttons, in our opinion, corresponds to a small cut along the neck, in the center or on the left. The incision could be made with a stand-up collar or a narrow strip of fabric, or it could be left without a collar. According to ethnographers, the incision coming from the collar was originally made in the middle of the chest for all three East Slavic peoples, only the Russians subsequently spread the kosovorotka. At the same time, collars with an asymmetrical clasp are reconstructed based on the materials of female and male burials of the Suzdal necropolis in the second half of the 11th - early 12th centuries. (Saburova, Elkina, 1991). It is interesting to note that a similar design of the neckline is observed according to the materials of both female and male burials of the Upper Volga region of the 10th-13th centuries. Perhaps the designs of women's and men's shirts at that time did not have big differences. This is indirectly confirmed by the fact that Russian women's "mortal" clothing of the 19th - early 20th centuries had an ancient tunic-like cut, characteristic primarily for men's Russian shirts, and also by the fact that women's and men's underwear are denoted by one term - shirt. The distribution of such complexes in the Upper Volga sites has chronological features. It can be assumed that in the Old Russian period, the formation and distribution of a traditional shirt with a slit along the neck and a collar fastened with buttons, including shirts - "kosovorotki" took place. The considered version of the design of the neck is an element of clothing of a deaf cut.

Belt complexes were found in 25% of female burials with costume elements. The greatest number of them was noted in the burial complexes of the eastern part of the territory under consideration (the barrow groups Zaborie, Glinniki, Pekunovo-1 and 2, Pleshkovo-1 and 2, Vorobyevo-1). Complicated pendants were hung from the belt (see Appendix 3).

In addition to a shirt with a blind cut, with a variety of neck designs, one should also assume the presence of an upper dress. In some cases, paired decorations on the shoulders were fixed. It can be assumed that there was clothing like a tunic-shaped "sarafan" of a dull cut (Fig.) or a shoulder cover. This type of clothing is reconstructed on the basis of burial materials of the Baltic Finns (Ests, Vesi, in Finland), Balts of the 10th-13th centuries. These complexes can be traced in the western and eastern parts of the Upper Volga region (barrow groups Bolshaya Kosha, Ust-Sukhodol, Gultsovo, Pleshkovo-1). In most of the female burials of the Upper Volga, there are unpaired decorations on the shoulders - chains with pendants, knives, complex pendants, which indirectly testify to the nature of the cut of women's clothing. In the course of the formation of the ancient Russian women's costume in the Upper Volga region, details characteristic of the cultural traditions of the population of neighboring territories were included in its composition. When borrowed, these details lost their functional purpose due to a different cut of clothes and were used as special decorations. So, the chains connecting the edges of the shoulder cover or strap in the Baltic-Finnish and Baltic costumes are hung to the shoulder, take a vertical position, other pendants are attached to them.

Swing clothes are fixed by fasteners, sewn-on plaques and their remnants located along the vertebral bones of the skeleton. Such burials are concentrated in the west and east of the Upper Volga region (burial grounds Berezovetsky, Bolshaya Kosha, Pleshkovo-1, Vyrkino-3). As a rule, a swing cut is combined with a short length of clothing (up to the hip). For example, in the burials from Bolshaya Kosha, traces of corrosion of bronze were recorded in the form of a strip along the spine and horizontally in the region of the pelvic bones. In Pleshkovo-1, female burials with brooches in the center of the chest area were investigated, which probably fastened the edges of clothing such as a shoulder cover or "jacket", which is typical for the costume of the Volga Finns.

It should be noted that different types of clothing are combined in the Upper Volga burials with certain types of headgear. Thus, for example, the funerary costume from Pleshkovo-1 is characterized by headdresses, including several ring-shaped rings, noisy jewelry, belt clothes, and outer garments fastened with a brooch. The burial costume from the Berezovets burial ground is characterized by headdresses, including stacked rims of plates and spirals, sometimes head coverings embroidered with beads, in combination with clothes, probably of a blind cut, without waist details. The majority of ancient Russian burials of the Upper Volga region are characterized by a headdress with bracelet-shaped temporal rings in combination with clothing, mainly with breast decorations (bead necklaces), without belt details.

Sometimes a complex of things and heterogeneous fabrics in the composition of one burial allows one to make assumptions about the composition of the women's costume. So, for example, the women's costume from mound No. 109 of the Izbrizh burial ground included a shirt, the sleeves and collar of which were sheathed with woven braid of red and blue threads; probably a poneva-type loincloth made of checkered woolen fabric. The woman's headdress included bracelet-shaped temporal rings (3 on each side) suspended vertically on ribbons.

The chest area of ​​the costume was decorated with a necklace of beads, beads and coin-like pendants. A purse was probably hung from the belt, in which were a whorl and a comb. The belt was decorated with bronze bells. The costume was complemented by bracelets (2 on each hand) and rings (see Appendix 3).

In female burials of the Upper Volga region, cases of decorating both hands with bracelets were recorded (11% of burials). It is interesting to note that there are the same type, "paired" bracelets (for example, 2 bronze darts each). Their small diameter (5-7 cm) attracts attention. Thus, when put on, they slightly unbent and fit snugly enough to the hand. In some cases, the remains of textiles from the sleeves were found on their inner side. The above facts make it possible to assume that in such cases the bracelets were not only an ornament, but could also hold long or wide sleeves on the wrists. A shirt with long sleeves covering the wrist existed until the beginning of the 20th century. and was typical for many regions of Russia. Probably, the complexes with “paired” bracelets that we have studied can be associated with this type of clothing. shirt with very long sleeves. The existence of such clothing in the Old Russian period is confirmed by the images on the bracers themselves and Old Russian miniatures. This clothing existed until the beginning of the 20th century; such shirts are known, originating from the Pskov, Smolensk regions. Perhaps, the complexes with "paired" bracelets studied in the Upper Volga region can also be associated with this type of clothing. However, "asymmetric" wearing of bracelets prevails - on one hand. The bracelets could move freely on the arm (their diameter is 7-10 cm) and most likely played an exclusively decorative role in the costume.

"YU. V. Stepanova COSTUME OF AN OLD RUSSIAN MAN: RECONSTRUCTION ACCORDING TO ARCHEOLOGY DATA TVER 2014 Stepanova Yu.V. Ancient Russian man costume: reconstruction...»

-- [ Page 1 ] --

Russian Humanitarian Science Foundation

Tver State University

History department

Department of National History

Yu. V. Stepanova

COSTUME OF ANCIENT RUSSIAN MAN:

RECONSTRUCTION ACCORDING TO ARCHEOLOGICAL DATA

Stepanova Yu.V. The costume of an ancient Russian man: reconstruction according to

archeological data. - Tver, 2014.

The book examines archaeological materials that give

the opportunity to study the ancient Russian costume - its composition, individual details and general appearance. Written, visual sources of the X-XVII centuries are also involved. and ethnographic materials of the XVIII-XX centuries. Sections are devoted to clothes, jewelry, sets of women's and men's costumes.

The socio-age and local features of the Old Russian costume of various territories of Ancient Rus' are studied.

The evolution of the Russian costume during the X-XVII centuries is considered.

The work is intended for a wide range of readers, including both specialists - historians, archaeologists, museum workers, students of history, and amateurs interested in the history of Ancient Rus', schoolchildren, members of historical reconstruction clubs.

© Yu.V. Stepanova, 2014 © Russian Humanitarian Science Foundation © Tver State University, 2014

FOREWORD

What did the ancient Russian look like? Neither utensils, nor household tools, nor weapons give us the opportunity to imagine the appearance of a person as vividly as clothes, jewelry, headdress and shoes allow us to do.

Clothing and jewelry were very important to the people of the Middle Ages. It is no coincidence that in Russian fairy tales and epics they are sometimes endowed with magical properties. Many of them tell about Russian beauties and their magical outfits, about craftswomen who mastered skillful sewing and embroidery. Let us recall at least the Frog Princess, Vasilisa the Beautiful and Mary the artisan.

A suit is an ensemble, a complex, in the center of which is a person. This complex combines clothes, shoes, as well as additional items for decorating both clothes and body parts, or accessories, as well as cosmetics, hair, make-up. Clothing is understood as a set of separate types of body coverings (dress, shirt, stockings, etc.). The suit combines practical and aesthetic functions, helping a person to organize life, work and communication. Any traditional costume, including ancient Russian, is not something static, frozen. In the process of its formation over the centuries, its appearance was affected by changes in life, social structure, interconnection and influence of various peoples. Most of these changes left a mark in the complex of the folk costume as a whole (the appearance of new elements) or in various components (material, cut, ornaments) and use (manner of wearing). All this makes the traditional costume the most important source for studying the origin of ethnic groups, their historical fate, cultural ties and contacts.

Old Russian costume has long been the subject of special study for representatives of many disciplines: historians, art historians, ethnographers, archaeologists, restorers, jewelers, philologists. Theoretical questions of the history of the Russian traditional costume were developed in ethnographic research. Large independent sections are devoted to the Russian folk costume in historical and ethnographic atlases, reference books on the history of clothing1. Ethnographic materials make it possible to consider the problems of the typology of the Russian costume, to identify the types of everyday and festive, ritual clothing, social-age and territorial complexes2.

The costume is traditionally considered by researchers in two main aspects: functional and symbolic3. It is the full complex of clothing and other details of the costume that depends on the conditions dictated by practical purposes, and includes shades of symbolic meaning.

The cover was created by man to protect the body from the effects of the environment: cold, heat, atmospheric phenomena, helped him in adapting to external conditions. However, already in the early stages of the development of society, a person made attempts to designate himself, to come up with signs that give an idea of ​​him and his actions. Coloring the body, applying signs to it, tattooing, a special hairstyle corresponded to the psychological appearance of people, their worldview. Thus, clothing and accessories appeared simultaneously, and if the functional side of the costume, its subordination to specific conditions, is manifested in clothing, then individual elements of its design, a certain set of accessories were designed to correspond to the peculiarities of the worldview, behavior, and established tradition existing in society. Here the Russians play a decisive role. Historical and ethnographic atlas. M., 1967, 1970. T. 1-2; Russian traditional costume. Encyclopedia / comp. N. Sosnina, I. Shangina. SPb., 1998.

Voronov V. Peasant art. M., 1924; Grinkova N.P. Ancestral remnants associated with division by sex and age: Based on materials from Russian clothing // SE, 1936, No. 2; Zelenin D.K. East Slavic ethnography. M., 1991; Maslova G.S. Clothes // Ethnography of the Eastern Slavs. M., 1987.

Maslova G.S. Folk clothes of Russians, Ukrainians and Belarusians in the 19th - early 20th centuries. // East Slavic ethnographic collection. M., L., 1956; She is. Ornament of Russian folk embroidery as a historical and ethnographic source. M., 1978; She is. Folk clothes in East Slavic traditional customs and rituals M., 1984; Kalmykova L.E.

Folk art of the Tver land. Tver, 1995.

it was not the convenience of practical wearing that played, but the perception of the suit by oneself and other people.

The study of Russian costume X-XIII centuries. is complicated by the fact that its complete samples are practically not preserved.

This circumstance makes an integrated approach particularly relevant for its researchers, involving the use of all types of historical sources:

archaeological, written, pictorial, ethnographic.

Written sources contain, as a rule, only fragmentary information about the appearance of ancient Russian people and their clothes. Birch bark letters and chronicles allow us to judge the names of clothes, the material from which they were made, their belonging and place in the general ensemble, and even cost. But in rare cases, one can accurately imagine how one or another element of the costume was cut, sewn, fastened, worn, and ultimately looked like. Old Russian pictorial sources are few and controversial. As a rule, the names of ancient Russian clothes, known from written sources, are very difficult to correlate with images or archaeological finds. However, in combination, these sources complement each other and make it possible to form a relatively complete picture of the costume and its individual elements, and sometimes even trace patterns in its development.

Fragmentary data from pictorial and written sources turn out to be more informative when compared with archaeological materials. They are the main ones for most researchers of the Old Russian costume. Archeology usually deals with costume accessories. They make up a significant part of the circle of Russian antiquities - basically, these are various decorations and fasteners. Archaeologists find a wide variety of jewelry, fasteners and scraps of clothing, for every taste - from the boyar, and the commoner, the noble townswoman-fashionista and the simple resident of the countryside.

So, archaeological materials are of particular importance for the study of ancient Russian costume. In this book, the ancient Russian costume is considered on the basis of archaeological sources, supported by written evidence and images.

RESEARCH ON THE HISTORY OF THE OLD RUSSIAN COSTUME

In the studies of M.A. Saburova, A.V. Artsikhovsky and M.G.

Rabinovich, a systematic description of the costume is presented, including a description of the material of clothing, its cut, ornament, the most important items of clothing, a complex of rural and urban costumes, and its functions in the family and society4. These studies used a wide range of archaeological and ethnographic sources, images, descriptions in medieval literary works, acts and other written monuments. These works also demonstrated the difficulties of such an integrated approach. After all, written sources contain, as a rule, only fragmentary information about the appearance of ancient Russian people and their clothes. Old Russian pictorial sources are few and controversial. As a rule, the names of ancient Russian clothes are difficult to correlate with images or archaeological finds.

Costume researchers focused on the study of funerary monuments and burials performed according to the rite of inhumation (corpse placement). They are the main sources for the reconstruction of the costume, since the set of inventory in the burial, preserved “in situ” (“in their places”), allows us to consider jewelry and clasps as parts of a single complex. Therefore, a significant number of scientific works on this topic are directly devoted to the analysis of the location of objects in specific burials and the reconstruction of specific elements of the costume based on these data. Maria Andreevna Saburova was one of the first in Russian archeology who specifically considered the possibilities of reconstructing a costume according to

Saburova M.A. Old Russian costume // Ancient Rus'. Life and culture. M., 1997;

Rabinovich M.G. Old Russian clothes of the 9th-13th centuries. // Ancient clothing of the peoples of Eastern Europe. M., 1986; Artsikhovsky A.V. Clothes // Cultural History of Ancient Rus'. M., L.,

materials of ancient Russian funerary monuments and developed methods for the reconstruction of ancient Russian headdresses5. She also wrote a generalizing work on the history of ancient Russian costume, which not only took into account the categories of ancient Russian jewelry, but also, which is especially valuable, for the first time summarized data on numerous fragmented finds of clothing6.

Reconstructions of costumes and their individual elements based on a wide range of burial materials were proposed by N.V. Khvoshchinskaya7, E.A.

Ryabinin8, N.A. Makarov9, V.P. Levashova10, M.A. Saburova and A.K.

Elkina11, N.B. Krylasova12, M.S. Pavlova13, A.G. Shpilev14, Yu.V.

Stepanova15. The study of clothing and jewelry of the East Slavic Saburova M.A. Women's headdresses among the Slavs // SA. 1974. No. 2. S. 85-97; She is. About women's headdresses with a rigid base in the monuments of pre-Mongolian Rus // KSIA.

Issue. 144. M., 1975. S. 18-22; She is. Woolen headdresses with fringe from Vyatichi barrows // SE. 1978. No. 3. S. 57-65.

Saburova M.A. Old Russian costume.

Khvoshchinskaya N.V. New data on men's clothing in the western outskirts of the Novgorod land // KSIA. Issue. 179. M., 1984. pp. 39-45; She is. On the peculiarities of the costume of the population of the East Baltic region // Antiquities of the North-West of Russia.

SPb., 1993. S. 157-167; She is. Finns in the West of the Novgorod Land (Based on the Materials of the Zalakhtovye Burial Ground). St. Petersburg, 2004.

Ryabinin E.A., Khvoshchinskaya N.V. Culture of the Baltic-Finnish and Russian population of the northwestern regions of the Novgorod land at the present stage of its archaeological study // Finns in Europe. VI-XV centuries. Issue. 2. Rus', Finns, Saami, beliefs. M., 1980.

Makarov N.A. The population of the Russian North in the XI-XIII centuries. M., 1990.

Levashova V.P. Corollas of women's headdress from burial mounds of the 10th-12th centuries. // Slavs and Rus'. M., 1968.

Suzdal // Materials on medieval archeology of North-Eastern Rus'. M., 1991.

Krylasova N.B. The costume of the medieval population of the Upper Kama region // Problems of the Finno-Ugric archeology of the Urals and the Volga region. Syktyvkar, 1992, pp. 136-142; She is.

The history of the Kama costume. Perm, 2001.

Pavlova M.S. Women's costume and the structure of traditional society: the experience of building a model // Research of archaeological monuments of the Middle Ages. SPb., 2008.

Shpilev A.G. Burials with head rims and chalices as indicators of ethnocultural and political processes in the Upper Psla in the 11th century. (Based on the materials of the Gochevsky barrow necropolis). // Kulikovo field and South-Eastern Rus' in the XII-XIV centuries.

Tula, 2005, pp. 192-215.

Stepanova Yu.V. Ancient Russian burial costume of the Upper Volga region. Tver, 2009.

tribes was engaged in V.V. Sedov16. T.G. Saracheva and A.S. Agapov studied ways of wearing temporal ornaments17. Based on the materials of the Upper Volga burial sites, the reconstruction of the costume and its individual elements was carried out by F.Kh. Arslanova18, I.V. Islanova19, A.N.

Khokhlov and A.S. Dvornikov20, Yu.V. Stepanova21. Studying the burial materials of various parts of Ancient Rus', the researchers noted the diversity of burial costume complexes, highlighting the local complexes of the female costume, reflecting the ways of its formation and the multi-ethnic character of the population of these territories in ancient Russian times.

A significant part of the well-known categories of ancient Russian things refers to costume accessories. Thus, for a researcher of Old Russian costume, it is especially important to study the typology of Old Russian things, their chronology and territorial distribution. Currently, archaeologists rely on a number of type-chronological scales of certain categories of things, studies of their morphology, technology and origin23. These works are especially important in connection with the solution of the problem of the chronology of the ancient Russian costume.

Sedov V.V. Eastern Slavs in the VI-XIII centuries. Archeology of the USSR. M., 1982; He is. Essays on the archeology of the Slavs. M., 1994.

Agapov A.S., Saracheva T.G. On the ways of wearing temporal rings // RA. 1997. No. 1.

Arslanova F.Kh. Pagan symbols in women's clothing in the first half of the 11th century. // Problems of studying the era of primitiveness and the early Middle Ages of the forest zone of Eastern Europe. Issue 1. Ivanovo, 1994;

Islanova I.V. Elements of women's costume XI-XII centuries. Molozhsky region // Problems of studying the era of primitiveness and the early Middle Ages of the forest zone of Eastern Europe. Issue. III. Ivanovo, 1996; She is. Costume and orientation of the burials of the Fedovsky burial ground // Archeology and history of Pskov and the Pskov land. Pskov, 1998.

Khokhlov A.N., Dvornikov A.S. To the reconstruction of the headdress from the Sukhodolsk mounds // Archeology and history of Pskov and the Pskov land. Pskov, 1988.

Stepanova Yu.V. To the question of the clothes of the ancient Russian population of the Tver Volga region (based on the materials of the Izbrizh necropolis) // Tver, Tverskaya land and adjacent territories in the Middle Ages. Issue 3. Tver, 1999.

Kolchin B.A. Chronology of Novgorod antiquities // Novgorod collection. 50 years of excavations in Novgorod. M., 1982; Levashova V.P. Temporal rings // Essays on the history of the Russian village X-XIII centuries. Proceedings of GIM. Issue. 43. M., L., 1967; Lesman Yu.M.

Funeral monuments of the Novgorod land and Novgorod (problems of synchronization) // Archaeological research of the Novgorod land. L., 1984; He is. Chronology of jewelry of Novgorod (X-XV centuries) // Materials on archeology of Novgorod. 1988.

M., 1990; Malm V.A. Belt and harness decorations // Yaroslavl Volga region X-XI centuries.

Materials of ethnography of Russia in the 18th–20th centuries. show that each of the social and age groups of the population had its own type of costume.

The peasant costume was a reflection of the position of a person in the family and at the same time was evidence of his wealth. Ethnographers noted that each age group occupied a special place in the creation of material wealth, which was reflected in the wearing of a certain type of clothing. The transition from one group to another was accompanied by certain rituals, in which a certain type of costume also took part. The division of society into social age groups can be traced from ancient times. The reflection of this phenomenon in the costume persisted until the 20th century. The typology of ancient Russian funeral clothing was proposed by M.A. Saburova24. Age features of the costume were studied by B.A. Rybakov based on the excavations of Chernigov25. Social and age features are also traced in the burial costume of the Upper Volga region26.

Ways of wearing individual items as part of a costume have been reconstructed by many researchers. N.V. Zhilina studied the design features and ways of wearing ancient Russian precious attire27, S.S. Ryabtseva - composition and variants M., 1963; Nedoshivina N.G. Rings // Essays on the history of the Russian village X-XIII centuries.

Proceedings of GIM. Issue. 43. M., 1967; Sedova M.V. Jewelry of Ancient Novgorod.

M., 1981; Shchapova Yu.L. Glass beads of Ancient Novgorod // MIA. No. 55. M., 1956.

Saburova M.A. Funeral Old Russian clothing and some questions of its typology // Antiquities of the Slavs and Rus'. M., 1988. S. 266-272.

Rybakov B.A. Antiquities of Chernigov // MIA. No. 11. M., L., 1949.

Stepanova Yu.V. Socio-age complexes of the ancient Russian funeral costume // Problems of the socio-political history of Russia: Sat. scientific tr. Tver, 2006.

Issue. 4. S. 42-50.

Zhilina N.V. Old Russian cassock // Origins of Russian culture. Materials on the archeology of Russia. Issue. 3. M., 1997; She is. Reconstruction of a metal headdress based on treasures from the second half of the 11th - early 12th centuries. from the territory of the Krivichi and Slovenes // Archeology and history of Pskov and the Pskov land. Materials of scientific seminar. Pskov, 2001; She is. The evolution of the temporal pendant of the Slavic-Russian metal headgear // KSIA. Issue. 213. M., 2002; She is. Russian jewelry // Motherland. M., 2002. No. 11-12;

She is. Ancient Russian Precious Garment: Traditions and Influences (on the Example of Temporal Jewelry) // Ancient Rus'. Questions of medieval studies. No. 3(21). M., 2005; She is. Embossed ancient Russian jewelry based on the materials of ancient Russian treasures28.

Ornaments of urban costume were studied by L.V. Pokrovskaya based on the materials of the estates of ancient Novgorod29.

Leather footwear, which is one of the most common categories of finds in the cultural layer of ancient Russian cities, was studied by S.A.

Izyumova30, A.V. Kurbatov31 and other researchers. The types of ancient Russian footwear, its development and connection with European medieval fashion were considered.

The remnants of textiles from clothing are preserved mainly in the wet layers of ancient Russian cities. A series of such finds were devoted to the works of M.I. Levinson-Nechaeva32, A. Nakhlika33, O.I. Davidan34, L.I. Yakunina35, M.V. Fechner36. The latest research on various dressings according to ancient Russian treasures of the 10th-13th centuries. (from ornamental corrugation to the emblem of princely power) // Stratum plus. No. 5. 2010. P. 23-146.

Ryabtseva S.S. Old Russian jewelry. Main tendencies of formation.

Pokrovskaya L.V. Novgorod clothes pins (X-XIII centuries) // Historical archeology: traditions and perspectives. To the 80th anniversary of the birth of D.A. Avdusin. M.,

1998. S. 175-181; She is. Ornaments of the Baltic and Finno-Ugric origin of medieval Novgorod: systematization, chronology, topography. Abstract cand.

diss. M., 1998; She is. Finno-Ugric decorations in the urban attire of medieval Novgorod // Novgorod and Novgorod land. History and archeology. Velikiy Novgorod,

2000. S. 139-149; She is. Pendants of Lyudin at the end of medieval Novgorod: chronology (based on the materials of the Trinity excavation site) // Novgorod and the Novgorod land. Issue 18. Veliky Novgorod, 2004, pp. 161-175; She is. Jewelry complex of the estate V of the Trinity excavation // Novgorod and the Novgorod land. Issue. 19. Veliky Novgorod, 2005.

Izyumova S.A. To the history of leather and shoe crafts of Veliky Novgorod // MIA. 1959. No. 65. S. 182-193.

Kurbatov A.V. Early medieval footwear of Staraya Ladoga and questions of the formation of urban crafts // Tver, Tverskaya land and adjacent territories in the Middle Ages. Tver, 1996. S.105-114; He is. Shoe fashion in medieval Rus' (based on finds from excavations in Tver) // Archeology, history, numismatics, ethnography of Eastern Europe. St. Petersburg, 2004. S. 102-116.

Levinson-Nechaeva M.I. Weaving // Essays on the history of the ancient Russian village X-XIII centuries. Proceedings of GIM. Issue. 33. M., 1959. S.12-18.

Nakhlik A. Fabrics of Novgorod // MIA. No. 123. M., 1968. S. 228-313.

Davidan O.I. Fabrics of Staraya Ladoga // Archaeological collection. Issue. 22. L., 1981. WITH.

Yakunina L.I. Fabrics from the excavations in the St. Sophia Cathedral in Novgorod // KSIIMK. Issue.

XXIV. M.-L., 1949. S. 105-107; She is. About three kurgan tissues // Proceedings of the State Historical Museum. Issue. XI.

Findings of textiles, originating from various monuments of Rus' in the 10th-17th centuries, significantly expanded the knowledge base about the technology of making clothes, made it possible to significantly advance in understanding the origin of its individual types37.

All researchers noted that the possibilities of costume reconstruction based on burial data are limited due to the poor preservation of organic materials and the absence of clothing remnants sufficient to reconstruct its cut. In this regard, the works raised such issues as the use of ethnographic data for the study of ancient costume and the development of field research methods, the use of natural science methods to study the remains of the costume.

It is an indisputable fact that the archaeological data on Ancient Rus' and the data of ethnographic sources of the 18th–20th centuries. are separated by a significant chronological period, as a result of which direct analogies, especially in the reconstruction of individual copies of the costume, are illegal. At the same time, when identifying certain types of clothing, researchers use the costume typologies developed by ethnographers. So, in the works of M.A. Saburova, V.V. Sedova, N.V.

Zhilina, A.G. Shpileva, O.V. Orfinskaya, Yu.V. Stepanova on the materials of M., L., 1940. S. 147-158; She is. Fragments of fabric from Old Ryazan // KSIIMK. Issue.

XXI. M., L., 1946. S. 126-127.

Fekhner M.V. Golden embroidery of Vladimir-Suzdal Rus' // Medieval Rus'. M., 1976; She is. Silk fabrics in medieval Eastern Europe // SA. 1982. No. 2; She is. Fabrics from Gnezdovo // Archaeological collection. Proceedings of GIM. Issue. 111. M., 1999. S. 9Zubkova E.V. Orfinskaya O.V. Preliminary results of the study of textiles from burial No. 3 of the Starovoznesensky IV excavation site in Pskov // Archeology and history of Pskov and the Pskov land. Pskov, 2008, pp. 56-75; Orfinskaya O.V. Experience in the study and reconstruction of products from archaeological textiles // Integration of archaeological and ethnographic research. Kazan, Omsk, 2010. Part I. S. 369-372; She is.

Studies of organic materials from two burials of the Kholmy barrow // Archeology of the Moscow region. Issue. 7. M. 2011. S. 412-421; Orfinskaya O.V., Mikhailov K.A.

Old Russian dress from Izyaslavl: new attribution // RA. 2013. No. 4. S. 75-85; Pushkina T.A., Orfinskaya O.V. Textiles from the female chamber burial Ts-301 in Gnezdovo // Archeology and history of Pskov and the Pskov land. Seminar named after Academician V.V. Sedov.

Materials of the 57th meeting. M., Pskov, 2011. S. 92-99. Other works by O.V. Orfinskaya.

specific monuments were compared with ethnographic data. The obtained conclusions testify to the legitimacy of these comparisons.

Thus, when studying and reconstructing an ancient costume, knowledge of relic clothing, its typology and formation patterns is necessary. This allows us to confirm and clarify the conclusions about the types of costume, their cultural interpretation and chronology.

Russian late medieval costume became the subject of research by both historians and art critics, restorers and artists. To the history of traditional costume in the context of Russian culture and life of the XV-XVII centuries. Researchers of the 19th - early 20th centuries turned to Russian costumes of the late Middle Ages. Special studies by M.G. Rabinovich and A.V. Artsikhovsky39. In these works, as in most other studies of the late medieval costume, mainly pictorial and written sources on the history of costume are considered. A feature of the study of late medieval costume is the active involvement of data from the late ethnography of Russia. The use of ethnographic materials makes it possible to clarify the meaning of many terms of the 16th–17th centuries, denoting the details of the costume. Obviously, many types of clothing of the XVI-XVII centuries.

continued to be worn in the urban and peasant environment and at a later time, which allows us to trace the continuous history of individual forms

Kostomarov N.I. Essay on domestic life and customs of the Russian people in the 16th and 17th

centuries. St. Petersburg, 1860; Zabelin I.E. Home life of Russian queens in the XVI-XVII centuries.

Novosibirsk, 1992; Prokhorov V.A. Materials on the history of Russian clothes and the situation of folk life, published by the highest permission of V. Prokhorov. SPb., 1881.

Rabinovich M.G. Essays on the material culture of a Russian feudal city. M., 1988; He is. Russian clothes of the 13th–17th centuries. // Ancient clothing of the peoples of the East

Europe. M., 1986; Artsikhovsky A.V. Clothing // Essays on Russian culture of the XIII-XV centuries. Ch 1:

material culture. M., 1968.

costume40. Among the latest special works, considering the totality of written and visual sources on the history of the costume of the XV-XVIII centuries. – research by A.E. Zhabrevoy41.

The topic of costume is touched upon in studies devoted to various aspects of the history of Russian culture. In recent years, changes in costume and fashionable influences in late medieval costume were considered as part of the socio-cultural processes that preceded the changes in Russian culture that occurred at the beginning of the 18th century. Both jewelry43 and shoes44 and textile remains45 have been studied. Relevant for the study of the late medieval costume, as well as for the costume of the previous period, are the studies of certain categories Rabinovich M.G. Essays on material culture…

Zhabreva A.E. Typology of sources of the XV-XVIII centuries on the history of Russian costume:

lang., 1710-2007. St. Petersburg, 2008; She is. Russian costume in Western European engraving of the 16th century:

truth and fiction // Stratum plus. 2014. No. 5. S. 177-195.

Pushkareva N.L. Decree. op.; Sedov P.V. Reform of service dress under Fyodor Alekseevich // When young Russia was masculine with the genius of Peter. Pereslavl-Zalessky,

1992. Issue. 1. S. 77–84; Buseva-Davydova I.L. "Own" and "foreign" in Russian culture of the 17th century // Art History: Journal of Theory and History of Art. M., 1998. No. 2. S. 271–302; Shamin S.M. Fashion in Russia in the last quarter of the 17th century // Ancient Rus'.

Questions of medieval studies. M., 2005. Issue. 1. S. 24-38.

Sedova M.V. Decree. op.; Kozlova A.V. Metal decorations and household items of the eastern tradition of the 10th–15th centuries from excavations in Pskov // Archaeological and history of Pskov and the Pskov land. Pskov, 2007; Soldatenkova V.V. Metal details of clothing and decorations in urban costume of the 15th-16th centuries. (According to the materials of excavation 56 on the territory of Zatmatsky Posad, Tver.) // KSIA. Issue. 222. M., 2008.

Veksler A.G., Osipov D.O. Leather shoes from excavations at Manezhnaya Square in Moscow (based on materials from 1994) // Tver, the Tver land and adjacent territories in the Middle Ages. Issue 2. Tver, 1997. S.291-297; Kurbatov A.V. Leather production of Tver XIII-XV centuries. St. Petersburg, 2008; He is. Complex of early Moscow time from Zatmatsky Posad of Tver // Archeology and history of Pskov and the Pskov land: Proceedings of the 50th scientific seminar. Pskov, 2004. S. 268-282; Osipov D.O. Leather shoes from excavations in Moscow. Abstract cand. ist. Sciences. M., 2003.

Golikov V.P., Pshenichnova E.A. Study of woolen fabric of the 17th century. from Zaryadye // Archaeological monuments of Moscow and the Moscow region. M., 1996. S.153-156; Yolkina I.I. Archaeological textiles from excavations in Romanov lane in Moscow // Problems of the history of the Moscow region. Abstracts of reports of the regional conference dedicated to the 70th anniversary of the formation of the Moscow region. M., 1999. S. 13-14.

decorations, mainly based on materials from excavations of ancient Russian cities. A special category in the historiography of the late medieval Russian costume is the study of clothes discovered in the tombs of monasteries. The remains of textiles and clothes from the monasteries of Suzdal, Moscow, Moscow and other regions were studied46.

Archaeological finds of textiles and other organic remains of the costume are investigated using natural scientific methods.

A feature of the study of Russian costume of the XV-XVII centuries. is the fact that many samples of medieval clothing have been preserved, which have repeatedly become the subject of research by historians, art historians and restorers47. Significant collections are made up of clothes stored in the Armory of the Moscow Kremlin and the State Historical Museum. Among the surviving specimens are caftans, feryazi, fur coats and other types of clothing, including those belonging to the Russian tsars. There are also numerous items of church

Vidonova E. S. Children's clothing at the beginning of the 16th century. // KSIIMK. Issue. XXXVI. M., L, 1951;

Koshlyakova T.N. Men's shirts of the late 16th - early 17th centuries. from the burials of Tsar Fyodor Ivanovich, Tsarevich Ivan Ivanovich and Prince M.V. Skopin-Shuisky in the Archangel Cathedral of the Moscow Kremlin // Ancient clothes of the peoples of Eastern Europe. M., 1986;

Elkin. I.I. Clothes, headdresses and funeral vestments from the tomb of the Romanov family // Problems of a comprehensive study of church and monastery necropolises.

Zvenigorod, 2003; She is. Hairdressers of the 16th-17th centuries from the burial of the Zachatievsky Monastery in Moscow // RA. 2009. No. 2. S. 142-149; Yolkina I.I., Yolkina A.K. Textile archaeological finds of the 16th–17th centuries. from the tomb of the Romanov boyars in the Novospassky Monastery // Orthodox Art and the Savvino-Storozhevsky Monastery. Proceedings of scientific conferences dedicated to the 600th anniversary of the Savvino-Storozhevsky Monastery, December 17, 1997 and September 22, 1998. Zvenigorod, 1998, pp. 48–50; Elkina I.I., Stanyukovich A.K. Medieval women's headdresses from the tomb of the Romanov boyars in the Moscow Novospassky Monastery: history, materials, technology and manufacturing techniques // Archaeological monuments of Moscow and Moscow region. Part III. M.,

2000. S. 193-199; Necropolis of Russian Grand Duchesses and Tsarinas in the Ascension Monastery of the Moscow Kremlin: In 4 vols. Vol. ed.-st. T.D. Panov. M., 2009.

Klein V. Foreign fabrics that existed in Russia until the 18th century and their terminology. M., 1925; Levinson-Nechaeva M.N. Clothes and fabrics of the XVI-XVII centuries. // State Armory of the Moscow Kremlin. M., 1954. S. 307-384; Efimova L.V., Aleshina T.S., Samonin S.Yu. Suit in Russia. XV - beginning of XX century. M., 2000; Vishnevskaya I.I.

Precious fabrics. M., 2002; She is. Vestments of the XV-XVII centuries of the sacristy of the Solovetsky Monastery from the collection of the Moscow Kremlin museums [Electronic resource].

http://haidar.mrezha.ru/ Vestments originating from the sacristies of monasteries, now kept in various museums.

Important for understanding the sources on the history of the costume of the XV-XVII centuries.

are works on the history of gold embroidery48 and other categories of works of medieval applied art49.

Shchepkina M.V. Image of Russian historical persons in embroidery of the 15th century. M., 1954;

Svirin A.N. Old Russian sewing. M., 1963; Mayasova N.A. Old Russian sewing. M., 1971; She is. Old Russian facial sewing. M., 2004.

Decorative and applied art of Veliky Novgorod: Artistic metal. M., 1996; Popov G.V., Ryndina A.V. Painting and applied art of Tver. M., 1979.

SOURCES

Work on the study of the complex of ancient Russian costume is inextricably linked with the study of medieval antiquities in general. However, this contains both the advantages of archaeological sources on the history of clothing and costume, and the difficulties associated with their study.

The short-lived basis of external decoration, its forms are practically absent, the clothing itself, the “background” on which accessories are superimposed, as a rule, disappears. In this regard, the most informative in the study of ancient Russian costume are the materials of funerary monuments. In the burials, things retain their original position, the details of the costume lie “in their places”, which makes it possible to imagine how they were connected in a common ensemble. Finds of textiles are usually fragmentary, but the location of various decorations and fasteners related to the costume fixes parts of the clothes that have not been preserved and allows us to make an assumption about their composition and cut.

Burial plan in the Gorbunovo burial ground (Tver region). Excavations by S.A.

Gatsuka, 1903

Sketches of the arrangement of things in the burials of the Glinniki burial ground (Tver region). Excavations by Yu.G. Gendune, 1905

Drawings of the location of things in the burials of the burial grounds: 1 - Khilovo (excavations by S.A. Gatsuk, 1902), 2 - Yagodino (excavations by S.A. Gatsuk, 1902), 3 - Berezovets burial ground (excavations by A.V. Uspenskaya , 1970); , 1985) (all - Tver region). Drawings by Yu.V.

Stepanova.

Of course, the question arises: is it possible to judge the life costume by the funeral costume? Studies by ethnographers show that often a person was buried in clothes specially made for funerals.

Sometimes such clothes were prepared by older people for themselves. To create funeral clothes, special techniques were used: for example, when making seams, the needle was directed with the tip away from oneself; seams were made only by hand (not on a sewing machine), sewn with the left hand, in such clothes they tried to avoid the use of buttons and other metal parts.

Scraps of cloth from clothes were placed in the coffin50, or buried, thrown away, like other items that were used in the preparation of the funeral. Sometimes the funeral clothes were put on with the seams up, the outer clothes were often not worn at all. All this ethnographic information speaks of the funeral costume as a special one, designed to separate the deceased from the world of the living and to protect the living from the dead.

At the same time, according to ethnographic data, another functional orientation of funeral clothes can be traced - to be a sign of the life path traveled and at the same time ensure, according to the idea of ​​the afterlife, the natural continuation of a person's life in it. G.S. Maslov based on the materials of ethnography of the 19th–20th centuries.

identified several options for clothing that served as funeral clothing, including wedding and festive clothing; clothes that a person wore before death and clothes that were previously or re-sewn51.

Burial clothes corresponded to the social and family status of a person. An unmarried girl was buried in a bride's attire, a married woman - in a festive one, an old woman - in a more modest one, corresponding to the dress in which she died. According to archeology, the existence of a similar custom in Ancient Rus' is confirmed. Based on materials from urban necropolises of the 10th–13th centuries. headdress decorations typical for girls, married young and elderly women and girls buried in a wedding dress52 were identified. Thus, the lifetime Zelenin D.K. could be used as a funeral. East Slavic ethnography. pp. 346-348.

Maslova G.S. Folk clothes in traditional East Slavic customs and rituals of the 19th - early 20th centuries. pp. 85-92.

Rybakov B.A. Antiquities of Chernihiv. pp. 54-57; Saburova M.A. Old Russian funeral clothes. M. 269-270.

clothes - both expensive festive and everyday. The description of the funeral of the Rus by the Arab traveler and writer Ibn Fadlan, who visited Bulgar as part of the Baghdad embassy in 921-922, testifies that pre-prepared ceremonial clothes were used for the burial rite: “So, they put on him trousers, and leggings, and boots , and a jacket, and a brocade caftan with buttons of gold, and put on his head a hat of brocade, sable "53.

G.I. Semiradsky. The funeral of a noble Russian. 1892.

State Historical Museum.

Old Russian burial mounds became one of the first types of monuments studied by Russian archaeologists. The period of formation of Russian archeology left a large amount of materials from excavations of burial sites of the ancient Russian period. The archaeological study of Ancient Rus' is largely based on the materials of pre-revolutionary excavations. In this regard, the question of the possibilities of attracting these

Cit. by: Herrman J. Slavs and Normans in the early history of the Baltic region //

Slavs and Scandinavians. M., 1996. S. 66-71.

materials at the present stage, the features of the field methodology and documentation of those years.

For the study of the costume according to archaeological data, this is especially important, since its reconstruction directly depends on the nature of the description of the burials, indications of individual nuances in the location of objects, and graphic fixation of the excavations. Accounting for the inventory of the excavated burials made it possible to identify the main details of the burial costume.

The organic details of the costume, represented by fabric, leather, birch bark, have been preserved only in fragments and prints on objects, so they do not allow us to accurately reconstruct the cut of clothes in each case. However, the location of the various details related to the costume fixes the missing parts of the clothes and allows us to make an assumption about their composition and cut. Accounting for things in the burials makes it possible to identify the main elements of women's and men's costumes. The zones in the burials correspond to the main parts of the costume: the headdress, clothes, including the zones for decorating the collar, chest, belt, hand decorations, and shoes. In addition, the mutual arrangement of things relative to each other provides additional opportunities for reconstructing the way of wearing and, in general, the appearance of one or another element of the costume.

On the territory of Ancient Rus', thousands of burials containing the remains of a funeral costume have been explored to date. Jewelry and details made of metal, glass, stone and other inorganic materials are best preserved in the cultural layer. A separate category is made up of finds of the remains of clothes and shoes - scraps of fabric, leather and other organic materials.

An important source for the study of ancient Russian jewelry is the materials of ancient Russian treasures.

Treasure discovered in 2013 at the site of Old Ryazan. Photo from the website of the Institute of Archeology of the Russian Academy of Sciences (http://archaeolog.ru/?id=2&id_nws=238&zid_nws=1).

Treasure from Old Ryazan, 1970 Photo: http://www.ryazanreg.ru/culture/object/

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Silver jewelry of the Novotorzhsky treasure in the layer of the fire in 1238. Torzhok, excavations in 2010 (after: Malygin P.D. Novotorzhsky treasure 2010 Torzhok, ANO NTAE, 2010).

Numerous decorations and costume fasteners also come from the excavations of ancient Russian cities. Unlike rural monuments, shoes and their fragments are well preserved in the wet layers of ancient Russian cities. Fragments of clothing are also known. From the urban layers of Toropets and Izyaslavl, two almost completely preserved samples of ancient Russian clothing come from. Although the finds in the urban layers do not represent single sets, studies of the composition of jewelry from individual estate complexes showed that the jewelry could be Korzukhina G.F. Russian treasures of the 9th-13th centuries M., L., 1954; Zhilina N.V. Scythes and useryazi of the Tver noblewoman // Tver archaeological collection. Tver, 2007. Issue. 6. Vol. II. P. 219Saburova M.A. Old Russian costume. S. 102.

belong to one owner, reflecting specific preferences in costume56.

Beads from Staraya Ladoga. Photo: http://www.museum.ru/alb/image.asp?8784 Pieces of a dress from Izyaslavl. Photo: O.V. Orfinskaya, K.A. Mikhailov Pokrovskaya L.V. Jewelry complex of the estate V of the Trinity excavation // Novgorod and the Novgorod land. Issue. 19. Veliky Novgorod, 2005, pp. 120-133.

Drawing the remains of a dress from Izyaslavl and its reconstruction according to M.A. Saburova (Saburova M.A. Reconstruction of ancient Russian clothes. P. 106-109).

Types of shoes from medieval Novgorod.

The source base for the study of Russian costume of the late Middle Ages differs significantly from the composition of sources for the history of costume in centuries. Funeral monuments of the rural population X-XIV are losing their significance due to changes in the funeral rite and the disappearance of a large number of grave goods from burials. Obviously, many categories of jewelry and costume details from earlier times continue to be used, but new forms of jewelry appear, associated with changes in the cut of the costume, new fashion trends and cultural borrowings. At the same time, the range of written and visual sources is expanding significantly.

Among the archaeological materials, the materials of excavations of medieval cities become the main ones for the study of late medieval costume. Findings from medieval tombs are extremely important. Finds of whole and fragmented clothes come from the tombs of the Moscow Kremlin, Suzdal, Zvenigorod.

Funeral clothing is represented mainly by underwear - shirts. In women's burials, headdresses of volosniks have been preserved.

The unique finds of textiles make it possible to make comparisons with the data of written and pictorial sources.

Dress of Maria Dolgoruky from the Ascension Monastery. 16th century According to N.P. Sinitsyna.

Photo: http://art-fenomen.ru/2010-09-04-19-17-47/58-2010-12-29-13-42-38 From the excavations of the cultural layer of ancient Russian cities, decorations and fasteners of the late medieval costume come from. These are earrings, beads and threads, which were components of various jewelry, clothes pins, rings, buttons and belt buckles.

*** Written testimonies contain quite a lot of mentions of clothing and jewelry. According to their descriptions, we can judge the material from which this or that clothing was made, its belonging to a certain person, and even the cost. To date, the corpus of written sources on the history of ancient Russian costume has expanded significantly due to new finds of birch bark letters.

The ideas about the composition of Old Russian clothes, which have expanded due to the analysis of archaeological data, and new data from written sources open up broader opportunities in the study of Old Russian costume. The corpus of written sources on the history of ancient Russian costume includes chronicles, birch bark letters, spiritual letters of Russian princes of the 11th–15th centuries, hagiographic works, travelogues, as well as foreign sources (for example, Ibn Fadlan's description of the appearance of the Rus).

The most informative written sources characterizing the Old Russian costume are birch bark letters - unique written sources on birch bark, preserved in the wet cultural layer of Old Russian cities. Among them are letters, lists of property, debt records57. Mention of the costume contains 41 letters on birch bark. Of these, 37 letters are from Novgorod, 2 from Torzhok, 1 from Pskov and 1 from Old Russian58. In total, the birch bark letters contain more than 70 references to clothing, jewelry and textiles.

Birch bark documents provide not only a significant amount of information about him. Their texts describe or indirectly illustrate specific life situations, which makes it possible to judge the meaning of certain types of clothing, the nature of their use and even cost.

Novgorod charter No. 141.

Late 60s - 70s. 13th century Nerevsky excavation. “At Sidor, Taduy and Ladopga (another option: at Sidor-Taduy, nicknamed Ladopga), Grishka and Kosta in suits Yanin V.L. I sent you a birch bark ... M., 1975.

Zaliznyak A.A. Old Novgorod dialect. M., 2004.

(tobolakh) [things]: Grishkins - fur coat, retinue, shirt (shirt), hat, Kostins - retinue, shirt; and [themselves] Kostina's bags; and [also] Kostina's boots, and the others Grishkins. And if something happens on Movozero, having sent [for things], he will take [them] (or: take it).”

Cit. Quoted from: Zaliznyak A.A. Old Novgorod dialect. M., 1995. S. 404.

The drawing of the letter is given according to: Artsikhovsky A.V., Borkovsky V.I. Novgorod letters on birch bark (from excavations in 1955). M., 1958. P.18.

Mentions of the costume and its details are found in ancient Russian chronicles. Sometimes these are separate names of clothes (for example, ports). But there are also chronicle stories that allow us to imagine the role of clothing or jewelry in a certain situation (for example, “the servants of the prince are all in black bluegrass”59), they call their owners (for example, Prince Yaroslav “sitting in a different place in black bluegrass and in a hood” 60). A number of these stories are repeatedly repeated in various chronicles (for example, the story of King Yakun, dressed in a golden cloak). Spiritual letters - testaments of Russian princes - contain descriptions of ceremonial princely clothes, including attributes - barm and precious belts.

Written sources of the XI-XV centuries. give more than 90 terms related to the costume. Of these, about 40 refer to clothing, 8 refer to different types or parts of headgear, 13 are ornaments, 16 refer to different types of fabrics, 3 are leather, another 10 are colors of clothes or fabrics, and 3 refer to shoes. The number of references to the costume in written sources is generally more than two hundred.

A large number of terms denoting clothing testifies to the complex composition, or rather, the multilayered nature of ancient Russian clothing. The most common is the common Slavic word "ports", which served to designate clothing in general. Other terms, which are much less common, can be attributed to various types of men's and women's clothing.

Ipatiev Chronicle. (PSRL. Volume two). M., 1998. S. 464.

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Only the term "shirt" can be unambiguously attributed to underwear.

("srachica", "shirt"). The use of the same word for both men's and women's underwear can be compared with archeological data. The materials of ancient Russian burials allow us to say that women's and men's underwear were similar:

they had a blind cut and a small slit in front61. Elegant shirts had low collars, embroidered with colored silk and gold threads.

Collars of ancient Russian clothing from the excavations of the Suzdal necropolis (Saburova M.A., Elkina A.K. Details of ancient Russian clothing based on the materials of the Suzdal necropolis // Materials on medieval archeology of northeastern Rus'. M., 1991. P. 53-78, fig.

Saburova M.A., Elkina A.K. Details of ancient Russian clothing based on materials from the necropolis

Suzdal. pp. 53-112; Stepanova Yu.V. Ancient Russian burial costume of the Upper Volga region.

S. 54; Engovatova A.V., Orfinskaya O.V., Golikov V.P.

Study of gold-woven textile products from the necropolises of the Dmitrov Kremlin // Rus' in the IX-XIV centuries:

interaction between North and South. M., 2005. S. 178-196.

Unlike underwear, outerwear is denoted by a much larger number of different terms. This is especially true for the rich clothes of the aristocracy.

The most frequently mentioned type of outerwear is the "casing", which, apparently, was the warmest (and outermost) clothing. For the manufacture of outerwear, as a rule, goat and sheep skins were subjected to dressing. It should be noted that leather garments are mentioned both in connection with the everyday life of the people and when describing the rich clothes of the aristocracy. They were also characteristic of the clergy: the casing is mentioned in the inventory of church property (Novgorod charter No. 64862). Probably, the casing was both men's and women's clothing. This is indicated by the mention of the casing in the lists of men's (Novgorod charters No. 14163 and 58664) and women's (Charter No. 42965) clothing. In charter No. 381, it is specified: “a blueberry casing for women”66.

Rich casings were made of well-dressed soft leather, dyed in various colors, embroidered with pearls, decorated with precious stripes from expensive fabrics. So, “blackened zhenchyuzhny casing”, “yellow obir casing”, two “casings from alam with zhenchug”

named in the spiritual charter of Ivan Kalita (1339)67. The Ipatiev Chronicle mentions "a casing... lace with gold flat stitching"68. Most often there are references to red casings: “blueberry casing”, “blackened casing”. The casing is found in the texts of birch-bark letters among the pledged things (letters No. 586, 141), in the list of dowry (letter No. 429). Simple casings were sewn from roughly dressed A. A. Zaliznyak. Old Novgorod dialect. pp. 444, 445.

There. pp. 493, 494.

–  –  –

Spiritual and contractual letters of the great and appanage princes of the XIV-XVI centuries. M.; L., 1950.

Ipatiev Chronicle. T. II. S. 273.

skin. In written sources, they are mentioned along with sackcloths (“robes are from sackcloth and sheepskin”69).

The available evidence from written sources about these clothes allows us to say that both clothes with sleeves and a type of cape could be called a casing: “and from the skins, a chasuble and a mantle even as a casing are known to be known” (XII–XIII centuries)70. It is also obvious that the casing could be made of both smooth leather and fur.

Archaeological remains of leather clothing are quite rare. They are practically unknown in burials and among urban materials, in contrast to leather shoes, which are well preserved in the wet layers of ancient Russian cities. Only indeterminate fragments and leather loops were found. In barrow No. 2 of the burial mound Pleshkovo 1 (Tver region), a fragment of leather and fur clothing was found in the chest zone. It was probably sewn inside with fur, since in the burial the clothing material was fixed upwards with a leather surface, and an air loop made of leather was sewn to it. Thus, taking into account the location of this fragment of leather clothing with a loop, it should be assumed that there was a leather garment of a swing cut, fastened with buttons using sewn-on loops71. According to ethnographic analogies, such clothes had a deep smell and were fastened with two or three air loops72.

Finds of clothes sewn with fur inside are known on the territory of Belarus73.

Along with the casing, there are references to "fur coats" in the sources. As well as the casing, this clothing is both male and female. It is quite possible that exclusively fur clothing was called a fur coat (for example, “sable coat”74).

Dictionary of the Old Russian language (XI-XIV centuries). M., 1991. S. 234. T. IV.

–  –  –

Stepanova Yu.V. Ancient Russian burial costume of the Upper Volga region. S. 58.

Maslova G.S. Cloth. pp. 259-291.

Laskavyi G.V., Duchits L.V. New data on the costume of the early medieval population of Belarus // Histarychna-Archealagic Collection. Minsk, 2000, pp. 62-65, fig. 4.

Moscow Chronicle of the end of the 15th century. (PSRL. T. XXV). M., 2004. S. 297.

Fur coat of hegumen Kirill Belozersky. Early 15th century (Romanenko E. Everyday life of a Russian medieval monastery. M., 2002, color insert).

Thus, the lower (shirt) and the uppermost (casing, fur coat) women's and men's clothing had the same names. Apparently, they were similar in their cut. In addition to these types of clothing, only certain decorations and clasps could be equally feminine and masculine.

Written sources testify that chains, earrings, hoops (bracelets), rings, sustugs (probably fasteners) could be worn by both women and men. The wearing of bracelets and rings and earrings in one ear by men is confirmed by the materials of ancient Russian funerary monuments75.

The remaining terms discussed below refer exclusively to men's or women's costume. It should be noted that the elements of the men's costume are mentioned much more often than the elements of the women's.

The ancient Russian men's costume, according to written sources, is described by 24 terms, while women's - only 13. At the same time, 21 of the “male” terms denote clothes, 3 – a headdress, and 1 – shoes, while 5 of the “female” terms denote parts of a headdress, another 5 – jewelry, and only 3 – clothes.

Data from written sources testify to the multi-layered nature of ancient Russian men's clothing. Along with the shirt, the single-mentioned shirt and sackcloth (monastic clothes made of coarse wool) can be attributed to the lower clothing. Over the bottom, clothes were worn that differed in cut, material and method of wearing.

A number of concepts refer to upper shoulder clothing such as capes. Perhaps this is the only type of clothing designated by such a number of terms: “korzno”, “myatl”, “luda”, “kots”, “yapkyt”, “manatya”. It is logical to assume that each of these names denotes some special type of cape. Consideration of each term separately makes it possible to clarify what kind of capes they were, and how they differed from each other.

"Luda". All references to this clothing dating back to the 12th century allow us to say that the luda is a rich, shiny cape embroidered with gold.

For example, this is evidenced by the description in the PVL of the Varangian king Yakun “and Yakun was blind and his luda was torn with gold”76. In the Novgorod charter No. 429, ludits (cloak?) are mentioned in the list, probably dowry, along with Stepanova Yu.V. Ancient Russian burial costume of the Upper Volga region. pp. 63, 64.

Laurentian Chronicle. (PSRL. Volume One). M., 2001. S. 148.

expensive jewelry - wearers, necklaces, pins, i.e. expensive things.

–  –  –

Zaliznyak A. A. Ancient Novgorod dialect. pp. 359, 360.

"Korzno". According to M.G. Rabinovich, a korzno is a long, almost to the toe, cloak fastened on the right shoulder. The researcher associated it exclusively with the princely costume78. We find references to this type of clothing in two birch bark letters (No. 638 and 648), chronicles: “... jump off Volodimer from the horse and cover yourself with a basket ...”79. Most of the mentions of korzno in written sources are indeed connected with princes. Yet some sources suggest that the korzno was a more common garment. In the PVL, in the story about the beginning of the reign of Svyatopolk the Accursed in Kyiv, an episode is described when the prince distributed to the people of Kiev “a basket and to other kunami I distribute a lot”80. Judging by charter No. 638, a basket is a relatively expensive item. Its tailoring costs a hryvnia. In charter No. 648, a basket is mentioned in a list of, probably, church property, along with a retinue, a casing, opersniks, covers, and other items81.

Almost nowhere in the sources is it indicated what these clothes were in terms of their cut, material, color. Only charter No. 638 describes the situation when a tailor is going to sew a basket for a customer and dye it blue82. According to archaeological materials, men's clothing is known, dyed with indigo dye, giving a blue color83.

IN AND. Dahl considers the word "korzno" as an outdated term for outerwear, zipun84. Zipun, in turn, in the XVII century. - men's shoulder clothing like a jacket, which in the boyar costume of this period played the role of a modern vest85. According to the English traveler J. Fletcher, who visited Russia in 1588, the zipun is a part of the boyar costume, worn over a shirt and under a caftan. These are light silk clothes, knee-length, which were fastened by Rabinovich M. G. Old Russian clothes of the 9th-13th centuries. S. 45.

Laurentian Chronicle... S. 317.

–  –  –

Izbrizhye burial ground, Tver region; A.K.'s definition Elkina.

Dal V.I. Explanatory dictionary of the living Great Russian language. M., 1994. S. 164. T. II.

Russian traditional costume. S. 91.

front86. Considering these data, it is quite possible to assume that in its cut, the korzno could be not only a cloak, but also a shoulder swing garment with sewn side seams. Sources mentioning korzno date back to the middle of the 12th-13th centuries.

"Myatl". It is mentioned more often than other types of raincoats: in four birch bark letters, the Ipatiev Chronicle. The texts of the birch-bark letters allow us to consider the moatl as a rather valuable clothing, which was included in the dowry and endowed with a prestigious significance. Letter No. 776 (Novgorod) contains a list of items related to the costume, indicating their price: along with the ubrus, the lozhnik (blanket) and the thread (apparently a string of beads, pearls or other ornaments), the moatl is named87.

Particularly interesting is the text of the Novgorod birch bark letter No. 765. In this message, the brother asks his brother for a red-brown (rudavo) bluegrass, complaining that he walks without clothes. At the same time, it is clear from the text that he has cloth; he also asks for a plot of land from which he could feed himself. It is clear from the text that the author of the letter is trying to emphasize the modesty of his request. So, perhaps, bluegrass is mentioned here as an indicator of a certain social position, an integral part of the costume of a wealthy man, walking without which is like walking without clothes.

Just as in the case of the korzno, the sources do not describe the cut of the bluegrass. Cloth could serve as the material for the bluegrass. In two cases, J. Fletcher. On the Russian State // Russia of the 16th century. Memories of foreigners.

Smolensk, 2003, p. 147.

–  –  –

Ipatiev Chronicle. S. 464.

their color is called: rudavay (red-brown) and black mourning. The charter No. 776 mentions the cost of mint - half a hryvnia.

The semantics of the word "moat" itself leaves no doubt that this is a mantle, cape, cloak. The term itself is borrowed from the Low German90, which allows us to agree with the opinion of M. G. Rabinovich that the bluegrass was not an exclusively East Slavic type of clothing91. The close connection of the mint with the princely environment suggests that such a cloak could be both military and ceremonial clothing. Mentions of the mint as a whole date back to the middle of the 12th - the first half of the 14th century.

In Europe X-XV centuries. Numerous types of capes were widespread. In particular, the costume of people of noble birth was characterized by a semicircular cloak, which had different names: cap, chasuble, mantel. Hat cut - in the form of a semicircle or circle

– existed for hundreds of years, eventually becoming a masquerade domino.

Such a cloak could be a deaf or swinging garment with a brooch clasp at the collar, a hood could be attached to it. A semicircular cap, without a hood, was the coronation robe of the Frankish kings. The mantel is also semicircular in shape, similar in cut to a hat, but unlike it, it barely fell over the shoulders, went down to the back and was held on the shoulders thanks to a lace woven from silk or on a decorative ribbon93. The lace was clung to the agraph or held by hand. Mantel was the clothes of people of noble origin, intended for solemn ceremonies and holidays. A similar semicircular or round cloak is the most stable costume form in the entire medieval wardrobe.

Possibly, the bluegrass, known from Russian written sources, was just such clothes.

Yanin V.L., Zaliznyak A.A. Novgorod letters on birch bark (from excavations in 1990-1996).

M., 2000. S. 62.

Rabinovich M.G. Old Russian clothes of the 9th-13th centuries. S. 45.

Gorbacheva L.M. Costume of the medieval West. M., 2000. S. 88-90.

There. pp. 136, 137.

–  –  –

Similar shoulder clothing was also characteristic of Russian monasticism.

Manatya (manatitsa, mantle) - a small mantle that was worn over the shoulders in the same way as the secular Western European mantel:

“a small manatka, but not on the face or on the face, but to hold the old law by the shoulder”94 (XIV century). These data once again allow us to assume that the Old Russian bluegrass is the same cloak with a clasp at the collar, leaning back.

"Yakypt" is a Turkic word for a felt cloak. It is used in the Tale of Mikhail of Tverskoy and the Novgorod Letter No.

Dictionary of the Old Russian language. S. 503.

13895. Mention of him in the Novgorod letter of the beginning of the XIV century. confirms the existence of clothes with this name in Rus' after the Tatar-Mongol invasion.

"Kots" ("kitty") is called in the will of Ivan Kalita. These are expensive princely clothes: “great kots with barm”96.

The given data allow us to highlight the characteristic features of each of the considered clothes. So, almost all of the listed variants of the cloak are relatively expensive things, with the exception of the manate, which was, apparently, the usual monastic clothing. Kots - exclusively princely clothes. Luda differs from other capes primarily in decor

- This is a cloak made of heavy brocade or with gold embroidery. Yapkyt - felt cloak. All these types of cloaks are rarer than korzno and bluegrass. Meatl and Korzno are mentioned in the sources with almost the same frequency. Both of them dressed while riding. Korzno and bluegrass could be made from fabrics of different quality, and depending on this, they were more or less expensive. Apparently, the korzno was a more common clothing, since it was used by the aristocracy, the common people, and the clergy. The bluegrass was probably typical mainly for the princely environment and wealthy citizens. Perhaps wearing it was an indicator of a certain social status of a person. The bluegrass could be both ceremonial and military clothing. In general, the cape-mantle was the characteristic attire of the aristocracy throughout Europe. Apparently, bluegrass and korzno could differ from each other in cut. The bluegrass was probably exclusively a cloak-type garment; corzno, possibly could be both a cape and an open shoulder garment with sleeves.

Men's cloak-type clothing is well known from archaeological sources. Capes fastened with brooches are reconstructed based on the materials of funerary monuments. Cloaks with brooches were Zaliznyak A.A. Old Novgorod dialect. pp. 533, 534; Kuchkin V. A. To the study of the text of the Novgorod birch bark letter No. 138 // SA. 1977. No. 4. S. 292-295.

are characteristic, first of all, for the retinue class. This is evidenced by the materials of the burial complexes of Gnezdovo, Timirevo, Chernaya Mogila, which are classified as warrior mounds. In the burials of ordinary necropolises, they are much less common. Thus, in the Upper Volga region, cloaks with brooches were part of about 11% of male burials with costume details97. According to the materials of the burials, different ways of wearing cloaks are recorded: 1) - with a clasp around the neck (in the center or at the shoulder), 2) with a clasp on the side (while one arm remained open)98. It is believed that the second version of the clasp was more convenient for riding. It is possible that cloaks with different fasteners could have different names, but written sources here do not provide an opportunity for clarification.

In addition to cape-type garments, written sources make it possible to single out a group of shoulder swing outerwear, which includes “retinue”, “okhaben”, “opashen”, “terlik”. Among these types of clothing, only the “retinue” is mentioned in sources from the 12th century, while the rest are mentioned in sources starting only from the 14th century. Almost all of these types of clothing are known from ethnographic and pictorial sources, which makes it possible to clarify the nature of their cut, material and ways of wearing.

The retinue existed from the 12th century until the beginning of the 20th century. It is quite probable that for the entire period of its existence it was a loose, fitted garment with sleeves, made of thick linen or cloth99. The Laurentian Chronicle mentions the “retinue of the Votolyan”100, i.e. retinue of coarse woolen fabric. The remains of this type of clothing were found in the Gulbishche mound101. According to ethnographic materials, a method of wearing a retinue is known not only in the sleeves, but also in the back. Similarly, Stepanova Yu.V. Old Russian funeral costume. S. 58.

Khvoshchinskaya N.V. Finns in the West of the Novgorod land. SPb., 2004. S. 121; Stepanova Yu.V. Ancient Russian funeral costume. S. 61, fig. 19:1.

Maslova G.S. Cloth. pp. 280, 281.

Laurentian Chronicle. S. 195.

Rybakov B.A. Antiquities of Chernihiv. pp. 7-100, fig. 12.

“ohaben” and “dreadful” were worn. In this regard, it is interesting to note that the part of the city that was not surrounded by walls and adjoining the citadel was also called okhabn102. These types of clothing, apparently, can be attributed to an intermediate option between a cape and clothing with sleeves.

“Terlik” is one of the types of caftan, with long sleeves and short sleeves103.

Used for horseback riding.

Fragment of woolen fabric with embroidery from a male burial. Novoselki 2 burial ground (Orfinskaya O.V. Novoselki 2. The results of the study of textiles of the XII century // Archeology of the Moscow Region. Issue 8. M., 2012. Colored insert).

There are several other types of clothing mentioned in written sources, the cut of which is difficult to talk about, but one can get an idea of ​​their material and purpose. So, "votoloy" ("volota") was called both coarse woolen fabric and clothing made from this fabric. Votola, mentioned by the sources of the centuries, was the usual clothing of the XII-XV Dal V.I. Dictionary. S. 630.

–  –  –

Nikon chronicle. (PSRL. T. IX). M., 2000. S. 27.

common people 105. "Kabat" - work clothes of a craftsman106. "Bull"

was a fur coat. The Tale of Mikhail Tverskoy mentions a “kotyga”108, which, according to M. Vasmer, is a woolen garment such as a shirt or tunic.

The group of terms (there are 13 in total) relating exclusively to the women's costume includes mainly the names of jewelry (“koltki”, “useryazi”, “monisto”, “necklace”, “alam”), as well as headdresses or their parts (“ ubrus”, “brow”, “warrior”, “graft”, “braids”). And only three names can be attributed to the types of women's clothing - "chuprun", "ceiling", "kortel". At the same time, the ponyavitsa could be both a type of women's clothing and a fabric109. In this case, one can only rely on ethnographic analogies.

“Chuprun”, mentioned in the list of dowry110, according to the definition of V.I.

Dalia is a kind of female caftan111. According to ethnography, chuprun was a tunic-shaped garment with a round or square neckline and long, straight sleeves. In the 19th - early 20th centuries, chupruns were common in the Ryazan and Tula provinces and were mainly the clothes of married women112.

The ceiling is apparently women's outerwear113. “Kortel” or “kortl”, mentioned in the Legend of the Icon of Our Lady of Vladimir 114 and later written sources, according to M.G. Rabinovich, was an expensive loose-fitting outerwear lined with fur, like Zaliznyak A.A. Old Novgorod dialect. S. 655; Laurentian Chronicle. S. 195.

Moscow Chronicle of the end of the 15th century. S. 248.

Spiritual and contractual letters. S. 8.

Kuchkin V.A. Tales about Mikhail Tverskoy: Historical and textological research.

Laurentian Chronicle. S. 466.

Diplomas of Veliky Novgorod and Pskov. M.; L., 1949. S. 265.

Dal V.I. Dictionary. S. 615. T. 4.

Russian traditional costume. S. 355.

Zaliznyak A.A. Old Novgorod dialect. S. 269.

Library of Literature of Ancient Rus' / RAS. IRLI; Ed. D. S. Likhacheva, L. A.

Dmitrieva, A. A. Alekseeva, N. V. Ponyrko. SPb., 1997. T. 4: XII century.

letnik of the 16th–17th centuries.115 The Tale also names “otlog” and “hung”, which are related to the women's costume. "Delay", according to N.N.

Voronina is a sewn-on outerwear cap or hood, “hung” - probably the fringed rim of this cap116.

Among the above concepts, there is a group related to the ancient Russian women's headdress: "ubrus" ("yubrus"), "brow"

(“ochelye”, “tsltsmo”), “warrior”, “grafting”, “koltki”, “useryazi”, “braids”.

This small number of concepts as a whole quite fully characterizes the composition of the female headdress, its main parts. Despite the fragmentary nature of the archaeological finds of ancient Russian clothing, we can say that all these elements of a female headdress are known from archaeological materials. It is also important to note that all the given names are well known from ethnography. “Chelo” (“tsltsmo”) or “ochelye”117, according to ethnographic data, is the front part of the headdress that rises above the forehead118.

Reconstruction of the headgear according to the materials of the Novinki I burial ground, materials of mound 9 of the Novinki burial ground (Vologda region), mound 36 (Saburova II, Vologda region (Saburova M.A.

M.A. Women's headdress among the Slavs (according to the Women's headdress among the Slavs (based on the materials of the Vologda expedition) // materials of the Vologda expedition) // Rabinovich M.G. Clothing IX-XIII centuries. S. 47.

Voronin N.N. From the history of the Russian-Byzantine church struggle of the XII century. // Byzantine time book. M., 1965. T. XXVI. pp. 180-218.

There. pp. 359, 360.

Russian traditional costume. S. 201; Maslova G.S. Cloth. S. 275.

–  –  –

Finds of similar parts of headdresses are known in ancient Russian burials. For example, in the burials of the Sukhodol kurgan group (Tver region), headdresses were recorded, the front part of which was decorated with a bronze figured plate119. According to the burial in the Novinki burial ground (Vologda region) M.A. Saburova reconstructed a headdress with a high front part embroidered with small plaques120.

"Povoyets" ("warrior") both in the XII121, and in the XIX - early XX centuries. was the lower part of the headdress of a married woman122. According to ethnographic materials, the warrior was always covered from above with a kokoshnik, a scarf or a hairdresser123. From the burials of the XVI-XVII centuries. volosniki occur, shaped like warriors of the 19th century. This is a soft cap, with a sewn-on headband, pulled together at the crown or on the sides124. "Ubrus" ("yubrus") 125 - a towel part of a headdress worn over its main elements (kiki, povoinik). Towel headdresses have been recorded in many ancient Russian burials: for example, in the territory of the Upper Volga region (Berezovets burial ground126), in Belarus (Minsk127). Burial materials show that head coverings were worn simultaneously with headdresses with a rigid base and temporal rings.

Dashkova I.A., Dvornikov A.S., Khokhlov A.N. Preliminary results of the study of the complex of ancient Russian monuments near the villages of Kholmovo-Sukhodol in 1985–1987. P. 89Saburova M.A. Women's headdresses among the Slavs. pp.85-97.

Zaliznyak A.A. Old Novgorod dialect. S. 396.

Maslova G.S. Cloth. S. 280.

Russian traditional costume. S. 221.

Elkina I.I. Clothes, headdresses and funeral vestments from the tomb of the Romanov family in the Novospassky Monastery in Moscow // Problems of a comprehensive study of church and monastery necropolises. Zvenigorod, 2000, pp. 59-69, 84-87, fig. 8–11.

Zaliznyak A.A. Old Novgorod dialect. pp. 307, 308.

Uspenskaya A.V. Berezovets burial ground X-XII centuries. // Medieval antiquities of Eastern Europe. M., 1993. S. 79–124. Proceedings of GIM. Issue. 82.

Saburova M.A. Funeral ancient Russian clothes. pp. 266-272.

"Koltki" ("kolts") - headdress decoration, well known from the materials of ancient Russian treasures. There are references to gold kolts dating back to the 12th century.128 “Useryazi”129, according to N.V.

Zhilina - pendants and pendants that adorned the headdress130. "Braids" are actually girlish braids that are part of the hairstyle. Materials from ancient Russian cemeteries testify that temporal rings and pendants could be woven into braids131.

Kichkoobrazny for a married woman with Reconstruction of the headdress based on the materials of bell-shaped pendants and the bottom of the Gnezdovsky treasure of 1867, the main nape complex (Zhilina N.V. Old Russian cassocks // (Zhilina N.V. Evolution of the temporal pendant the origins of Russian culture (archeology and Slavic- Russian metal headwear // Linguistics), Materials on Archeology of the KSIA, Issue 213, M., 2002, P. 52, Fig. 1:4).

Russia. Issue. 3. M., 1997. S.207-208, fig.

2:1) Temporal decorations are an integral part of the ancient Russian women's headdress from the 10th to the 13th centuries. So, for example, in the territory of the Upper Volga region, temporal decorations were found in 90% of female burials. Saburova M.A. is also known. Funeral ancient Russian clothes. pp. 372, 267.

Zaliznyak A.A. Old Novgorod dialect. S. 359.

Zhilina N.V. Scythes and useryazi of the Tver noblewoman. S. 219.

Saburova M.A. Women's hats. S.85-88; Stepanova Yu. V. Ancient Russian burial costume of the Upper Volga region. pp. 35-37.

finds of braids, which are an ornament made of woolen cords decorated with metal clips132. Braids, probably, were also called ornaments of the headdress of married women. They were ribbons decorated with temporal rings, pendants, plaques133, attached to the headdress at the temples and imitating girlish braids. The materials of ancient Russian burials allow us to say that all these parts of ancient Russian women's headdresses and jewelry could be worn at the same time, making up a complex headdress, similar to the Russian ethnographic headdress.

In addition to clothes and jewelry, written sources of the XI-XV centuries.

different types of fabrics are also called (“pavoloka” - the general name of the fabric, “fofudya” - precious silk, brocade fabric, “silk”, etc.).

Thus, written sources make it possible to clarify the nature of the cut of certain types of clothing and the fabrics used. They significantly complement the archaeological materials. At the same time, questions remain open, such as the types of seams and threads used in tailoring clothes, fasteners and individual cut details, the ratio of cut patterns and the sizes of the pieces of fabric used.

Questions about the stages and speed of making this or that clothing, about the time when professional craftsmen appeared, remain the subject of further research. To study these issues, it is necessary to draw on data from written sources of a later period (XV–XVIII centuries). It is obvious that the data of written sources often serve as a link when comparing archaeological materials of the 10th–13th centuries. and information of ethnography of the XVIII-XX centuries, shared by several centuries. To study questions about the cut and function of some types of Komarov K.I. Excavations of a burial mound near the village of Pleshkovo, Tver region // Archaeological articles and materials: Collection of participants in the Great Patriotic War. Tula, 2002. S.167-168.

Old Russian clothing needs an appeal to the history of Western European costume.

*** Compared to the 10th–14th centuries, the range of written sources on the history of Russian costume in the 15th–17th centuries much wider. It includes both Russian and foreign sources, which quite thoroughly characterize Russian clothing, its role in everyday life, rituals and ceremonies. Information about the costume can be found in Russian chronicles, chronographs, various literary works, act material.

The most informative source of this period are spiritual letters containing a large number of items of clothing.

Illuminated manuscripts appear describing wedding ceremonies and coronations. The most important source are Bit books of various contents. Including with records that related to property (books of exits, cutting books, inventories of property). The cut-out books contain indications of the size and even the style of the dress made for various palace people and the royal family134.

Special mention should be made of the income and expenditure books of the Treasury Prikaz, the Sovereign and Tsarina's workshops of the 17th century. Inventories of the royal treasury and dresses give a detailed listing of royal clothes and things, indicating the material from which they are made, and decorations (for example, “caftans with Misyur damask sleeves, white silk azure, green, worms with gold leaves and grass small pattern, buttons , kanyutelny, gold; Girey sash, wide stripes on ala, azure silk, white, black, green, and different silks with gold; at the end, three strips of zholta, etc.).

Literary works become more informative.

Biographies, everyday stories recorded many features of medieval life. An interesting written source on history

Tikhomirov M.N. Source study of the history of the USSR from ancient times to the end

18th century M., 1962. S. 176, 177.

costume is Domostroy - a monument of moral literature of the Middle Ages. The first edition of Domostroy was compiled in Novgorod at the end of the 15th - beginning of the 16th century. The second - Archpriest Sylvester, adviser to Ivan IV. In the second half of the XVII century. his poems appeared.

The main parts of Domostroy set out religious instructions, rules of family relations, housekeeping. The composition of the text was supplemented by various appendices (in particular, herbalists, medical books and private comments). Domostroy sets out the rules of life and at the same time reflects the peculiarities of the thinking of a medieval person. It contains a description of the realities of everyday life and many sayings of "folk wisdom". Great importance is attached to a woman's ability to manage the household. The most important virtue of the hostess was the ability to do needlework, including cutting with a minimum of fabric scraps, the ability to use waste from tailoring, the ability to carefully wear and store clothes and fabric scraps.

Here is a detailed description of the wedding ceremony, in which the elements of the costume played an important role135:

“How to cut different clothes and store leftovers and scraps.

If it happens in the household what kind of clothes to cut, for yourself and your wife or children and servants: damask or taffeta, woolen or gold-woven, cotton dyed or cloth, Armenian or homespun, or a fur coat, or a caftan, or terlik, or a single-row, or cortel, or a summer coat and captur, or a hat, or nagavits, or some other dress: or the skin will have to be cut - for a saadak, for a saddle, for a harness, for bags, for boots - so the master or lady himself looks and picks up the goods, the rest and trimmings they store all sorts of things, these leftovers and various trimmings are useful in household chores; put a patch on dilapidated clothes, or lengthen a new one, or which one to repair, then the remainder or the cut will help out, after all, you get tired in the market, picking up by color and appearance, but you can buy at exorbitant prices, and sometimes you won’t find it. If you have to cut some clothes for the young, for a son or daughter, or a young daughter-in-law, whatever clothes, men's and women's, any good, then, cutting, you need to bend two inches

Domostroy / Comp., entry. st., trans. and comment. V.V. Kolesova; Prep. texts by V.V.

Rozhdestvenskaya, V.V. Kolesova and M.V. Pimenova. M., 1990.

and three at the hem and along the edges, near the seams and along the sleeves; and when he grows up in two or three or four years, then, having torn such clothes, straightened the folded one and again the clothes will fit for five or six years. And what clothes are not for every day, cut them the same way.

(Cited by: Domostroy / Compiled, introductory article, translation and commentary by V.V. Kolesov; Prepared by V.V. Rozhdestvenskaya, V.V. Kolesov and M.V. Pimenova. M., 1990, pp. 147, 148).

The most important sources are the notes of foreigners who visited Russia at the end - beginning of the century. Descriptions of foreign

XV XVIII

travelers, and especially the images of Russian life, architecture, costume left by them, are a valuable source that allows you to look at the history of Russia. The most detailed description of the appearance and costume of Russians is contained in the works of Sigismund Herberstein136, Giles Fletcher137 and Aadam Olearius138. Separate information is contained in the works of Gilbert de Lannoa139 (late 15th – early 16th century), Richard Chancellor140 (16th century), Jacob Ulfeld141, Nicolaas Witsen142, Jan Streis143, Jacques Margeret144 (17th century) and other European diplomats, writers, merchants, travelers who visited Russia and wrote about their stay in Russia.

Foreigners who have been in Russia as ambassadors characterize mainly the princely and boyar clothes and the appearance of the townspeople.

Almost all foreign travelers talk about the splendor of clothes and ceremonies of the Russian grand ducal and royal court. They are amazed by the amount of jewelry, the size of precious stones, clothes, embroidered by Herberstein S. Notes on Muscovy. M., 1988.

Fletcher J. About the Russian state. M., 2002.

Olearius A. Description of the journey to Muscovy and through Muscovy to Persia and back. St. Petersburg, 1906; He is. Description of a journey to Muscovy // Russia of the 17th century.

Memories of foreigners. Smolensk, 2003. S. 257-487.

Great Rus' of the knight de Lannoa // Motherland. No. 12. 2003.

Chancellor R. A book about the great and powerful Tsar of Russia and the Prince of Moscow // Russia of the 16th century. Memories of foreigners. Smolensk, 2003.

Ulfeldt J. Journey to Russia. M., 2002.

Witsen N. Journey to Muscovy. SPb., 1996.

Streis Ya. Three journeys. M., 1935.

Russia at the beginning of the 17th century Notes of Captain Margeret. M., 1982.

gold and pearls. So, Nikolaas Witsen describes the clothes he saw at the court of Alexei Mikhailovich as solid with gold, pearls and precious stones. The pomp and heaviness of unprecedented decorations are described by foreigners in particular detail. Jacques Margeret mentions necklaces 4 fingers thick, and Jacob Ulfeld, emphasizing the abundance of precious stones in the sovereign's costume, notices rings on all fingers, and the king's neck necklace reminds him of an outdated female jewelry worn in Denmark.

A. Oleriy:

“They put on tight robes like our camisoles on shirts and trousers, only long, knee-length and with long sleeves, which are folded in front of the wrist; behind their neck they have a collar a quarter of a cubit long and wide; it is velvet below, and among the noblest of golden brocade: speaking above the rest of the clothes, it rises up at the back of the head.

This attire they call "caftan".

Cit. Quoted from: Olearius A. Description of a journey to Muscovy // Russia of the 17th century.

Memories of foreigners. Smolensk: Rusich, 2003. S.257-487.

J. Fletcher:

“Noble women (called wives of the boyars) wear a taffeta bandage (usually red) on their heads, and on top they carried a hat called naurus. white. On top of this hat, they put on a hat (in the form of a headdress, made of golden brocade), called a Zemstvo hat, with a rich fur edge, with pearls and stones, but recently they have ceased to humiliate hats with pearls, because the wives of clerks and merchants began to imitate them. In the ears are worn earrings of two inches or more, gold, rubies, sapphires or other precious stones.

In summer, they often wear a coverlet of thin white linen or batiste, tied at the chin, with two long hanging tassels. The whole veil is thickly studded with expensive pearls. When riding or going out of the yard in rainy weather, they put on white hats with colored strings (called zemstvo hats). Around the neck they wear a necklace, three or four fingers wide, adorned with expensive pearls and precious stones.

Fletcher J. About the Russian State // Russia of the 16th century. Memoirs of foreigners / Per. from eng. N. Belozerskaya, Y. Gauthier. Smolensk: Rusich, 2003. S.146-150.

At the same time, in all the notes of foreign travelers, the external, presentation side of the life of the Russian grand ducal and royal court is emphasized. The richest clothes from the royal treasury are used only during ceremonies, while in ordinary situations Russians dress very simply.

Cut and material of Russian clothes of the 17th century. described in some detail by Adam Olearius, and the cut of the clothes described by him coincides with the cut of the surviving copies of historical clothes of the 16th-17th centuries. Fletcher notes the same cut of rich and poor clothes. Olearius compares Russian clothes with Greek and Polish. A feature of Russian clothing, which is mentioned by many foreigners, in particular, Olearius, Streis, Witsen, are long sleeves. Such clothes are well known from drawings from the album of Augustine Meyerberg, engravings for the work of Olearius and other pictorial sources of the 16th-17th centuries. Finds from the medieval tombs of the Moscow Kremlin confirmed the existence of such clothing. To expose the hand, such a sleeve had to be gathered into numerous folds.

The appearance of Russian women amazed foreigners no less.

The greatest surprise among foreign travelers was the thick make-up that Russian noblewomen applied to their faces. White and blush, painted eyebrows, according to Fletcher, turned women "into scary dolls", while the natural beauty of Russian women is obvious to many foreigners. The fashion for such embellishment seems to have largely depended on public opinion. According to Olearius, women are often persuaded to blush and whiten by their neighbors or guests. Such unnatural makeup, according to Olearius, was supposed to make all women the same, overshadowing the natural beauty.

The notes of foreign travelers not only describe the traditional Russian costume and traditions associated with it, but also testify to individual changes in it. So, Herberstein claims that Ivan the Terrible shaved off his beard after his second marriage, which none of the great princes had done before him. Stolniki under Ivan the Terrible changed wide clothes, similar to dalmatics, to terliks, clothes like a caftan, similar to a military camisole. It is possible that these changes were the result of the acquaintance of Russians with European traditions and the penetration of European fashion into Russia. There is also evidence of wearing by Russian nobles of the 16th-17th centuries. European dress.

The number of terms denoting various parts of the costume is increasing in comparison with the previous period. Many clothing names known from the sources of the 10th–15th centuries continue to be used in the 16th–17th centuries, for example, “opashen”, “okhaben”, “terlik”, “chuprun”, “bully”, “retinue”, “ caftan", "fur coat", "ports", etc. Men's clothing is still described in a large number of terms.

The most frequently mentioned type of clothing is a fur coat. The fur coat, apparently, was the most expensive type of clothing, therefore it is mentioned more often than other clothes in wills. There were fur coats, the top of which was made of fabric, and naked (naked) fur coats, in which the top was not covered with fabric.

The most diverse fur was used for fur coats - squirrels, martens, sable, ermine, foxes, lynxes, sheep and even cats. Once a "karsach" fur coat is mentioned - from the fur of a korsak - a small fox that lives in the Kyrgyz steppe.

Sometimes fur coats were sewn from separate parts of animal skins, for example, from the back (“chreptovye”) or abdomen (“on the neck”, worm underwear) of a squirrel, the abdomen of a sable (“navels of a sable”), the throat of a fox (“throat fox”), “ smell like a lynx." For the manufacture of the top of the fur coat, various types of fabrics were used - damask, mukhoyar, cloth, skorlat, but elegant fur coats were most often sewn from velvet, decorated with lace, gold embroidery.

Coat colors are very diverse. Sometimes the descriptions of fur coats are detailed enough to imagine their appearance, for example, “on sable damask, wormy earth, silk lazorev and zholt and bagrov, and black stars, 11 faceted silver buttons” from the will of Prince Obolensky145 of the 16th century.

Acts of feudal landownership and economy. Part 2. M., 1956. S. 211.

Russian and Tatar fur coats, imported Western European fur coats are mentioned. As fasteners, silver buttons were used, with gilding, pearls and precious stones, up to 14 pieces.

The word "caftan", which appeared in Russian written sources in the 15th century, in the 16th-17th centuries. used to refer to men's indoor and outdoor clothing. Kaftans were loose clothing, but their length could vary significantly146. In the wills of the XVI-XVII centuries.

cold caftans and caftans insulated with the fur of arctic fox, fox, marten, sable, squirrel, hare are mentioned. Sometimes the caftan was made of quilted fabric. Kaftans made of damask are most often mentioned. Caftans made of velvet, taffeta, satin, Chinese, "twill" caftan, black, green, red, blue, as well as multi-colored fabric are also known.

There are expensive caftans - sewn from pieces of silk, for example, a caftan, in which "the roads of the strip are worm-like and colored", that is, sewn from strips of crimson and multi-colored silk. Sometimes the descriptions are quite detailed, allowing a more detailed representation of the appearance of these clothes. For example, a caftan made of worm (bright crimson) velvet and green silk with blue stars, with 13 buttons;

a caftan made of white-round damask (that is, damask with a pattern of white circles) with alams and lace trimmed with gold embroidery. Caftans with a slanting collar are mentioned, that is, tailored with a clasp on the side. The number of buttons on caftans mentioned in wills is from 9 to 14 pieces. Caftans were girded, there are descriptions of caftans with colored “sashes” embroidered with gold. For lining the edges of the caftan, fabrics of a different color and quality, braid and fur were used. In the 17th century shortened caftans, like Polish kaftans-kuntushs, are used by the nobility.

Levinson-Nechaeva M.N. Clothing and fabrics of the 16th-17th centuries. S. 310.

The image of the prince on the sakkos of Metropolitan Photius. 1414-1417 (Medieval facial sewing. Byzantium, the Balkans, Rus'. Exhibition catalog. XVIII International Congress of Byzantine Artists. Moscow, August 8-15, 1991, M., 1991. P. 44-51).

The term "zipun" is widespread, which, according to J. Fletcher, played the role of a vest in a Russian men's suit. For the common man in the seventeenth century zipun could serve as both indoor and outdoor outerwear along with a caftan147.

There are also other types of clothing. "Feryaz" ("ferez", "ferezya") was an outer long-skirted garment that could be worn with a sash, like a cloak. Its distinguishing feature was long fold-over sleeves with slits. All these names - "zipun", "caftan", "feryaz" - are of Turkic origin.

Some other types of clothing appear, which were varieties of the main forms of outerwear. For example, armyak - a caftan sewn from Armenian - camel wool fabric. Mentioned

Rabinovich M.G. Essays on the material culture of a Russian feudal city. S. 30.

mukhoyarovy azure coat and coats made of thin fabric, lined with cherry-colored damask.

Mentenya - men's outerwear, sleeveless or with sleeves, with a number of buttons (10-14 pieces), worn with a back. It had a fur lining of squirrel, fox, sable. The upper part was made of their damask, satin. Single row - a common type of outerwear for women and men like a caftan, with a direct smell and a number of loops and buttons, from 11 to 14 pieces, or on cords with tassels. The most frequently mentioned type of clothing. One-rows were sewn mainly from cloth, including expensive imported English and Fryazhsky, from scorlat, various colors, and also from paper fabric. Written sources reflect the color diversity of these clothes - red, crimson, cherry, azure, green, light green, gray, black, and white single-rows are found in the texts of wills. Single row buttons were often decorated with pearls, precious stones and gilding, sometimes mother-of-pearl.

Tegilyai - men's clothing worn under armor. Quite elegant tegilyais were bequeathed, sewn from thick velvet, damask, coarse calico, mukhoyar, and satin. Decorated with gold embroidery, trimmed with ermine fur. Red color is typical for elegant tegilyai.

The general term used to describe men's headgear

- "a cap". A kind of street headdress is a throaty hat with a high crown, expanding upwards.

Women's clothing is described in more detail by written sources compared to the previous period. Pattern books and inventories attest to a wide range of women's clothing, often worn at the same time, forming a layered women's costume that completely hid the body.

The word "sarafan" is first found in Rus' in the documents of the XIV century.

in relation to men's long oar clothes148. In the will of Prince Obolensky XVI century. a silk sundress with 23 (!) buttons is mentioned. In the list of clothes of the Russian Tsar Mikhail Fedorovich, it is mentioned: “the sundress is obyar ventral, unlined, with ... hem; a sarafan of the road of a bright color, with a cherry trim, a green sarafan ... ". And in the tailoring books of Alexei Mikhailovich there is the following entry: “1637, June 20, a sundress of taffeta taffeta is tailored to the sovereign, length 1 arshin 15 vershoks, behind 1 arshin 13 vershoks, sleeves length 1 arshin 6 vershoks, taffeta came out 7.5 arshins, down yellow taffeta (1 and a quarter arshins) stripe on top, buttons ... trimmed with spun gold silk green, with gold made in the workshop chamber. In the second half of the XVII century. the term "sarafan" for men's clothing is no longer used. A sundress began to be called women's clothing that existed earlier, and probably some new types of it, created in cities under the influence of clothing of wealthy strata and service people and from there spread to the village. The most ancient type of women's sundress, according to ethnographers, had a tunic149 blind cut and one-piece straps. Subsequently, a swing sundress appeared, fastened with buttons. Sundresses appeared, the skirt of which was sewn from a large number of wedges, greatly expanding it in the hem.

Already in the second half of the 19th century, the skew-wedge sarafan was replaced by a straight sundress of five or six panels with narrow straps.

The clothes of noble women were "letnik" - long-brimmed clothes of a deaf cut with very wide sleeves. Another type of women's clothing was a "fur coat" - probably deaf clothing with long narrow sleeves. However, the exact meaning of the terms is not possible to determine. Even in the XVIII-XIX centuries. the same type of clothing in different regions of Russia could be called by different terms. So, M.G.

Rabinovich M.G. Russian clothes XIII-XVII centuries. pp. 68-69.

–  –  –

Rabinovich provides evidence of the proximity of a sundress and a fur coat. According to him, a sundress, or a fur coat, was called women's indoor clothing in the form of a one-piece dress (with sleeves or more often without sleeves) or a high skirt with straps, laid on (worn over the head) or swinging (buttoned in front with buttons, sometimes very beautiful and expensive) 150.

Sources also call "body warmer" - a type of elegant women's oar clothing worn over a sundress. There are also references to the actual “skirt”, which probably had a genetic affinity for a sundress.

Image of a noble Muscovite woman of the 18th century. (Bruin K. de. Travels to Muscovy // Russia of the 18th century through the eyes of foreigners / Preparation of texts, introductory article and comments by Yu.A. Limonov. L., 1989.

Rabinovich M.G. Essays on material culture. S. 51.

Among women's clothing are also called kaftans, okhabni, opashni, inherent in the men's suit.

The main parts of a complex female headdress are listed in the wedding dress recommended in the 16th century. Domostroy. When preparing for the wedding, it was prescribed on a dish near the “place” of the young in the bride’s house “put a kick, and put a slap under the head, under the bodice, and hair. Yes, a veil"151. The precious attire of noble women resembled crowns, for example, “the royal crown from the city and from the yacht, from the lala and from the great grains” is mentioned in the will of the 15th century. Vereya and Belozersky Prince Mikhail Andreevich152. Sources also name other forms of headwear - kokoshnik and magpie - names well known from ethnographic data. Street hats had different shapes and corresponding names - kaptur (rounded with blades), treukh (like earflaps), stolubunets (similar to a man's throaty hat, but tapering upwards), cap153.

*** Pictorial sources on the history of ancient Russian costume are few. Among them are images on bracelets, bracers, initial letters in the form of human figures, works of small plastic arts, some works of icon painting and fresco painting. The most important sources are miniature chronicles.

Images on bracelets-bracers of centuries, according to XII-XIII researchers, have a ritual significance. The figures of people on them are intertwined in one composition with fantastic creatures and floral ornaments. At the same time, these compositions, apparently, reflect the pagan rituals that surrounded the people of Ancient Rus' in everyday life, which allows us to consider the images of people in them Domostroy. pp. 179-193.

Spiritual and contractual letters. M., L., 1950. S. 312.

Rabinovich M.G. Essays on material culture. S. 55.

reliable enough. According to researchers, the compositions on the bracelets depict the Rusal "games", which included round dances, music, feasts and various dances)154. In addition, certain patterns can be traced in the images of clothes on bracelets. Thus, on bracelets from Kyiv, from the Staroryazan treasure of 1966, and on the casting mold of a bracelet from Serensk, women are depicted in clothes with very long sleeves.

–  –  –

Apparently, it was ceremonial clothing for performing ritual dances. Long sleeves, for grabbing which the bracelets-bracers themselves served, were removed before the dance. A similar dance "sleeveless"

depicted on one of the miniatures of the Radziwill Chronicle. The bracelet from the Tver treasure of 1906 depicts women with gathered sleeves.

All compositions depict women in belted or belted clothes.

Images from Serensk and Staraya Ryazan suggest that women are wearing ponevas - their unstitched ones are clearly visible.

Rybakov B.A. Mermaids and the god Simargl-Pereplut // SA. 1967. No. 2. S. 91-117; Shiplev

A.G. Ethnographic parallels to the costume of a dancing girl on bracelets from the State Historical Museum // Women's traditional culture and costume in the Middle Ages and Modern times. M., St. Petersburg, 2011. S. 161-167.

panels, from under which the hems of long shirts are visible. Men's clothing is knee-length, in the center of the chest area it has an ornamental stripe (perhaps along the fastener). Both men's and women's clothing have ornamental stripes on the shoulders, probably at the seams.

A more detailed image of men's clothing is on one of the reliefs of the Dmitrievsky Cathedral in Vladimir, depicting, according to G.K. Wagner, Prince Vsevolod III with his sons155. The prince is depicted in long clothes and a patterned cloak fastened with a fibula on his right shoulder. The sons of the prince are depicted in short clothes similar in design. These clothes have a rounded neckline, which is bordered by a wide strip, or this is a mantle that was worn additionally. In the center, a small rectangular detail adjoins the edge of the neckline. Probably, this is the design of the collar (like the decorative design of the fasteners of Russian blouses).

The clothes are equally bordered with wide stripes along the bottom, the edges of the sleeves. Another recurring detail of the clothes of the prince and sons is the stripes on the shoulder parts of the sleeves. The images make it possible to single out the following main features of the clothes of the prince and his sons - blind cut, knee-length, rounded neckline, small chest slit, decorated with a decorative stripe, narrow sleeves, bordered by wide stripes at the wrists and in the forearm area, a wide border along the hem. This type of clothing is repeatedly repeated in the images on the bracelets and, apparently, corresponds to the real type of ancient Russian men's clothing.

Wagner G.K. From symbol to reality. M., 1980.

Facade sculpture of the Dmitrievsky Cathedral in Vladimir. 1194-1197

Of particular interest as a source on the history of ancient Russian costume is a book miniature. One of the earliest images is an illustration from Svyatoslav's Izbornik (1073), depicting the family of Prince Svyatoslav Yaroslavich.

Family of Prince Svyatoslav Yaroslavich. Collection of Svyatoslav. 1073. Kiev The prince is wearing a long underdress of light green color, with a rounded neckline, narrow long sleeves, red lining on the sleeves, neckline and hem. Outerwear - blue cloak with red-brown trim, clasp on the right shoulder, cloak cut - possibly quadrangular, because. folds are visible on the left arm and on the shoulders.

On the head of the prince is a rounded red cap with a fringe and blue side inserts. The costume of the young princes includes long red belted dresses with long narrow sleeves and rounded blue caps with a trim and red side inserts. The princess is wearing a long bottom dress; an upper shorter red dress with a green edging along the hem, a rounded neckline, wide sleeves, from under which the narrow sleeves of the lower dress are visible; belted. There is a white headband on the head, covering part of the forehead and tied up under the chin, one end hanging down the side of the shoulder.

Visual sources on the history of Russian costume of the XV-XVII centuries. more numerous than in the previous period. These include works of icon painting, facial sewing, small plastic arts. In the 17th century parsunas appear, depicting the details of the costume in detail and more realistically156. Works of ancient Russian icon painting and facial sewing, oriented to Byzantine patterns and subordinate to the pictorial canon, provide little information about the ancient Russian costume, especially the common people. However, they reflected the everyday realities of medieval Rus'. Such, for example, is the icon "Praying Novgorodians"

(1467) and some other works of icon painting, the "Church Procession" veil, made in the workshop of Princess Elena Voloshanka (1498)157.

Ovchinnikova E. S. Portrait in Russian art of the 17th century. M., 1955.

Mayasova N.A. Old Russian sewing.

Praying Novgorodians. Fragment of the icon. 1497

On the icon, called "Praying Novgorodians" (1467), there is a collective portrait of several noble Novgorodians. Outerwear for men is long-sleeved, with rows of loops (15-20 rows) and long sleeves, probably worn in a nakidka, like a 17th-century robe. This garment has wide turn-down collars embroidered with pearls, probably embellished with embroidery. The hem and edges of the sleeves are edged with wide borders. Underneath is a knee-length garment, probably open, with loop fasteners (12-19 rows), belted with wide belts. This garment has narrow sleeves, piping along the edge of the sleeves and hem. Under this garment, there is probably another one - an undershirt: a white collar is visible above the turn-down collar.

The costume is complemented by pants and high boots.

The only woman depicted on the icon is dressed in wide clothes with long welt sleeves. The arms are threaded through the slits of these sleeves. These clothes are fastened with loops, similar to the loops of men's clothing. Underneath is clothes of a lighter tone with wide sleeves (protruding from the slits), edged with a wide border, possibly embroidered with pearls. The headdress includes a light headdress with long tassels; it completely covers the hair.

The “Church Procession” shroud depicts, according to M.V.

Shchepkina, processions coming from the Annunciation and Assumption Cathedrals on Palm Sunday on April 8, 1498, shortly after the solemn "coronation" of Dmitry Ivanovich, the grandson of Ivan III158. Boyars are depicted here in ceremonial clothes, singers in pointed hats, a man, probably in Western European clothes, women in ubrus. In the middle row

- clerics, in the upper - festively dressed townspeople.

Medieval facial sewing. Byzantium, Balkans, Rus'. Exhibition catalogue. XVIII

Fragments of the "Church Procession" veil. 1498

Moscow, workshop of Princess Elena Stefanovna.

(Medieval facial sewing. Byzantium, the Balkans, Rus'. Exhibition catalog. XVIII International Congress of Byzantine Artists. Moscow, August 8-15, 1991, M., 1991. P. 60-61).

On the left side of the composition are the figures of Grand Duke Ivan III, his son Vasily, the young grandson Dmitry Ivanovich, in crowns. It also depicts women - representatives of the princely house, among whom, probably, the Grand Duchess Sophia, in a closed headdress, in purple clothes, with a tablion on her shoulder. The costume of the young princess is noteworthy, including long clothes with rows of loops, long sleeves (it is not clear whether they are wide, like a summer coat, or welted, like a feryazi), and a round cap with an edge, from under which the girl’s dark hair is visible. . There are images of realistic features in clothes and other works of arts and crafts.

Images of clothes are also found in illuminated chronicles containing miniatures, initials, and drawings. The importance of the Radzivilov Chronicle and the Front Chronicle is especially great. The basis of the Radzivilov Chronicle that has come down to us, created at the turn of the 15th-16th centuries, was a protograph (or protographs), the formation of which most researchers trace back to the 13th century. For more than two hundred years, it has attracted the attention of researchers. The complex composition of the chronicle, the originality of its miniatures led to the emergence of new attributions of the monument, the unflagging interest in the problem of the origin of the chronicle. Most researchers come to the conclusion that in the annals, images made in the Byzantine-Russian tradition are combined with miniatures that have experienced Western European influence. At the same time, it is obvious that the miniatures also reflected the ancient Russian everyday realities159.

The sources cited contain images of clothes different from Western European ones of the same time (in particular, long-skirted clothes, both women's and men's, with a fastener with many loops, with turn-down collars), soft hats with lapels, women's closed towel hats.

The miniatures of the Radzivilov Chronicle depict several types of men's and women's clothing. More diverse images of men's clothing. The following varieties and combinations are distinguished.

Long shirt with narrow sleeves, contrasting trim at the hem, sleeve edges and collar. The collar is wide, possibly dressed independently.

There are variants of red, blue, yellow, greenish colors. The edge is almost always yellow. It is the clothing of both the common people and the aristocracy.

Artsikhovsky A.V. Old Russian miniatures as a historical source. M., 1944.

–  –  –

The prince's costume, which includes long-brimmed clothes with narrow long sleeves and a cloak fastened with a round clasp on the right shoulder, is just below the knees.

Aristocratic costume, including long-skirted upper clothes with a wide turn-down collar and wide sleeves. Under this clothing is another, dull cut, possibly short. The costume is completed with a round hat and short shoes. Outerwear is similar in cut to the clothes of the third option, but in this case it does not have loops. The whole complex is very close to the complex of European men's clothing of the XIV-XV centuries. Images of wealthy Europeans in such a costume can be seen in the paintings of Western European artists of the 15th-16th centuries.

Clergy costume. It includes long clothes with narrow long sleeves and a cloak buttoned at the neck (perhaps not open at all, but cut in the shape of a circle, with a slit for the head), knee-length.

Belted, swinging knee-length clothing with narrow long sleeves, possibly clasped to the waist. Such clothing resembles a European cott. It is the garment of a herald.

Found in only one miniature.

A set of a costume, including a short bottom (to the waist) clothes of a deaf cut, with a fringing along the hem and collar. Reminiscent of short late Gothic clothing of the 14th century. From above - a short, to the hips, cloak, unbuttoned, covering the shoulders, possibly of a semicircular cut, like a European hat. Pants are tight. The young prince Yaropolk is depicted in such clothes. The whole complex is close to the Western European late Gothic costume.

–  –  –

Of all the identified types and combinations of men's clothing, the first, third, fourth, fifth, sixth, seventh and eighth variants are repeated in icon-paintings and book miniatures, reconstructed based on archaeological materials. The third type - clothes with fasteners on transverse loops - is well known from the pictorial and written sources of the 14th - early 18th centuries. (for example, images on the icon "Praying Novgorodians") and is a recognizable type of late medieval clothing, widespread on the territory of Rus'.

The women's costume depicted in the miniatures of the Radziwill Chronicle includes the following types:

Often found in icon painting and book miniatures of the 15th–17th centuries, including a long dress with narrow sleeves, an upper cape and a towel headdress.

–  –  –

The appearance in the Radzivilov Chronicle of images of clothing that has European analogies may be a consequence of the pictorial tradition, but the use of such clothing in Rus' cannot be ruled out.

Miniatures of the Facial vault of the 16th century. also reflect the realities of medieval everyday life, demonstrate a variety of costume details, for example, women's headdresses161.

Zhabreva A.E. Women's costume of the 16th century in miniatures of Osterman's first volume

of the text annalistic code from the collection of the library of the Russian Academy of Sciences // Women's traditional culture and costume in the Middle Ages and modern times. M.; St. Petersburg, 2012. Issue. 2. S. 26-37, color. insert.

Wedding feast of the Grand Duke Vsevolod Konstantinovich I of the Yaroslavl princess, 1277. Miniature of the Obverse Chronicle.

The complex of visual sources on the history of Russian medieval costume also includes illustrations for the works of foreign authors - S. Herberstein, E. Palmquist, N. Witsen, A.

Olearius, A. Meyerberg, C. Vecellio, K. de Bruin and other authors, as well as individual foreign engravings. Among them are portraits of Russian sovereigns, images of scenes of court life, everyday life, costume, occupations, views of Russian cities. These sketches are of great importance for studying the general complex of clothes, shoes, hairstyles, and accessories of the Russian costume for various categories of the population, and for understanding the function of its individual elements.

The most numerous images of Russian clothes are on engravings for the work of A. Olearius and illustrations from the album of A. Meyerberg162. A. Meyerberg's album contains numerous images of women's clothing. The peasant woman is depicted in a poneva, while the townspeople are dressed in swinging clothes. One picture shows fold-over long sleeves. Noble women are depicted in long robes with long sleeves with slits. There is an image of a woman in an summer coat with wide sleeves. Engravings from the work of A. Olearius represent the clothes of peasants and townspeople. Peasant clothing is characterized by knee-length, it is belted below the waistline. Leg windings and hats in the form of a cap with a fur trim are traced. The clothes of the townspeople, as a rule, are longer. Outerwear - hinged, its floors are buttoned end-to-end on loops located in several rows. Often repeated in the drawings are long sleeves covering the hand or gathered into folds on the forearm, and sleeves with slits. Women's clothing of the urban population differs little from men's.

–  –  –

Meyerberg's album: Views and everyday paintings of Russia in the 17th century: Drawings from the Dresden album, reproduced in full size. St. Petersburg, 1903; Olearius A. Description of the journey to Muscovy and through Muscovy to Persia and back. SPb., 1906.

Noble woman in the field The queen in the ceremonial field Noble woman in the summerhouse Types of Russian women's clothing in A. Meyerberg's engravings, 17th century.

In general, Russian and foreign visual sources show similarities in depicting the main features of the Russian costume (compare, for example, the images of noble girls on the “Church Procession” shroud and on engravings from the books of C. Vecellio and C. de Bruin). Thus, in an engraving from the work of C. Vecellio, depicting a noble Muscovite (resident of the Muscovite state), a woman is dressed in a wide robe, probably made of heavy brocade fabric, with long false sleeves behind her back163. Front clasp. On the edge of the floor, a trim is visible, possibly with fur. Under outerwear - clothes with long sleeves. Small fur collar. On the head is a headdress in the form of a soft cap. Headphones are clearly visible. On the feet are soft boots.

Picheta V.I. Boyar life in the 17th century // Moscow in its past and present. Edition

in memory of Zabelin I.E. Issue. 4-5. M., 1912.

Famous Muscovite. Engraving by C. Vecellio. (Habiti antichi et moderni di tutto il mondo.

Venetia, 1598) There are also some surviving examples of clothing and jewelry that belonged mainly to kings and certain representatives of the ruling elite. Among them are the hair shirt that belonged to Ivan the Terrible, the fur coat of Metropolitan Philip, the feryaz of Tsar Alexei Mikhailovich, numerous feryazi, caftans, shirts, samples of church vestments and other clothes, as well as samples of fabrics of the 15th-17th centuries.

Although the images are difficult to correlate with the well-known names of ancient Russian clothes and it is difficult to make out individual details of the cut on them, nevertheless, comparisons can be made. Sometimes they are obvious. For example, a recognizable type of ancient Russian clothing: long-sleeved loose-fitting clothing with many buttons. It is known both from numerous images, including miniatures of the Radzivilov Chronicle, the famous icon “Praying Novgorodians” of the 14th century. and others, as well as on archaeological finds in the urban necropolises of Moscow and other cities. The characteristics of such clothing are also contained in numerous written sources, however, later - in the 16th and 17th centuries. There are also surviving examples of such clothing from the 17th century.

Of course, most of these comparisons are speculative. We can only assume that the remains of capes with fibula clasps in ancient Russian burials are baskets of ancient Russian chronicles and birch bark letters, and it is precisely in baskets that princes are dressed in book miniatures.

So, we found out that various sources on the history of the Old Russian costume complement each other, and the archaeological materials that occupy a central place in the reconstruction of the Old Russian costume reveal their possibilities in comparison with written evidence and images.

DETAILS OF THE OLD RUSSIAN COSTUME

INDIGO, VAID, ZENDEN...

–  –  –

Costume details made of textiles, leather, fur, felt, birch bark, as a rule, are poorly preserved in the cultural layer due to their organic origin. Even individual fragments, not to mention entire pieces of clothing, are a rare find that attracts special attention from archaeologists. However, even a small fragment can contain valuable information about clothing, its cut and decor. At present, a sufficiently large amount of materials has accumulated, reflecting the whole variety of clothes of representatives of various ethnic groups that inhabited Ancient Rus'.

A number of finds are known regarding entire clothes of the 10th-13th centuries, originating from various regions of Rus' with different ethnocultural affiliations. Among them is a dress from the burial of a Scandinavian woman from the Gnezdovo burial ground dating back to the 970s. Tunic-shaped dress, cut off at the waist, with long sleeves, with a standing collar. It is made of patterned silk originating from China164.

Pushkina T.A., Orfinskaya O.V. Textiles from the female chamber burial Ts-301 in

Gnezdovo // Archeology and history of Pskov and the Pskov land. M., Pskov, 2011. S. 92-99.

Options for the reconstruction of a dress from the Gnezdovsky burial ground (Pushkina T.A., Orfinskaya O.V. Fabric from the female chamber burial Ts-301 in Gnezdovo // Archeology and history of Pskov and the Pskov land. M., Pskov, 2011. P. 96, fig. .3).

From Pskov comes the discovery of the upper part of a linen webbing garment of the apron X c. – a type of clothing known from finds at Birka and other Viking Age burial grounds from Scandinavia165. She dressed over a shirt, also linen. The collar of the shirt was gathered in small folds, long tapered sleeves with cuffs.

Reconstruction of attire from a chamber burial in Pskov (Zubkova E.V. Orfinskaya O.V. Preliminary results of the study of textiles from burial No. 3 of the Starovoznesensky IV excavation site in Pskov // Archeology and history of Pskov and the Pskov land. Pskov, 2008. P. 56-75 ).

Zubkova E.V. Orfinskaya O.V. Preliminary results of the study of textiles from burial No. 3 of the Starovoznesensky IV excavation site in Pskov // Archeology and history of Pskov and the Pskov land. Pskov, 2008, pp. 56-75.

There are known finds of two whole dresses in the urban layers - Toropets and Izyaslavl. A dress from Izyaslavl (an ancient settlement near the village of Gorodishche (Shepetovsky district, Khmelnytsky region, Ukraine), dating back to the beginning of the c.

XIII interpreted by M.A. Saburova as an upper, presumably, female, detachable at the waist166, upon repeated examination it turned out to be a caftan, with a wrap (the right half overlaps the left), long sleeves, and a stand-up collar167. The caftan is sewn from a thin cotton fabric of plain weave.

All other finds are whole and fragmented details of the cut of clothing. Collection of collars from the end of the 11th - the middle of the 12th century. comes from the burials of the Suzdal necropolis168.

Separate finds of collars were found in Dmitrov169, rural sites on the territory of modern Tverskaya170, Novgorodskaya171, Ryazanskaya172, Moscow, Yaroslavl, Ivanovo173 and other regions.

Most collars are made of silk and embroidered with gold and silver threads and colored silk.

Saburova M.A. Old Russian clothes. pp. 106-109.

Orfinskaya O.V., Mikhailov K.A. Old Russian dress from Izyaslavl: new attribution // RA. 2013. No. 4. S. 75-85.

Saburova M.A., Elkina A.K. Details of ancient Russian clothes based on materials from the Suzdal necropolis.

Engovatova A. V., Orfinskaya O. V., Golikov V. P. Study of gold-woven textile products from the necropolis of the Dmitrov Kremlin.

Stepanova Yu.V. Ancient Russian burial costume of the Upper Volga region.

Konetsky V.Ya., Nosov E.N. Riddles of the Novgorod region. L., 1985. S. 111.; Kochkurkina S.I., Linevskiy A.M. Burial mounds of the annals of the 10th - early 13th centuries. Petrozavodsk, 1985.

Yakunina L.I. Fragments of fabric from Old Ryazan // KSIIMK. Issue. XXI. M., L., 1946.

Fekhner M.V. Old Russian gold embroidery in the collection of the State Historical Museum // Medieval antiquities of Eastern Europe. Proceedings of GIM. Issue.

82. M., 1993. S. 3-21.

insert).

Collars from the excavations of the Suzdal necropolis with the reconstruction of ornaments.

Drawing by M.A. Saburova (Saburova M.A. Finds of clothing details in the Suzdal land and their significance for the study of the Russian national costume // Women's traditional culture and costume in the Middle Ages and modern times. M .; St. Petersburg, 2012, color.

insert).

The remains of gold embroidery, due to their relatively good preservation, most fully testify to the high skill of ancient Russian embroiderers, the richness and originality of ornamental motifs.

In addition to collars, parts of headdresses decorated with gold threads are quite common finds174. A fragment of an “ochelya” from the Ivorovsky burial ground (Tver region) is unique. It is a rare example of ancient Russian facial and gold embroidery of the 12th - early 13th centuries, made on a two-layer silk fabric.

Komarov K.I., Elkina A.K. Burial mound in the vicinity of Staritsa //

Eastern Europe in the Stone and Bronze Age. M., 1976. S. 226-238.

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Stepanova Yu.V. The costume of an ancient Russian man: reconstruction according to archeological data // Rodina.-2006.-№ 2. Traditional costume is the most important component of culture. Neither utensils, nor household tools, nor weapons give us the opportunity to imagine the appearance of a person as vividly as clothes, jewelry, headdress and shoes allow us to do. Over the centuries, the character of the costume was affected by changes in everyday life, social structure, interconnection and influence of various peoples. Most of these changes left their mark on the complex of the folk costume as a whole, and on its individual components. All this makes folk costume the most important source for studying the historical destinies of ethnic groups and intercultural contacts. The study of Russian costume X-XIII centuries. complicated by the fact that his images are very few. Written sources of the Old Russian period - birch bark letters, chronicles - allow us to judge the names of clothes, the material from which they were made, their belonging and place in the general ensemble, and even cost. But in rare cases, one can accurately imagine how one or another element of the costume was cut, sewn, fastened, worn, and ultimately looked like. Fragmentary data from pictorial and written sources turn out to be more informative when compared with archaeological materials. Monuments of archeology of the Old Russian period, located in the Upper Volga region, primarily funerary ones, have preserved quite a lot of various evidence that allows us to imagine what the individual details of the costume looked like. In the burials, things retain their original position, the details of the costume lie “in their places”, which makes it possible to imagine how they were connected in a common ensemble. The Upper Volga region is attractive in this case also because in the X-XIII centuries. many land and water routes passed through it, the most important of which were the Volga, Western Dvina, Tvertsa, Medveditsa rivers. During this period, the borders of Novgorod, Rostov-Suzdal and Smolensk lands passed here (Fig. 1). Both immigrants from different parts of Ancient Rus' and representatives of different ethnic groups - Slavic, Finno-Ugric, Baltic - participated in the development of the Upper Volga basin. Therefore, the Upper Volga costume, which absorbed the most striking multi-ethnic features, clearly demonstrates how complex the process of formation of both the Old Russian costume as a whole and the Old Russian people was. It is important to note that both in the Old Russian and in the ethnographic costume of the Upper Volga region one can find many features characteristic of the traditional costume of other historical regions of Russia. 1 Archeology deals primarily with remains corresponding to a broader concept - a costume, a complex of its details, represented, as a rule, by accessories. This contains both the advantages of archaeological sources on the history of clothing and costume, and the difficulty associated with their study. The short-lived basis of external decoration, its forms are practically absent, the clothing itself, the "background" on which accessories are superimposed, as a rule, disappears. Costume details made of textiles, leather, fur, felt and birch bark, as a rule, are poorly preserved in the cultural layer due to their organic origin. Even individual fragments, not to mention entire specimens of clothes, are a rare find for archaeologists that attracts special attention. Despite the rarity of finding organic remains, at present, researchers have accumulated extensive material, developed various methods of field fixation and conservation, analysis of organic materials, there are a large number of studies on weaving, including IX-XIII centuries. Old Russian written sources name more than a dozen different types of fabric, differing in material, production and origin. Most often, woolen fabrics are found in the excavations of ancient Russian sites (Fig. 2). Textiles made from plant fibers (flax, hemp), as a rule, are quickly destroyed in the soil environment and disappear without a trace. There are also remains of combined textiles made from linen (usually weft) and woolen threads. Sometimes it is possible to see a colored woven pattern on the fabric. It is known that the colors of fabrics change during a long stay in the ground. At the same time, a bright color - scarlet or dark blue - can be determined at the present time. In addition, sometimes a colored weaving pattern can be seen by shades. The technology for obtaining paint at that time was simple. As studies of medieval textiles from northern European monuments show, plants that grew everywhere were used to obtain dye: spruce needles and nettles gave green color, various types of madder - shades of red and orange, etc. Woad was widely used to obtain blue color in Europe in the Middle Ages. Its seeds were found in a burial in a boat from Oseberg. This crop was widely cultivated in Europe until the 19th century. The blue color was also given by the imported indigo dye. Written sources also testify to the fact that fabrics of various colors were used to make clothes in ancient Rus'. Thus, the Novgorod charters mention green, blue clothes, threads for embroidery of green, red, greenish-yellow color 2. Of course, clothes made of undyed fabric were also worn. The most common is a checkered fabric, the cells of which 2 were formed when weaving multi-colored weft and warp threads. Such a fabric - "motley", was preserved in folk weaving until the beginning of the 20th century. Single samples of embroidery have also been preserved (Fig. 3:4). A variety of geometric motifs - solar symbols, crosses, zigzags, rhombuses, widespread in Russian ethnographic costume, were also characteristic of ancient Russian clothing. Embroidery was done with a small one-sided seam, which survived until the beginning of the 20th century. in folk costume in the Russian North and among the Karelian population 3. Another striking find associated with the costume is the remains of multi-colored ribbons with a geometric woven pattern (Fig. 3: 1). The most commonly used combinations of red, blue and yellow. In the burials, fragments of ribbons were, as a rule, located in the zones corresponding to the collar, sleeves and belt of clothing. Finds of silk fabrics are rare. In the Upper Volga region, only 7 such fragments were found in four burials. Silk in the era of the early Middle Ages in Rus' was one of the significant import items from Byzantium and the countries of the Muslim East. Byzantine and Middle Eastern samites, Central Asian zenden were widely known on the world market, but were widely used in Rus' only in princely and church life. The ordinary rural population used silk to trim the dress. Jewelry is known both from woven patterned ribbons and from pieces cut from silk cloth. The fabric was cut into strips used for sheathing sleeves, hem, collar. In the funds of the State Historical Museum, a fragment of a collar of clothing from the burial mound Pekunovo-2 in the Tver region has been preserved (Fig. 3: 2). On a piece of thin pinkish silk, another silk fabric was sewn, apparently green, with a small pattern in the form of rhombuses. Between the two layers of fabric, a birch bark lining has been preserved. Some finds testify to how economically precious imported fabrics were used. For example, in a mound near the village of Vorobyevo, Tver Region, fragments of a decorative ribbon made of two-color silk (a pattern of red flowers on a yellow background) were found. The craftswoman who made the dress cut out the ribbon for its trim, not taking into account the symmetry of the fabric pattern. Additionally, silk ribbons could be decorated with embroidery. A fragment of an ochelie from the Ivorovsky burial ground is a rare example of ancient Russian facial and gold embroidery of the 12th - early 13th centuries, made on a two-layer silk fabric of bright crimson color (Fig. 3:5). Some elements of the ancient Russian costume became known to us only thanks to unique archaeological finds. These are multi-colored fringes made of 3 threads (Fig. 2:4), braided cords, bells that adorned a woman's headdress (Fig. 2:3), braids that adorned a woman's hairstyle (Fig. 3:3). Russian written sources name about 90 different types of clothing and jewelry. A large number of terms denoting clothing testifies to the complex composition, or rather, the multi-layered nature of ancient Russian clothing. The cold climate required that the suit included, in addition to the lower, several items of outer clothing. Only the term mentioned in written sources can be unambiguously attributed to underwear: shirt (srachica, shirt). The materials of ancient Russian burials allow us to say that women's and men's underwear were similar in cut: they had a blind cut and a small slit at the collar in front. Elegant shirts had low collars, embroidered with colored silk and gold threads. Such collars are well known from archaeological materials. Thus, during the excavations of the Suzdal necropolis, a whole collection of stand-up collars decorated with embroidery4 was obtained. Beads could be used as buttons. The presence of such collars is evidenced by fragments of braid, buttons and beads located near the cervical vertebrae in the Upper Volga burials. 98% of the female burials studied by archaeologists in the Upper Volga region contain the remains of a burial costume. The following parts can be distinguished in its composition: a headdress, which included temporal rings, pendants, beads, a rigid base and head covers; the women's dress itself, fixed on the remnants of the fabric and decorations: torcs, beads, pendants, buttons, brooches and other things; hand decorations - bracelets and rings; shoes, represented by fragments of leather. It is interesting that almost all terms related to women's costume known from ancient Russian written sources refer to a headdress (ubrus, brow, warrior, graft), or jewelry (useryazi, necklace, monisto, etc.). This circumstance indirectly testifies to how important these details of the women's costume were. Temporal rings are a traditional decoration of the Slavic women's attire. On the territory of the Upper Volga, rings with a diameter of 5 to 12 cm, made of thin silver or bronze wire, were common. Despite the simplicity and apparent monotony of such temporal decorations, the ways of wearing them were quite diverse. For example, they could be woven into the hair. Temporal rings were attached to the headdress. They were threaded into each other or fastened in a different way, and then the resulting "chain" of rings hung down along the face (Fig. 4). Temporal 4 rings were sometimes combined with other decorations - metal rims, beads, various types of pendants. In general, a women's headdress was a combination of several parts - a rigid base (also composite), a towel headdress (ubrus) and jewelry. Unfortunately, the basis of the headdress is poorly preserved in archaeological sites. We can judge its form from individual fragments and rare relatively intact samples. Nevertheless, these finds show that women's and girls' attire differed in ancient Russian times. Ethnographic materials of the XVIII-XIX centuries. testify that the form of the traditional female headdress was closely connected with the representations of the magical power of female hair. Archaeological data allow us to say that such representations already existed in the Old Russian era. The girl's dress suggested open hair - this is evidenced by the temporal rings woven into the hair. The girl's headdress could consist of one headband. The women's headdress completely covered the hair. It could include a rigid base - a circle of birch bark, bast or leather, a cap made of fabric, a head cover. The forehead part of the dress was decorated with metal rims, pendants, and embroidered with beads. Temporal rings in women's attire were attached to the outer side of a rigid base. Along with the headdress, an important role in the women's costume was played by a complex of neck and chest decorations and clasps. Various items and techniques were used to decorate the upper part of the costume: beaded necklaces, metal neck torcs and various pendants, embroidery and edging. Beads are the most commonly used breast decoration. As materials from well-preserved burials show, bead necklaces were made in accordance with certain principles. For example, the principle of monochrome meant making strings of beads of the same color, or grouping beads of the same color as part of a necklace. Some necklaces found on the Upper Volga consist of several low beads of different colors: for example, one low is made of gold glass beads, the other is made of blue glass beads. Another principle - the alternation of heterogeneous beads - assumed the alternation of heterogeneous beads. As a rule, this alternation was symmetrical - beads of different colors were repeated with the same rapport. Among the reconstructed necklaces, there are both quite long ones, wrapping around the neck completely, and short ones, consisting of a smaller number of beads. The length of such necklaces was not enough for independent wear, so it can be assumed that such necklaces were detachable, tied around the neck, and their back could be left without beads. This decoration resembles a necklace - a women's pectoral 5th decoration of the 19th-20th centuries. Beads were not only worn in necklaces, but also sewn onto clothes, both for decorative purposes and as buttons. A striking addition to the beaded necklaces were various pendants that were included in their composition. Most often these are coin-like pendants or coins turned into jewelry. Coin-like pendants are an adornment that was widespread in the Old Russian period almost everywhere in the territory of northeastern and northwestern Rus'. In the Upper Volga region, they were recorded in almost all the studied necropolises, but in a small number of burials. Apparently, chest decorations made of coins and coin-like pendants were not available to every woman, but only to those who had a high social and property status. The overwhelming majority of these adornments are found in the burials of the end of the 10th-11th centuries. - these are coins, mostly oriental - dirhams, as well as imitations of them. It is no coincidence that the appearance of imitations of oriental coins themselves. The craftsmen who made them tried to repeat the intricate Arabic inscriptions, imitating the popular decorations from oriental coins. In other words, we can say that ornamental coins at the end of the 10th - 11th centuries. is a "fashionable" and prestigious, and at the same time, a traditional detail, first of all, of a women's costume. Undoubtedly, the prestige of these things is closely related to the original function of the coins. Coin-shaped pendants and pendant coins not only decorated, but also testified to the property status of their wearers. Unfortunately, in the Upper Volga burials, only small fragments of fabrics from clothes have been preserved. At the same time, the distribution of adornments, clasps, and fragments of clothing along the shoulder, chest, and waist zones in the burials to a certain extent reflects the cut and design of the women's burial costume. The nature of the cut of clothes is evidenced by brooches, buckles, as well as decorations - chains, pendants and sewn-on plaques indicating the places of seams or cuts in clothes, the presence of a belt. This aspect of studying the arrangement of things in burials is especially important and interesting, as it allows us to study the design and imagine the general silhouette of a woman's costume. So, for example, in some burials paired decorations on the shoulders were found. This allows us to make an assumption about the presence of clothes like a tunic-shaped "sarafan" of a dull cut (Fig. 5). This type of clothing is reconstructed based on materials from the burials of the Baltic Finns (Ests, Vesi, on the territory of Finland) and Balts of the 10th-13th centuries. preserved. In most of the female burials of the Upper Volga region, there are unpaired decorations on the shoulders - chains with pendants, 6 knives, complex pendants, which indirectly testify to the nature of the cut of women's clothing. Probably, wearing them on one shoulder is the result of adaptation to a different, dull cut of clothing. So, chains with pins, connecting the edges of a shoulder cover or straps in the Baltic-Finnish and Baltic costume, in the costume of the Upper Volga region are hung to one shoulder, performing an exclusively decorative function. In some burials of the Upper Volga region, there are also “noisy” pendants, characteristic of the Finno-Ugric costume. Swing clothes are fixed by fasteners, as well as sewn-on plaques and their remnants, located along the vertebral bones of the skeleton. Based on materials from burials in the eastern part of the Upper Volga region, clothes are reconstructed, fastened with a fibula in the center of the chest. It could be both clothes with sleeves and a shoulder cover. Decorations in the area of ​​the hips, belt and along the spine, possibly, fix short swinging clothes such as sweaters. Analogies to this type of costume are well represented in the Finno-Ugric antiquities. According to ethnography, short outerwear with a fibula in the center was characteristic of the Ural and Volga Finns - Udmurts, Mordovians-Erzi, as well as the Russian population of the central and southern provinces of Russia - Ryazan, Samara, Tula, Tambov6. The presence of the belt is evidenced by various objects located in the corresponding zone of the burial. Jewelry was hung from the belt, as well as various household items that a woman needed to have at hand. Most often these are knives, as well as whorls, combs, awls, needles, which were placed in special woven or metal cases. Archaeological materials show that the belt in the ancient Russian costume not only formed the overall silhouette of the costume, but also served as a “pocket”. The presence of details of the costume in the belt zone of the burials suggests not only the presence of the belt itself, but also belt clothing such as a poneva or skirt. It is difficult to establish the features of the cut of this clothing, since its fragments are too small, but its presence in some cases can be spoken of with a sufficient degree of certainty. In the Upper Volga burials, the remains of checkered tissues were found, similar to the pony tissues of the 18th-19th centuries. (Fig. 4) Women's costume complements the complex of wrist jewelry. It includes bracelets and rings, as well as sewn-on decorations - plaques, threads, pendants. Basically, the method of wearing one bracelet at a time is traced, and in most cases on the left hand. Cases of decorating both hands have also been recorded. It is interesting to note that on both hands, as a rule, there are the same type, "paired" bracelets. 7 Finds of fabrics on the inside of the bracelets suggest that in such cases the bracelets were not only decoration, but could also hold long or wide sleeves on the wrists. Rings were worn both on one and on both hands, in quantities from one to four copies. Interestingly, rings were sometimes sewn onto clothes or belts, acting as pendants. Thus, the materials of the Upper Volga burials make it possible to study in sufficient detail the ancient Russian women's costume. They indicate that already in the Old Russian period, the formation of a women's shirt of a blind cut with a small slit along the neck begins, which existed in the Russian costume until the beginning of the 20th century. Most of the details of the Upper Volga costume have a common Slavic appearance: a headdress with temporal rings, poneva. At the same time, in the Upper Volga costume of the XI-XIII centuries. certain features characteristic of the pre-Slavic - Finno-Ugric and Baltic populations have been preserved: webbing clothes, "noisy" pendants, clothes fastened with brooches. Most often, multi-ethnic features are combined with each other as part of a costume. So, for example, webbing clothes and noisy pendants are combined with a typical Slavic headdress with bracelet-shaped temporal rings. All these features testify to the complex process of costume folding, which has absorbed multi-ethnic features, and reflect the ways of the formation of the Old Russian population in the Upper Volga region. * * * Compared to the women's suit, the men's suit is characterized by a smaller number and variety of clasps and decorations. At the same time, an analysis of the arrangement of things in the burials showed that the costume could include not only decorations, but also various tools. Knives, armchairs, flint, whetstones, iron rods, trade equipment - scales, weights, coins, as well as woven and leather wallets were also attributes of the ancient Russian men's costume. The inclusion of tools and household items in the composition of the funeral costume is one of the most noticeable features of the men's costume, expanding the possibilities of its reconstruction. The most common among the elements of a men's costume are the details of the belt, among which the most common are household items - knives, whetstones and flints, armchairs, iron rods with a ring. Quite often there are belt buckles and belt rings that served as belt distributors, as well as for hanging various objects. The remaining details of the men's costume are 8 much rarer finds. These include brooches, bracelets and rings, buttons, various sewn-on ornaments, pendants, and earrings. The details of the cut and construction of men's clothing are evidenced by the location of fasteners (brooches and buttons), as well as organic remains. Findings of buttons testify to the nature of the cut of men's underwear. It has already been said that men's underwear was similar to women's. The collar of a male shirt was fastened with one or more buttons - they are located in the burials along the cervical vertebrae. The most common element of the male funeral costume is the belt. In general, the presence of a belt was recorded in 80% of the burials with the remains of a costume, items of a belt set - buckles and belt rings - in 60% of male burials with costume details. The belt also included belt decorations - ornamented sewn-on plaques. In cases where there are no items of a belt set, the presence of a belt is fixed by knives, iron rods with rings, purses with coins, scales, armchairs, and whetstones located in the belt zone of burials. Just as in a women's suit, in a men's suit a belt has a utilitarian meaning. In addition, the belt also performed a symbolic function and was of particular importance for the entire appearance of a medieval man. The tools that make up the costume indicate that the costume was intended to reflect the status of a man as the main producer of material goods and the guardian of tribal borders - a warrior, hunter, artisan. The obligatory wearing of a belt for men is confirmed by written sources, can be traced in Russian folk rites and rituals. The rite of tying the belt marked the transition of young men into the category of adult men. The belt had a ritual significance, taking part, first of all, in the "rites of passage" (weddings, funerals). Associated with it are notions of strength and, at the same time, protection from harmful influences. Unfortunately, there are no materials that make it possible to accurately restore the length of men's clothing. Here you can rely only on the data of visual sources. Knee-length clothing was typical for the ordinary population, warriors, in contrast to the long-skirted clothing of the nobility, which was guided by Byzantine designs. The short shirt of artisans and warriors is often combined with high shoes. Finds of shoes in burials are very rare (in the Upper Volga region - 4 fragments) and do not allow for a complete reconstruction. At the same time, some data indirectly testify to the possible types of footwear worn by the rural population of the Upper Volga region in the 10th-13th centuries. In a number of male burials in the area of ​​the knees, metal rings were found, similar in shape to belt rings. In these cases, in our opinion, 9 it is possible to reconstruct high shoes - boots with soft tops, pulled together at the knees by belts with rings. This type of footwear was common among the Balts. Boots with wide tops are also known based on archaeological materials from ancient Russian cities. Another reconstruction option is also possible - short shoes and windings (onuchi) around the lower leg, tied under the knee (Fig. 6). The presence of high shoes is evidenced by another feature of a number of male burials - the location of knives in the shin area. The tradition of wearing "boot" knives is well known from ethnographic data. Finds of a male headdress in the Upper Volga region are even rarer than finds of footwear. Only in one burial of the Berezovets burial ground on the lake. Seliger found a fragment of a felt headdress in the form of a cap, similar to those depicted in ancient Russian miniatures. You can talk about men's outerwear in more detail. According to the materials of Russian pictorial sources - miniatures and icon painting - shoulder cloak-like clothing is well known. A number of terms denoting these clothes are also called by written sources: korzno, myatl, luda, manatya, kots, yapkyt. Based on materials from the Upper Volga burials, two variants of raincoat-like clothing fastened with brooches are reconstructed. In the first version, the clasp is located on the shoulder. In the second, the fibula is located in the area of ​​the belt, which makes it possible to reconstruct a cape covering one shoulder (Fig. 7). Such clothing is known from archaeological sites in northwestern Russia and northern Europe 8. According to researchers, such a cloak was comfortable for riding. Together with brooches, in a number of cases, remains of twill weave, coarse and dense, were found, which was quite suitable for making outerwear. In some cases, its color is also determined - blue. It is possible that raincoats with different fasteners and cuts could have different names, but the sources do not give us the opportunity to clarify this. The materials of the burials allow us to consider the remains of other outer clothing - leather and fur. And although its remains are very few, it is obvious that they wore it with fur inside. On one of the fragments, a sewn-on loop made of leather ribbon has been preserved. Clothing called a casing is often mentioned in written sources. The casing was the warmest (and the outermost) clothing, both for men and women. Apparently, casings sewn with fur inside, made of sheepskin or other fur, have not changed much for several centuries: they are well known from ethnographic materials. 10 Of course, the men's suit was more strict and functional, but there are adornments in it too. The bracelets and rings worn by men were the same in shape as women's, and differed only in size and massiveness. Of men's jewelry, earrings should also be noted. They are rings with a diameter of 1-1.5 cm, worn by men in one ear. The custom of wearing one earring by men is recorded in written sources of the 10th-14th centuries. and lasted until the 19th century. Here we can recall the description of Prince Svyatoslav, who wore a gold earring with a pearl. Wearing an earring in one ear in the 19th - early 20th centuries. among Russian peasants it was considered a sign of panache and prowess 9. Among the sets of men's costume, a group of multi-piece ones stands out, including belt buckles and rings with tools, trade equipment, wrist jewelry, brooches. The noted components of the costume are, apparently, a reflection of the special social status of the buried person. Such complexes were typical for the burials of men of different ages. The metal details of the costume acted as a sign of the special social status and property status of its owner, distinguishing him from the ordinary population. Thus, the men's suit, apparently, to a greater extent corresponded to the social and professional affiliation of a person, in accordance with the position of a man in society as a whole. The women's costume rather reflected the ethno-cultural characteristics of the population, and also depended on age characteristics, which can be traced archaeologically in the materials of the Upper Volga burials. Comparison of women's and men's costume suggests the role and ratio of men and women in ancient Russian rural society as a whole. The man, first of all, was the producer of material goods, carried out the function of protection and relations with the neighboring population, which is reflected in the composition of the funeral costume. Accordingly, a woman appears as a bearer of cultural traditions - this is evidenced by the combination of multi-ethnic details in a women's costume. 11 1 Lehtosalo-Hilander P.L. Ancient Finnish costume. Helsinki. 1985. R.5. 2 Artsikhovsky A.V. Clothing // Essays on Russian culture of the XIII-XV centuries. Part 1. material culture. M., 196. S.282. 3 Kalmykova L.E. Folk art of the Tver land. Tver, 1995. P. 129. 4 Saburova M.A., Elkina A.K. Details of ancient Russian clothing based on materials from the Suzdal necropolis // Materials on medieval archeology of North-Eastern Rus'. M., 1991. 5 Finno-Ugric peoples and Balts in the Middle Ages. M., 1987. 6 Russian traditional costume / Comp. N. Sosnina, I. Shangina/. SPb., 1988. 7 Murasheva V.V. Semiotic status of the belt in medieval Rus' // Medieval Antiquities of Eastern Europe. Proceedings of GIM. Issue 82. M., 1993. - S.22-38. 8 Khvoshchinskaya N.V. Finns in the west of the Novgorod land. St. Petersburg, 2004. - P.121, 123, fig.48. 9 Zelenin D.K. East Slavic ethnography. M., 1993. P. 163.

A suit is an ensemble, a complex, in the center of which is a person. This complex combines clothes, shoes, as well as additional items for decorating both clothes and body parts, or accessories, as well as cosmetics, hair, make-up. Clothing is understood as a set of separate types of body coverings (dress, shirt, stockings, etc.). The suit combines practical and aesthetic functions, helping a person to organize life, work and communication. Any traditional costume, including ancient Russian, is not something static, frozen. In the process of its formation over the centuries, its appearance was affected by changes in life, social structure, interconnection and influence of various peoples. Most of these changes left a mark in the complex of the folk costume as a whole (the appearance of new elements) or in various components (material, cut, ornaments) and use (manner of wearing). All this makes the traditional costume the most important source for studying the origin of ethnic groups, their historical fate, cultural ties and contacts.

The purpose of the academic discipline "History of the Old Russian Costume", studied as part of the specialization "Archaeology" at the Faculty of History of Tver State University, is to study the Old Russian costume as a multifunctional system that reflects the ways of the formation of the Old Russian ethnos, its socio-economic and ethno-cultural history. The course covers the following areas:

• the history of the study of ancient Russian costume;
• the main sources on the history of ancient Russian costume (written, pictorial and archaeological) and methods for studying them;
• the composition of the ancient Russian women's and men's costume (based on materials from rural funerary monuments in the Upper Volga region).

The study of these areas involves theoretical studies, independent work on the preparation of reports, visits to museums and practical work with materials from archaeological collections.

Overview of historiography

Studies in the theory and history of costume

Questions of the history of the costume were studied mainly on the basis of chronologically and territorially broad material. Currently, there are a number of generalizing studies based on written, pictorial and ethnographic sources. This is one of the most famous works - “The History of the Costume from Ancient Times” by M.N. Mertsalova (Mertsalova, 1993). The nature of the sources often allowed researchers to consider in sufficient detail the costume of individual groups of the population: for example, the upper strata of Roman and Byzantine society, Western European countries of the Middle Ages. At the same time, a number of points remained less developed, for example, a folk costume, poorly reflected in the sources. Preference in research was given to visual sources that give a visual representation of the appearance of a person. Their consideration in combination with written sources, general historical knowledge allows us to draw conclusions about the development of fashion, the significance of the costume in the life of society, and the reflection of historical processes and phenomena in it. Thus, the development of medieval Western European fashion in the X-XV centuries. were considered by A.L. Yastrebitskaya, L.M. Gorbacheva (Yastrebitskaya, 1988; Gorbacheva, 2000), ancient Russian women's costume - N.L. Pushkareva (Pushkareva, 1989). Theoretical questions of the history of the Russian traditional costume were developed in ethnographic research. Large independent sections are devoted to the Russian folk costume in historical and ethnographic atlases, reference publications on the history of clothing (Maslova, 1987; Russians. Historical and ethnographic atlas, 1967, 1970; Sosnina, Shangina, 1998). Ethnographic materials make it possible to consider the problems of the typology of the Russian costume, to identify the types of everyday and festive, ritual clothing, social-age and territorial complexes (Voronov, 1924; Grinkova, 1936; Zelenin, 1991; Maslova, 1987).

The costume is traditionally considered by researchers in two main aspects: functional and symbolic (Kalmykova, 1995; Maslova, 1956, 1984, 1987; Mertsalova, 1993, etc.). It is the full complex of clothing and other details of the costume that depends on the conditions dictated by practical purposes, and includes shades of symbolic meaning. The cover was created by man to protect the body from the effects of the environment: cold, heat, atmospheric phenomena, helped him in adapting to external conditions. However, already in the early stages of the development of society, a person made attempts to designate himself, to come up with signs that give an idea of ​​him and his actions. Coloring the body, applying signs to it, tattooing, a special hairstyle corresponded to the psychological appearance of people, their worldview. Thus, clothing and accessories appeared simultaneously, and if the functional side of the costume, its subordination to specific conditions, is manifested in clothing, then individual elements of its design, a certain set of accessories were designed to correspond to the peculiarities of the worldview, behavior, and established tradition existing in society. Here, the decisive role was played by the convenience of not practical wearing, but the perception of the costume by oneself and other people.

Studies in the history of medieval costume

The most important factor determining approaches to the study of ancient Russian costume is that its complete samples have not been preserved. It would seem that this circumstance makes an integrated approach especially relevant for its researchers, involving the use of all types of sources. However, there are few such generalizing complex works on the history of ancient Russian costume. The most ambitious are the studies of A.V. Artsikhovsky and M.G. Rabinovich, which presents a systematic description of the costume, including a description of the material of clothing, its cut, ornament, the most important items of clothing, a complex of rural and urban costume, its functions in the family and society (Artsikhovsky, 1969; Rabinovich, 1986). These studies used a wide range of archaeological and ethnographic sources, images, descriptions in medieval literary works, acts and other written monuments. These works also demonstrated the difficulties of such an integrated approach. After all, written sources contain, as a rule, only fragmentary information about the appearance of ancient Russian people and their clothes. Old Russian figurative sources are few and controversial (see the relevant sections of this manual). As a rule, the names of ancient Russian clothes are very difficult to correlate with images or archaeological finds.

Archaeological sources are the main ones for most researchers of the ancient Russian costume. Archeology deals primarily with costume accessories. They make up a significant part of the circle of Russian antiquities - basically, these are various decorations and fasteners. Thus, work on the study of the complex of ancient Russian costume is inextricably linked with the study of medieval antiquities in general. However, this contains both the advantages of archaeological sources on the history of clothing and costume, and the difficulty associated with their study. The short-lived basis of external decoration, its forms are practically absent, the clothing itself, the “background” on which accessories are superimposed, as a rule, disappears. Whole samples of clothing are extremely rare archaeological finds. In this regard, almost all researchers of the ancient Russian costume, relying on archaeological sources, resort to ethnographic analogies.

Considering the works devoted to the ancient Russian costume according to archeology, we can distinguish the following general problems in its study:

1. The problem of isolating costume complexes. Costume researchers focused on the study of funerary monuments and burials made according to the rite of inhumation as the main sources for costume reconstruction. The set of inventory in the burial, preserved "in situ", allows us to consider jewelry and clasps as parts of a single complex. Therefore, a significant number of works on this topic are devoted directly to the reconstruction of the costume, the analysis of the location of objects in specific burials. M.A. Saburova developed methods for reconstructing Old Russian headdresses, and considered the possibilities of reconstructing a costume based on materials from Old Russian funerary monuments (Saburova, 1974, 1975, 1978, 1988). She also wrote a generalizing work on the history of ancient Russian costume, which not only took into account the categories of ancient Russian jewelry, but also, which is especially valuable, for the first time summarized data on numerous fragmented finds of clothing (Saburova, 1997). Reconstructions of costumes and their individual elements based on burial materials were proposed by M.A. Saburova, A.K. Elkina, N.V. Khvoshchinskaya, E.A. Ryabinin, I.I. Elkina (Saburova, 1974, 1988; Saburova and Elkina, 1991; Khvoshchinskaya, 1984, 1993; Ryabinin and Khvoshchinskaya, 1980; Tukhtina, 1997; Elkina, 2001). Based on the materials of the Upper Volga burial sites, the reconstruction of the costume and its individual elements was carried out by F.Kh. Arslanova, I.V. Islanova, A.N. Khokhlov and A.S. Dvornikov, Yu.V. Stepanova (Arslanova, 1994; Islanova, 1988, 1996; Khokhlov and Dvornikov, 1988; Stepanova, 1999, 2000; etc.). Studying the burial materials over a wide area, the researchers noted the diversity of burial costume complexes. So, I.V. Islanova on the materials of the Msta-Molozhsky interfluve, E.A. Ryabinin and N.V. Khvoshchinskaya, on the basis of materials from the North-West of the Novgorod land, several complexes of women's costume were identified, reflecting the ways of its formation and the multi-ethnic character of the population of these territories in ancient Russian times (Islanov, 1996; Ryabinin, Khvoshchinskaya, 1980).
2. The problem of the preservation of archaeological sources and the development of new methods for their study, using ethnographic data. All researchers noted that the possibilities of costume reconstruction based on burial data are limited due to the poor preservation of organic materials and the absence of clothing remnants sufficient to reconstruct its cut. In this regard, the following issues were raised in the works, such as: 1) using ethnographic data to study the ancient costume, 2) developing field research methods, using natural science methods to study the remains of the costume. It is an indisputable fact that the archaeological data on Ancient Rus' and the data of ethnographic sources of the 18th-20th centuries. are separated by a significant chronological period, as a result of which direct analogies, especially in the reconstruction of individual copies of the costume, are illegal. At the same time, when identifying certain types of clothing, researchers use costume typologies developed by ethnographers (Grinkova, 1936; Zelenin, 1991; Maslova, 1987). So, in the works of M.A. Saburova, V.V. Sedov, on the basis of materials from specific sites, comparisons were made with ethnographic data (Saburova, 1988; Sedov, 1994). The obtained conclusions testify to the legitimacy of these comparisons. Thus, when studying and reconstructing an ancient costume, knowledge of relic clothing, its typology and formation patterns is necessary. This allows us to confirm and clarify the conclusions about the types of costume, their cultural interpretation and chronology. In connection with the development of field research methods, the use of natural science methods for studying the remains of the costume, the studies of the Baltic and Western European authors devoted to the costume of the population of the Baltic and Northern Europe in the Middle Ages are of particular interest. In the burial sites of the North of Europe, not only fasteners and metal jewelry, but also organic materials are well preserved. Their careful fixation made it possible to reconstruct the medieval costume with great reliability, including the cut of clothing and its individual parts (Volkaite-Kulikauskiene, 1986; Vyashkyavichute, 1982; Zarinya, 1975, 1986; Laul, 1986; Urbanaviciene, 1988; Geijer, 1938; Hägg, 1983 ; Lehtosalo-Hilander, 1985 and others).
3. The problem of studying individual types of costume accessories. As already mentioned, a significant part of the known categories of ancient Russian things belongs to them. Thus, for a researcher of Old Russian costume, it is especially important to study the typology of Old Russian things, their chronology and territorial distribution. Currently, archaeologists rely on a number of type-chronological scales of individual categories of things, studies of their morphology, technology and origin (Essays on the history of the Russian village of the X-XIII centuries, 1956, 1967, 1973; Sedova, 1981; Kolchin, 1982; Lesman , 1984, 1990 and others). These works are especially important in connection with the solution of the problem of the chronology of the ancient Russian costume.
4. Reconstruction of individual elements of the costume according to archeological data. Ways of wearing individual items as part of a costume were reconstructed by B.A. Rybakov (Rybakov, 1959). N.V. Zhilina studied the design features and ways of wearing ancient Russian precious attire (Zhilina, 1997, 2001, 2005), S.S. Ryabtseva — the composition and variants of ancient Russian jewelry based on materials from ancient Russian treasures (Ryabtseva, 2005). M.A. Saburova, T.G. Saracheva and A.S. Agapov studied ways of wearing temporal jewelry (Saburova, 1974; Agapov, Saracheva, 1997). Urban costume decorations were studied by L.V. Pokrovskaya based on the materials of the estates of ancient Novgorod (Pokrovskaya, 1998, 2000, 2003). A.V. Kurbatov, using extensive materials from Western and Northern Europe, examined the types of ancient Russian footwear, their development and connection with European medieval fashion (Kurbatov, 2002, 2004a, b).

So, a fairly wide range of literature addresses the issues of the methodology for studying and reconstructing a costume, and certain categories of accessories. Archaeological evidence is the basis for the vast majority of these studies. Almost all researchers note the difficulty in studying the ancient Russian costume, associated with the nature and safety of the sources.

Written sources on the history of ancient Russian costume

In the corpus of Russian written sources of the XI-XV centuries. on the history of ancient Russian costume includes chronicles, birch bark letters (see Appendix 1), spiritual letters of Russian princes. Altogether they give over 90 terms related to costume. Of these, about 40 refer to clothing, 8 denote various types or parts of headgear, 13 ornaments, 16 denote different types of fabrics, 2 leathers, another 10 denote colors of clothes or fabrics, and 3 refer to footwear. The number of references to the costume in written sources generally exceeds 200. Written sources allow us to judge the material from which this or that clothing was made, its belonging and even cost. But in rare cases, one can accurately imagine how one or another element of the costume was cut, sewn, fastened, worn, and ultimately looked like. These fragmentary data turn out to be more informative when compared with archaeological materials. A large number of terms denoting clothing testifies to the complex composition, or rather, the multilayered nature of ancient Russian clothing.

Only the term can be clearly attributed to underwear shirt(srachka, shirt). The materials of ancient Russian burials allow us to say that women's and men's underwear were similar: they had a dull cut and a small slit in front. Elegant shirts had low collars, embroidered with colored silk and gold threads.

Unlike underwear, outerwear is denoted by a much larger number of different terms (approximately 24). The most frequently mentioned among the types of outerwear is casing, which, apparently, was the warmest (and topmost) men's and women's clothing. The available evidence of written sources about these clothes allows us to say that both clothes with sleeves and a type of cape could be called a casing. According to the finds in ancient Russian burials, the remains of outer clothing sewn with fur inside, fastened with air loops, are known. Thus, the lower women's and men's clothing had the same names. The uppermost women's and men's clothing was also called the same. Apparently, they were similar in their cut. The remaining terms discussed below refer exclusively to men's or women's costume. It should be noted that the ancient Russian men's costume in written sources is described by 24 terms and is mentioned much more often, while women's - by only 13 singularly occurring names. At the same time, 21 of the “male” terms denote clothes, 3 – a headdress, and 1 – shoes, while 5 of the “female” terms denote parts of a headdress, another 5 – jewelry, and only 3 – clothes. A number of concepts refer to men's outer shoulder clothing such as capes. Perhaps this is the only type of clothing designated by such a number of terms: korzno, mint, luda (ludits), kots, yapkyt, manatya. First of all, there are obvious differences in the material of these types of capes (luda is a cloak made of heavy material with the use of gold thread, yapkyt is apparently a felt cloak) and their accessories (manatya is the clothes of the clergy, kots is exclusively a princely cloak). Cloak-type clothing is well known from archaeological sources. Capes fastened with brooches are reconstructed based on the materials of ancient Russian burials. Different ways of wearing them are fixed: 1) with a clasp around the neck or at the shoulder, 2) with a clasp on the side (while one arm remained open). It is possible that cloaks with different fasteners and cuts could have different names, but the written sources here do not provide an opportunity for clarification. In addition to cape-type garments, written sources make it possible to single out a group of shoulder swing outerwear, which includes retinue, bully, ohaben, opashen, terlik. This clothing is known only from archaeological materials of the late Middle Ages and is practically not recorded in the funerary monuments of the 10th-13th centuries. The group of terms relating exclusively to women's costume includes mainly the names of jewelry ( koltki, useryazi, monisto, necklace, alam), as well as headgear or parts thereof ( ubrus, brow, warrior, graft), and only three names can be attributed to women's clothing ( chuprun, ceiling, ponyavitsa). It is important to note that this small number of concepts quite fully characterizes the composition of a women's headdress. All these elements, despite their fragmentary nature, are fixed on the basis of archaeological materials. In addition, all the given names are well known from ethnography. The brow or ochele is the front part of the headdress that rises above the forehead. Povoyets (povoynik), which looked like a soft cap, was the lower part of the headdress worn under the kokoshnik, magpie, and ubrus. Yubrus (ubrus) - a towel part of a headdress worn over its main elements (kiki, warrior). Kolts (kolts) is a decoration of a headdress, well known from the materials of ancient Russian treasures. Useryazi, according to N.V. Zhilina - temporal pendants, characteristic of the ancient Russian women's attire. Written sources do not tell us anything about how all these details of the headdress could be combined. However, a number of ancient Russian burials and treasures are known, based on the materials of which archaeologists reconstruct various combinations of the listed elements: ubrus, povoinik, ochelye in combination with temporal rings, pendants. All of them could be worn at the same time, making up a complex headdress, similar to the Russian ethnographic headdress.

Pictorial sources on the history of ancient Russian costume

Figurative sources on the history of ancient Russian costume are few. Among them are images on cuff bracelets, initial letters in the form of human figures, works of small plastic arts, some works of icon painting and fresco painting. The most important sources are miniature chronicles.

Images on bracelets-bracers of the 12th-13th centuries, according to researchers, have a ritual significance. The figures of people on them are intertwined in one composition with fantastic creatures and floral ornaments. At the same time, these compositions, apparently, reflect the pagan rites that surrounded the man of Ancient Rus' in everyday life, which allows us to consider the images of people in them quite reliable (according to B.A. Rybakov, the compositions on the bracelets depict mermaid " games”, which included round dances, music, feasts and various dances (Rybakov, 1967)). In addition, certain patterns can be traced in the images of clothes on bracelets. Thus, on bracelets from Kyiv, from the Staroryazan treasure of 1966, and on the casting mold of a bracelet from Serensk (see Appendix 2), women are depicted in clothes with very long sleeves. Apparently, it was ceremonial clothing for performing ritual dances. Long sleeves, for grabbing which the bracelets-bracers themselves served, were removed before the dance. A similar dance "slipshod" is also depicted on one of the miniatures of the Radziwill Chronicle. The bracelet from the Tver treasure of 1906 depicts women with gathered sleeves. All compositions depict women in belted or belted clothes. Images from Serenskaya and Staraya Ryazan suggest that women are wearing ponevas - their unsewn cloths are clearly visible, from under which the hems of long shirts are visible. Men's clothing is knee-length, in the center of the chest area it has an ornamental stripe (perhaps along the fastener). Both men's and women's clothing have ornamental stripes on the shoulders, probably at the seams.

A more detailed image of men's clothing is on one of the reliefs of the Dmitrievsky Cathedral in Vladimir, depicting, according to G.K. Wagner (Wagner, 1980), Prince Vsevolod III with his sons (see Appendix 2). The prince is depicted in long clothes and a patterned cloak fastened with a fibula on his right shoulder. The sons of the prince are depicted in short clothes similar in design. These clothes have a rounded neckline, which is bordered by a wide strip, or this is a mantle that was worn additionally. In the center, a small rectangular detail adjoins the edge of the neckline. Probably, this is the design of the collar (like the decorative design of the fasteners of Russian blouses). The clothes are equally bordered with wide stripes along the bottom, the edges of the sleeves. Another recurring detail of the clothes of the prince and sons is the stripes on the shoulder parts of the sleeves. The images make it possible to single out the following main features of the clothes of the prince and his sons - blind cut, knee-length, rounded neckline, a small chest slit, decorated with a decorative strip, narrow sleeves, bordered by wide stripes at the wrists and in the forearm area, a wide border along the hem. This type of clothing is repeatedly repeated in the images on the bracelets and, apparently, corresponds to the real type of ancient Russian men's clothing.

Works of ancient Russian icon painting and facial sewing, oriented to Byzantine patterns and subordinate to the pictorial canon, provide little information about the ancient Russian costume, especially the common people. Only in isolated cases, when the depicted plots demanded it, did the icons reflect the everyday realities of Ancient Rus'. Such, for example, are the icon “Praying Novgorodians” (1467), the shroud “Church Procession”, made in the workshop of Princess Elena Stefanovna (1498) (Mayasova, 1971) (see Appendix 2).

Of particular interest as a source on the history of ancient Russian costume are the miniatures of the Radziwill Chronicle, created at the turn of the 15th-16th centuries. (see Appendix 2). The chronicle that has come down to us was based on the protograph (or protographs), the formation of which most researchers trace back to the 13th century. For more than two hundred years, it has attracted the attention of researchers. The complex composition of the chronicle, the originality of its miniatures led to the emergence of new attributions of the monument, the unflagging interest in the problem of the origin of the chronicle. Most researchers come to the conclusion that in the annals, images made in the Byzantine-Russian tradition are combined with miniatures that have experienced Western European influence. At the same time, it is obvious that ancient Russian everyday realities were also reflected in the miniatures (Artsikhovsky, 1944). The sources cited contain images of clothes different from Western European ones of the same time (in particular, long-skirted clothes, both women's and men's, with a fastener with many loops, with turn-down collars), soft hats with lapels, women's closed towel hats.

Thus, individual pictorial sources contain information about the nature of the ancient Russian costume. However, most of them belong only to the 15th century, the images on them are difficult to correlate with the well-known names of ancient Russian clothes, it is difficult to determine the composition of the clothes and individual details of the cut.

Archaeological sources on the history of ancient Russian costume. The composition of the ancient Russian women's and men's costume based on materials from the burial sites of the Upper Volga region.

As already noted, the most complete archaeological sources for the reconstruction of the Old Russian costume are the materials of the Old Russian burials and treasures, since they usually contain a whole range of things that are elements of the costume. Let us consider the composition of the ancient Russian costume, based on the materials of the burial sites of the Upper Volga region of the late 10th-13th centuries. (see Annex 3, map).

The materials of the field documentation of the excavations of the Old Russian burial sites of the Upper Volga region contain quite detailed descriptions and images of the burials and provide wide informative opportunities for the reconstruction of the burial costume complex of the Old Russian population.

Organic remains of the suit

Costume details made of textiles, leather, fur, felt, birch bark, as a rule, are poorly preserved in the cultural layer due to their organic origin. Even individual fragments, not to mention entire pieces of clothing, are a rare find that attracts special attention from archaeologists (see Appendix 3). The most representative collections for the Upper Volga region are the collections of organic remains from the burials of the kurgan groups Pleshkovo-1, Izbrizhie, and the Berezovets burial ground. Among the remains found are fragments, prints of textiles, threads, decay along with decorations. In most cases, the material for making fabric was wool. Textiles made from plant fibers (flax, hemp) were found only in two cases. As a rule, it is quickly destroyed in the soil environment and disappears without a trace. It can be assumed that the prints on the objects may be traces of a fabric made from plant fibers. There are also remains of combined textiles, where linen (usually as weft) and woolen (warp) threads were used. Finds of silk fabrics are rare. Only 7 fragments of silk from 4 burials of the Upper Volga region were found. Silk in the era of the early Middle Ages was one of the significant imports of Rus' from Byzantium and the countries of the Muslim East, but was widely used only in princely and church life. The ordinary rural population used cheap varieties of silk to decorate dresses. Silk trim is well known from the surviving examples of clothing from the monuments of Northern Europe. Decorations are known both from woven patterned ribbons and from strips cut from silk cloth. The silk was cut into strips used for sheathing sleeves, hem, and collars. These stripes could be decorated with embroidery. In the Upper Volga region there are single finds of silk, different in origin, processing and use. In the mound near the village of Vorobyevo, fragments of two-color silk (on a yellow background - a green ornament arranged in stripes), twill weave, with a base of thin untwisted yarn, were found. Fragments of yellow silk fabric with a pattern in the form of red flowers were also found here. According to M.V. Fekhner, this fabric is of Central Asian origin (Fechner, 1973). Similar fabrics were produced in the 7th-11th centuries. in the vicinity of Bukhara in the village of Zandana and were known under the name "Zandanechi". A fragment of an ochelye from the Ivorovsky burial ground is a rare example of ancient Russian facial and gold embroidery of the 12th - early 13th centuries. , made on a two-layer silk fabric of bright crimson color (Komarov, Elkina, 1976). Such a fabric was called "samit" and was produced in the silk-weaving workshops of Byzantium and the Middle East. A fragment of a monastic headdress decorated with a floral ornament made with gold threads was found in a 12th-century burial. Borisoglebsky Monastery in Torzhok (Berenstein, Malygin, 1995). In the Pekunovo-2 kurgan group, a fragment of the edge of a garment found on a chest buried under beads has been preserved. It is a piece of thin silk fabric of plain weave, on which a silk fabric, apparently green, with a small weaving pattern in the form of rhombuses, is sewn. Between the two layers of fabric, the remains of a layer of birch bark have been preserved. The green fabric, apparently the remains of a woven ribbon. It is sewn on a silk lining with a stalked seam. Three parallel seams have been preserved. Perhaps this fragment is the remains of the lining of the neckline of a woman's dress. These finds of silk fabrics reflect the range of silk fabrics that came to Rus', and the nature of their use in the clothing of the rural population. Fabrics with a colored woven pattern are fixed. The warp and weft threads are of different colors and form a geometric pattern when weaved.

One of the most striking and interesting finds are the remains of woven multi-colored ribbons. Basically, these are samples of weaving, the methods of which (weaving on slabs) are widely represented in ethnographic materials. It is interesting to note that the width of these ribbons is fixed, and it could be very diverse, depending on the number of planks and warp threads. Finding tapes in burials - as a rule, in zones corresponding to the collar, sleeves, belt. A special type of woven decor in the composition of the costume is woven pendants: fringe, cords, including braids, bells. Braided cords were found in most cases with metal clips in the chest area of ​​the burials, and are considered by researchers as the remains of a kosnik. According to ethnographic data, a kosnik is a detail of a hairstyle and serves to decorate and fix hair in a braid. A ribbon can act as a braid, a cord woven into a braid, the ends can be shaped with bells, beads. Among the materials examined, samples of ancient Russian embroidery with colored woolen threads were also identified.

Woman suit

The most informative are female burials, which include a large number of pendants, beads, buttons and other clasps and costume decorations. Their distribution by zones in the burial — the upper (the zone of the neck, shoulders), belt and sleeves — to a certain extent reflects the composition of the female burial costume, which included certain types of clothing, headgear, shoes, and accessories. Comparison with the data of visual sources and samples of ethnographic costume makes it possible to clarify the design features of ancient Russian women's clothing. In accordance with the set of things in the burials of the Upper Volga region, the following parts of the women's costume can be distinguished:

• a headdress, which included temporal rings, various pendants, head rims, a rigid base and head covers, represented by fragments of fabric, leather and birch bark;
• clothing, represented by remnants of fabric and accessories: hryvnias, beads, pendants, buttons, brooches and other things; in its composition, separate complexes are distinguished - chest and waist parts;
• hand decorations: bracelets and rings;
• shoes, represented by fragments of leather.

For the early stage - the end of the X - the middle of the XI century. - local variants of headdresses are distinguished in the western and eastern parts of the Upper Volga region, gravitating towards the Baltic and Finno-Ugric types of headdresses. Later, from the second half of the 11th century, headdresses with bracelet-like temporal rings spread throughout the Upper Volga region (see Appendix 3). At the same time, in the second half of the XI century. there is a great variety in head ornaments. In large burial grounds, there are headdresses with various types of temporal rings.

The nature of the cut of clothes is evidenced, first of all, by fasteners - brooches, buckles, as well as decorations - chains, pendants and sewn-on plaques indicating the places of seams or cuts in clothes, the presence of a belt.

There is a group of burials with a small number of beads - from 1 to 5 pieces. The beads are located, as a rule, under the lower jaw, at the level of 2-3 cervical vertebrae, vertically, in the center or on the left side. Beads in quantities from 2 to 5 are usually of the same type, most often carnelian or metal. In this position, gold-glass, multi-colored glass, clay beads, as well as pendants, bells and buttons, were also recorded. There are also burials with a large number of beads, in which the beads lying in the region of the lower jaw and cervical vertebrae are separated by their location from the rest of the beads and differ from them in size, material, and color. Together with beads, the remnants of cloth were found in separate burials. These observations suggest that the beads in question were used as buttons and sewn onto the collar of clothing. The vertical arrangement of these beads, bells and buttons, in our opinion, corresponds to a small cut along the neck, in the center or on the left. The incision could be made with a stand-up collar or a narrow strip of fabric, or it could be left without a collar. According to ethnographers, the incision coming from the collar was originally made in the middle of the chest for all three East Slavic peoples, only the Russians subsequently spread the kosovorotka. At the same time, collars with an asymmetrical clasp are reconstructed based on materials from female and male burials of the Suzdal necropolis in the second half of the 11th - early 12th centuries. (Saburova, Elkina, 1991). It is interesting to note that a similar design of the neckline is observed based on materials from both female and male burials of the Upper Volga region of the 10th-13th centuries. Perhaps the designs of women's and men's shirts at that time did not have big differences. This is indirectly confirmed by the fact that Russian women's "mortal" clothing of the 19th - early 20th centuries had an ancient tunic-like cut, characteristic primarily for men's Russian shirts, and also by the fact that women's and men's underwear are denoted by one term - a shirt . The distribution of such complexes in the Upper Volga sites has chronological features. It can be assumed that in the Old Russian period, the formation and distribution of a traditional shirt with a slit along the neck and a collar fastened with buttons, including shirts - "kosovorotki" took place. The considered version of the design of the neck is an element of clothing of a deaf cut.

Belt complexes were found in 25% of female burials with costume elements. The greatest number of them was noted in the burial complexes of the eastern part of the territory under consideration (the barrow groups Zaborie, Glinniki, Pekunovo-1 and 2, Pleshkovo-1 and 2, Vorobyevo-1). Knives and complex pendants were hung from the belt (see Appendix 3).

In addition to a plain-cut shirt with a variety of neck designs, one should also assume the presence of an upper dress. In a number of cases, paired decorations were found on the shoulders. It can be assumed that there was clothing like a tunic-shaped "sarafan" of a dull cut (Fig.) or a shoulder cover. This type of clothing is reconstructed on the basis of burial materials of the Baltic Finns (Ests, Vesi, in Finland), Balts of the 10th-13th centuries. These complexes can be traced in the western and eastern parts of the Upper Volga region (barrow groups Bolshaya Kosha, Ust-Sukhodol, Gultsovo, Pleshkovo-1). In most of the female burials of the Upper Volga region, there are unpaired decorations on the shoulders - chains with pendants, knives, complex pendants, which indirectly testify to the nature of the cut of women's clothing. In the course of the formation of the ancient Russian women's costume in the Upper Volga region, details characteristic of the cultural traditions of the population of neighboring territories were included in its composition. When borrowed, these details lost their functional purpose due to a different cut of clothes and were used as special decorations. So, the chains connecting the edges of the shoulder cover or strap in the Baltic-Finnish and Baltic costumes are hung to the shoulder, take a vertical position, other pendants are attached to them.

Swing clothes are fixed by fasteners, sewn-on plaques and their remnants, located along the vertebral bones of the skeleton. Such burials are concentrated in the west and east of the Upper Volga region (burial grounds Berezovetsky, Bolshaya Kosha, Pleshkovo-1, Vyrkino-3). As a rule, a swing cut is combined with a short length of clothing (up to the hip). For example, in the burials from Bolshaya Kosha, traces of corrosion of bronze were recorded in the form of a strip along the spine and horizontally in the region of the pelvic bones. In Pleshkovo-1, female burials with brooches in the center of the chest area were investigated, which probably fastened the edges of clothing such as a shoulder cover or “jacket”, which is typical for the costume of the Volga Finns.

It should be noted that different types of clothing are combined in the Upper Volga burials with certain types of headgear. Thus, for example, the funerary costume from Pleshkovo-1 is characterized by headdresses, which include several ring-shaped rings, noisy jewelry, belt clothes, and outer garments fastened with a fibula. The burial costume from the Berezovets burial ground is characterized by headdresses, including stacked rims of plates and spirals, sometimes head coverings embroidered with beads, in combination with clothing, probably of a blind cut, without waist details. The majority of ancient Russian burials of the Upper Volga region are characterized by a headdress with bracelet-shaped temporal rings in combination with clothing, mainly with breast decorations (bead necklaces), without belt details.

Sometimes a complex of things and heterogeneous fabrics in the composition of one burial allows one to make assumptions about the composition of the women's costume. So, for example, the women's costume from mound No. 109 of the Izbrizh burial ground included a shirt, the sleeves and collar of which were sheathed with woven braid of red and blue threads; probably a poneva-type loincloth made of checkered woolen fabric. The woman's headdress included bracelet-shaped temporal rings (3 on each side) suspended vertically on ribbons.

The chest area of ​​the costume was decorated with a necklace of beads, beads and coin-like pendants. A purse was probably hung from the belt, in which were a whorl and a comb. The belt was decorated with bronze bells. The costume was complemented by bracelets (2 on each hand) and rings (see Appendix 3).

In female burials of the Upper Volga region, cases of decorating both hands with bracelets were recorded (11% of burials). It is interesting to note that there are the same type, “paired” bracelets (for example, 2 bronze darts each). Their small diameter (5-7 cm) attracts attention. Thus, when put on, they slightly unbent and fit snugly enough to the hand. In some cases, the remains of textiles from sleeves were found on their inner side. The above facts make it possible to assume that in such cases the bracelets were not only an ornament, but could also hold long or wide sleeves on the wrists. A shirt with long sleeves covering the wrist existed until the beginning of the 20th century. and was typical for many regions of Russia. Probably, the complexes with “paired” bracelets that we studied can be associated with this type of clothing. B.A. Rybakov associated the bracers of the 12th-13th centuries worn in pairs with folded armlets found in cities and in the composition of treasures with a special type of Russian clothing, which was a shirt with very long sleeves. The existence of such clothing in the Old Russian period is confirmed by the images on the bracers themselves and Old Russian miniatures. This clothing existed until the beginning of the 20th century; such shirts are known, originating from the Pskov, Smolensk regions. It is possible that the complexes with “paired” bracelets studied in the Upper Volga region can also be associated with this type of clothing. However, “asymmetric” wearing of bracelets prevails - on one hand. The bracelets could move freely on the arm (their diameter is 7-10 cm) and most likely played an exclusively decorative role in the costume.

Men's suit

Compared to the women's suit, the men's suit is characterized by a smaller number and variety of fasteners and decorations. At the same time, an analysis of the arrangement of things in the burials showed that tools: knives, flints, steel, whetstones, iron rods, remnants of woven and leather wallets, etc. could also be part of the costume - for example, hung from the belt. The inclusion of tools and household items in the composition of the funeral costume is one of the most noticeable features of the men's costume, not only expanding the possibilities of its reconstruction, but also making it possible to study the social and age aspect of the purpose of the men's costume.

The most common among the elements of a men's suit are belt details, among which knives are the most common. Belt buckles were found in 48%, belt rings - in 29% of the burials. Other details of the costume are much less common. Brooches, bracelets and rings were found only in 11% of male burials with the remains of a costume. Various sewn-on ornaments, pendants, earrings, whetstones and flints, armchairs, iron rods with a ring are even rarer. In male burials, metal rings, knives, whetstones and flints were also found in the area of ​​the shins of the buried. A similar state of these things was found in 10.8% of male burials. The remains of clothing and footwear (fabric, leather, fur, felt) in male burials are not numerous: in 13 cases, remains of belts (9 - woven, 4 - leather) were recorded, and with the same frequency - fragments of leather and woven wallets. In 4 burials, the remnants of textiles from shirts, sheepskin outerwear and leather shoes have been preserved. The remains of sheepskin and their location in the burials allow us to say that the outer clothing was worn with fur inside. On one of the fragments found in Pleshkovo-2, a sewn-on loop from a leather ribbon has been preserved. The remains of leather shoes and headgear are very fragmentary and do not allow for a complete reconstruction. Only in one burial of the Berezovets burial ground was a fragment of a felt headdress, possibly in the form of a cap, similar to those depicted in ancient Russian miniatures.

The location of fasteners, jewelry, household items, tools and other various details that were part of the men's funeral costume fixes unpreserved parts of clothing and allows us to make an assumption about its composition and cut.

The most common element of the male funeral costume is the belt. In general, the presence of a belt was recorded in 80% of the burials with the remains of a costume, items of a belt set - in 60% of male burials with costume details. Belt rings probably served to distribute belts and hang items. The belt also included belt decorations - ornamented sewn-on plaques. In mound No. 26 of the Berezovets burial ground, a belt set was found, including 4 identical belt plaques, a detail of a belt tip, a belt buckle; a knife and a purse with coins were hung from his belt (see Appendix 3). In general, belts with various belt decorations are quite rare in the Upper Volga burials.

In cases where there are no items of a belt set, the presence of a belt is fixed by knives, iron rods with rings, purses with coins, scales, armchairs, and whetstones located in the belt zone of burials. The materials of the Upper Volga burials clearly demonstrate the utilitarian function of the belt in the Middle Ages. The belt is a kind of pocket; a variety of small things are suspended from it: most often it is a universal tool - a knife, as well as objects for making fire (flint, flint), and weapons. Objects attached to the belt were found in 65% of male burials with remains of the costume. The obligatory wearing of a belt for men is confirmed by written sources, its special significance can be traced in Russian folk rites and rituals. The tools that make up the costume indicate that the costume was intended to reflect the status of a man as the main producer of material goods and the guardian of tribal boundaries - a warrior, hunter, artisan. The belt was an integral element of the costume of an adult man in many nations. It is associated with ideas about strength and at the same time protecting a person from harmful influences. The belt had a ritual significance, being an important attribute in the "rites of passage" (weddings, funerals).

Findings of fasteners (brooches and buttons), as well as organic remains (textiles, leather and fur) testify to the details of cut and construction, types of men's clothing. Fibulae are quite rare in male burials of the Upper Volga region. This probably indicates that they were of particular value. Difficult is the question of the cut and ways of wearing clothes fastened with brooches. In the Upper Volga burial grounds, variants of the arrangement of brooches were found both in the shoulder area and in the belt area. In the first case, it is possible to reconstruct a cape (cloak) fastened with a fibula, or a collar of a shirt; in the latter, a reconstruction of a cape is likely, fastened on the side of the belt and covering one shoulder. Together with brooches, in a number of cases, remains of twill weave, coarse and dense, were found, which was quite suitable for making outerwear. The fabric found together with brooches in burials 37 and 107(1) from Izbrizhye had a blue color. Along with brooches, finds of buttons testify to the nature of the cut of men's clothing. Found on the 1st button at the level of the cervical vertebrae, and in one burial of the Berezovets burial ground - 4 bronze buttons, apparently located vertically, on the neck and chest. All this makes it possible to “see” a shirt of a blind cut with a small neckline, which could be shaped with a stand-up collar or a narrow strip of fabric, or remained without a collar.

Unfortunately, there are no materials that make it possible to accurately restore the length of men's clothing. Here you can rely only on the data of visual sources. Knee-length clothing was typical for the ordinary population, warriors, in contrast to the long-skirted clothing of the nobility, which was guided by Byzantine designs. The short shirt of artisans and warriors is often combined with high shoes. Finds of shoes in burials are very rare (in the Upper Volga region - 4 fragments) and do not allow for a complete reconstruction. At the same time, some data indirectly testify to the possible types of footwear worn by the rural population of the Upper Volga region in the 10th-13th centuries. In a number of male burials in the area of ​​the knees, metal rings were found, similar in shape to belt rings. In these cases, in our opinion, it is possible to reconstruct high shoes - boots with soft tops, pulled together at the knees by belts with rings. This type of footwear was common among the Balts. Boots with wide tops are also known based on archaeological materials from ancient Russian cities. Another reconstruction option is also possible - short shoes and windings (onuchi) around the lower leg, tied under the knee. The presence of high shoes is evidenced by another feature of a number of male burials - the location of knives in the shin area. The tradition of wearing "boot" knives is well known from ethnographic data.

Socio-age complexes of the ancient Russian costume of the Upper Volga region

Materials of ethnography of Russia in the 18th-20th centuries. show that each of the social and age groups of the population had its own type of costume. The peasant costume was a reflection of the position of a person in the family and at the same time was evidence of his wealth. Ethnographers noted that each age group occupied a special place in the creation of material wealth, which was reflected in the wearing of a certain type of clothing. The transition from one group to another was accompanied by certain rituals, in which a certain type of costume also took part. The division of society into social and age groups can be traced from ancient times. The reflection of this phenomenon in the costume persisted until the 20th century. The considered archaeological materials of the burial sites of the Upper Volga region currently do not make it possible to conduct a full-fledged socio-age analysis of the complex of the funeral female and male costume, since not all monuments have been determined for the age and sex of the buried. In most cases, age is determined only within two groups: “child” and “adult”. For individual burials, there are such definitions as "teenager", "elderly". The most complete source for age analysis is only the Izbrizhye burial ground.

It can be said that the costume of girls was probably given less attention than the appearance of adult women. The children's complex is characterized by either the absence of temporal rings, or ring-shaped temporal rings, sometimes in one ear. It is interesting to note that in three cases the bracelet-shaped temporal rings are not part of the costume - they were placed at the feet of the dead girls, on the chest, probably as a "funeral gift". Of the decorations of a children's dress, most often there are only a few beads. The costume of women under 30 is particularly pompous. It is characterized by a headdress with a large number of temporal rings. The chest complex is multi-component, with pendants, hryvnias, several rows of beads. A characteristic feature of this complex is the presence of wrist jewelry, primarily rings and bracelets. Judging by the location of the temporal rings in these burials (on the temples, vertically), the headdress could be open, in the form of a rim, which is typical for ethnographic girlish attire. Apparently, the funeral costume of girls or young women, in this case, also corresponded to a wedding or festive dress, which is also well known from ethnographic data. In general, the costume of girls and young women stands out among those for children and those belonging to women of middle and older age, first of all, by the nature of the headdress, as well as the total number of decorations. The costume of the old women is similar to the children's one in that it also has few decorations, however, the presence of temporal rings is obligatory - bracelet-shaped, 1-2 pieces each. There are options for the joint finding of bracelet-shaped and ring-shaped, bead rings in burials.

Most of the boys' burials do not contain grave goods at all. Unlike the costume of adults, the children's costume is characterized by the absence of a belt and items worn on it. It should be noted that the funeral costumes of girls and boys are similar in terms of the paucity of details. Particularly stand out in the younger age group are the costumes of teenagers. Some complexes from the teenage burials of Izbrizhye contained belt sets, including buckles, belt rings, knives suspended from the belt, and whetstones. This character of the funeral costume indicates that the teenagers were buried in festive clothes typical for adult men. Among many peoples, young men who passed into the category of adult warriors were tied with combat belts on which weapons were worn. Apparently, the rite of burial of adolescents included their transition to another social and age category, which should have been reflected in the funeral costume.

The most characteristic element of a man's costume is the belt (recorded in 80% of the male burials of the Upper Volga region), which had both a utilitarian and symbolic function, marking a person's belonging to the category of adult men. Among the complexes of men's costume, a group of multi-component ones stands out, including belt buckles and rings with tools, trade equipment, wrist ornaments, brooches. In Izbrizhye, such complexes are typical for burials of men of different ages. Thus, the noted components of the costume are, apparently, a reflection of the social rank of the buried person. As already noted, in the burials with these costume complexes on the territory of the Upper Volga region, inventory was found that is characteristic of the so-called squad mounds: weapons (axes, arrowheads, spears), wooden cups-bratchins, trade inventory (scales, weights, coins). Probably, this version of the costume primarily performed representative functions. The metal details of the costume acted as a sign of the special social status and property status of its owner, distinguishing him from the ordinary population. Thus, the male costume, apparently, to a greater extent reflected the social and professional affiliation of a person, in accordance with the position of a man in society as a whole. The presented observations suggest that the man's costume reflected, first of all, the professional and property characteristics of a person and, to a lesser extent, depended on age. A woman's costume, on the contrary, was probably determined primarily by age. Isolation of the children's, girl's and female complexes, the adult male costume allows us to address the problem of the relationship between funeral and lifetime costumes. The scientific literature has already raised the problem of the difference between burial clothing and life clothing (Rybakov, 1949; Saburova, 1988). On the basis of the study of archaeological and ethnographic data, the main functional orientation of funeral clothes emerges - to be a sign of the life path traveled and at the same time ensure, according to the idea of ​​the afterlife, the natural continuation of a person's life in it. According to the materials of ethnography of the XIX-XX centuries. the following general provisions are distinguished about what they were buried in (Maslova, 1984): 1 - wedding, festive clothes; 2 - clothes, previously sewn or re-sewn; 3 - clothes that a person wore before death. Burial clothes corresponded to the social and family status of a person. An unmarried girl was buried in a bride's attire, a married woman - in a festive one, an old woman - in a more modest one, corresponding to the dress in which she died. Archaeological materials of the Upper Volga region confirm the dependence of burial clothes on the social and age status of a person and its proximity to the corresponding ritual clothing in the ancient Russian period.

Glossary

Alam- women's breastplate such as a badge or stripe.

Bull- outerwear with fur.

Pick-up boards- boards for making fabric of small width (ribbons), with holes through which threads were passed; when turned over, weaving was obtained.

Zandanechi- silk fabric, produced in the 7th-11th centuries. in the village of Zandana in the vicinity of Bukhara.

gold embroidery- embroidery with silver-gilt thread spun on a silk or linen base.

casing- outerwear for men and women made of leather or fur.

Colts (colts)- a headdress in a woman's precious attire.

Korzno

Kosnik (kosnik)- decoration of braids in the form of ribbons, cords, various pendants.

Kosovorotka- a shirt of a deaf cut with a side slit collar.

Kots- Men's cape-type clothing.

Luda- a cloak made of heavy matter using a metal thread.

Manatia- Cape-type clothing worn by the clergy.

Monisto- a necklace.

Meatl- men's clothing such as a cape, a mantle.

Necklace— 1. neck and breast decoration made of beads and pendants; 2. neck-breast patch decoration made of fabric.

Onuchi- leg wraps.

Opashen- swinging long-skirted clothes, worn in a saddle.

Warp (warp threads)- equity (longitudinal) threads of the fabric.

okhaben- 1. the same as the guard; 2. in the topography of ancient Russian cities - a part of the city adjacent to the citadel and surrounded by a wall.

Povoets- by analogy with the warrior of an ethnographic headdress - probably part of a female headdress in the form of a soft hat.

Ceiling- 1. a piece of cloth; 2. towel headdress.

Ponyavitsa (poneva)- 1. women's loincloth from unsewn fabric panels; 2. a piece of woolen cloth.

Inoculation- probably part of a woman's headdress.

Summit- silk fabric, produced in the workshops of Byzantium and the Middle East.

Sundress- women's shoulder clothes of a deaf cut with straps.

Retinue- men's oar clothes with sleeves.

Shirt (srachica, shirt)- women's and men's underwear.

stalk seam- a decorative seam in which each stitch, as it were, "grows" from the previous one.

Terlik- men's loose clothing such as a caftan.

Ubrus (ubrus)- a towel headdress or part of it, a head cover.

Useryazi- women's temporal decoration.

Weft (weft threads)- transverse threads of the fabric.

Chelo (overcoat)- the front part of the headdress that towers over the forehead.

Chuprun- women's oar clothes such as a caftan.

Yapkyt- felt coat

Annex 1.

Texts of ancient Russian birch bark letters containing references to clothes and jewelry.

1.Novgorod. Diploma No. 586. Late 80s 11th century - first quarter of the 12th century Trinity excavation.

Translation: "From Nezhata cherries, wine, vinegar and flour, Ivan's fur coat and frying pan." Cit. Quoted from: Zaliznyak A.A. Old Novgorod dialect. - M., 1995. - S. 243.

2. Novgorod. Diploma No. 644. Mid 10s - 20s. 12th century Trinity excavation.

Translation: “From Nezhka to Envy. Why don't you send me what I gave you to forge? I gave you, not Nezhate. If I owe something, then send a youth (i.e. a bailiff). You gave me a linen; if therefore you do not give up [what I gave to forge], then plague me. I [then] I am not your sister, if you do this, do nothing for me! So forge [the metal given to you] into three kolts; his four spools in those two rings.” Cit. Quoted from: Zaliznyak A.A. Old Novgorod dialect. - M., 1995. - S. 244.

3. Novgorod. Diploma No. 381. 12th century Found near the Nerevsky excavation.

Translation: “From Ignat to Klimate. Take three and a half hryvnias from Dushyla Fominich and buy a women's blueberry fur coat and buy [more] ... ". Cit. Quoted from: Zaliznyak A.A. Old Novgorod dialect. - M., 1995. - S. 273.

4. Novgorod. Diploma No. 141. Late 60s - 70s. 13th century Nerevsky excavation.

Translation: “At Sidor, Taduy and Ladopga (another option: at Sidor-Taduy, nicknamed Ladopga) put Grishka and Kostya in suits (tobols) [things]: Grishkins - fur coat, retinue, shirt (shirt), hat, Kostins - retinue, shirt; and [themselves] Kostina's bags; and [also] Kostina's boots, and the others Grishkins. And if something happens on Movozero, having sent [for things], he will take [them] (or: take it).”
The drawing of the letter is given according to: Artsikhovsky A.V., Borkovsky V.I. Novgorod letters on birch bark (from excavations in 1955). - M., 1958. - S. 18. Cited. Quoted from: Zaliznyak A.A. Old Novgorod dialect. - M., 1995. - S. 404.

5. Novgorod. Diploma No. 638. Mid 50s - mid 90s. 12th century Trinity excavation.

Translation: first line: probably “Ortemya hryvnia is given” second line: “(such and such or you ordered for these) money I have a raincoat. I sewed [it] for myself (?)…”. The final part of the letter: “If I get rid of [debts?], then I will send it in advance (another option: I will send for yarn) and dye it blue, but now it’s not dirty to me.”

6. Novgorod. Diploma No. 288. 10s - 30s 14th century Nerevsky excavation.

Translation: “… canvases 3 cubits, a spool of green silk, another [spool] of red, a third yellow-green, a spool (?) was whitewashed on white,“ Burgalsky ” soap on white, and one more white ... ". Spool - a measure of the volume of yarn, fabric. Cit. Quoted from: Zaliznyak A.A. Old Novgorod dialect. - M., 1995. - S. 444, 445.

Appendix 2

The image of ancient Russian clothes on objects of arts and crafts, facade sculpture, book miniatures, in icon painting and facial sewing.

The image on the bracelet-bracer of the XII century. from the Staroryazan treasure trove, 1966

Miniatures of the Radziwill Chronicle

The scene of the murder of Andrei Bogolyubsky. On the right is a man in traditional Russian clothes with long sleeves and rows of loops; on the left is a woman in a Western European dress.

The scene of the burial of Prince Igor. On the left - a man in short clothes and a woman in a sundress (?) and a kokoshnik-type headdress. On the right is Princess Olga in a towel headdress.

Novgorodians agree with Andrei Bogolyubsky on the choice of a prince. On the right are men in long robes with rows of loops.

The image of ancient Russian clothes on the icon "Praying Novgorodians". 1467

Fragments of the "Church Procession" veil, made in the workshop of Princess Elena Stefanovna. 1498. On the left is a woman in a fur coat (possibly Grand Duchess Sophia). On the right is a girl (princess) in a rounded hat and long clothes with loop fasteners and wide long sleeves.

Appendix 3

Elements of ancient Russian costume and reconstruction of women's and men's costumes based on materials from burial sites in the Upper Volga region

Map of ancient Russian burial sites of the Upper Volga region, in which burials containing the remains of a costume were investigated:

1 - Berezovets burial ground; 2 - horsetail; 3 - Kurovo; 4 - Andronovo; 5 - Big Cat; 6 - Sukhodol; 7 - Horny; 8 - Pershino; 9 - Annunciation; 10 - Struiskoe; 11, Vasilievskoe; 12 - Gultsovo; 13, Petrovskoe; 14 - Yuryatino; 15 - Yurkino; 16 - Gorbunovo; 17 - Crooked Street; 18 - Titovka; 19 - Vysokino; 20 - Brain; 21 - Gostoml; 22 - Yagodino; 23 - Volosovo; 24 - Mogilitsy-1; 25 - Silmenevo; 26 - Khilovo; 27 - Christmas; 28 - Kozlovo; 29 - Ivorovo; 30 - Conversations-2; 31 - Koshevo; 32 - Izbrizhye; 33 - Games; 34 - Dudenevo; 35 - Wet Reaps; 36 - Savinsky Gorki; 37 - Zagorye; 38 - fence; 39 - Glinniki; 40 - Mouth; 41 - Pekunovo-1; 42 - Pekunovo-2; 43 - Pleshkovo-1; 44 - Pleshkovo-2; 45 - Posada; 46 - Vorobyevo-2; 47 - Vorobyevo-1; 48-50 - Vyrkino-2, 3, 7; 51 - Day-1; 52 - Day-2; 53-55 - Kidomlya-1, 2, 3; 56 - rm. Rod.

Fragments of textiles from ancient Russian burials in the Upper Volga region (photo): 1 - fragments of woolen fabric; 2 - a fragment of a woven tape; 3 - bells made of woolen threads, 4 - a fringe fragment.

Fragments of textiles from ancient Russian burials of the Upper Volga region (drawing): 1 - kosnik, 2 - bells made of woolen threads, 3, 4 - embroidery samples.

Reconstruction of a women's costume based on materials from the Berezovets burial ground

Reconstruction of a female costume based on the materials of the Pleshkovo-1 mound group

Reconstruction of a woman's costume based on the materials of the Izbrizhye barrow group

Reconstruction of a male costume based on materials from the Berezovets burial ground

List of abbreviations

GIM State Historical Museum

KSIA Brief reports of the Institute of Archeology

KSIIMK Brief reports of the Institute of History

material culture

MIA Materials and research on archeology

RA Russian archeology

SA Soviet archeology

AIS Code of Archaeological Sources

SE Soviet ethnography

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Internet— resources

http://svetico.narod.ru/library/culture/RussianCostume/RussianCostume_txt_ru.html - Russian costume. Treasures of the State Historical Museum (exhibition booklet);

www.archcostume.narod.ru - History of Russian traditional costume;

http://oldkostum.narod.ru - History of Russian costume;

http://etnography.omskreg.ru/page.php?id=856 - Omsk State University. History of Russian costume. The program of the academic discipline for students of the Faculty of Culture and Arts, studying in the specialty "Folk Art".

www.costumes.org - Medieval Europian costume links;

Topics of reports

1. Clothing of the Old Russian rural population (based on materials from burial monuments).
2. Druzhina costume of Ancient Rus'.
3. Women's headdress X-XV centuries.
4. Material and cut of ancient Russian clothing (according to archaeological, written, visual sources)
5. Medieval costume as a reflection of the ethno-cultural contacts of the Slavs, Balts, Finno-Ugric peoples.
6. Decorations of ancient Russian costume.
7. Reflection of social and age characteristics in the costume of the ancient Russian population.
8. Urban costume of Ancient Rus'.

Educational and methodological manual for students of the Faculty of History studying in the specialization "Archaeology"

Tver State University

Department of National History

Reviewer: Zhilina N.V., Doctor of Historical Sciences, Leading Researcher at the Institute of Archeology of the Russian Academy of Sciences.

© Stepanova Yu.V., 2006

© TVGU, 2006