Ornaments of the Khanty and Mansi: ancient traditions and wisdom of the peoples. Khanty and Mansi ornaments Types of ornaments Khanty and Mansi embroidery

In the culture of any nation there are features that determine its originality, which are, as it were, a hallmark of an original culture, its historical path, intercultural and interethnic ties. The traditional folk ornament, to a greater extent than any other component of spiritual and material culture, is saturated with information encoded in the signs and motifs of patterns about the origins of the culture of the people, its development over time.

The ornament enlivens things, makes them more visible, beautiful and original. In the ornament, the artistic features of the people, their aesthetic tastes, the richness and national originality of art, the sense of rhythm, the understanding of color and form are revealed in a bright form.

As far as the concepts of measure and beauty differ among different peoples, so, as a rule, their most characteristic ornaments, which are a kind of symbolic “formula” of these ideas, also differ.

Russian folk ornament

Russian folk ornament is an exceptionally fertile material for this. A huge variety of techniques, motifs, various local variants of Russian folk ornament is a huge layer of culture in which you can find many interesting details for yourself, explaining a lot in the internal logic and principles of the development of the culture of our people.

Today, the richest ornamental culture of the Russian North and Central Russia has been studied quite well, many samples of woven and embroidered patterns collected as a result of more than a hundred years of collecting work have been published.

The ornament of traditional war belts is similar to the patterns of ancient towels; in most cases, these are the same compositions of comb-shaped rhombuses and oblique crosses; in later things - combinations of triangles, squares, "checkered" rhombuses.

It is difficult now to imagine how the further fate of traditional peasant art and ornament would have developed if this process had not been interrupted by artificially known historical events - collectivization, the “enlargement” of villages, the destruction of the centuries-old way of life of the village.

Towels

The attitude to the ornament as a protective, healing force has survived in some places to this day - in some Russian villages of Altai, it is customary to wipe children with skin problems with patterned broken ends of towels. It is unlikely that in the past any significant event in a person's life from birth to death took place without the participation of towels. For our ancestors, a towel was not just a utilitarian, household item, it was a ritual thing, an indispensable attribute of family and social rituals. Such an attitude towards the towel was not accidental: since ancient times, the meaning of a talisman has been attached to it, the towel has become a symbol of good forces, a bright beginning. The towel was put on the main participants of the wedding - the boyfriend, the "big boyars"; the bride gave a towel of her own work to the new relatives - this was a kind of rite denoting her entry into a new house.

Wool Pattern Knitting

Wool pattern knitting is one of the few female occupations that has survived and is quite widespread to this day. Of the traditional types of wool knitting, only mittens have survived. Craftswomen of the Russian North have kept their original knitting patterns for many years. Every craftswoman knows from childhood a large number of drawings, which she herself still varies in every thing. The patterns on mittens are as significant as all ornaments in folk art. In the knitting of Mordva, the most interesting patterned socks have also been preserved.

Stylized birds, flowers, rhombuses, crosses, triangles, stripes in complex combinations, pleasing to the eye - these are amulets that passed from mother to daughter and are still preserved on warm woolen "knittings" of Pskov and Arkhangelsk craftswomen.

According to tradition, the patterns of Arkhangelsk knitting should not be broken, they should not be knitted unfinished, cut off and loops added to them. In finished mittens, if you put the right and left side by side, the pattern of the ornament of one mitten should continue in the pattern of the other. The pattern is knitted the same way both on the back of the mitten and on the palm.

Arkhangelsk patterned knitting has undergone almost no changes over the centuries. Only the composition of the yarn and the color scheme has changed. Initially, only combinations of black, white and gray were used in the pattern - the colors of undyed goat hair. Then they learned to dye wool with the help of roots, flowers, fruits, cones - it was a very laborious process.

Khanty and Mansi ornaments

Until now, Mansi and Khanty ornaments have not been published in our country in such a volume and scientific systematization, only individual units of ornaments were mentioned in the works of scientists and researchers of Mansi culture.

Ornamental art is an important part of modern Mansi culture. The ornament can be found in products made of fur, leather, birch bark, beads, fabric, wood, bone and metal. Even today, the Mansi decorate their clothes, shoes, scarves, belts, bags and other household items with an ornament.

The ornamental art of the Mansi was usually considered in combination with the ornamental art of the Khanty as the decorative art of the Ob Ugrians, since the differences between the Khanty and Mansi ornaments are insignificant.

The presence of common features in the ornamentation of the Khanty and Mansi was the result of the common territory that these peoples inhabited and the close economic ties that existed between them. So, the Upper Sosvinsky, Sygvinsky, Upper Lozvinsky Mansi have long exchanged with the Ob Khanty, with the Nenets, they exchanged fur products for birch bark, which led to the exchange of motifs of ornaments, their comprehension by these peoples.

In the recent past, Mansi farming was subsistence. They made everything necessary for everyday life and crafts themselves. Since ancient times, there has been a division of labor in the production and decoration of clothing, shoes, utensils and other household items. Men were usually engaged in the manufacture and finishing of products made of bone, wood and metal, women processed skins and birch bark, made rovduga, sewed things from these materials, beautifully ornamented them.

Craftswomen are very proud of their ability to make beautiful things, because not every Mansi woman can carve an ornament, sew narrow strips of fur or leather beautifully and neatly. Craftswomen S. V. Pelikova (Nyaksimvol), A. M. Khromova (Sosva) proudly showed their products, lovingly smoothed the fur with their hands, trying to show this or that ornament more expressively. The feeling of dignity and worship of the craftsmanship of ancestors sounded with particular force when they showed things made by mother, grandmother or father.

The craftswoman spent a lot of time on making things. For example, it took one or two years to embroider a shirt or a dress. On sakhi, the craftswoman performed the ornament for 5-6 or more years. Work was usually carried out in winter, with poor lighting.

Materials for the manufacture of ornaments are used very different. The choice of ornamental motifs and their composition also depend on the choice of material. Men's shirts and women's dresses were often decorated with embroidery in addition to appliqué. Embroidery was applied to the yoke, collar, placket, hem. The finest finest wool embroidery is a thing of the past.

A variety of embroidery is beaded sewing on fabrics and leather. Colored beads (palsak) were used to decorate wedding headbands, chest and neck ornaments, clothing details, collars, cut edges, part of the shoulder, and cuffs. Two methods of weaving with beads are known: openwork mesh and sewing beads on fabric. The top of women's short leather shoes was embroidered with beads. They preferred bright, juicy colors of beads (black, blue, red). White color was more often used for the background. At present, small napkins, purses, and jewelry are woven from beads.

The origin of the ornament. motives

Regarding the origin of the ornament, its connections, there are various statements and theories. So S. K. Patkanov in 1897, in a study on the oral art of the Irtysh Khanty, highly appreciated products made of birch bark and embroidery, pointing out the similarity of the latter with the embroideries of Russians, Mordovians, Zyryans, Permians and Tatars.

Ornamentation traditions include symbolic images of representatives of the flora and fauna of the local region. The compositions of these images, as well as the images themselves, have not changed over the past few centuries and have been rigidly fixed by tradition. The color palette of products refers to the Central Asian Institute of Decor, which is characterized by brightness and contrast of colors. The first publications of Ob-Ugrian ornament motifs were noted in 1872 in the album of V.V. Stasov and in 1879 by the Hungarian scientist A. Reguli. These were colored samples of Khanty embroidered patterns, where three categories of motifs were developed: images of birds: images of trees, geometric motifs. Birds and trees, due to the processes of stylization, have different combinations, conditional forms. There are paired birds, with various elements between them.

The question of the origin of the motif of paired birds attracted researchers. It is believed that images of this kind penetrated to the Chuvash, and then to the Ugrians from the countries of the East, but there is reason to believe that the relationship between the East and the peoples of the Volga and Ural regions developed both in the Bulgar time and in an earlier period, when the role of intermediaries was played by the Sarmatian and Alanian tribes.

Symbols of Ugra

Blue - rivers and lakes of the region

White is the color of snow

Green is the color of the taiga

National ornament of the Khanty and Mansi - deer antlers, amulets

The ornament is a mirror and a characteristic feature of the ancient and modern culture of the peoples of the north, a stable element of artistic culture.

For thousands of years, ornaments have retained their ancient fundamental principle, which creates the most important historical source. In the ornament the most abstract geometric shapes are filled with a well-defined content, reflecting the idea of ​​the surrounding reality. It is believed that the ornaments arose as a result of long observations of the surrounding world, and the names of the patterns were given according to the similarity and likeness of the object.

In our opinion, in the ornaments of the peoples of the north, “abstract” geometric forms only seem abstract. With the same “success” we can talk about “abstract” geometric shapes of a completely modern QR code.
The methodological basis of our study was the discrete Fourier transform method, supplemented by the author with a new method for studying ornaments as musical works.

Hypothesis:
- about the possibility of discretization and coding of images of ornaments;
- about the possibility of revealing information hidden in ornaments;

Target: reveal the information hidden in the ornaments.

Object of study: group of ornaments “Motifs with a hare”.

Subject of study: revealing and representing hidden information in a graphic and sound format by discretizing and coding images of ornaments.

Tasks:
1. Create computer graphic images of the ornaments of the “Motifs with a hare” group in accordance with the original ones.
2. Spatially discretize and encode ornaments in digital and musical format.

Research methodology:
To clarify our hypothesis, let's take an arbitrary image, presented as a set of squares of different colors. A square (pixel) is the minimum area of ​​the image, the color of which can be set arbitrarily. In our work, we use a black and white image. For a black and white image, each square will carry one unit of information (one bit). Imagine that the black square (bit) = 1 and the white square (bit) = 0.

Let's encode the image.
As a result of encoding, we get series of symbols of the binary system of calculation, which can be converted into sound.

The conversion to musical notation can be done by relating the spatially sampled image to an improvised staff, assuming that each dark cell is a musical notation, and musical symbols located on the same vertical line will compose a chord.

Main part

Almost all ornaments can be divided into sections of different colors of regular geometric shape (discrete).

We are trying to explore one ornament from the group of ornaments “Motifs with a hare”. For the study, with the help of computer graphics, an image of one ornament was created, divided into sections and encoded in the binary system and in musical notation.

As a result of encoding, we received information that can be converted into sound, presenting it as a musical notation.

Let's explore the group of ornaments “Motifs with a hare”, like musical notations. To implement the study, using the computer graphics method:
1. Computer images of individual ornaments of the group were created in accordance with the original.
2. Computer images of ornaments are divided into sections (spatially discretized).
3. Discretized images of ornaments are numbered and correlated with improvised staves, where each dark cell of the ornament is a musical sign.

By transferring musical signs of several ornaments of the “Motives with a Hare” group into a computer program for creating music, sound tracks were obtained, interconnected into a single work. Two arrangements are presented. Composer - Artemius Wolf // Artemius Wolf (Moscow)

By transferring the notes of ornament No. _03 from the group “Motives with a hare” into a computer program for creating music, a sound track was obtained in a keyboard version. Two arrangements are presented. Composer - Valentin Hainus (Yugorsk)

Conclusion

In the course of our study, the hypothesis about the possibility of presenting information hidden in ornaments was confirmed. We succeeded:
1. Spatially discretize computer images of ornaments.
2. Encode ornaments in the binary system.
3. Encode the ornaments of the “Motifs with a hare” group as musical notations.
4. Create original music tracks.

As a result of our work, we concluded:
- the ornamental art of the peoples of the Khanty and Mansi can be a source hidden information;
- an example of recognizing information hidden in ornaments– conversion into musical notations and creation of original musical opuses, miniatures, works…;

List of sources

Work performers:

Guseva Sofya Olegovna, student of the 3rd "D" class of school No. 5 in the city of Yugorsk;
Gusev Oleg Alexandrovich (father).

Supervisor:

Dubrovskaya Tatyana Nikolaevna, class teacher, teacher of school No. 5 in the city of Yugorsk;

In collaboration:

Kuznetsova Maria Viktorovna, Head of the Sector of the Information and Methodological Department of the Yugra-Present Cultural Center in the city of Yugorsk;
Tsoneva Ekaterina Igorevna, head of the sector of the information and methodological department of the center of culture "Ugra-present" of the city of Yugorsk;
Valentin Hainus, composer, city of Yugorsk.
Artemius Wolf, composer, Moscow.

Russian Federation

Khanty-Mansi Autonomous Okrug - Yugra

Tyumen region,

Municipal formation Pyt-Yakh city district

DEPARTMENT OF EDUCATION OF YOUTH POLICY OF THE CITY ADMINISTRATION

Municipal budgetary educational institution
secondary school No. 4

Scientific and practical conference

"We are the future of Yugra"

Information project

Project Manager:

Kuzmina Svetlana Vladimirovna,

geography teacher.

2016

annotation

The identity of any people is expressed both in the features of biology and appearance, and in the originality of culture and language. The culture of each nation is significant for the heritage. The preservation of ethnic identity and the support of the traditional way of life of indigenous peoples is one of the main tasks of all people and must be preserved regardless of whether this people is large or small in number. In the Khanty-Mansiysk Autonomous Okrug-Yugra live the indigenous peoples of the North: Khanty, Mansi and Nenets.

The culture and way of life of these peoples are an integral part of our all-Russian spiritual society. Therefore, humanity is obliged to know and preserve the foundations of the traditional culture and art of the peoples of the North.

Target: to study the culture, traditions and meaning of the patterns on the clothes of the Khanty and Mansi people.

Tasks:

Consider ethnic traditions, culture of the indigenous peoples of the North

To study the meaning of patterns on the clothes of the peoples of the Khanty and Mansi

To popularize the cultural heritage of indigenous peoples among the students of the school.

object studies are the ornaments on the clothes of the Khanty and Mansi.

Item study:patterns in the Khanty and Mansi ornament and their meaning.

The novelty of the work thing is

Practical significance : this work can be used by class teachers in preparation for class hours dedicated to the anniversary of the Khanty-Mansiysk Autonomous Okrug-Yugra

Organization and base of the study . The study was conducted on the basis of the local history museum of Pyt-Yakh

Stages of project implementation.

Preparatory - collecting information, working with local history material, drawing up a work plan for the project

Practical - excursions, master class, project implementation

Final - creating a presentation, speaking at class hours, participating in a conference.

Research sources:

Internet;

Local history materials of the city museum,

Participation in the master class

Methods and techniques: Conversation, excursions, search (study of local history materials), practical (study of the technology for making a pattern on clothes), creating a presentation to familiarize yourself with the information on the classroom clock.

Project participants –

Mikhailov Evgeny, student of the 8th grade,

Lysenko Olga, 8b grade student,

Kuzmina Svetlana Vladimirovna, class teacher.

Expected result: presentation, booklet, own ornament for Khanty clothes

Study hypothesis: ornaments serve not only to decorate clothes, but also have a secret meaning.

Problem:

There is not enough information to preserve and understand the ethnic culture;

Relevance of the topic lies in the fact that little is known about the culture of the Khanty and Mansi. The ornament is part of the culture of the Khanty people.

Study plan:

1. Collection of information.

2. Meeting and conversation with museum staff.

3. Study the material provided by the museum staff.

4. Analyze the collected information.

5. Make a presentation on the collected material.

6. Present the result of the work on class hours.

7. Take part in a scientific and practical conference

“Features of the culture of the indigenous peoples of the Khanty-Mansi Autonomous Okrug. Ornament in the clothes of the Khanty and Mansi peoples.

History of folk art.

1.1 The history of the peoples living in the KhMAO

The Khanty-Mansiysk Autonomous Okrug - Yugra is the territory of the predominant residence of such indigenous peoples of the North as the Khanty, Mansi and Nenets. In accordance with the data of the All-Russian Population Census of 2010 on the ethnic composition of the population of Khanty-Mansi Autonomous Okrug-Yugra, the number of representatives of indigenous peoples in the region is:

Khanty - 19068 people (61.6%)

Mansi - 10977 people (89.5%)

Nenets - 1438 people (3.2%)

The origins of the culture of these peoples are lost in the mists of time. All this time, the indigenous peoples existed in harmony with nature. The impenetrable, mighty taiga, river valleys were a kind of ecological niche that determined the way of life, way of life, and traditional occupations of the natives.

eels, ethnic name calling Khanty, Mansi and Hungarians. U. was first mentioned in the chronicles as participants in the campaign of the Visigothic king Alaric against Rome in 410 AD.

Yugra, Old Russian ethnic name of modern Ob Ugrians; the name of the country with the Ob-Ugric population, the territory to the East of the river. Pechora. The first mention of Ugra was found in the Laurentian Chronicle of 1096. Russian borrowing from the Komi - Yegra: Mansi, Vogul.

The ethnonym Yugra was fixed in toponymy: Yugorsky Strait, Yugorsky Shar, as well as in the metaphorical name of the Autonomous Okrug - Yugoria, Yugra.

Voguls – pagans who refused baptism (in the Komi language)

Khanty (self-name - Khant, Khante, Kantei, Russian Khanty), the largest Ugric ethnic community in the district, living along the river. Ob, Irtysh, their tributaries. Ethnographers divide the Khanty into 3 groups: northern, southern and eastern, in which they distinguish ethnic subgroups with river names, i.e. according to their place of residence: Agan, Vasyugan, Vakh, Irtysh, Kazym, Konda, Lower Ob, Pim, Salym, Middle Ob (Surgut), Syn, Trom'egan, Yugan, etc. The Khanty belong to the Finno-Ugric language group. Until the 1930s, the Khanty were called Ostyaks.

Ostyaks – pagans (in Tatar)

The word Ostyak comes from the phrase As-YAH (Ex), which in translation from the Khanty means the Ob people.

Khanty and Mansi are two closely related peoples.According to the worldviews of the peoples of the north, all nature is considered alive, animated. Any object of the area, especially the area itself, has its own “spirit”. These are the spirits of flowering grass, flowing water, sacred fire, mountains, rivers, lakes, forests, roads, and even objects made by human hands. Therefore, the observance of the rite of addressing the spirits, appeasing with a doxology or a spell, carrying out the rite of feeding the spirits are a kind of moral lessons and rules for everyone.

Each nation has its own ancient and rich history, centuries-old traditions and rituals. The northern peoples living on the territory of the Khanty-Mansi Autonomous Okrug-Yugra have retained their bright identity, remained true to their traditions. By passing on knowledge, culture, language, and craft to the younger generation, they preserve a great historical heritage for posterity.

1. Culture of the peoples of the north.

Culture in a broad sense is the transformative activity of a person and society in the creation and preservation of material and spiritual values, as well as the result of this activity. In this sense, culture is everything that is not nature, i.e. what is created and is being created by society and man.

Objects of material culture are created to meet a variety of human needs and therefore are considered as values. Speaking about the material culture of a particular people, they traditionally mean such specific items as clothing, weapons, utensils, food, jewelry, housing, and architectural structures. Modern science, exploring such artifacts, is able to reconstruct the lifestyle of even long-disappeared peoples, which are not mentioned in written sources.

spiritual culture , is any information that lives in the collective and individual memory and can be transmitted from one person to another and from one generation to another.

Most of the Ob-Ugric population are semi-sedentary hunters and fishermen, who are also engaged in reindeer herding in the north and cattle breeding in the south. In fishing, fences made of stakes and rods (constipation) were widely used, and ouds and net traps have also been known for a long time. On the water they moved in dugout boats and kaldanks, and large wooden boats-dwellings were also in use. In winter, skis, manual, dog and reindeer sleds were used.

The tree plays a big role in the life of the Khanty. The indigenous population uses all its parts: wood, bark, roots, branches. The main part of household utensils is made of birch bark.

In the clothes of the Khanty and Mansi, many types were the same for men, women and children. Winter clothes made of reindeer skins - malitsa, goose (sovik) and parka - were sewn without a cut in front and put on over the head. Sakh - winter women's clothing made of deerskin, pile outward, or of durable fabric - bright cloth, velveteen, etc. "Deaf" malitsa are worn only by men. On a long journey, they put on another deaf clothing on top - goose or kumysh. In summer, men wore a shabur, a robe, a caftan made of fabrics or worn fur clothes. Women's outerwear was only open - a robe, a fur coat made of deer skins or combined fur. Wearable clothing was natazniki, pants, shirts and dresses.

A special type of applied art of the Khanty is the manufacture of bags - tugang. All of them are richly ornamented. All kinds of pendants from rings, chains, coins. Bus. Sometimes pendants made from dried deer teeth and newborn deer hooves are used. They store accessories for needlework, pieces of fur, strips of cloth, ornamental blanks and other trifles.

1.3 Rituals and holidays in the daily life and culture of the indigenous peoples of the North

Holidays and family rituals of the indigenous peoples of the North and Siberia were formed over a long historical period, taking into account changes in economic and social relations. At the heart of the festive rituals performed on the occasion of the extraction of animals, there were ancient myths about a dying and resurrecting animal. Therefore, the northerners tried to "greet" the killed beast well and "show off" it "home" with honors.

Each holiday had a cult-magic coloring. The ritual meaning of the holidays was the "thanksgiving" of animals.

3. Ozhegov S.I., "Dictionary of the Russian language", 20th edition, stereotypical, Moscow, "Russian language", 1989.

4. Ernyhova E.A. Decorative and applied art of the Ob-Ugric peoples. - Yoshkar-Ola, 2000

5. Kudryavtsev V.T., Reshetnikova R.G. "Child and arts and crafts of Obskgrons", Moscow, IKAR Publishing House, 2003.

6. Pattern of taiga silence [Text] // Ugra childhood. - 2012. - No. 1. - S. 24, 25. - ill.

7. Shishkin P.E., Shabalina I.D. "Mansi Ornaments", Second edition corrected and supplemented, St. Petersburg, branch of the publishing house "Prosveshchenie", 2001.

8. Northern ornament. Indigenous peoples of the North in the modern world. [Electronic resource].URL:

9. Nikolai Fomin Series "Ob Ugrians" [Electronic resource].URL: http://www.liveinternet.ru

10. Ornamental art of the indigenous peoples of the North. [Electronic resource].URL: http://rudocs.exdat.com

11. Khanty and Mansi ornaments [Electronic resource].URL: http://ornament-ru

12. Scarlet sails. Peoples of KhMAO. [Electronic resource].URL: http://nsportal.ru

13. Ugra childhood No. 3 (37) May-June, editor L. Andreenko, 2013

14. Ugra childhood No. 5 (39) May-June, editor L. Andreenko, 2013

15. Ornament "Sun" [Text] / T. Moldanova / / Yugra. - 1993. - No. 4. - S. 51. - 3rice.

The civilization created by the peoples of the West Siberian region of Russia is a cultural layer where the harsh climate and extreme habitat determine the practical nature of traditional art.

The ornament, being a symbolic embodiment of culture, expresses not only the artistic and aesthetic ideals of the ethnic group, but also carries certain information, an encrypted meaning.

The world of ornament is large and diverse; it lives and develops according to its own laws. Some ornamental motifs are widespread among different peoples and in different eras. These include primarily many geometric and floral motifs. Of the floral ornamental motifs, the simplest are images of leaves, flowers, fruits and branches. Natural ornamental motifs also include all images of living beings: animals and people.

In the modern life of representatives of different nations, a respectful attitude to the symbolism of ornamental signs is preserved, although, probably, few people seriously believe in their magic. Some symbols are well known and we use them.

Features of the formation of a unique culture of indigenous peoples were determined by the level of their social development and the geographic environment in which they lived. A person who lived in harmony with nature felt its rhythms and depicted them, finding specific analogues in the surrounding world. People treated the line drawn, carved or embroidered as a magical “magic wand” that makes the forces of nature protect, heal, protect, patronize a person.

In their ornaments, they not only talked about life, but also believed that the ornament protects from evil spirits and gives strength and health to those who wear it. For example, the Dolgans believed that if you put on a hunter's hat patterns tynypak - a nail, kulgaak - an ear, ikharak - an eye, then the hunter would be stronger than the beast, his hearing would be sharp, and his gaze sharp-sighted.

The local ethnographic groups of the Komi persisted until the beginning of the 20th century. The Udorians - the population of the upper reaches of Vashka and Mezen, the Izhemtsy - of the lower reaches of the Pechora, and the Priluzians - of the upper reaches of the Luza and Letka had the greatest originality in culture.

In general, about 228 thousand Komi-Zyrians live in Russia (2010) or 293 thousand (2002). Komi-Zyryans live in small enclaves and mixed in the Arkhangelsk, Murmansk, Kirov, Omsk and other regions of the Russian Federation.

The ornament is dominated by geometric motifs: an oblique cross, a simple rhombus, multi-layered, with crossed and extended sides. In addition to typical geometric motifs, there are stylized figures of humans and animals, as well as plant motifs: a rosette flower, stems with a bud, flowering branches.

The pattern of the Nenets ornament is strictly geometric and consists of rectangles, zigzags, corners, rhombuses. The Nenets interpret these drawings as a living reproduction of the northern nature close to them. The ornament of the Nenets is based on a direct perception of nature. Its names speak directly about this: “deer antlers”, “hare ears”, “fish tails”, “pine cone”, “swans”.

Among the Nenets there are ornamental motifs, separately reminiscent of figures of people, animals, plants.

Main figures: meanders, L-shaped figures, branched-horn-shaped figures, symmetrical and asymmetrical, "heads", vertical lines with processes, crosses.

Dolgany(self-name - Dolgan, tya-kihi, Sakha) - a Turkic-speaking people in Russia (total 7900 people, in the Taimyr Dolgano-Nenetsky municipal district of the Krasnoyarsk Territory about 5500 people, in Yakutia about 1900 people). Believers are Orthodox.

The simplest type of Dolgan geometric ornament - a striped ornament - received significant development from them. It is performed in various ways - with paint on a rovduga, most often with flagella of white hair along the edges of the pattern, sewing colored fabric onto the skin, sewing in pieces of colored or dark fur, sewing on colored beads. The number of bands is different - from one or two to several dozen.

Dolgans, like other peoples of the North, like to diversify the colors and material of the stripes, as well as their width. In addition to stripes, the Dolgan ornament has a group of motifs in the form of rectangles, squares and rhombuses - large, small, superimposed one on top of the other or set at an angle. Sometimes the squares are staggered. Along with such motifs, there are triangles, zigzags, two belts of triangles with a zigzag motif between them, and chevrons. Zigzags are often complemented by small elements - rectangles, short vertical lines, circles.

Women's clothes are decorated with special ornaments, for example, a large pattern similar to a chum, symbolizing a woman, is sewn on the sides of a women's hat.

The ornament is simple, strictly geometric, mostly rectilinear, often with an internal development of the motifs included in it. There are both large and small figures, most often achromatic. Of the curvilinear figures, an almond-shaped pattern is characteristic, sometimes crossed along the length by a straight line. The location of the ornament is predominantly zonal (Sayan-Altai type of ornament).

Main figures: triangles, lattice (crossed) triangles, triangles with small triangles inscribed in them, zigzags close to each other, chevrons, oblique grid, rhombuses, rectangles with small rectangles inscribed in them, diagonally crossed squares or rectangles, almond-shaped figures .

It is common among Altaians, Shors, Khakasses, Chulym Tatars, Tofalars, Tuvans and Yakuts. It can be traced among the Ugrians, the peoples of the Samoyed group, the Dolgans, the Yenisei Evenks, the Buryats, and partly among the northeastern Paleo-Asians (Chukchi, Koryaks) and Yukagirs. Separate motifs of this ornament are also known to some peoples of the European part of Russia.

Selkups(Selkup. selӄup, susse ӄum, chumyl-ӄup, shelӄup, sheshӄum; obsolete - Ostyak Samoyeds listen)) is a people living in the north of Western Siberia. Up to (412 people).

The ornamentation of various territorial groups of the Selkups is heterogeneous in composition. Among the Taz Selkups, it adjoins the Nenets; in Baishinsky it is limited to triangles, a zigzag, crossed squares and stripes; among the Narym (Tym and Ket) Selkups, it is close to the ornament of the Eastern (Surgut, Vakhovsky, Vasyugan) Khanty. The ornament of the Taz and Baishin Selkups is built on straight lines, Narym - on straight and curved lines with characteristic processes expanding towards the end. Mainly clothes and birch-bark utensils are decorated.

The ornament is rectilinear-geometric, with additional processes and hooks for individual figures, with filling, if possible, of the entire surface of the object or its part (carpet arrangement). Large figures of a closed type are filled inside with additional elements - rhombuses, squares, lines. Along with the carpet, there is also a zonal arrangement of figures. (Irtysh-Altai type of ornament).

Main figures: lattice rhombuses, hook-shaped figures in various combinations.

Distributed among the southern group of Khanty (Irtysh, Salym, Konda), southern Mansi and Narym Selkups, and in Northern Altai among the Shors and Kumandins. It is also characteristic of many peoples of the European part of Russia.

Among almost all the peoples of Siberia, as well as beyond its borders, among the peoples of the European part of Russia, in Central Asia and the Caucasus, it is common North Asian type ornament. Known to many peoples of Europe, America, Africa, South Asia (India).

External signs: the ornament is curvilinear, simple, strictly geometric, mostly small.

Main figures: dot or circle, semicircle, circle with a dot in the center or concentric circles. Dots and circles are usually located zonal, rarely grouped into more complex shapes, forming rosettes. All these patterns are often combined with horizontal lines or zigzags.

In folk art, where the ornament found the greatest distribution, stable forms and principles of constructing the ornament gradually took shape, which largely determined the national artistic traditions of different peoples. Each era, each national culture has developed its own system of ornament - motifs, forms, arrangements on the decorated surface. Therefore, it is often possible to determine from the ornament to what time and to what country this or that work of art belongs.

In each of us there is a family memory or genetic memory that stores everything that surrounded our ancestors. The multi-colored ornaments helped us to awaken this dormant memory in us. Each era, each culture developed its own system of ornaments. In each national ornament, the patterns were not random, but deeply symbolic.

Everything in the physical, mental and spiritual world of a person is made up of simple and fairly clear elements (the motif of the ornament), which, one way or another, interacting with each other, make up a multidimensional picture. There is not, and cannot be, any narrative in the ornament. This is not a story about something and not the transfer of information. The ornament does not seek to tell a person anything. He captures only the rhythms. These are the rhythms of feelings, actions and thoughts of a person. A person cuts a tree or paints a picture, plays the violin or goes to work - all these are rhythmically organized elementary movements of the arms, legs, and the whole body. And thanks to this organization, a person achieves the goal, and does not make erratic movements. In our life, joys and sorrows alternate rhythmically. We even think in a certain rhythm. We are trying to express the structure of this rhythm in the ornament.

Khanty folk art of ornament

The clothing of the Khanty people is rich in ornamental patterns. Fur coats, cloth clothes, shoes are decorated with pima (cloaks). These are winter boots made of deer skins, which are removed from the legs of a deer. The work is long and painstaking, but such boots are very warm, light, durable and comfortable (they are not sewn with ordinary threads, but with the fiber of dried, crushed deer tendons). From the site http://www.desertart.ru/litcoment.php?id=62 .

Khanty ornaments are beautiful -
They have all the signs of my homeland.
You will no longer find all over Russia
Such flowers and fabulous animals.
Patterns on clothes and dishes
Red as the sun and white as snow
Looking at them from childhood, our people
The beautiful will not be parted forever.
They didn't just come to life
From under the needle, and the brush, and the cutter:
After all, masters of wood and bone
They put their hearts and souls into them. (M. Shulgin)

Khanty motifs

Craftswomen are very proud of their ability to make beautiful things, because not every Khanty woman can carve an ornament, sew narrow strips of fur or leather beautifully and neatly. In the ornament, the craftswoman fills the most abstract geometric forms with a quite definite content, reflecting ideas about the surrounding reality. These are animals: navarne “frog”, shovyr fell “hare ears”, sniffing “sable”; birds: vasy olyn “brood of ducklings”, pita onion “grouse”, kholkh tykhl “black crow's nest”; plants: ai sumat nuv "birch branch"; natural phenomena: serhain yuh "flowering bush", here humpi "rolling waves"; and the man himself: he shop "man's torso". The names of the patterns were given according to the similarity and likeness of the subject.

Some ornaments were carried out at a strictly defined time, on the occasion of an event, for example, the embroidery of a bear's footprint ornament on a mitten. Such a mitten was given to a hunter who caught a bear.

The pattern always has an applied side, it is rigidly connected with the function of the object on which it is applied, with its shape, material. And, finally, any ornament has one or another meaning. It can have the direct meaning of a letter, reflect the real rhythms of life, carry symbolic meanings fixed by tradition. The ornament performs three functions: communicative (the intention to convey information), magical and aesthetic.

It is traditionally believed that a thing is ready and can only be used when it is ornamented. It is for this reason that the ornament in the culture of the Khanty peoples is extremely stable and “dies” along with things. In a number of cases, the ornament survives them, turns out to be more persistent, more viable, since it is transferred to non-traditional things, included in a new culture.
Of interest is the geometric ornament and its symbolism in the arts and crafts of the Lower Ob peoples of the Khanty. One of the most characteristic is the ornament of pieces of light and dark reindeer fur.

His motifs are distinguished by rectilinear or stepped outlines and are quite large in size. On fur clothes, the patterns are made up of wide strips bent at a right or obtuse angle. Approximately the same ornaments adorn the spring-autumn clothes of nui sakh. In everyday life, women rarely use the sacred ornament. His motives are associated with the animal or plant world, as well as with parts of the human body.

A variety of ornamented items were almost exclusively the work of women's hands.

They sewed with purchased metal needles, but before they used home-made ones from the bones of the legs of a deer or squirrel, fish bone. When sewing, a thimble without a bottom was put on the index finger - home-made bone or purchased metal. The needles were stored in special needle cases made of reindeer skins or cloth, cotton fabrics. They were made in different shapes, decorated with applique, beads, embroidery, and provided with a device for storing a thimble. In fairy tales, magical powers were attributed to needle beds: they flew or swam across the seas. Our search for the roots of this seemingly inconspicuous object led to the felt carpets of the southern peoples, who had the idea of ​​a flying carpet. The woman kept needlework in a patterned birch bark box yinil or in a Tutchan bag made of skins and cloth, decorated with appliqués and pendants. There were so many pendants that they almost hid the ornament. Tutchan is a very expensive item for women, he passed from mother to daughter, or her mother sewed a new one for her for the wedding.

“We women have a hundred knots, a thousand knots: you tie one knot, you untie another.”

The wonderful art of embroidering on canvas with colored threads - woolen, paper, silk and garus - is now, unfortunately, lost. The last samples at the beginning of the 20th century. were collected for museums, some of them ended up in Hungary. This type of arts and crafts was developed only in the southern regions - on the Konda, Irtysh, Demyanka, Salym. Four techniques were known, and each had a special name: oblique stitch - kerem khanch, one-sided smoothness inside the outlined figure - khanty khanch (Khanty pattern), cross stitch - sevem khanch, square embroidery - rut khanch (Russian pattern). Women spared no time, their own hands and eyes, filling with patterns almost entirely a shirt or dress. The work could last up to two years. They also embroidered kerchiefs and scarves, men's trousers, and mittens. Ornamented stockings and mittens were also knitted on knitting needles. The wool was purchased, but the Khanty themselves dyed it. In fairy tales, one can also find such a description: “The mittens gleam in the sun, their top is knitted from pure silver.”

Khanty patterns

Mosaic patterns were applied not only on rovduga and fur, but also on purchased colored cloth. When working with fabrics, especially paper ones, another method of artistic processing was used - appliqué, that is, sewing on an overhead patterned strip on some part of the product. Purchased fabrics were used for sewing men's shirts, women's dresses and sakha robes, pillows, blankets for reindeer - riding and sacrificial, bags, mittens, etc.

If rovduga and fur direct the fantasy of craftswomen to search for new lines and shapes, then fabrics provide another opportunity - to express the color perception of the world more fully. In the first case, the pattern consists only of dark and light parts, that is, it is diachrome. In fabrics, the pattern can be not only black and white, but, for example, black and yellow, which is already an extension of the color spectrum. Fabrics make it possible to combine several colors, make the pattern polychrome. Interestingly, some color combinations achieve an even greater contrast effect than in black and white.

For example, the blue-red image of one of the deities - the heavenly rider Urt - is even difficult to look at, it blinds the eyes. And the craftswomen knew what they were doing, because, according to their ideas, you can look at the sun, but you can’t look at Urta.

In one Khanty song it is sung: The House of Urta hangs on chains between heaven and earth and sways from the wind along the south-north line. Urt rides a motley horse and sees who needs what. He helps only those who remember him from time to time and make gifts. But Urt will not help the one who remembers him only when he is already in trouble. Thus ended the long song.

According to observations of recent years, the farther to the north, the greater the play of colors in the Khanty cloth products. You try to comprehend why certain color combinations arise, and you find some explanation in nature. You will be amazed by the violet-blue spectrum in women's clothes, and then you see it in a bush of autumn blueberries with purple leaves.

Khanty ornaments