Pavlovsky Posad shawls are unique works of art of the Pavlovsky Posad manufactory. This factory is also famous for the fact that at the state level it has been given the status of folk craft in Russia. Pavloposad shawls and shawls have long become iconic elements of Russian culture, and many generally take them as a symbol of Russia. Among the people they are also called “Russian”, “grandmother's” and “folk”.
When Pavloposad shawls appeared in Pavlovsky Posad, they almost immediately gained inconceivable popularity. The Pavloposad masters developed special boards, with the help of which the original ornament was applied, and also professionally carved delicate and subtle patterns on these boards, harmoniously selected the color of the pattern and wove unusual golden threads into the scarf.
Pavloposad shawls: the beauty of the ornament
A true Pavloposad shawl has a traditional square shape and a unique symmetrical composition based on a floral ornament. In modern times, many details in the creation of a scarf are made with the help of machines, but not patterns - they, just like in the old days, are made by masters with their own hands, preserving the old Russian traditions. The main ornament in the composition of Pavloposad shawls is a bouquet of flowers and a variety of its variations.
Pavloposad shawls have still retained their original look and quality, unlike many other things that have been modernized over the years for the convenience of the modern market. Real scarves and shawls are made only from natural materials - wool, cambric and silk. They are easily used as a festive detail of women's attire in many countries. In summer and winter, spring and autumn, they are successfully combined with national costumes, and with many everyday clothes.
Pavloposad shawls and high quality
If they are wool, then it must be hot in them, you ask. We hasten to assure you: high-quality Pavloposad shawls will not cause any inconvenience: it will not be hot or cold in them, because the natural materials from which the shawl is made will allow you to maintain your body temperature. Therefore, they will ideally warm in severe frosts and protect from dampness, winds and coolness in the off-season.
How and with what to wear Pavloposad shawls
A wide range of colors and unique patterns will allow a woman of any age and social status to choose exactly the scarf that will emphasize her individuality and style. Know: the Pavloposad shawl is first of all a beautiful accessory, which, by the way, is becoming increasingly popular today. Wearing such a scarf is now fashionable, do not even hesitate. Combine it with simple and plain things: dresses, skirts, dress pants, tight jeans. Pavloposad shawls are worn in different ways: they are tied around the head, around the neck - like a scarf, and simply thrown over the shoulders - both on outerwear, and on blouses, sweaters, dresses. A beautiful Pavloposad shawl over a modest dress will create the desired effect of chic and originality of the outfit.
In contact with
These shawls originate from a simple piece of white embroidered cloth called an ubrus. By the 17th century, the ubrus gave way to a scarf or shawl.
vector-images.com, CC BY-SA 3.0By the beginning of the 18th century, traditions of handicraft textile production already existed in the region of Pavlovsky Posad. In the Bogorodsky district of the Moscow province, which historically included Pavlovsky Posad, there were more than 70 silk scarf factories owned by peasants.
, CC BY-SA 3.0 The peasant enterprise, from which the shawl manufactory subsequently developed, was created in 1795 by a peasant in the village of Pavlovo, Ivan Dmitrievich Labzin. Labzins had a small production. Most of the materials were distributed to the peasants of the surrounding villages, who produced silk and paper fabrics and scarves at home mills.
Great-grandson, Yakov Ivanovich Labzin, together with Vasily Ivanovich Gryaznov, converted the factory to the production of woolen shawls with a printed pattern, which were widely used in Russian society at that time. The first Pavlovo Posad shawls were produced in the early 60s of the XIX century.
Guide to Russian Crafts, CC BY-SA 3.0 The heyday of the manufactory falls on the 1870-1880s. In 1881 Yakov Labzin received the title of supplier to the Grand Duchess Alexandra Petrovna, the enterprise was awarded silver medals at the All-Russian Art and Industrial Exhibitions. In 1896, at an industrial exhibition in Nizhny Novgorod, the right to depict the state emblem on signboards and labels was obtained.
After the October Revolution, the enterprise was nationalized and renamed the Staro-Pavlovskaya factory. The enterprise expands its assortment, attempts are made to modernize the appearance of scarves (images of animals, drawings on the themes of revolution, industrialization and collectivization), production of cotton fabrics.
Guide to Russian Crafts, CC BY-SA 3.0 In 1937, the factory participated in the World Art and Industrial Exhibition in Paris.
In the post-war period, the colors and range of scarves expanded while maintaining traditional motifs and patterns.
In 1958, at the World Exhibition in Brussels, Pavlovian shawls were awarded the Big Gold Medal.
Guide to Russian Crafts, CC BY-SA 3.0 In 1963, the factory was named the Moscow Handkerchief Production Association. Since 1995 - Pavlovo Posadskaya Shawl Manufactory OJSC.
Photo gallery
Start date: 17th century
Helpful information
History - Pavlovo Posad shawls
Factory names
After 1855, the handkerchief enterprise had different names:
1868 - Full partnership "Yakov Labzin and Vasily Gryaznov"
1892 - Partnership on shares "Partnership of manufactories Y. Labzin and V. Gryaznov in Pavlovsky Posad"
1918 - the factory was nationalized and became known as
Staro-Pavlovskaya Factory No. 11 of the State Worsted Trust of the Supreme Economic Council
1928 - factory named after the 10th anniversary of the Red Army of the Main Directorate of the woolen industry
1963 - Moscow production shawl association
1989 - Pavlovo-Posad production shawl association
1992 - Closed Joint-Stock Company "Pavlovo-Posad Shawls"
since 1995 - Open Joint Stock Company "Pavlovo Posad Shawl Manufactory"
Vasily Pavlovoposadsky
Vasily Gryaznov was widely known during his lifetime among the surrounding population not only as a manufacturer, but also for his charitable deeds. For many years he was the headman of the Pavlovsky Posad Cathedral of the Resurrection of Christ.
In August 1999, V.I.Gryaznov was canonized by the Russian Orthodox Church as a locally venerated saint of the Moscow diocese as Righteous Vasily Pavlovoposadsky.
Patterns of the Slavic Soul. Pavlovsky Posad scarf. Part 1.Pavlovsky Posad shawls originate from a simple piece of white cloth with embroidery, which was called ubrus. In the seventeenth century, the ubrus with which Russian women covered their heads in everyday life gives way to a scarf, later in the Russian language the word “shawl” borrowed from the Persian language appears, meaning a large patterned scarf worn on the body. The scarf has always been one of the obligatory attributes of the Russian national traditional costume, both everyday and festive. To appear in public with an uncovered head (straight-haired) was considered the height of indecency in Rus'.
Ancient pagan images and symbols, such as songbirds, the tree of life, and the image of a swan, have always been present in traditional patterns of scarves. Later, antique vases and French bouquets, vines and flowerpots with large flowers, borrowed in Europe, masterfully fit into these ornaments. Also in the scarf there was always (as one of the directions) the theme of oriental ornaments - beans and paisley (or oriental cucumber).
The Pavlovsky Posad area (the territory of the former Bogorodsky district) is one of the oldest Russian textile centers. In the 18th - first half of the 19th centuries, Bogorodsk shawls and sarafan fabrics were distinguished by the special beauty of the ornament woven with gold thread. Later, silk weaving was widely spread here, and from the 1860s, the production of woolen and half-woolen scarves, decorated with colorful printed ornaments, began.
Gradually, production grew and acquired a pronounced national character.
Initially, Pavlovo Posad printed shawls were woolen and semi-woolen. They were decorated with traditional colorful printed ornaments, which arose in the city of Pavlovsky Posad near Moscow in the 1860s-1880s.
The Pavlovo Posad Manufactory is the only one of the old Russian shawl enterprises that has survived to this day. In the XVIII - early XX centuries, the textile industry was extremely developed in Moscow and the Moscow province.
In Pavlovsky Posad and nearby villages there were large factories and small manufactories, the products of which were exported to Moscow and other cities, distributed at fairs.
One of the largest enterprises in Russia in the second half of the 19th century is a factory owned by Yakov Ivanovich Labzin (1827-1891) and Vasily Ivanovich Gryaznov (1816-1869). It was founded at the end of the 18th century by a peasant in the village of Pavlova (since 1844 - the city of Pavlovsky Posad) Ivan Dmitrievich Labzin, whose grandchildren were already in the merchant class by the beginning of the 1840s.
Yakov Ivanovich Labzin (1827-1891)
Vasily Ivanovich Gryaznov (1816-1869)
Yakov Ivanovich Labzin (1827-1891)- merchant-philanthropist. Since 1849, he headed the kerchief manufactory in the city of Pavlovsky Posad, Bogorodsky district, Moscow province. Once he came to the local saint Vasily Gryaznov for some advice. The first communication with Gryaznov made a strong impression on the merchant, he saw in front of him a man living a holy life. He invited Vasily to become his comrade in business, and he agreed. They soon became friends.
Vasily Ivanovich Gryaznov (1816-1869). Born into a simple family in the village of Evseevo (now Pavlovo-Posadsky district), he was educated at home, inherited from his parents a deep faith and love for God.
But when he went to work at the factory, the naive village youth plunged into the world of vice and passions, began to drink wine, and fell under the influence of a bad company. However, over time, he managed to overcome his weaknesses and take the path of correction.
After meeting the merchant Ya.I. Labzin and by joining the case, Gryaznov continued to lead the life of a holy ascetic. When he had more money, he spent it on helping the poor and on good causes. Vasily, together with Yakov Labzin and Yakov's sisters, built schools and almshouses. Vasily dreamed of building a monastery in the city of Pavlovsky Posad, but did not have time. Thanks to Yakov Labzin and his sisters, in 1874 a church was built in Pavlovsky Posad on the burial site of St. Basil. In 1894, the Intercession-Vasilyevsky Monastery was opened on the site of the temple.
Vasily Ivanovich Gryaznov canonized by the Russian Orthodox Church as a saint among the righteous - Righteous Vasily Pavlovo-Posadsky.
A small silk weaving establishment grew rapidly, expanding and changing its assortment. In 1853, Yakov Ivanovich Labzin (great-grandson of the founder of the factory) and his relative and companion Vasily Ivanovich Gryaznov (Yakov Labzin was married to Gryaznov's sister), pooling their capital, founded their own Trading House. Three years later, in addition to weaving, they also opened a printed one.
Until the 1860s, the factory produced woolen, semi-woolen, cotton fabrics and Pavlovo Posad shawls. In the second half of the 19th century, popular printed woolen stoles and shawls already prevailed. Just at that time, they were widely in vogue as an indispensable element of the costume of townspeople and rural women. Tradeswomen, bourgeois women, and peasant women flaunted in stoles and shawls draped over their shoulders or over their heads with ornaments in the "oriental" spirit or with bright flower arrangements.
After the October Revolution, the factory was nationalized, it parted ways with the names of the former owners and became known as Staropavlovskaya.
Changes in the life of the country immediately affected the assortment. In the 1920s, experiments with drawing began, motives of the revolution, the successes of collectivization and industrialization, unexpected for the headscarf theme, arose. But flower arrangements still remained the hallmark of Pavlovo Posad shawls.
New drawings and ornaments in line with the classical tradition for the factory were the main concern of the artists of that time, among whom stood out Nil Postigov and Konstantin Abolikhin, who worked even before the revolution.
Pavlovsky Posad artists created drawings with complex decorative motifs: intricately intertwined so-called "Turkish" cucumbers, "fans", cartouches, curls; patterned, almost jewelry design of each element. Naturalistic, volumetrically interpreted flower arrangements of garden and wild flowers were also born: roses, peonies, daisies, forget-me-nots ...
Pavlovo Posad shawls are recognized representatives of Russian folk crafts. Woolen, silk, cotton shawls of Pavlova Posad are valued all over the world.
The company has produced more than three hundred different types of scarves, shawls and stoles, which, of course, can be called real Russian souvenirs.
Natural woolen, cotton and silk scarves can be worn at any time of the year.
In addition, fashion designers find interesting solutions using Pavlovo Posad shawls.
Items of women's clothing, such as those below, can become the hallmark of their owner, and they will make any cloudy day bright and sunny.
Fur-lined shawls and vests made from Pavlovsky Posad shawls are warm and stylish elements of the costume of a modern woman who loves Russian folk flavor. All this can be worn with trousers and skirts, on holidays and on weekdays.
All these wonderful models were invented and executed by craftswomen,,
The Pavlovo Posad shawl is so recognizable that it seems difficult to find a person who has never seen it. The Pavlovo Posad shawl near Moscow has long become one of the symbols of Russian traditional culture. Let us recall the merchants in bright shawls from the paintings of Kustodiev and Malyavin. Drawings on Pavlovian scarves were applied by hand, using special wooden boards: "manner" and "flower".
Although in the 1870s pyrrhotite was bought - a machine that stuffed a pattern onto fabric, its use had serious limitations: only Pavlovsky Posad shawls of small sizes in four or five colors were mechanically printed. With the help of boards, the pattern was stuffed in parts, overlaying it up to 400 times, since each part (and there could be from 4 to 24) and each color (sometimes more than 16) used its own board. This time-consuming and lengthy process required the highest skill from the embosser, the precision of jewelry movements, which did not allow the pattern to shift.
Boards were used for a long time, sometimes for decades, because the demand for shawls with similar patterns did not fall. The hand stuffing of Pavlovo Posad shawls was partially preserved almost until the mid-1980s. Along the edge, Pavlovsky Posad shawls were decorated with mesh woolen or silk fringe, which is still knitted and sewn on by homeworkers by hand. It takes the craftswoman two hours to knit a fringe of one scarf - this is a family tradition, it is knitted by mothers and grandmothers and children.
Since the 1970s, the technology of stuffing scarves has been greatly simplified. The principle of applying the pattern remains the same, but the paint is applied by printers to the fabric not with wooden forms, but with the help of special silk or nylon mesh patterns. Template printing allows you to apply an unlimited number of colors, get a thin, elegant outline on fabrics, and accurately combine individual elements of a pattern.
Printed templates are prepared using a unique direct engraving machine that applies computer-controlled droplets of molten wax onto the surface of a photo-emulsion-coated mesh.
Printing inks are prepared on an automatic ink cooker, where all processes are performed without human intervention. Here, for the first time in the world, plasma-chemical processing of fabric before printing was introduced instead of harmful chlorination.
In the museum of shawls, you can see the whole variety of Pavlovsky Posad shawls, from the old classic samples of hand-made heels of the nineteenth century, avant-garde propaganda shawls of the thirties of the last century to modern shawls and shawls produced by the enterprise at the present time.
For more than two centuries of existence, the Pavlovo Posad Shawl Manufactory has come a long way in its development from a peasant room to a modern competitive production that meets all international standards. Her achievements have been repeatedly noted at various exhibitions, ranging from the Small Silver Medal at the Moscow Exhibition of Russian Manufactory Products to the Big Gold Medal at the World Exhibition in the capital of Belgium in Brussels.
It is from the drawing (croc) that work begins on each new product. All prepared sketches are reviewed and approved by the artistic council, to which honored artists of the enterprise, representatives of the Ministry of Culture of the Russian Federation and the expert council of the Moscow region on folk art crafts are invited.
As soon as the drawing is approved, colorists are involved in the work on it. Their task is to select recipes for printing inks, achieving an accurate reproduction of the author's gouache pattern with the help of textile dyes.
The main difficulty in the work of colorists is that the true color will be visible only after steam treatment of the fabric.
Each drawing is printed in several colors - colors. Depending on the complexity of the pattern, various methods of applying it to the fabric are used.
Printing is carried out on printing tables with automatic printing carriages and multicolor printing machines. The most critical operations are performed manually.
In the finished product shop
Fringe work
Manufactory worker demonstrates the finished product
Before Pavlovo-Posad shawls became an integral part of the folk costume of the peasantry and the merchant class, they remained a fashion accessory for ladies of the noble classes for a long time. At the beginning of the 19th century, this element of women's wardrobe was so popular that there was even a shawl dance in which ladies could demonstrate their noble posture. The shawls of that time were usually decorated with Turkish ornaments, and a little later, floral ornaments also came into fashion. Their creation is a special art, carefully and zealously kept by the artists and masters of the printed matter of the Pavlovo Posad shawl manufactory.
“Once, at a ball at Orlov’s, they asked one of the Moscow beauties, the wife of his illegitimate son, to dance “pas de chele,” recalls E. I. Raevskaya. - She agreed and, standing in the middle of the hall, as if by chance, dropped the comb holding her hair. Luxurious as pitch, black hair spilled over her shoulders and hid her figure almost to her knees. Everyone present screamed with delight and begged her to dance with her hair down. That was all she wanted; performed the dance with general applause. "The appearance of this dance was facilitated by the fascination of the French society with ancient culture. "Pas de chal - solo, dances with a light gas scarf in her hands: the dancer either wraps it around it, then dissolves it." Particular attention was paid to the smoothness and graceful movement of the hands The dance with the shawl demanded grace and grace.The lady slowly turned to the audience first with her face, then with her back, raising alternately her right and then her left hand with the end of the shawl clasped in it. Each new movement began with an outstretched toe of the right or left foot. In the 19th century it could also be a pair dance, but later it became a solo ladies' dance.To make the shawl obedient, heavy gold, silver or coral balls were sewn into its ends.At first the dance was called a la Greek, a new name appeared closer to the 30s This is an improvisation dance, where playing with a scarf and hand movements were of particular importance.The lady went to the middle of the hall and, throwing up a light scarf, caught it, doing various graceful movements with it. All attention was riveted to the smoothness and beauty of hand movements. In the reign of Alexander I, pupils of women's educational institutions began to be taught to dance with a shawl. So the girls demonstrated their grace, grace and good posture. This tradition continued until the end of the 19th century.
Today, many designers are turning to the national style in general and to Pavlovo Posad patterns in particular. The secret of such popularity is that these shawls convey the peculiarities of the national Russian character, recalling its inherent spirituality.
After so many years, the Pavlovsky Posad shawl continues to live and develop: ancient patterns are restored, ornaments of other peoples and cultures are borrowed. For example, scarves and shawls with “Turkish cucumbers” and “beans”, borrowed from the famous Indian cashmere shawls, are currently popular.
This is not surprising, because real, traditional, high-quality things will find their connoisseurs at any time, and Pavlovo Posad shawls are proof of this.
Photographer Lara Kantur (Lara Kantur)
Drawing of a Pavlovo Posad shawl. Postage stamp of Russia, 2013
Gzhel, Dulevo, Fedoskino, Sergiev Posad, Zhostovo, Bogorodskoye - this is not a complete list of addresses where you can get acquainted with the oldest folk art crafts of the Moscow region.
The visiting card of one of the points of this "cultural program - Pavlovsky Posad" was the world-famous "patterned board", one of the Russian national symbols.
The first mention of Vokhna or the settlement of Pavlovo, which gave rise to Pavlovsky Posad, which received the status of a city 171 years ago, dates back to 1328. And today you can see many historical buildings here, for example, the house of the merchant Shirokov - an architectural monument of the first half of the 19th century, it is decorated with a corner of the life of a merchant family. In the future, it is planned to implement a large-scale project of an “open-air museum” in the historical part of the city, which is an example of the provincial development of a commercial and industrial settlement.
One of the log houses on Volodarsky Street was built by the grandfather of the People's Artist of the USSR Vyacheslav Tikhonov before the revolution. The legendary actor was born and raised here. This year, the deputies of the city council of Pavlovsky Posad decided to purchase the building as municipal property in order to open the house-museum of Tikhonov. The building is in a deplorable state and needs to be restored. Part of the exposition of the future museum - furniture, dishes and other things of the Tikhonov family, as well as numerous photographs - can now be seen in the historical and art museum of Pavlovsky Posad. Collection of exhibits continues. The long-awaited opening of the house-museum is expected to take place next year.
The brick buildings of the weaving factory, founded at the turn of the 19th and 20th centuries by the Russian-French society, have also been preserved in Pavlovsky Posad. Factory buildings occupy an entire block, which is popularly dubbed "Paris". In memory of Russian-French cooperation, a model of the Eiffel Tower was installed near the museum building.
Most of the pre-revolutionary churches have been preserved and restored in Pavlovsky Posad. The architectural symbol of the city is the bell tower of the Church of the Resurrection of the Word, known since 1389. And in 1989, the Cathedral of the Intercession of the Most Holy Theotokos of the Intercession-Vasilyevsky Monastery was restored here.
This monastery is directly connected with the Pavlovo Posad shawls. In the second half of the 19th century, the Church of the Intercession-Vasilevsky was built over the graves of his wife Akilina and her brother Vasily Gryaznov, a partner in the production of Pavlovsky Posad shawls, a manufacturer and philanthropist, grandson (according to other sources - great-grandson) of the founder of the factory Yakov Labzin. The monastery became one of the most beautiful monasteries of the Moscow diocese.
Labzin and Gryaznov conducted large-scale charitable activities. In recognition of his merits, in 1999 Vasily Gryaznov, the locally venerated Holy Righteous Vasily Pavlovo-Posadsky, was canonized by the church. His relics are kept in the Intercession-Vasilevsky monastery.
In the film "Shawls" directed by Yuri Pavlov, the hero Valery Barinov, an old artist, tells his student: "Do you know how my old woman talks about our scarves? These are God's pictures! He sits in the sky, looks down. He sees women's poppies and rejoices.
Indeed, the scarf has a sacred meaning - it comes from omophorions - head coverings depicted on icons. According to biblical legend, the Most Holy Theotokos herself spread her head cover over the worshipers as a sign of high patronage, since then on October 14 we have been celebrating one of the great Orthodox holidays - the Intercession of the Most Holy Theotokos.
Each scarf was endowed with its own symbolism of the ornament, thanks to which the headdresses often had the power of amulets and carried spiritual information.
The language of the pattern has sunk into oblivion and has become a mystery to us. Therefore, old scarves restored by the masters of the Pavlovo-Posad shawl manufactory, which is still working today, are of particular value. You can see many of them in the Pavlovsky Posad Museum of the Russian headscarf and shawl. The collection of more than 400 exhibits is based on the private collection of Vladimir Shishenin.
All the luxury of Russia
According to experts, only the State Historical Museum and the Museum of Decorative and Applied Arts in Moscow have a collection of equal completeness and expressiveness. Here are scarves and shawls from many well-known manufactories in Russia and Europe with characteristic artistic styles, including the well-known Orenburg downy shawl. Of great interest are also ancient headdresses and the predecessor of the scarf - an embroidered ubrus, that is, a linen towel worn over a headdress - kichi or kokoshnik. On the example of the collection of headdresses of the Russian North - magpies, kokoshniks, warriors - you can see different wearing styles and ways of tying a scarf, which has become an indispensable attribute of the traditional Russian women's costume. Indeed, since ancient times, a married woman could not appear in public with an uncovered head and loose hair. “There is no hut without shelter, and a woman without cover,” says the proverb.
A special place in the exposition is occupied by commemorative scarves and panels printed in honor of significant events. According to their plots, lessons can be taught about the coronation of emperors, about the 300th anniversary of the reign of the Romanov dynasty, about the centenary of the Patriotic War of 1812 ... In the Soviet period, this tradition was continued in stories about new holidays - the tenth anniversary of the Red Army, the 30th anniversary of Soviet power, 800 anniversary of Moscow.
Items of Russian life of the XVIII-XX centuries are presented - spinning wheels, rubels, bobbins, irons, combs. And, of course, the tools used by the ancient craftsmen for weaving and stuffing the design of scarves - printed boards, cast-iron hammers and other tools.
Technology changes, tradition lives on
Pavlovsk craftswomen were engaged in the manufacture of printed woolen shawls as early as the 18th century. In 1795, the peasant Ivan Labzin opened a factory - it was a weaving workshop for the production of handmade silk scarves. At that time, there were more than seventy such peasant factories in the Moscow province alone.
Pavlovo became the center of silk-weaving and brocade production, and since the 1860s, the production of woolen and half-woolen shawls, scarves, shawls, stoles, decorated with bright printed ornaments, began here. The factory gained great fame and rapidly developed under the leadership of the grandson of the founder, Yakov Labzin.
The trading house "Yakov Labzin and Vasily Gryaznov", founded in 1863, opened trade throughout Russia and abroad.
By the end of the century before last, the manufactory became the largest enterprise for the production of printed woolen scarves in Russia, more than two thousand workers worked here. The time has come when the shawls of the town shawl manufactory forced out all other hats from the shelves.
In the 19th century, the application of patterns on scarves at the Pavlovo-Posad manufactory was carried out manually using the stuffing method. The pattern was transferred to the handkerchief from wooden carvings, using two types of boards for this: “manners” and “flowers” (with an emphasis on e). With the help of the "flower" paint was applied to the fabric, each color required a separate board. The contour of the drawing was stuffed with "manners". They were made as follows: first, the pattern on the tree was burned to a certain depth, then filled with lead. The resulting contour was applied to separate boards. It was impossible to make printed boards the size of the entire scarf; the drawing was broken into pieces. Up to seventy boards could be used to stuff one scarf! The manual method was very laborious and required great strength, endurance and attentiveness.
Later, the Pavlovo-Posad shawl manufactory introduced the screen printing method - they began to use silk or nylon mesh patterns to stuff the pattern on scarves, the pattern began to be transferred to the fabric by photocopying. The method marked the beginning of automation. The first multicolor photo film press was installed at the factory in 1961.
Despite modern technologies, the author's school of creating scarf designs and the bright “bouquet” character of the Pavlovo Posad shawl as traditions of the original folk craft are carefully preserved here. There are no analogues to these drawings anywhere in the world, they are unique. They also preserve the traditional quality of pure wool linen, for the manufacture of which only fine-fleeced wool from the scruff of snow-white sheep is suitable.
The silk fringe of the shawls is knitted by hand in the old fashioned way. And the phrase "Russian shawl" is still associated precisely with the Pavlovo Posad shawl.
Russian beauty in a Pavloposad shawlThe culture of this or that people is multicomponent. Cuisine, way of life, traditions and peculiarities in clothing - all this makes up a complete picture, making this or that nationality recognizable. It is the little things, nuances, features and individual details of the traditional costume that show the folk image to the whole world. Without exaggeration, Russian culture is considered one of the brightest and most diverse. The symbiosis of the industriousness of skilled artisans and the skill of artists gave rise to such a unique work of applied art as Pavlovo Posad shawls (shawls).
The history of the handkerchief
Today, every foreigner - a guest of the great and vast Russia, will consider it an honor to purchase unusual townsman scarves or shawls as a souvenir. But few people know that the history of such a unique and popular accessory all over the world goes back more than 200 years.
Pavloposadsky scarf can be found in many paintingsThe origins date back to the middle of the nineteenth century. The city in Rus' Pavlovsky Posad, formerly called the Bogorodsk district, has long been considered a kind of center of talented and skilled artisans, and especially textile craftsmanship. In those distant times, it was in Pavlovsky Posad that there were countless textile workshops that have survived from even more ancient times. In the 17th century, Bogorodsk shawls were already widely known, thanks to the recognizable ornamental pattern of gilded threads.
And how could such beauty not become popular
Later, production was rapidly gaining momentum, and already township scarves were made from various fabrics, and the character of the pattern acquired more characteristic national features and a recognizable Russian character.
Manufactory production expanded, the direction of silk weaving appeared, scarves were also made from woolen and semi-woolen fabrics.
The history of Pavloposad shawls
Traditional shawls had one feature - an unusual and unique printed pattern. The patterns were so exclusive that it was impossible to find two identical scarves.
Drawing technique
The magnificence of a color, a complex and one-of-a-kind floral pattern or ornament is achieved by a complex application technology. Initially, the pattern was transferred to the material using carved wooden molds. Such form boards were called "flowers" and "manners". The board "flowers" was cut out of wood, with its help paints were applied to the fabric, but the outline of the ornament or pattern was filled with boards "manners".
"Manner" for applying patterns
The evolution also touched on the technology of stuffing prints, so already in the 70s of the last century, the pattern began to be applied to town scarves and shawls using screen printing and special nylon templates. More modern Pavloposad textile products have changed somewhat: the pattern has become less detailed, and the contours of the ornaments have acquired less intricate and somewhat strict outlines.
Industrial production did not play in favor of the beauty of the scarf
For some time, the technique of manual printing was used to apply the pattern, but due to the special laboriousness of the process, it did not become popular. Although it was during this period that real exclusive models worthy of the title of cultural value of Russia were created.
In the 90s of the last century, at a time when many industries were hit by a crisis, production not only did not come to naught. Pavloposad products have become even more colorful and original. The number of colors for one scarf or shawl reached 23. Today, the stencil technology has been preserved, a unique pattern is preliminarily developed by artists, after which stencils are made, then shawls and scarves are put into production.
Developing a pattern for a future scarf is not an easy task.
Creation of Pavloposad shawls
Pattern Features
From ancient times to the present day, town scarves and shawls are divided into two main types:
- The first are scarves and shawls, which are made of thin translucent wool. Such Pavloposad products may have a silk base. The pattern on such a shawl or scarf was stuffed on a cream, black, dark cherry or scarlet color ground. The ornament was large flowers or bouquets, strictly selected stylistic patterns. As they say, the award has found its hero. In 1896, such town scarves received the highest state award, which gave the right to depict the National Emblem on a label or sign.
- The second are Pavloposad products, which were made of dense wool. Such models, as a rule, differed from the first ones not only in fabrics, but also in ornament. The title pattern was borrowed from the Eastern people "cucumber", enclosed in floral patterns. The emphasis in such shawls was placed on the edges, and more precisely, the corners of the shawl, leaving a small middle figure in the central part.
In the post-war period, township shawls acquired greater brightness than models of the war period. The color of the Pavlovo Posad shawl is based on the contrasts of yellow, green, red and blue. Chiaroscuro treatments appear in the drawing, which give realism and tangibility to floral prints.
Such a principle of bright and unusual contrasts, national ornaments or floral patterns is so unique in its kind that it makes townsman scarves and shawls out of fashion trends.
Such beauty never goes out of fashion.
How to wear a pavlovo-posad scarf or shawl?
Modern fashion trends are a tribute and even admiration for the skill of our ancestors. Therefore, Pavloposad stoles, shawls and scarves are incredibly popular among fashionistas today. Such a bright and unusual accessory undoubtedly has its own character, history and soul, which gives the image original folk notes in an unusual modern setting, like a precious diamond.
The image of a Russian beauty will not be complete without such a scarf
There are some tips on how to wear a Pavlovo Posad accessory:
- In the traditional way, as worn in Rus', putting on the head and tying under the chin. This method is suitable for beauties with clear and regular facial features.
It is very easy to tie a scarf in the traditional way.
- Putting on the head, and wrapping the ends of the scarf around the neck. Looks perfect with a fur coat or sheepskin coat. You need to be careful with the image, consisting of a fur coat to the floor and a Pavloposad shawl, so as not to take on the appearance of the noblewoman Morozova.
- You can put it on your head in the form of a bandana or a turban, and fasten the ends around your head. This way looks unusual and modern.
Pavloposadsky scarf in the form of a bandana
- Simply throwing it over your shoulders, arbitrarily tying the ends of the scarf so that others can admire the beauty of the pattern.
Original skirt from Pavloposad shawl
There are a lot of ways how and with what to put on town scarves, stoles and shawls. You can safely let go of your imagination and experiment with such an unusual accessory, creating your own bright and original image.
A skillful combination or shawls will help to give the look not only a folk identity. Pavloposad products are not just fashion accessories, they have a soul, transforming the image of a woman not only externally, but also internally. Such bright painted accessories will never go out of fashion, forming a real Russian style outside of fashion trends.
Interesting information about Pavloposad shawls
