Painted patterns. Ornament of Russian folk costume as a talisman

Russian women did not have the European abundance of fabrics to create clothes. All that was available to them was linen, cotton and wool. But all the same, the Russians managed to create outfits of amazing beauty from small things. And this was achieved thanks to the ornaments of the Russian folk costume. The ornament at that time acted not only as an ornament, but also as a talisman. So, the elements of the folk costume were enriched with protective embroidery and patterned weaving. Amulets of this kind were embroidered on the edges of clothing, namely on the hem, cuffs and collar. These were embroidered ideograms protecting a person from trouble. Ornaments were made in certain colors, which also have a special meaning. The most popular color is red, which symbolizes fire, life and blood.

And more...

The main element of the Russian folk costume was a shirt with a richly embroidered collar. The sleeves of the shirt had to be wide and long, but clasped at the wrist with braid. Over the shirt women wore. It had the form of a high skirt with straps and was sewn from linen, wool and cotton fabric. Ribbons, fringe, braid and colored stripes of chintz were used as decor. The third integral element of the dress was the skirt. It is worth noting that married women wore poneva, which differed from the usual skirt in a swing style with an unsewn slit on the side.

Do not forget about the apron. Women wore it over a shirt or sundress. The apron, as an element of the Russian costume, was also equipped with a rich symbolic ornament, embodying Russian ancient traditions and amulets associated with nature.

The final element of the Russian national costume was a headdress, which at that time was a kind of calling card. From it it was possible to determine the age and place from which the woman arrived, and her social status. Girls' headdresses had an open crown. Bandages and tapes were most often used. But married women completely covered their hair. The dresses were decorated with beads, ribbons and embroidery.

People say: "one's own shirt is closer to the body." Why, the semantics of the folk costume, composition, its color, ornamental cryptography will tell us about this. After all, it is in the folk costume that the most important features and characteristics of national self-consciousness, its social, moral, religious ideas can be traced.

It is worth noting that clothing, the original appearance, which was due to functional necessity, immediately became a ritual object. Its task was also to stimulate certain vital processes. Therefore, we consider clothing not only as a thing, but also as a symbolic form - a sign in the context of culture.

N.M. Kalashnikova, the author of numerous works related to the theme of folk costume and its symbols, notes that the semantic status of clothing, according to the author, its iconic functions, was fixed at an early stage of development; they had to be "read" not only by its owner, but also by fellow tribesmen 1.

At different age and social stages of a person's life, the costume changes at the level of structure. These changes manifest themselves in the quantitative composition of the costume, color semantics and the development of the ornament.

The ornament served not only as an ornament, but also as a conspiracy from the evil forces of nature, a "charm". Therefore, these patterns were embroidered where the clothes ended, touched the open body: at the collar, on the hem, on the cuffs.

In addition, ornamental medallions protected the shoulders and knees. The ornament contained signs, letters - ideograms, which the embroiderers specially selected for each owner of the shirt, so that it kept its owner not only from the cold, but also from any accidental misfortune.

That is why, when they talk about the spiritual qualities of a generous person, we hear: "He will not regret his only shirt." It was believed that a generous person, thus, gave away not only his clothes, but also took off his amulet, that which is closest to the body ...

Ornaments of all peoples come from ancient times, they never included a single "idle" line - each has its own meaning, is a word, phrase, expression of known concepts, ideas. People have invented symbols to signify and reinforce what they have understood. The transfer of such knowledge means learning the interpretation of symbols.

V. Vardugin mentions that even at the beginning of the 19th century, the ritual of reading patterns was preserved in the villages, when the girls dressed up in a festive way and brought their needlework. The guys, having chosen women of respectable age as their guides, listened to the explanations of the latter about the meaning of the patterns depicted on girls' needlework 2.

The words "pattern", "patterned" come from the words "dawn", "burn", "sun" and come from the common Slavic concepts of "light", "brilliance", "warmth". Embroidery patterns were associated with the cult of the sun and the sky, they became its "divine images", signs-symbols. It can be said about embroidery that it keeps the people's awareness of the world and nature, a kind of folk poetic mythology.

From the point of view of mythological consciousness, the cosmos is divided into two worlds: sacred, sacred and profane (from Latin profanus) - the uninitiated, devoid of holiness, moreover, impious, sinister, blasphemous and impure. It is not surprising that on Russian folk clothes there is such an abundance of ornamentation with symbolic images that helped to establish a connection with the sacred world.

The idea of ​​the sun in the form of a horse in ornamental compositions is embodied, for example, in the form of a white zealous horse, with stars in the background and with birds along the edges of the dominant motif. The motifs of Pava-boat, there are images of Lado - the god of the spring sun. Rites are reflected in the ornamentation, such as, for example, the rainbow is a spring rite, the day of commemoration of the ancestors, the vesnik is the “curling of a birch” in honor of the revival of nature, the feast of Ivan Kupala, etc. The pagan goddess Makosh, one of the most frequently mentioned characters of ornamental plots.

The ornament, as already mentioned, served not only as an ornament, but also as a conspiracy from the evil forces of nature, a “guardian”. And a modern reader's heart aches when he reads the lines in the "Word of Igor's Campaign" about the death of one of the soldiers: "... only pluck the pearl soul from a brave body, through a gold necklace."

Ornamental symbolism is more characteristic of ancient clothing: shirts, shirts, ponevs, aprons, belts. It is important to note that the parts of the costume were closely related to the choice of ornamental motifs. Like the costume, the ornament assumed a tiered division. The hem is the first tier, it is closer to the ground. On it, as a rule, rhomboid or cruciform compositions (symbols of agriculture, fertility, fire). On the contrary, solar signs, images of birds, etc. predominate in the embroidery of headdresses. Thus, through such a composition, the costume was likened to the World Tree.

The ornament on clothes was most often embroidered. “Folk embroidery, this first code system acquired by people and having a magical meaning for them, has been studied for a little over a century. Much has not been unraveled, but so many more “wonderful discoveries” are fraught with the simplest patterns that contain signal-symbols about the life and worldview of generations long gone” 2.

When considering the historically specific forms of the costume, one can notice that it has a macro- and micro-constructive basis and a decor system. Ornamental inserts, which have an independent symbolic meaning, acquire a special semantic significance in it.

The ornament, in contrast to the cut and design of clothing, is deeply conservative, little subject to change, being a product and belonging to traditional culture. With its roots, it goes back to archaic times and is also the keeper of mythological ideas about being. It does not lose its purpose to remind of the primary meanings and symbols of culture, being interspersed in the structure of the costume as a kind of integrity. The ornament has a graphic structure, it is similar to cryptography, an ideogram of some hidden meanings expressed in graphic, i.e. spatial symbols.

Having drawn a parallel between amulets and an ornament as a talisman, let us consider the main postulates of magic formulated by modern researchers. Here they are: 1) like produces like (the law of similarity); 2) things that come into contact with each other, then continue to interact at a distance (the law of contact and infection). Based on these laws, not only ornamental compositions were built, but also the structure of the costume as a whole.

For primitive man, the part is the same as the whole. If, for example, a character has changed into someone else's clothes, he is identified with its owner. Behind the change of appearance is a change of role, then - essence. At the heart of any disguise is a semantic principle. (It is easy to compare with the semiotic meaning of clothing and dressing as such).

Another principle of magic is sympathy. L. Levy-Bruhl wrote about him: “The sympathetic principle means “to carry along”, encourage, teach, but at the same time force, in the sense of physical influence” 3. Based on this principle of magic, things, “thanks to secret sympathy, are connected and interact with each other at a distance.

Therefore, it was believed that the life force of natural objects is transmitted to man through: skins, teeth, skulls, claws, stones and amulets. Our ancestors used jewelry-amulets in their wardrobe for greater “security”, the symbolism of these jewelry, as well as the symbolism of ornamental inserts on clothes, is associated with the cult of the sky, the sun and the spring fertility of the earth. Talismans and amulets were created according to the unwritten laws of magic. Many of them can be quite clearly divided into male and female.

At excavation sites (more often in female burials), a figurine of a horse is often found. The horse, according to the beliefs of the ancient Slavs, is a symbol of goodness, happiness, and the wisdom of the gods. Its cult is associated with the veneration of the Sun, with the belief of the Slavs that Dazhdbog rides across the sky in a chariot, tucked in by four white, golden-maned horses with golden wings: therefore, the solar circular ornaments on skate amulets are not at all accidental. Slavs wore them at the left shoulder. And it is not at all accidental that skates were often connected with a talisman in the form of waterfowl - swans, geese, ducks: after all, the same Dazhdbog twice a day (morning and evening) crosses the ocean-sea on a boat drawn by these waterfowl. There are even amulets - the body of a waterfowl, and the head of a horse. These pictorial motifs continue to exist in embroidery ornaments.

Women, as amulets, wore small copies of household items (ladles, spoons, combs, keys) on their clothes. Their task is to attract and keep satiety, contentment, wealth in the house.

Both women and men wore amulets - hatchets. The difference was observed only in the way of wearing. Women - at the shoulder, men - at the waist. The ax is a symbol of Perun, the warrior god, the patron of the harvest, who sent warm thunderstorms.

Only men carried miniature copies of weapons - swords, knives, spears, scabbards.

Round female pendants-amulets are nothing but solar symbols, yellow alloys were used on them, while lunnitsa pendants are white alloys (cold, like the moon itself) made of silver, silver with tin, less often bronze.

Mythological consciousness perceives the whole world as alive, therefore it regulates relations with everything in this world, as with living beings, and charges material objects with living energy.

In their interpretations of archaic symbols, ethnographers often resort to the method of analogies. W. Talbitzer, studying the Eskimos of the eastern coast of Greenland in the 1920s, wrote: “Amulets are consecrated with the help of formulas and spells ... They become alive. We find a specialized formula in the belief that an amulet, in the form of a knife or other implement, suddenly, at the moment of danger, begins to grow in size and independently performs the act of killing.

Lunnitsa women's jewelry was born by the ancient cult of the Moon. The sun and the moon were presented to the ancient man as brother and sister, husband and wife, sometimes parent and child. They are the characters of dualistic lunar-solar myths. Oppositions are reflected in them: male - female, day - night, heat - cold, positive - negative. There are moons with floral ornaments, which symbolizes the first duty of the moon - to monitor the growth of grasses and trees.

Considering only amulets, by their symbolism we see that with the help of them our ancestors established a connection with the sacred world, through the organization of connections in the microcosm, the desire to establish a connection with the macrocosm.

For the same purpose, the language of ornament in folk costume was also used.

Literature

1 Kalashnikova N.M. Semantics of folk costume. - St. Petersburg: 2003.
2 Vardugin V. Russian clothes. - Saratov: Don book, 2001.
3 Levy-Bruhl L. Supernatural in primitive thinking. - M.: 1937. - P.33.
4. History of Russian ornament X-XVI centuries / Ed. S.Yu. Ivleva - M.: Art spring, 1997.
5. Prokhorov V.A. Materials on the history of Russian clothes of the XI-XIII centuries. - St. Petersburg: Ed. Prokhorova, St. Petersburg printing house of the Academy of Sciences, 1876.
6. Serov N.V. Color of culture. - St. Petersburg: "Rech", 2004.
7. Stasov V.V. Slavic and oriental ornament according to the manuscripts of ancient and modern times. - St. Petersburg: [b.i.], 1887.
8. Strekalov S. Russian historical clothes from the 10th to the 13th century. St. Petersburg: [b.i.], 1877.
9. Chemist O.Ya., Artistic culture of primitive society. - St. Petersburg: 1995.

Ornaments are akin to ancient writings and, like them, can tell a lot about the worldview of a person of distant epochs. For a long time, people remembered the purpose of ornaments. Back in the 20-30s of the 20th century, residents of some northern Russian villages demonstrated their knowledge of the meaning of the depicted patterns in front of the oldest craftswoman of the village on special readings: young girls brought finished work to gatherings and talked about them to the whole world. In some places in the outback, you can still hear the ancient names of patterns: crowberry, Perun, although the master is most often not able to explain their meaning.

To this day, there are people who know how to decorate and who want to wear traditional Russian clothes. In the long winter evenings, Slavic girls and women embroidered and wove patterns with a torch - one more intricate than the other, decorating their rows with them, so that later, at a holiday, they could flaunt before obschestvo. Did they only feel beauty? Was it only the desire for creative self-expression that guided them? Or was there and continues to exist today in ancient symbols something very important - unknown to us, the current one?

This book is the result of the author's desire to raise questions related to the meaning of folk textile ornament and the peculiarities of its effect on the wearer of the clothes decorated with them or the person looking at the patterns. It uses information from many, sometimes non-traditional sources: history, ethnography, mythology, bioenergetics, modern alternative medicine, etc. Russian folk culture has always been so comprehensive and multifaceted that it is only necessary to study it comprehensively, having felt the way of thinking of the ancestors.

I really want the ancient art of ornament to be preserved, not to disappear, so that the skills, traditions and beauty of folk culture continue to live, delight and benefit people. After all, this beauty has incredible good energy (I would like to say - the soul), capable of helping people. It is believed that the topics covered in the book will be of interest to new researchers, and then such an amazing phenomenon as Russian folk textile ornament can really be comprehended from different angles. In the meantime, the ancient images-writings continue to wait for their full reading.

Second book, which allows not only to understand the place of folk textile ornament in our culture, but to confirm the author's assumptions about the mechanisms of the energy-informational impact of the ornament on a person. Folk ornament is part of an incredibly ancient system of spiritual knowledge that allows a person to harmoniously build their relationship with the outside world. Its strict forms contain the story of the development of our Universe, ready-made biotechnologies, and specific recipes for the survival of the genus and man.

The book includes sections on the loom and the typology of forms of weaving patterns, on how the pattern appeared, on the work of amulets processed with structured water, on spiritual patterns, on the signs of the clan-tribe, on the energy of cutting clothes.

The classification of types of Russian folk textile geometric ornament is given. The cuts of men's and women's shirts are given, as well as the layout of patterns on women's and men's clothing. A separate part is colorful drawings of patterns and their explanation.

This book is an attempt to collect and systematize the principles of using the symbols of folk textile ornament for practical application. It will be useful to everyone who wants to revive the ancient knowledge and beauty.

Ornament of all times and styles

The unique work of N.F. Lorenz, will certainly expand and enrich our ideas about the rules for organizing space, about the style of a noble and harmonious life.

The author expertly accompanies the reader into the history of ornament and decor, shows the diversity of this particular art form, introduces it to its outer side and deep symbolism, and introduces the practical secrets of carving, frescoes, stained glass, enamel, carpets and mosaics.

As Peter clarified in the comments (see below), Lorenz's book and Rakinje's book on ornaments are one and the same(Lorenz took almost everything from Raquinier, slightly modifying the text and drawings in it).

This book clearly shows what means and techniques bring organized and creatively transformed space closer to the triumph of exquisite taste - at different times and in different parts of the world. The rich artwork in this edition appeals to aesthetic sensibilities and stimulates the reader's creative imagination.

From ancient times in Russia, on every piece of utensils, on every clothes, as well as on houses, various elements, symbols were depicted, which formed patterns. Every detail had its own meaning and place. This is how the Russian folk pattern was formed.

Historical information about the Russian folk pattern

It should be understood that there are two terms - pattern and ornament. And it wasn't the same from the beginning. Even now, not every pattern can be called an ornament. For example, if it is a constantly repeating pattern (rapport).

In Russia, it was believed that the pattern is much deeper, it means more. The word ornament is borrowed from Latin, and it appeared much later and means decoration. In Russia, he had an analogue - “decorations”. It was believed that it was intended for decoration of decorative styling. However, in the future, these two concepts intertwined and began to complement each other.

Russian folk pattern is a combination of various lines, symbols, and other elements that can either be repeated or be in a single version. Patterns may vary from place to place. So, in the eastern regions in Russia, in the pattern you can find such an element as the “Indian cucumber”, which is still popular today.

Also, each area had its own color scheme of patterns and ornaments.

Signs and symbols in the Russian pattern

If we consider the Russian folk pattern from the point of view of symbolism, then we can say that not a single element is depicted there just like that. Each has its own meaning and is in its place.

The most popular symbols in the pattern are:

• Star Alatyr, or, as it is also called, the cross of Svarog. It has eight petals and symbolizes the Universe, its cycles of folding and unfolding.
• Also very popular is the symbol of Beregini (Rozhanitsa). This is a schematic representation of a woman who protects.
• A very significant symbol is which is sometimes also called the World Tree. It combines the world axis, the universe and the genus.
• Everyone knows In the days of Hitler, the swastika became a symbol of war and fascism, but initially this was not at all the case.
• Also popular is the Orepey symbol, which is a comb-shaped rhombus. This symbol brings happiness, balance and peace of mind.
• In addition, flowers, stars, spirals and other symbols are used in the pattern and ornament, each of which has a certain meaning, enhancing the positive and protective energy of a person.

In addition to the above elements, there are many others. In addition, almost all patterns of the scheme are quite diverse. One and the same symbol can be depicted in different ways, retaining, however, common features and lines. This is how whole protective phrases arise, as well as small stories or conspiracies.

The sacred meaning of the pattern

You should know that the same symbol, but depicted in different parts of clothing, could have a different meaning. For example, the Orepei sign, depicted in the elbow area on women's clothing, denoted an ancestor. If he was depicted on the hem, then he was the entrance to the other world.

They also symbolically depicted the ancient gods, who moved in chariots. They were harnessed to various animals that personified a particular deity.

Some Russian patterns (photo below) carried a certain code in their numerical repeatability. So, the following numbers were important:

• three (Absolute, Trinity, time, space);
• four (cardinal directions, seasons);
• seven (symbol of harmony);
• twelve.

In such patterns and ornaments, the attitude towards mother nature of our ancestors is also manifested. With their images, they seemed to ask her for protection and patronage from various evils, troubles and misfortunes.

Where are Russian folk patterns used?

The use of patterns is quite varied. They are used in towels, napkins, for painting utensils, houses, when carving wood and metal. In the old days, not a single object was left without a drawing.

Russian patterns (there are photos in our review) are not only the beauty of the object, but also protection, a talisman of its owner. It is known that even before the emergence of writing, people already depicted various symbols (diamonds, lines, dots) on utensils.

Differences in patterns in different regions

Each region of Russia has its own history of painting, embroidery, patterns and ornaments. Consider the Russian folk pattern (pictures of some will be presented below) for some types and areas:

• Gzhel painting - blue and white colors are characteristic in drawings that are made on ceramic and porcelain products;
• painting, which is famous for the village of Zhostovo, on metal trays;
• Khokhloma painting with various patterns is very interesting, it is characterized by a golden color (there are also red, yellow and orange);
• in addition, in many regions they made their own, special toys (Dymkovo, Kargopol, Stary Oskol), each of which had its own, unique pattern in the painting;
• Pavlovsky Posad shawls are also very famous, which are made in red and black colors, with floral patterns.

And these are not even all the well-known crafts where the Russian folk pattern is used.

The most ancient patterns

The most ancient patterns include a combination of various signs, which in the old days had a special meaning and were not simply applied to any product. Each family had its own set of embroideries, paintings, which were passed down from generation to generation. They even have a special meaning for the family, to be its own symbol. Of course, over time, knowledge was lost.

Ancient Russian patterns breathe on us with mystery, the power of amulets, the meaning of each curl or sign.

Now a lot of people are collecting similar images that make sense in their piggy bank.

How to start drawing Russian folk patterns

Now people are increasingly turning to our ancestral heritage, wanting to revive lost traditions. For example, many people are wondering how to draw a Russian pattern. Where to start?

First, you should understand that in Russia there are many painting and embroidery techniques that have their own characteristics. For beginners, you need to take patterns that are not very complex, having a repeating pattern. So it will be easier to capture its very essence.

Before drawing itself, you need to practice with its simple components: dots, lines, strokes, droplets, eyelets, etc. In fact, the most difficult pattern consists of the above details. From these simple forms, after some time of training, it will be possible to create more complex ones.

In order to understand how to draw a Russian pattern, you should not rush. Some forms may indeed seem complex, but remember that they are all made up of simple ones. Lay out the repeating pattern first on the details, start depicting it from the lightest and most basic, for example, a point. Gradually draw other shapes around it, and so at the very end you can get your finished pattern. Take a look at the photo below, which shows all the stages of drawing. And make sure that this process is not so complicated.

Thus, you can learn how to create ornaments and patterns yourself. In principle, you can take ready-made schemes, and then transfer them to the surface.

Using patterns on household items

Also, patterns and ornaments in ancient times were also made on household items. For example, in Russia, a six-petal rosette was depicted on salt shakers. It had a symbolic meaning. This rosette denoted the sun, and salt was considered to be associated with it. Also, her image was often found on spinning wheels, as a symbol of endless time.

In addition to the symbolic painting of utensils, there was also a simple decoration of the product. Of course, it did not appear immediately, but the technique was developed over the years.

It should be noted that some patterns, the schemes of which are quite complex, are still made by craftsmen. This, for example, Khokhloma painting, which looks very beautiful and rich. However, its production is quite complex and multi-stage.

Using patterns in embroidery

Russian embroidery in Russia traditionally not only decorates clothes, towels, bedspreads and other linen products, but also is a talisman. The interweaving of patterns is by no means random. All symbols are in their place.

In addition, the color of the thread that is used matters in embroidery. Let's consider some points:

• to protect the baby, an embroidered rooster or horse in red or black colors is suitable;
• for successful activity, embroidery should be done in blue or golden-green tones;
• woolen embroidery is suitable if there are already some energy holes, it is done in the area of ​​the human chakras;
• linen is used for appeasement, trees, birds, stars or the sun are embroidered with it;
• for women in embroidery, you need to use black to protect yourself from infertility;
• for men - green (protects from wounds), blue (protects from the elements).

In addition, symbols are also used in embroidery - a cross (a barrier and protection from evil), a star (heavenly fire), a circle (denoting fertility, abundance and motherhood) and others.

Thus, Russian embroidery is a whole set of knowledge that our ancestors used in antiquity, protecting themselves, their relatives and their family.

The use of patterns on clothes in the old days

Probably the most famous application of pattern and ornament is Even the most ignorant person in this matter will recognize this embroidery. True, colors and patterns again vary by region.

For example, the more south the area, the brighter people's clothes were. This was due to the fact that earlier the paint was of natural origin, and the warmer it was, the greater the variety in the possibilities to produce it.

If we talk about men's and women's clothing, then the first had almost no differences in the regions, except for preferences in color and pattern. But women's clothing was quite diverse and differed significantly.

And also embroidery of various animal figurines was very popular in the northern part of Russia. But the southern ones had more colored embroidery (often red).

The use of Russian folk pattern in modern clothes

Russian folk pattern on clothes periodically returns to fashion. Well-known fashion designers produce collections with folk motifs (for example, in 1976, the Russian Collection from Yves Saint Laurent).

In our time, Russian patterns have long been a priority for true connoisseurs. In addition to colorful traditional ones, bright floral (or other folk) prints are used. I remember the old patterns that craftswomen embroider on clothes for their family and friends. Also, you can certainly order similar clothes for yourself if you wish.

Also, products that have long earned recognition both in quality and style (for example, Pavlovo Posad shawls) remain popular.

Thus, the Russian pattern simply cannot go into oblivion. His influence on the people is undeniable, this is his legacy, and someday he will rightfully take his rightful place in the hearts of people. After all, ancient Russian patterns truly carry the harmony and beauty that was known to our ancestors. It is also our history, which should not be forgotten.

In the modern world, an ornament is a pattern that adorns household items without carrying a semantic load. For us, rhombuses on a carpet are just rhombuses, and circles are just circles. But there were times when people could read ornaments, encrypted their ideas about life, about the other world, about eternal truths in them.

It can be said that a decorative pattern is the result of a found relationship between the perception of nature and a decorative reflection of reality. Over the many years of the existence of decorative art, various types of patterns have developed: geometric, floral, complex, etc., from simple articulations to complex intricacies.

An ornament can consist of subject and non-objective motifs, it may include forms of a person, the animal world and mythological creatures, naturalistic elements are intertwined and articulated in an ornament with stylized and geometrized patterns. At certain stages of artistic evolution, the line between ornamental and narrative painting is “erased”. This can be observed in the art of Egypt (Amaran period), the art of Crete, in ancient Roman art, in late Gothic, modern.

First there was a geometric ornament, it was at the dawn of human culture. What could be simpler than straight or wavy lines, circles, cells, crosses? It is these motifs that adorn the walls of clay vessels of primitive people, the most ancient products made of stone, metal, wood and bone. For ancient man, they were conventional signs with which he could express his concept of the world. A straight horizontal line meant earth, a wavy line meant water, a cross meant fire, a rhombus, circle or square meant the sun.

According to an old belief, the symbols in the patterns carried a spiritual power that could conjure any evil and injustice of the elemental forces of nature. These symbolic signs, which came to us from ancient ritual holidays, are with magical symbols. For example, in the Filimonovo toy (Russia) we see symbols of the sun, earth, water, fertility. The masters let through all the images and symbols through their worldview and showed their perception of the world in the painting. Ancient symbols are also found in the Dymkovo and Kargopol toys. But they are everywhere different in ornament. In every craft, we notice the symbols of the sun, water, etc. The ancient symbolism of the peasant religion runs like a thin thread through them.

And an ornament in a Russian folk costume. The main motives of which were solar signs - circles, crosses; images of a female figure - a symbol of fertility, mother - damp earth; wavy rhythmic lines - signs of water; horizontal straight lines denoting the ground; images of a tree are the personification of eternally living nature. Embroidery on peasant clothes not only adorned them and delighted those around them with the charm of patterns, but also had to protect the one who wore these clothes from trouble, from an evil person. A woman embroidered Christmas trees - it means that she wished a person a prosperous and happy life, because spruce is a tree of life and goodness. A child was born to a peasant woman. And she will decorate his first simple shirt with embroidery in the form of a straight line of bright, joyful color. This is a straight and bright road that a child should follow. May this journey be happy and joyful for him.

The image of the sun occupies one of the main places in arts and crafts. The sun in the form of round rosettes, rhombuses, can be found in various types of folk art.

A straight equilateral cross was also the image of the sun in folk symbolism. The rhombus was revered as a symbol of fertility and was often combined with the solar sign inscribed in it.

Tree of Life

In addition to the geometric, in the ornament of Ancient Russia, you can often find various ancient pagan plots. For example, the female figure personified the goddess of the earth, fertility. In pagan art, the tree of life embodied the power of living nature, it depicted the divine tree, on which the growth of herbs, cereals, trees and the "growth" of man himself depended. Very often you can find plots of magical calendar rituals that are associated with the main stages of agricultural work.

The most diverse symbolism is characteristic of the images of the plant world, which included flowers, trees, herbs.
In the ornament of Egypt, the decoration often used a lotus flower or lotus petals - an attribute of the goddess Isis, a symbol of the divine productive force of nature, resurgent life, high moral purity, chastity, mental and physical health, and in the funeral cult it was considered a magical means of reviving the dead. This flower was personified with the sun, and its petals - with the sun's rays. The lotus motif was widely used in the ornamental forms of the Ancient East (China, Japan, India, etc.).

The Egyptians also used the image of aloe in the ornament - this drought-resistant plant symbolized life in the other world. Of the trees, date and coconut palms, sycamore, acacia, tamarisk, blackthorn, perseus (Osiris tree), mulberry tree were especially revered - they embodied the life-affirming principle, the idea of ​​​​the ever-fruitful Tree of Life ..

Laurel in ancient Greece was dedicated to the god Apollo and served as a symbol of cleansing from sins, as the sacred laurel branch was fanned to be cleansed. Laurel wreaths were awarded to the winners in musical and gymnastic competitions in Delphi, the main center of the Apollo cult. Laurel served as a symbol of glory.

Hop is a cultivated plant, the picturesque appearance of which contributed to the widespread use of plant forms in ornamentation. The image of hops combined with ears of corn was used as a decoration on household utensils.
Grapevine - bunches and branches enjoyed special reverence in antiquity and in the Middle Ages. In ancient Greek mythology, this is an attribute of the god Bacchus, among Christians - in conjunction with ears of corn (bread and wine, meaning the sacrament of communion) - a symbol of the suffering of Christ.

Ivy is an evergreen climbing shrub, sometimes a tree; like a vine was dedicated to Bacchus. Its leaves have a variety of shapes, most often heart-shaped or with pointed lobes. They were often used in ancient art to decorate vases and wine vessels.
Oak is the king of forests, a symbol of strength and power. Oak leaves were widely used in Roman ornamentation. Their images are often found on friezes and capitals, church utensils and other types of Gothic applied art, as well as in the works of Italian Renaissance masters. Currently, the image of oak leaves along with laurel can be found on medals and coins.

Oak is a symbol of power, endurance, longevity and nobility, as well as glory.

In ancient China, pine symbolizes immortality, longevity. a truly noble personality. The image of a cypress, which in Chinese beliefs was endowed with special protective and healing properties, including protection from the dead, echoes the image of a pine tree. Among the flowers, the central place is given to the peony. The peony is associated with female beauty and family happiness. The orchid and chrysanthemum are associated with the divine world and ritual rituals. The most common symbol among vegetables is gourd gourd, which has become a symbol of immortality and longevity.

Painted gourd, vessel and talisman (China, 19th century)

"Happy fruits": pomegranate, tangerine, orange - symbols of longevity and a successful career.

Sakura motifs are often found in Japanese arts and crafts. It is a symbol of beauty, youth, tenderness, the inevitable variability of the transient world.

Flowers are widely used in ornamental motifs of all times and styles. They serve as decoration for fabrics, wallpaper, tableware and other types of decorative art.
The rose has polar symbolism: it is heavenly perfection and earthly passion, time and eternity, life and death, fertility and virginity. It is also a symbol of the heart, the center of the universe, the cosmic wheel, divine, romantic and sensual love. Rose - completeness, the mystery of life, its focus, the unknown, beauty, grace, happiness, but also voluptuousness, passion, and in combination with wine - sensuality and seduction. The rosebud is a symbol of virginity; withered rose - the transience of life, death, sorrow; its thorns are pain, blood and martyrdom.

Heraldic roses: 1 - Lancaster; 2 - Yorks; 3 - Tudors; 4 - England (badge); 5 - German Rose Rosenov; 6 - Russian stamp.

The heraldic medieval rose has five or ten petals, which connects it with the Pythagorean pentad and decade. A rose with red petals and white stamens is the emblem of England, the most famous badge of the English kings. After the "War of the Scarlet and White Roses", named after the breastplates of the families that fought for the English crown, the scarlet rose of Lancaster and the white rose of York were combined in the form of the "Tudor Rose". The bright crimson rose is the unofficial emblem of Bulgaria. The famous tea rose is the emblem of Beijing. Nine white roses are in the coat of arms of Finland.
In ancient ornaments, along with plants, various animals are often depicted: birds, horses, deer, wolves, unicorns, lions. They form the horizontal structure of the tree of life: at the top are birds; at the level of the trunk - people, animals, as well as bees; under the roots - snakes, frogs, mice, fish, beavers, otters.

Animals can be seen on embroidered towels and aprons , on a painted chest X, on carved and painted spinning wheels; on the walls of ancient Russian cathedrals and in the decorations of huts , in letter ornaments. Ancient images of a horse and a bird have been preserved in folk toys and utensils. Pommels for horse whips and combat bows were carved in the form of animal or bird heads. Stylized animals and birds adorned hair combs, utensils and utensils. In ancient times, many natural phenomena were personified in the images of animals, and everyone looked at these phenomena from the point of view that was closer to him, depending on the way of life and occupation: the point of view of the shepherd was different from the views of the hunter, and both of them - from the warrior. People transferred their knowledge about terrestrial animals to atmospheric phenomena.
A bird in folk arts and crafts could personify wind, cloud, lightning, thunderstorm, storm and sunlight. Ladles and salt shakers were carved in the form of birds, embroidered birds adorned women's clothing. . The image of a bird is widely included in the folklore of almost all peoples of the world.

The horse also personified all natural phenomena associated with rapid movement - wind, storm, clouds. He was often depicted as fire-breathing, with a clear sun or a moon in his forehead, and a golden mane. A wooden horse, made for children's fun, was often all decorated with solar signs or flowers. . It was believed that this protects the child from evil forces. Images of horses can often be seen on household items (ladle handles, spinning wheels , spindles), on clothes .

In the northern regions, natural phenomena associated with horses were also attributed by ancient people to deer. . Deer were often depicted near the tree of life on an embroidered towel, sometimes they were placed instead of a ridge on the roof of the hut. The sacred role of the horse, deer in Scythian art is often associated with the hope of a successful ascension of the soul to another world.
The lion in the mythology of many peoples was a symbol of the sun and fire, and also at different times among different peoples, he personified higher powers, power, power and greatness, generosity, nobility, intelligence. The image of a lion has existed in arts and crafts since ancient times.
For many centuries, the lion has remained one of the favorite figures in Russian symbolism. In ancient Russian images associated with the great princely power, the image of a lion, depending on what surrounded him, had two meanings: the power bestowed by God, and the defeated power of evil.

Folk craftsmen often carved lions on the frontal board of the hut or painted on chests surrounded by floral ornaments, the craftswomen embroidered them.

feminine beginning. The Great Mother, in her terrible form as weaver of fate, is sometimes depicted as a spider. All moon goddesses are spinners and weavers of fate. The web that the spider weaves is woven from the center in a spiral - a symbol of the creative forces of the Universe, a symbol of the universe. The spider in the center of the web symbolizes the center of the world; Sun surrounded by rays; The moon, personifying the cycles of life and death, spinning the web of time. The spider is often associated with good luck, wealth or rain. Killing a spider is bad luck.

Spider depicted on an American Indian amulet

Due to the stability of religious canons, the meaning of symbols in the ornamentation of Egypt, the art of the countries of the Ancient East remained unchanged for many millennia. Therefore, for ethnographers and archaeologists, ancient ornaments are signs with which you can "read" a kind of magical texts.

Ethnocultural contacts, trade, military campaigns, religious missions, embassy gifts and invited artists contributed to the movement of works of art from one country to another, which led to the spread of artistic ideas and styles.
Often subsequent generations of artists use the previous art and create their own variations on its basis. Such a striking example is the element of the swastika, one of the earliest symbols that is found in the ornaments of almost all the peoples of Europe, Asia, America, and others. e. In ancient and medieval cultures, the swastika is a solar symbol, a lucky sign, which is associated with ideas about fertility, generosity, prosperity, movement and power of the sun.

Kolovrat or Solstice is one of the oldest ancient Russian symbols, personifying the Sun and the solar gods Svarog, Dazhdbog and Yarila. The name of the symbol came from the word "kolo" - the sun.

The symbol itself looks like a circle with curved rays, which is why many people associate it with the Nazi swastika. Although this is fundamentally not the case: the Nazis did use this solar symbol, but not vice versa.

In 1852, the French scientist Eugene Burnouf first gave the four-pointed cross with curved ends the Sanskrit name "swastika", which roughly means "bearing good." Buddhism made the swastika its symbol, giving it the mystical meaning of the eternal rotation of the world.
In the ornaments of the new time, there is virtually no modern symbolism, despite the fact that it exists in abundance in the surrounding reality. As an exception, there may be the work of modernist artists. At the end of the 19th - beginning of the 20th century. these artists attempted to create their own symbolism and reproduce it in their work.
The ornament in their works no longer played an auxiliary role, but became an integral part of the image, organically woven into the outline of the plot.
At the same time, A. Bely, the theorist of Russian symbolism, wrote: “The symbolist artist, saturating the image with experience, translates it into his work; such a transformed (modified) image is a symbol. And then A. Bely fixes the main slogans of symbolism in art: “1. a symbol always reflects reality; 2. a symbol is an image modified by experience; 3. the form of the artistic image is inseparable from the content.
In these three paragraphs, the well-known poet and prose writer precisely formulated the main provisions for creating a symbolic work that can be used in any form of art, including ornamental.