Russian embroidery ornament in folk style. Russian folk pattern

People say: “your shirt is closer to your body.” Why, the semantics of folk costume, composition, its color, and ornamental cryptography will tell us about this. After all, it is in folk costume that the most important features and characteristics of national identity, its social, moral, and religious ideas can be traced.

It is worth noting that clothing, whose initial appearance was due to functional necessity, immediately became a ritual object. Its task was also to stimulate certain life 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 symbolism, notes that the semantic status of clothing, in the author’s words, its sign functions, were established 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 structural level. These changes manifest themselves in the quantitative composition of the costume, color semantics and the development of ornaments.

The ornament served not only as decoration, but also as a charm against the evil forces of nature, a “talisman”. That's why these patterns were embroidered where the clothes ended, where they 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, writings - ideograms, which the embroiderers specially selected for each owner of the shirt, so that it would protect 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 his body...

The ornaments of all nations come from ancient times; they have never included a single “idle” line - each has its own meaning, is a word, a phrase, an expression of well-known concepts and ideas. People invented symbols to designate and reinforce what they understood. Transferring such knowledge means learning to interpret symbols.

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

The words “pattern”, “patterned” come from the words “dawn”, “burn”, “sun” and come from the common Slavic concepts of “light”, “shine”, “warmth”. Embroidery patterns were associated with the cult of the sun and sky; they became his “divine images”, signs and symbols. We can say about embroidery that it contains a folk 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 the Latin profanus) - uninitiated, devoid of holiness, moreover, unholy, sinister, blasphemous and unclean. It is not surprising that Russian folk clothes have 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 birds along the edges of the dominant motif. Motives of Pava-rook, there are images of Lado - the god of the spring sun. Rituals are reflected in the ornamentation, such as, for example, the rainbow - this is a spring rite, the day of remembrance of ancestors, veshnik - “curling a birch tree” in honor of the revival of nature, the holiday of Ivan Kupala, etc. The pagan goddess Makosh had a connection with water - one of the most frequently mentioned characters in ornamental plots.

The ornament, as already mentioned, served not only as decoration, but also as a charm against the evil forces of nature, a “talisman”. And the modern reader’s heart aches when he reads the lines in “The Tale of Igor’s Campaign” about the death of one of the soldiers: “... one drop the pearl soul from the brave body, through the gold necklace.”

Ornamental symbolism is largely characteristic of ancient clothing: shirts, shirts, ponevas, 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 suggested a tiered division. The hem is the first tier, it is closer to the ground. As a rule, it contains diamond-dot or cross-shaped compositions (symbols of agriculture, fertility, fire). In the embroidery of headdresses, on the contrary, solar signs, images of birds, etc. predominate. Thus, through such a composition, the costume was likened to the World Tree.

The ornaments on clothes were most often embroidered. “Folk embroidery, this first code system acquired by people and having a magical meaning for them, has been studied for just over a century. Much has not been solved, and so many more “wonderful discoveries” conceal the simplest patterns, containing signals-symbols about the life and worldview of long-gone generations” 2.

When considering the historically specific forms of the costume, one can notice that it has a macro- and micro-constructive basis and a decorative system. Ornamental inserts that have an independent symbolic meaning acquire 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 of and belonging to traditional culture. Its roots go back to archaic times and is the keeper of mythological ideas about existence. It does not lose its purpose of recalling the primary meanings and symbols of culture, being interspersed into the structure of the costume as a kind of integrity. The ornament has a graphic structure, it is similar to secret writing, an ideogram of certain hidden meanings expressed in graphic, i.e. spatial symbols.

Drawing a parallel between amulets and ornament as a talisman, let us consider the basic postulates of magic formulated by modern researchers. Here they are: 1) like produces like (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). On the basis of these laws, not only ornamental compositions are built, but also the structure of the costume as a whole.

For primitive man, a part is the same as the whole. If, for example, a character changes into someone else's clothes, he is identified with its owner. Behind the change of appearance is a change of role, then of essence. The basis of all mummery is a semantic principle. (It can be easily compared with the semiotic meaning of clothing and dressing up as such).

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

Therefore, it was believed that the vitality of natural objects is transmitted to humans through: skins, teeth, skulls, claws, stones and amulets. Our ancestors used jewelry-amulets in their wardrobe for greater “safety.” The symbolism of these jewelry, as well as the symbolism of ornamental inserts on clothing, 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 divided quite clearly into male and female.

At excavation sites (usually 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. His cult is associated with the veneration of the Sun, with the Slavs’ belief that Dazhdbog rides across the sky in a chariot driven by four white golden-maned horses with golden wings: therefore, the solar circular ornaments on the skating amulets are not at all accidental. Slavic women wore them at the left shoulder. And it is not at all by chance that skates were often connected with a talisman in the form of waterfowl - swans, geese, ducks: after all, the same Dazhdbog crosses the ocean-sea twice a day (morning and evening) on a boat harnessed 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 patterns.

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

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

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

Round women's amulets pendants are nothing more than solar symbols; yellow alloys were used on them, while the lunar pendants used white alloys (cold, like the moon itself) made of silver, silver with tin, and 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.

Often, ethnographers resort to the method of analogies in their interpretations of archaic symbols. 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 weapon, suddenly, at a moment of danger, begins to grow in size and independently performs the act of murder” 3.

Women's lunar jewelry was born from the ancient cult of the Moon. The sun and the moon seemed to ancient people as brother and sister, husband and wife, sometimes parent and child. They are characters of dualistic lunar-solar myths. They reflect oppositions: male - female, day - night, heat - cold, positive - negative. There are lunar plants with floral designs, which symbolizes the primary duty of the moon - to monitor the growth of grasses and trees.

Considering only amulets, from 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.

The language of ornamentation in folk costume was also used for the same purpose.

Literature

1 Kalashnikova N.M. Semantics of folk costume. - St. Petersburg: 2003.
2 Vardugin V. Russian clothing. - Saratov: Don Book, 2001.
3 Lévy-Bruhl L. Supernatural in primitive thinking. - M.: 1937. - P.33.
4. History of Russian ornament of the X-XVI centuries / Ed. S.Yu. Ivleva - M.: Art spring, 1997.
5. Prokhorov V.A. Materials on the history of Russian clothing of the 11th-13th centuries. - St. Petersburg: Publishing house. Prokhorov, St. Petersburg printing house of the Academy of Sciences, 1876.
6. Serov N.V. The color of culture. - St. Petersburg: “Rech”, 2004.
7. Stasov V.V. Slavic and eastern ornament according to manuscripts of ancient and modern times. - St. Petersburg: [b.i.], 1887.
8. Strekalov S. Russian historical clothes from the 10th to the 13th centuries. St. Petersburg: [b.i.], 1877.
9. Chemist O.Ya., Artistic culture of primitive society. - St. Petersburg: 1995.

Since ancient times in Rus', on every piece of utensil, on every piece of clothing, as well as on houses, various elements and symbols were depicted, which formed patterns. Each detail had its own meaning and place. This is how the Russian folk pattern was formed.

Historical information about Russian folk patterns

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

In Rus' it was believed that the pattern was much deeper, it meant more. The word ornament is borrowed from Latin, and it appeared much later and means decoration. In Rus' there was an analogue to it - “decorations”. It was believed that it was intended for decorative stylization. However, later these two concepts became intertwined and began to complement each other.

Russian folk pattern is a collection of various lines, symbols, and other elements that can be repeated or be in a single version. Pictures may vary in different areas. Thus, in the eastern regions of Rus', 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:

The star of 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.
The symbol of Beregini (Rozhanitsa) is also very popular. 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 race.
Everyone knows: During the time of Hitler, the swastika became a symbol of war and fascism, but initially this was not at all the case.
Also popular is the Orepei symbol, which is a comb diamond. 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 carries a specific 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. The same symbol can be depicted in different ways, however, maintaining common features and lines. This is how entire 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 different meanings. 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.

The ancient gods who rode in chariots were also symbolically depicted. They were harnessed to various animals that personified a specific deity.

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

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

Such patterns and ornaments also reveal the attitude towards Mother Nature of our ancestors. 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, and for carving wood and metal. In the old days, not a single object was left without a design.

Russian patterns (photos of them are in our review) are not only the beauty of an object, but also protection, a talisman for its owner. It is known that even before the advent 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. Let's look at the Russian folk pattern (pictures of some will be presented below) for some types and areas:

Gzhel painting - characterized by blue and white colors in the drawings that are made on ceramic and porcelain products;
paintings, for which the village of Zhostovo is famous, 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;
Pavlovo Posad shawls are also very famous, which are made in red and black colors, with floral patterns.

And these are not even all the known crafts where Russian folk patterns are used.

The most ancient patterns

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

Ancient Russian patterns breathe mystery into us, the power of amulets, the meaning of every curl or sign.

Nowadays, many people collect similar images that make sense.

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 wonder how to draw a Russian pattern. Where to start?

First, you should understand that in Rus' there are many techniques of painting and embroidery, which have their own characteristics. For beginners, you need to take patterns that are not very complex, having a repeating pattern. This will make it easier to grasp its very essence.

Before drawing itself, you need to practice with its simple components: dots, lines, strokes, droplets, loops, 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 you need to remember that they are all made up of simple ones. First, lay out the repeating pattern into details; start depicting it with the easiest and most basic ones, 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 diagrams and then transfer them to the surface.

Using patterns on household items

Also, patterns and ornaments in ancient times were made on household items. For example, in Rus', a six-petalled rosette was depicted on salt shakers. This had symbolic meaning. This rosette represented the sun, and salt was considered 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 simply decorating the product. Of course, it did not appear immediately, but the technology was developed over the years.

It should be noted that some patterns, the patterns of which are quite complex, are still made by craftsmen. This is, 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 Rus' traditionally not only decorates clothes, towels, bedspreads and other linen products, but is also 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 also matters in embroidery. Let's consider some points:

an embroidered rooster or horse in red or black colors is suitable to protect the baby;
for successful activities, 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 a person’s chakras;
flax is used for peace; it is used to embroider trees, birds, stars or the sun;
for women, black color should be used in embroidery to protect against infertility;
for men - green (protects from wounds), blue (protects from the elements).

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

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

The use of patterns on clothing in the old days

Probably the most famous use 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 further south the area, the brighter the clothes people wore. This was due to the fact that previously the paint was of natural origin, and the warmer it was, the greater the variety in the possibilities of producing it.

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

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

The use of Russian folk patterns in modern clothing

Russian folk patterns on clothes periodically return to fashion. Famous fashion designers produce collections with folk motifs (for example, in 1976, Russian Collection from Yves Saint Laurent).

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

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

Thus, the Russian pattern simply cannot go into oblivion. His influence on the people is undeniable, this is his legacy, and one day 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. This is also our history, which should not be forgotten.

Already in ancient times, people sought to decorate household items and clothing. It can be seen from the objects obtained from the excavations that at first the decoration patterns and compositions were very simple. Over time, the pattern became more complex, the composition became more diverse, and the technical execution became more advanced. For further development of pattern and composition, it is necessary to become familiar with the ancient traditions of creating pattern and composition.

Russian folk patterns are rich and varied. Its composition contains a number of geometric patterns, and plants and animals, both stylized and more or less realistic, are present almost everywhere.

Basic elements of the pattern.

A geometric pattern always consists of separate small parts. Those parts of the pattern that are repeated with or without changes in many patterns are called the main elements of the pattern. In Russian folk patterns, the most common basic elements are the so-called herringbone, roof, cross, sun, star, floral pattern (Fig. 1).

Figure 1. Basic elements of a geometric pattern.

And this is an example of Old Russian embroidery, where it is clearly visible that it consists of small basic elements.

The basic elements can be changed - varied. Even now, many different versions of the basic elements are appearing.

Despite some differences, the basic elements have some common constant properties, for example:

1) the lines of the pattern are bent at an angle of 90 or 45 degrees;
2) the lines of the plant pattern are interconnected;
3) the main element is easily included in the simplest geometric shapes (Fig. 2).

Figure 2. The simplest geometric shapes.

The main elements of the pattern can be composed in different ways.

When one or more elements of a pattern are repeated rhythmically, a simple or variable series of patterns appears. Since the row of the pattern is not completed, it creates the impression of an indefinite, disintegrating pattern (Fig. 3).

Figure 3. Pattern row.

And a small example of Slavic embroidery, where we can see several types of stripes.

The restriction can be made either using a line or using narrower stripes. The main elements of the pattern placed side by side seem to separate the strip. For example, by placing one after another the main elements that are easily included in a triangle, they form a strip with a triangular division (Fig. 4, B). In a similar way, you can form a stripe of a pattern with a triangular division and a stripe of a pattern with a division to the corner of the square or to the side of the square (Fig. 4, C, D).

Figure 4. Pattern stripes.

Applying a stripe pattern.

When using a stripe of a pattern for finishing, the craftsman, if possible, maintains the separation of the stripe. The strip always ends with a whole division. Stripes are placed especially carefully when decorating the corner of a rectangular area. The placement of stripes at the corners may be different.

Connected corner.

A connected corner is formed if the strip is continued in the other direction without interruption (Fig. 5, A). Changing the direction, the master maintains the division characteristic of the strip. The connected corner can be used both for decoration and for a rectangular area.

Half connected corner.

Forming a semi-joined corner, the stripes in the corners are not connected (Fig. 5, B), but a square-shaped trim is placed there (Fig. 5, B). The stripes end at a short distance from it. Both parts of the decor are usually connected with an openwork or winding seam. A half-connected corner is most often used when decorating a Square.

Figure 5. Angles.

Unconnected corner.

An unconnected corner is formed when the stripes in the corner do not connect (Fig. 5, B). The master ends the stripes with complete division.

An unconnected corner is best suited for decorating a rectangular product.

In addition, wider stripes, even groups of stripes, can be placed at the ends of the area and, conversely, narrow stripes along the long edges. The decor of an unconnected corner is perfectly combined with an openwork or winding seam.

Parallel placement of stripes.

The rectangular area was usually decorated with transverse stripes. You can place one strip or group of strips at each end of the rectangle, or you can evenly arrange them over the entire area (Fig. 5, E). In addition, you can repeat the same stripes located at the ends, and also use other stripes in the middle, or change several stripes one after another (Fig. 5, e).

When decorating a rectangular product, the stripes are placed slightly differently. Each decorated part of the object looks heavier, so in a vertically positioned product the decor is distributed along the lower part. For example, using only one strip, it is placed at the bottom. When decorating a product with several stripes of different widths, the widest of them or a group of stripes is placed at the bottom of the product (Fig. 5, E). There are narrower stripes at the top.

Among Slavic ethnographic decorations, stripe is the most favorite and widespread type. It can be found on national clothes, carvings of window frames, etc. Therefore, in folk patterns there are especially many examples of stripes - sometimes narrower, sometimes wider, with a sparse or dense pattern. All of them can be successfully used in any type of needlework, as well as in artistic wood carving. In addition, the stripes give the finish a vintage character.

Elements of the pattern (Fig. 6, A) or large parts of it are placed throughout the entire area or in certain areas of it. The pattern in this case is limited to divisions. If possible, the master finishes the pattern of continuous filling with complete division. It spreads easily in all directions, so you can cover both a small and a large area with the same pattern. Since this leaves the impression of an easily spread spreading pattern, the area being trimmed is limited to a single-color or patterned strip. The solid filling pattern is used to decorate both square and rectangular areas using any technique.

Figure 6. Solid fill pattern.

The central pattern (Fig. 7, A) spreads from the center evenly in all directions. Since it has a plant character, in the composition it is limited to stripes (Fig. 7, B). This pattern is used to decorate various types of areas.

Figure 7. Central pattern.

The floral ornament can be located above a winding or straight line. The colors of the floral ornament usually alternate. Floral ornament is also usually placed along the edge of the decorated area, as it well connects the decorated, heavy area with the undecorated, empty one (Fig. 8).

Figure 8. Floral ornament.

And the last picture shows examples of ornaments that use motifs from the world of fauna.

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 still, the Russians managed to create outfits of amazing beauty from little. And this was achieved thanks to the ornaments of Russian folk costume. At that time, the ornament acted not only as decoration, but also as a talisman. Thus, elements of folk costume were enriched with protective embroidery and patterned weaving. This kind of amulets were embroidered on the edges of clothes, namely on the hem, cuffs and collar. These were embroidered ideogram letters that protected a person from harm. The ornaments were made in certain colors, which also have a special meaning. The most popular color is red, which symbolizes fire, life and blood.

More details...

The main element of Russian folk costume was a shirt with a collar richly decorated with embroidery. The sleeves of the shirt had to be wide and long, but wrapped with braid at the wrist. Women wore it over their shirt. It had the shape of a high skirt with straps and was made of linen, wool and cotton fabric. Ribbons, fringe, braid and colored stripes of chintz were used as decoration. The third integral element of the outfit was the skirt. It is worth noting that married women wore a poneva, which differed from a regular skirt in its swinging style with an unstitched slit on the side.

Don't 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, personifying Russian ancient traditions and amulets associated with nature.

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

Since ancient times, people have decorated their clothes, homes, tools and household items with various ornaments. These were not just drawings, but magical symbols that were supposed to protect their owners from evil spirits. In addition, the ornament invariably gave things an elegant and festive look.
The most typical patterns of ancient Russian fabric ornaments are plant, zoomorphic, everyday, and cult motifs. From ancient Russian handwritten books one can also trace the history of ornament in Rus'. The ornaments in them were decorated with headpieces for each chapter and initials (the first letters of chapters and psalms). Since the 12th century, new motifs have appeared in book designs - griffins, dragons and other mythical monsters, intertwined with branches, belts, entangled in their tails and necks to such an extent that nothing can be made out.

Wood carving has also been distinguished by a variety of ornaments since ancient times. There are several wood carving techniques: geometric, openwork and artistic. The geometric carvings, made in the form of recesses of various shapes, often contained pagan symbols, for example, the so-called “rosettes” and “radiances”, denoting the sun. Such images were often found on household items: spinning wheels, dishes, kitchen utensils. Artistic carving was a real drawing on wood and decorated the walls of the house, the ridge on the roof, and the porch. As in textile ornaments, plant, zoomorphic and cult motifs were common in wood carvings, which in ancient times were supposed to protect the house from evil forces, and later turned into simply elements of home decoration.

After the adoption of Christianity at the end of the 10th century, Byzantine culture began to spread in Rus', which was reflected primarily in architecture, language and ornament. Even the word “ornament” itself is of Latin origin and is translated as “decoration”. From the 12th century, elements characteristic of Italian, Persian, Indian, and, during the Tatar-Mongol invasion, ornaments began to penetrate into the Old Russian ornament. The mixture of all these styles in the 16th-17th centuries gave rise to a special ornamental style, characteristic only of the Russian people.

It contains both geometric shapes and various plant patterns, images of animals, existing and mythical, fantasy patterns of intertwining ribbons, branches, leaves, climbing plants, which, despite all their intricacy, form various figures of animals, birds and people. In different centuries, various ornamental motifs were used to decorate various objects (be it clothing or a handwritten book, a box or a towel), some of them were characteristic only of their time, others have been preserved from ancient times to the present day.