Samples of Russian artistic ornaments. Drawing in folk style

Any nation has used various ornaments and patterns throughout its existence. Many images of stunning beauty have come to us from time immemorial. Each nation has its own unique style, depending on many factors. Culture, location on the planet and individual characteristics every master. One cannot help but be glad that these national ornaments and patterns are an art that has reached our days and has not disappeared to this day.

Any people during their existence used various ornaments and patterns

The trend is to keep dishes with folk painting, decorating the interior with ornaments and patterns is becoming more and more fashionable every day. Even if you are not an artist, you can purchase stencils or print them. Then already ready-made templates use it this way, your inner voice will tell you.

Folk workshops, where you can order such stencils or invite an artist, usually exist in the outback. But even in the capital, if you wish, you can find craftsmen who can apply both a simple ornament or pattern, and a more complex one. Decorating, for example, a child’s room with such painting is a great joy for children.

There are geometric ornaments that do not carry any subtext. There are those that contain some meanings and symbols.

Russian ornament: stencils that are easy to make yourself

Russian ornaments, for example, on embroidery, are known to everyone. Everyone has seen folk costumes at least once in their life. This is the kind of beauty that comes out of the hands of masters. And these are not the most difficult options. You can’t say anything - art is art. And Rus' has always been rich in talent.

If you decide to take up the art of ornamentation, you need to start with stencils, which are simpler. And it’s worth starting with a Russian ornament. If you can’t purchase stencils, you can make them yourself. Anyone can do these, you just need to show perseverance and patience.

If you decide to take up the art of ornamentation, you need to start with stencils, which are simpler

After they start to succeed simple patterns, you can switch to more complex

Gallery: ornaments and patterns (25 photos)

Buryat patterns: song of the steppe

The Buryat ornament, like the paintings of all Mongol-speaking representatives, basically consists of simple geometric figures:

• broken lines;
• zigzags;
• circles;
• diamonds;
• other figures.

If the hand is at least a little trained at the most simple drawings, you can take up Buryat ornaments and Mongolian designs. Here are some of them. It is easy to discern Buddhist motifs and Bashkir style in them.

Yakut ornament

Yakut works of art patterns amaze with their beauty. It is especially difficult to look away from works done in gold. Keeping in mind Yakut gold, it would be surprising not to see it in folk art.

It seems to be nothing complicated, but it looks magical.

Yakut works of art patterns amaze with their beauty

As in any form of art, there are also simpler ornaments. From geometric shapes Yakut people loves to use circles.

Tatar pattern: patterns of a great people

Tatar and Bashkir craftsmen specialized in bright ornaments and patterns. This is especially visible in national clothing (hats, shoes with multi-colored mosaics).

Decorating your home with carpets of stunning beauty is one of the main highlights of the Tatar nation. Any home, whether rural or urban, was always filled with carpets that were superior in beauty to Persian ones. The Tatars have always been dominated by bright floral motifs.

Embroidered flowers can be seen not only on clothes, but also on household items. Towels, pillowcases, tablecloths, aprons, prayer rugs.

We can talk about headscarves for a very long time. Every house has a whole chest filled with such scarves. Everyday, festive, wedding - for each event there is its own scarf, and for each scarf - its own special pattern. This is such a beauty - a Tatar and Bashkir embroidered scarf that you can’t take your eyes off it

Tatar and Bashkir craftsmen specialized in bright ornaments and patterns

The most widespread was the art of ornamentation in carved wooden architecture. Then came embroidery, patterns on shoes and carpets. took up very little space Tatar people fabric applique. But on the other hand, in this application, interestingly, oriental and Greek motifs were clearly visible.

The most popular was and remains floral ornament. Trefoil, carnation, tulip, dahlias, peonies and chrysanthemums - all this is very popular among Tatar craftswomen.

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Looking at these works of folk craft, I want the house to have at least one such pattern, pleasing to the eye.

Geometric patterns in the interior: the trend of the season

Geometric solutions in interior design are the most fashion trend of the year. Strictness, harmony, aristocratic aesthetics - all this admires and is used in the work of designers more and more often.

Geometric style came to homes in different forms:

• like furniture
• as accessories
• like patterns and ornaments.

Such ideas are embodied today by designers in the design of apartments and offices.

Geometric solutions in interior design are the most fashionable trend of the year

Simple and beautiful. And this becomes the motto of fashionable modern designers and those who strive for harmony among customers of such an interior.

Oriental patterns: visiting a fairy tale

Oriental patterns are gaining popularity again today. More often they are used for painting fabrics, silk, and large canvases. Eastern ornament is based on rhythm and construction of elements, on abstraction and stylization of real things. The roots of this art go back to the culture of Persia and Mesopotamia. Each of the patterns symbolizes something. For example, an ordinary rosette is a symbol of the universal cycle. Made in the shape of a flower, it had many varieties. This is only one of the few symbols that have been deciphered. What other patterns hide within them may remain an eternal mystery.

Oriental patterns are gaining popularity again today

The most common motifs of oriental patterns are floral motif, magical birds and the World Tree. The latter combines a lot of symbols along with real details. The oriental pattern has another feature. This is carpet filling. It is difficult to find an unoccupied space on the surface of the pattern. Lines, leaves, cones, spikelets, blades of grass - the entire space is filled with them. In particular, this technique is used in architecture, the manufacture of decorative dishes and clothing.

Patterns for children: creating together with kids

Developing a child’s abilities by teaching him the art of patterns and ornaments is a way that gives excellent results. Try making a light floral pattern first. Below is step-by-step instruction, which makes everything very simple.

The operating procedure is as follows:

Draw the selected area into eight identical sections. Conduct horizontal lines and start making the ornament.

Complete the following sketch.

Add some small details at your discretion.

The unnecessary lines along which the sketch was made must be erased with an eraser.

This summer I published a book collected by book historian Antonina Sergeevna Zernova. Today I am starting a series of publications of copies of samples of ancient Russian book ornament - “The History of Russian Ornament from X to XVI century according to ancient manuscripts." This collection was collected and published in 1870 by a team of teachers and students of the Stroganov School technical drawing under the leadership of the director of the School - Viktor Ivanovich Butovsky.
The original edition consisted of two volumes of 100 sheets each. The first volume is historical, containing life-size images of ornaments, as they appear in the manuscript. The second volume is didactic and consists of drawings of enlarged fragments of ornamental motifs. I will give only tables from the first volume. The quality of the copies was not very high - we had to retake them in a rather dark room.

In 1860, by merging two drawing schools, the Stroganov School of Technical Drawing was formed. It was headed by director Viktor Ivanovich Butovsky, who devoted himself entirely to the revival of national traditions in production. Butovsky occupied a high position in society - active state councilor, huntsman of the court of His Imperial Majesty, member of the Moscow branch of the Council of Trade and Manufactures, and in last years life - Chairman of the Committee for the construction of buildings of the upcoming All-Russian Art and Industrial Exhibition in Moscow in 1882. A historian by education and an economist by profession, he was perfectly suited to the post of director of Stroganov. Of course, the fact that Victor and Alexander Butovsky were related also played a role. Alexander Ivanovich headed the Department of Trade and Manufactures under the Ministry of Finance, which was in charge of the Stroganov School.
Under Butovsky, the work of teachers and students of the Stroganov School was organized to study artistic traditions ancient Russian art. They went on ethnographic and archaeological expeditions to sketch ancient Russian ornaments, searched for and copied ornaments of the 10th–16th centuries from ancient manuscripts, and made casts of the white stone decoration of Vladimir-Suzdal churches of the 12th–13th centuries.
In 1870, a publication of copies of samples of ancient Russian book ornament was published - “The History of Russian Ornament from the X to the XVI centuries according to ancient manuscripts” - the first publication scientific research Stroganovka. IN AND. Butovsky personally supervised the search and making copies of ancient illuminated manuscripts - he determined which book depositories to send the School’s students and who would be involved in executing the copies. “The History of Russian Ornament” turned out to be the first publication in a series of subsequent studies devoted to ancient Russian art and its application in the art industry. Butovsky himself described the significance of this collection as follows: “with the appearance of this publication in the world, the artistic significance of Russia in ancient times from the tenth to the 17th century will be brilliantly revealed in Europe for the first time. The public will become familiar with the Russian style of bygone years and will lay the cornerstone for the revival of this style in the 19th century.”

1. BYZANTINE ORNAMENT. From the collection of Conversations of John Chrysostom, known as Margaret, 10th century. Moscow, Synodal Library.

2. BYZANTINE ORNAMENT. From the Discourse of John Chrysostom, a Greek manuscript that once belonged to Jeremiah, the first Patriarch of Constantinople, 10th century. Moscow, Synodal Library.

3. BYZANTINE ORNAMENT. From the Gospel of the X-XI centuries. St. Petersburg. Imperial Public Library.

4. BYZANTINE ORNAMENT. From the Greek Gospel of the X-XI centuries. St. Petersburg. Imperial Public Library.

5. BYZANTINE ORNAMENT. From the Greek Gospel of the X-XI centuries. St. Petersburg. Imperial Public Library.

6. BYZANTINE ORNAMENT. From the Greek Gospel of the X-XI centuries. St. Petersburg. Imperial Public Library.

7. BYZANTINE ORNAMENT. 1. From the Word of St. Gregory of Nazianzus, X-XI centuries. 2. From the Conversation of John Chrysostom on the Evangelist John, X-XI centuries. Moscow, Synodal Library.

8. BYZANTINE ORNAMENT. 1. From the Conversation of John Chrysostom, XI century. 2. From Chetya-Minea for the month of November, XI century. Moscow, Synodal Library.

9. BYZANTINE ORNAMENT. 1. From the Discourse of Basil the Great on the Psalms, XI century. 2. From the Conversation of John Chrysostom on Matvei, 1006 Moscow. Synodal Library.

10. RUSSIAN ORNAMENT. From the Ostromir Gospel, 1056-1057. St. Petersburg. Imperial Public Library.

11. RUSSIAN ORNAMENT. From the Ostromir Gospel, 1056-1057. St. Petersburg. Imperial Public Library.

12. RUSSIAN ORNAMENT. From the Ostromir Gospel, 1056-1057. St. Petersburg. Imperial Public Library.

13. RUSSIAN ORNAMENT. From the Ostromir Gospel, 1056-1057. St. Petersburg. Imperial Public Library.

14. RUSSIAN ORNAMENT. From the Collection of Svyatoslav, 1073 Moscow. Synodal Library.

15. RUSSIAN ORNAMENT. 1. From the Four Gospels with interpretation, 1062. 2. From the New Testament, XII century. St. Petersburg. Imperial Public Library.

16. BYZANTINE ORNAMENT. From the New Testament, XII century. St. Petersburg. Imperial Public Library.

17. BYZANTINE ORNAMENT. From the New Testament, XII century. St. Petersburg. Imperial Public Library.

18. BYZANTINE ORNAMENT. 1. From the Proverbs of Solomon, XII century. Moscow. Synodal Library. 2. From the Four Gospels, XII century. St. Petersburg. Imperial Public Library.

19. RUSSIAN ORNAMENT. From the Yuriev Gospel, 1120-1128. Moscow, Chudov Monastery.

20. RUSSIAN ORNAMENT. From the Yuriev Gospel, 1120-1128. Moscow, Chudov Monastery.

21. RUSSIAN ORNAMENT. From the Yuriev Gospel, 1120-1128. Moscow, Chudov Monastery.

22. RUSSIAN ORNAMENT. From the Mstislav Gospel, 1125-1132. Moscow, Archangel Cathedral.

23. RUSSIAN ORNAMENT. 1. From the Ladder of John Climacus, 12th century. 2. From the Gospel written in 1164. Moscow, Rumyantsev Museum.

24. RUSSIAN ORNAMENT. From the Gospel written in 1164. Moscow, Rumyantsev Museum.

25. RUSSIAN ORNAMENT. 1. From Kormcha, XII century. 2. From the Gospel, XIII century. 3. From the Gospel written in 1164. Moscow, Rumyantsev Museum.

26. RUSSIAN ORNAMENT. From the Psalter of the XII-XIII centuries. Moscow province. New Jerusalem Library.

27. RUSSIAN ORNAMENT. 1. From Kormcha, XIII century. 2. From the Gospel, XII-XIII centuries. Moscow, Rumyantsev Museum.

28. BYZANTINE ORNAMENT. From the Four Gospels, XIII century. St. Petersburg. Imperial Public Library.

29. BYZANTINE ORNAMENT. From the Four Gospels, XIII century. St. Petersburg. Imperial Public Library.

30. RUSSIAN ORNAMENT. 2. From the Gospel of the 13th century. Moscow. Cathedral of the Archangel.

Oh, these Russian folk patterns ! Just as their fine ligature attracts attention, something resonates in the soul! And it seems that these lace ornaments exude the intoxicating aroma of ancient secrets and, shimmering, are trying to say something. Alas! Not many people know the symbolic language of Slavic patterns, not many understand their multi-layered images and their meaning. Slavic patterns are as beautiful as a nightingale’s song in summer, but it’s true that you need to have some kind of spiritual resonance with the heritage of your ancestors in order to hear their quiet music. This article shows whichRussian folk patterns and their meaning were used in the "Northern Fairy Tale" artel to create a model of a women's sweater with protective patterns.

The true beauty of Slavic patterns- in their meaning

Slavic patterns are like a holographic picture - they must be viewed with defocused vision, switching attention first to a dark pattern, then to a light one. Meaning Slavic patterns can only be understood by combining in the mind the meaning of the dark pattern, which “speaks” on behalf of the earthly, obvious world, and the meaning of the light pattern, which “speaks” on behalf of the heavenly world, the world of Rule. In addition, the interpretationRussian folk patterns changes depending on the place where they are located - after all, Slavic clothing had a three-part division (preserved, by the way, in the ancient archaic canons of Mezen painting).

The hem of the clothing symbolized the Sky, the World of Rule, the sleeves and throat were ritually connected with the Earth, close to the world of Navi, and between them is the space of Revealing. Now try to imagine how the value of at least one will change Slavic pattern, when “moving” it “ different worlds" It is impossible to comprehend the beauty and meaning of Slavic patterns on the run, in a hurry - you need a subtle attitude, a special spiritual state, in which a person is open to the call of the heart, the call of nature.

Let's look at embroidery patterns. Yes, on women's sweater with protective patterns from the “Northern Fairy Tale”, there is a “linked cross” sign, symbolically associated with the First Ancestor. This is a powerful protective sign, its strength rests on the roots of your family tree. It is present in all the “three Worlds” on our sweater (you can see the illustrations below).

On the hem (remember that this is the heavenly world) the Slavic pattern of the First Ancestor is made in white, that is, it is symbolically connected with Heaven. This is the strongest heavenly protection of the Native Gods, the First Ancestors of the Slavs. Further, on the chest, in the territory of the obvious world, the sign of the First Ancestor is already red (dark) in color, these are the roots of your family, supporting the life trunk of your family tree “here and now”, carrying earthly energy, and finally, for the third time, the sign of the First Ancestor appears on the sleeves, woven into a pattern that protects the owner of the clothing from premature departure to Nav. Here the sign of the First Ancestor is precisely red (dark), earthly, holding.

Let's take a closer look at the patterns of Slavic patterns

“Patterns are great travelers in Time and Space,” writes Marina Kachaeva, whose magnificent and thoughtful studies of Slavic patterns served as the basis for the symbolism of a women’s sweater made in the “Northern Fairy Tale” artel.

I will try to tell you as much as possible about this handmade sweater, which even professional knitters can knit in only three weeks.

The first thing you need to see: Earth or Sky?

And, considering general scheme Slavic pattern, evaluate what is more in it - light or dark. In all the protective patterns of this sweater, a balance of dark (red) and light (primary color) is maintained, and only on the large protective pattern on the back there is a predominance of the red color of the Earth. This means that this garment, harmonizing the flows of masculine and feminine energy, still gives its owner a little more feminine softness, so necessary in our cruel world.

In general, remember that:

if there is more dark, the pattern connects its owner with earthly world living, its purpose is to activate physical processes in the body and energy (let's call it a trance effect);

if there is more light (there are even options for “white thread on white”), then the pattern stretches its powerful connecting threads between the owner and the Sky. This pattern helps spiritual work;

if the pattern includes equal amount light and dark threads, then its purpose is to harmonize the Earth-Man-Sky system as a whole.

The second thing you need to see: what Slavic patterns are located on the “Earth” and “Sky”

Let's take a closer look at the patterns on clothes with a story from the Northern Fairy Tale artel.

Heaven (Rule the world)

This is the hem of our sweater. It has a dark pattern, made with red threads, and a light one, the main color in equal proportion(equal numbers of light and red threads).

What does the light pattern tell us, whose energy is maximum in this place?

The first thing that is important is the “linked cross” of the First Ancestor. Its meaning has already been said; we will simply enjoy contemplating this Slavic ornament, beautiful in its geometry. Here this symbol is “white in Heaven,” which gives it key significance in this ornamental script, symbolizing the patronage of the Gods of Rule themselves. Perhaps Svarog himself is looking after the owner of this sweater? Then the housewife is guaranteed a bright, creative, constructive life and good health- after all, Svarog, the Supreme God-blacksmith is also the God of Fertility; he created Blue Svarga - a country in the skies where our glorious ancestors live.

Prayers are sent to him for an abundance of earthly fruits. Svarog taught people to cook (create) cottage cheese and cheese from milk, which were once considered sacred food, a gift from the Gods. “Bungle” still means to create something new, previously unknown, in a miraculous, masterful way.

And, for the harmony of such a strong energy of the Heavenly Ancestor, the Goddess-Earth herself, the Mother of Cheese Earth, appears to us in the form Slavic symbol"sprouting grain" The meaning of thisSlavic pattern- the power of the Earth, the power of life-giving energy, a clot of earthly, obvious embodiment.

So, meeting on this hem, higher power Earth and Heaven favor the creation of new life. It is no coincidence that this pattern in a sweater from “Northern Fairy Tale” covers the loins, protecting the very center of feminine power.

Now let’s make a mental effort and switch our perception to considering the dark (in our case red) pattern.

Earthly energy, maximally enhanced by the sign of the “sown field”, symbolically associated with the Great Goddess Mother of Cheese Earth, is found here with the Slavic sign “horned”, the sign of Makosh, the Goddess of Fate and Magic. Her appearance gives new depth the meaning of this Slavic pattern.

It contains the confrontation and unification of the earthly and the heavenly, the desire for a simple, everyday life and the talent for female magic.

And here it is no longer possible to understand this “intrigue” without digging deeper into the difficult relationship between the two most important female patrons. Cheese's Mother Earth patronizes joy in simple everyday life, and Makosh, the Goddess of Fate- a mysterious companion of women's magic, fortune telling and divination.

Russian folk pattern “Horned” is associated with Makosh, since its influence intensifies along with the Moon. The Goddess Makosh herself was depicted in a “horned” headdress, and the traditional headdress of Slavic women - the “kichka” was a beautiful decoration that had clearly pronounced horns in honor of Makosh, the Goddess of Fate and Magic.

• If you want to know more about this, read the article« »

So, interacting “in Heaven,” the two Goddesses came here to give the owner of this clothing their power.

Overall, on In the scheme of the Slavic pattern of this hem, we see the strong influence of Svarog and Makosh, the Gods of Rule, and the light influence of the sign of the First Ancestor is so strong that the support of the “horned” sign, made in the red, earthly version, is sufficient.

To hold and even resist this luminous energy, the sign of the Earth Goddess is repeated twice on this ornament, in white and red, which overall creates a warm protective field for the owner of this wonderful clothing.

The central field of this pattern is framed by two stripes with a “wave” pattern - this is a symbol of water, life, movement.

Earth (border between Reality and Navu)

Nav is the lower world into which it goes righteous soul, joining your loved ones and becoming the guardian of the next generations. The soul is in the world of Navi until its new incarnation. Unfortunately, the Souls of those who lived wrongly and died unjustly also go to Nav. Their existence in Navi reborns them into dark and terrible Navi, striving to return to the manifest world. The meaning of the ornaments in this part of the clothing is very simple - it was believed that the patterns on the sleeves do not allow evil, dark waves to penetrate into a person.

What a magical action is happening right before our eyes, under the enchanting eyes of the wonderfulSlavic patterns?

We look closely at the ornament with white, heavenly energy and see “a germinating grain» Goddesses of the Earth. This sign was “in Heaven” and has now appeared here “on Earth”.Such mastery of the entire space of this sign promises the owner of this sweater health and increased wealth.

The appearance of “orepia,” of course, is also not accidental. This is the sign of Ognedeva, who embodies the strength and vital energy of the entire visible world. And here, on the “territory of the Earth”, it appears in the form of a variant of the drawing, which was called a “labyrinth”. They say that whoever walks through the spirals of the Hyperborean stone labyrinth, holding in his head the obvious intention of seeing the future,while moving, he can feel a hidden but powerful force coming from the ancient stones. The walker seems to be walking through mirages, at first rather blurry, but leaving a noticeable vibration throughout the body, an inaudible powerful roar in the ears, a flicker of light in the eyes, and unprecedented concentration in the thoughts. Measured steps, circles, soft turns, merging in consciousness into some new path according to all conceivable sensations, lead the questioner to the center. A forced stop - and divine illumination, penetration through time and space, will sparkle with a bright flash before the traveler’s mind’s eye.

Perhaps the same impression will be received by subtle connoisseur, considering thisSlavic patternon this sweater.

Much is said about labyrinths as doors to another world. It is dangerous when these doors are open; special rituals are needed to welcome the Ancestors and protect themselves from the Navies. In this pattern, the Ognedeva’s labyrinth is tightly sealed with four locks and securely stores its owner.

• If you want to learn more about labyrinths, read the article

The dark, red pattern, which has maximum power here, includes a “lattice” - giving us a new meaning of what is happening. Here Ognedeva, who sealed the passage to the lower world with heavenly energy, appears in the image of a luminous Goddess, rushing in a cart drawn by Pribogs. As Marina Kachaeva writes, “she rushes in a fiery chariot harnessed by a pair of Gemini - swans or horses. This image of the Virgin corresponds to lunar cults associated with love magic" An attentive connoisseur of the meaning of Slavic patterns will remember, of course, the energy of Makosh, the Goddess of Fate and Magic, filling the hem ornament.

And, of course, the power and calmness of the “linked cross”, which carries the age-old protection of the First Ancestor.

Here, on the border of the world of Reveal and Navi, it is made with threads of red, earthly, female color, he reigns here, beaming with his protective energy. All the Mothers of your kind stand on guard, protecting against unwanted penetration of dark navies.

Let's think about the meaning of the Slavic pattern as a whole. The scheme is as follows. By connecting and protecting, the sign of the Fire Maiden in the form of a white labyrinth and the red sign of the First Ancestor block unwanted energy from both principles - male and female.

At the same time, the growth of the female spiritual origin(white sprout) and the ability to influence men (red Ognedeva, giving strength in love magic).

Third: look at the patterns guarding the wrist and throat

On the women's sweater from "Northern Fairy Tale", just like on the men's, there is the famous "Russian cross". The patterns in this place are extremely important; they are the ones that hold the Soul in the body. Russian cross - a pattern consisting of female “diamonds” and male “crosses”, and in the correct color scheme - dark women's rhombus and a light male cross. What is there to say for a long time - it turns out that this pattern, harmonizing the feminine and masculinity, holds the Soul precisely by the power of Love, which constitutes such an attractive part of our Explicit life.

Fourth: look at the world of reality

Between the hem and sleeves-collar there is a space symbolizing our obvious world in which we exist on the physical plane. In Slavic clothing there were patterns on the chest and back, and, what is important, all clothing was girded with a belt, preferably also patterned.

The sweater from the Northern Fairytale artel already has a patterned protective stripe in the waist area. Let's take a closer look at her treasures.

On a white wave, male energy here Ognedeva is located - in the form of an “orepia” protecting the mistress from unnecessary ill-wishers of the obvious, physical world and she, on a white chariotin a lattice pattern ", giving the strength to love and be loved.

And look at the feminine powers bestowed by these patterns - the red “horned” one, Makosh, Goddess of the Moon, Goddess of Fate and Magic, repeated twice (in direct and mirror versions) promises an easy, bright destiny in this manifest life.

Russian culture originated many centuries ago. Even in pagan times, Russians decorated themselves and their living space (house, yard, household items) with original patterns. If the pattern repeats and alternates individual parts, it's called an ornament.

Folk ornament necessarily uses traditional motifs. Each nation has its own. Russian ornaments are no exception. When we hear this phrase, embroidered shirts and towels immediately appear in our imagination. They feature horses, ducks, roosters and geometric shapes.

Traditional Russian ornament

Excursion into history

The primary unit of society is the family. And it is to families that we owe the first folk patterns. In ancient times, animals and plants had totemic significance. Each family believed that it had one patron or another. For generations, family members used objects with symbols of their family, considering them protection and help.

Gradually family drawing went beyond the family and became the property of relatives. Several genera exchanged their patterns. Thus, the entire tribe was already using symbols that originally belonged to certain families.

Over time, there were more patterns, and the circle of their users expanded. This is how Russian folk ornaments appeared in Russia.

It can be seen that in different areas they used different colors for needlework. There is a simple explanation for this. In the old days, only natural dyes were used. They were produced in a handicraft way. So, the availability of raw materials for paints often determined the entire palette of works.

IN different regions We had our favorite “decorations”. It is no coincidence that “paisley” is one of the motifs for ornaments eastern regions. The homeland of the “Indian cucumber” is Persia in the east.

Meaning and significance

A creative fusion of nature and religion. This is how we can briefly describe national, including Russian, ornaments. In other words, an ornament is a symbolic description of the world.

Elements of ornament were not only decoration. They carried a semantic and ritual load. They can not only be viewed, but also read. Very often these are conspiracies and amulets.

Each character has a specific meaning:

• Alatyr is perhaps the most important of the Russian and Slavic signs. This is a symbol infinite universe, dual unity of the world and its balance. The source of life, consisting of male and female principles. The eight-pointed Alatyr Star and the Alatyr Stone were often used in patterns. They were expected to help in various life situations.

• Another symbol that was very revered and often used in patterns is the World Tree of Life (or Tree of Kingship). It was believed that it grows on Alatyr Stone and the gods rest under its crown. So people tried to protect themselves and their family under the branches of the Tree of Life and with the help of the celestials.

• Various swastikas are also a popular motif in Russian and Slavic needlework. Of the swastikas, you can find Kolovrat more often than others. An ancient symbol of the sun, happiness and goodness.

• Orepei or Arepei is a diamond shape with combs on the sides. Its other names: Comb Diamond, Oak, Well, Burdock. It was considered a symbol of happiness, wealth, and self-confidence. When located on different parts clothes had different interpretations.

• Animals and plants that surrounded people and were deified by them are a constant theme in the patterns.

Of particular importance was the number of alternations of elements in the ornament. Each number carried an additional semantic load.

Beauty and protection

The aesthetic meaning of the ornaments was combined with the totemic one. Magi and shamans applied symbols to ritual clothing and utensils. Ordinary people also invested special meaning into traditional drawings. They tried to protect themselves with embroidery as a talisman, applying it to certain parts of clothing (to protect the body). Table linen, household items, furniture, and parts of buildings were also decorated with appropriate patterns (to protect the family and home).

Simplicity and beauty antique ornaments They remain popular today.

Trades and crafts

Gradually, with the development of civilization, ancient patterns were transformed, some became identification marks individual folk crafts. They developed independent crafts. Usually crafts have a name corresponding to the area where they are made.

The most popular are:

• Porcelain and ceramics "Gzhel". Her style is a characteristic drawing of blue paint on white background. Called by name settlement Gzhel, Moscow region, where the production is located.

• “Zhostovo painting” can be recognized by flower bouquets on a black (less often green, blue, red) metal tray coated with varnish. The fishing center is located in Zhostovo (Moscow region). This craft began in Nizhny Tagil, where the production of Nizhny Tagil trays still exists.

• "Khokhloma" is decorative painting on wood. It is characterized by black, red and sometimes green patterns on a golden background. Her homeland and place of registration is Nizhny Novgorod region.

• Sloboda Dymkovo is the birthplace of Dymkovskaya, and the city of Kargopol is correspondingly Kargopolskaya, the village of Filimonovo is Filimonovskaya, Stary Oskol is Starooskolskaya clay toys. They all have a characteristic pattern and color.

• Pavlovo Posad wool shawls business card Pavlovsky Posad. They are characterized by a voluminous printed floral pattern. Red and black are their traditional colors.

The continuation may be very long: Fedoskino and Palekh miniatures, Gorodets painting, Orenburg down scarf, Vologda, Yelets, Mtsensk lace. And so on. It is very difficult to list everything.

Drawing in folk style

Today, many people wear clothes and use things in folklore style. Many craftswomen want to create something unique themselves. They can build on rapport finished product or create your own sketch.

To successfully complete this idea, you first need to:

1. Decide whether it will be a separate pattern or an ornament.
2. Break down the drawing into simple details.
3. Take graph paper, make a marking, marking each fragment and its middle.
4. We draw the first simplest detail in the center.
5. Gradually, step by step, we add the following fragments.

And now the unique pattern is ready.

About Russian embroidery

The patterns, techniques, and colors of Russian embroidery are very diverse. The art of embroidery has centuries-old history. It is closely related to the way of life, customs and rituals.

Color is an important component of needlework.

People endowed it with sacred properties:

• Red is the color of life, fire and sun. Of course it was often used in embroidery. After all, it is also beauty. As a talisman, it was designed to protect life.
• White is the color of pure snow. Symbol of freedom and purity. He was considered a protector against dark forces.
• Blue color of water and clear skies. Symbolized courage and strength.
• Black in the ornament meant earth. Zigzag and wave, respectively, an unplowed and plowed field.
• Green is grass, forest and their help to man.

The thread was also endowed with certain qualities:

• Linen is a symbol of masculinity.
• Wool is protection, patronage.

In combination with patterns, special-purpose products were created.

For example:

• Roosters and red horses were supposed to protect the baby.
• To successfully complete the work, they embroidered with green and blue linen.
• For diseases and against bad influence embroidered with wool.
• Women's clothes were often embroidered in black to protect motherhood.
• The men were protected by a green and blue pattern.

Of course, for every occasion and person has been developed special set symbols and drawings.

Folk costume

Folk costume embodies and reflects traditions. For centuries, craftswomen have transformed plain fabric into a unique work of art. WITH early age girls learned the secrets of needlework. By the age of fifteen, they had to prepare themselves everyday and festive clothes and a set of towels, tablecloths and valances for several years.

The cut of the suit itself is simple, rectangular. Linen or wool fabric of various qualities. Women pulled the fabric (removed some of the threads) and received new fabric. Hemstitching and other embroideries were done on it.

Of course, clothing varied in characteristic patterns depending on the area. It can be divided into two groups:

1. Central Russian. Differs in multicolor. Among the techniques, counted satin stitch, cross stitch, braids, and hemstitch stitches are often used. IN southern regions Lace, ribbons or strips of fabric are also used to decorate clothes. The design is often geometric. Orepey was especially loved in different versions.
2. Northern. Its characteristic techniques are satin stitch (colored and white), cross stitch, painting, white stitching and cutouts. Artistic motifs were used more often than geometric ones. The compositions were performed mainly in one color.

Russian embroidery is unique. It is distinguished by stylized images of animals and plants, as well as a wide variety of geometric patterns.

Keeping traditions

Exploring national traditions and handicraft techniques using preserved items, modern masters adapt them to modern requirements. Fashionable original things are created on their basis. These are clothes, shoes, underwear.

One of the recognized fashion designers, which includes folk motifs in each of his collections Valentin Yudashkin. Foreign couturiers, for example Yves Saint Laurent, are also inspired by the Russian heritage.

In addition, folk crafts continue traditions and improve skills in accordance with modern requirements. You can add enthusiasts who are not indifferent to traditional creativity. They independently study, collect and create in folk style.

Russian patterns continue to bring beauty and joy to people, and also preserve historical information.

Ornaments are akin to ancient writings and, like them, can tell a lot about the worldview of a person from distant eras. 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 pattern in front of the oldest craftswoman of the village in special readings: young girls brought to gatherings finished works and talked about them to the whole world. In some places in the outback you can still hear the ancient names of the patterns: crowberry, Perun, although the masters are most often unable to explain their meaning.

To this day, there are people who know how to decorate and want to wear traditional Russian clothes. Long winter evenings Slavic girls and women, with a torch, embroidered and wove patterns - one more intricate than the other, decorating their tunics with them, so that later, at the holiday, they could flaunt themselves in front of the community. Was it only beauty that they felt? Is it just desire? creative self-expression led them? Or was there and continues to exist today in ancient symbols something very important - unknown to us today?

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

I really want the ancient art of ornament to be preserved and 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 kind energy (one would like to say - soul), capable of helping people. I believe that the topics raised in the book will be of interest to new researchers, and then such an amazing phenomenon as Russian folk textile ornaments can really be understood from different angles. In the meantime, the ancient image-writings continue to wait for their full reading.

Second book, which allows us not only to understand the place of folk textile ornaments in our culture, but to confirm the author’s assumptions about the mechanisms of the energy-informational influence of the ornament on a person. Folk ornament is part of the incredible ancient system spiritual knowledge that allows a person to harmoniously build his relationships 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 race and man.

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

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

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

Ornament of all times and styles

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

The author expertly accompanies the reader into the history of ornament and decor, showing the diversity of this special type art, introduces its external side and deep symbolism, initiates into the practical secrets of carvings, 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 Rakinier, slightly modifying the text and drawings in it).

This book clearly shows what means and techniques bring an organized and creatively transformed space closer to the triumph of refined taste - at different times and in different parts of the world. The rich artistic design of this publication appeals to the aesthetic senses and stimulates creative imagination reader.