Slavic ornaments and their meaning. The meaning of patterns in Slavic embroidery

In the modern world, an ornament is a pattern that decorates household items without carrying any meaning. For us, rhombuses on a carpet are just rhombuses, and circles are just circles. But there were times when people knew how to read patterns, encrypted in them their ideas about life, about the other world, about eternal truths.

We can say that a decorative design is the result of a found relationship between the perception of nature and the 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 joints to complex intricacies.

The ornament can consist of objective and non-objective motifs, it can include human forms, the animal world and mythological creatures; naturalistic elements are intertwined and articulated in the ornament with stylized and geometric patterns. At certain stages of artistic evolution, the line between ornamental and subject painting “blurs”. This can be observed in the art of Egypt (Amaranian period), the art of Crete, ancient Roman art, late Gothic, and Art Nouveau.

First, geometric patterns arose, this was at the dawn of human culture. What could be simpler than straight or wavy lines, circles, cells, crosses? It is these motifs that decorate 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 the help of 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 ancient belief, the symbols in the patterns carried spiritual power, capable of conjuring any evil and injustice of the elemental forces of nature. These symbolic signs, which came to us from ancient ritual holidays, have magical symbolism. For example, in the Filimonov toy (Russia) we see symbols of the sun, earth, water, and fertility. The masters passed all the images and symbols through their perception of the world and showed their perception of the world in the painting. Ancient symbols are also found in the Dymkovo and Kargopol toys. But they are different in ornamentation everywhere. In every craft we notice symbols of the sun, water, etc. The ancient symbolism of peasant religion runs through them as a thin thread.

And the ornament is in Russian folk costume. The main motives of which were solar signs - circles, crosses; images of a female figure - a symbol of fertility, mother - raw earth; wavy rhythmic lines – signs of water; horizontal straight lines indicating the ground; images of a tree are the personification of ever-living nature. Embroidery on peasant clothes not only decorated them and delighted those around them with the beauty of the patterns, but was also supposed to protect the one who wore these clothes from harm, from an evil person. If a woman embroidered a Christmas tree, it means she wished the person a prosperous and happy life, because a 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 in a bright, joyful color. This is a straight and bright road that a child should follow. May this road be happy and joyful for him.

The image of the sun occupies one of the main places in decorative and applied arts. The sun in the form of round rosettes, diamonds, can be found in different types of folk art.

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

The tree of Life

In addition to the geometric one, in the ornaments of Ancient Rus', one can often find various ancient pagan themes. For example, the female figure personified the goddess of the earth and 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 images of the plant world, which included flowers, trees, and herbs.
In Egyptian ornaments, the decoration often used a lotus flower or lotus petals - an attribute of the goddess Isis, a symbol of the divine productive power of nature, regenerating 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 became widespread in the ornamental forms of the Ancient East (China, Japan, India, etc.).

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

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

Hops is a cultivated plant, the picturesque appearance of which has contributed to the widespread use of plant forms in ornamentation. The image of hops combined with ears was used as decoration on household items.
Grapevine - clusters and branches were especially revered in antiquity and the Middle Ages. In ancient Greek mythology, this is an attribute of the god Bacchus, among Christians - in combination 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 the 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 widespread 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 masters of the Italian Renaissance. Currently, images 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 and longevity. a truly noble personality. The image of the pine tree echoes the image of the cypress, which in Chinese beliefs was endowed with special protective and healing properties, including protection from the dead. Among flowering trees, the wild plum occupies an important place - meihua - this tree is a symbol of the New Year, spring and the birth of everything new. Among 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 ceremonies. The most common symbol among vegetables is the gourd pumpkin, 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, and the inevitable variability of the transitory world.

Flowers are widely used in ornamental motifs of all times and styles. They serve as decoration for fabrics, wallpaper, dishes 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. The rose is completeness, the mystery of life, its focus, the unknown, beauty, grace, happiness, but also voluptuousness, passion, and in combination with wine - sensuality and seduction. A rosebud is a symbol of virginity; withered rose - transience of life, death, sorrow; its thorns are pain, blood and martyrdom.

Heraldic roses: 1 – Lancaster; 2 – York; 3 – Tudor; 4 – England (badge); 5 – German rose Rosenow; 6 – Russian stamp.

The heraldic medieval rose has five or ten petals, which connects it with the Pythagorean pentad and decanate. A rose with red petals and white stamens is the emblem of England, the most famous breastplate of English kings. After the "Wars of the Roses", named after the badges of the families fighting 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 a horizontal structure of the tree of life: at the top are birds; at the level of the trunk - people, animals, and also 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 the ornaments of initial letters. Ancient images of a horse and a bird were preserved in folk toys and dishes. Pommels for horse whips and combat bows were carved in the shape of animal or bird heads. Stylized animals and birds decorated hair combs, utensils and dishes. 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 his lifestyle and occupation: the point of view of the shepherd differed from the views of the hunter, and both of them - from the warrior. People transferred their knowledge about earthly animals to atmospheric phenomena.
A bird in folk arts and crafts could represent wind, cloud, lightning, thunderstorm, storm and sunlight. Ladles and salt shakers were carved in the shape of birds; embroidered birds decorated women’s clothing. . The image of a bird has widely entered 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 on his forehead, and with a golden mane. A wooden horse, made for children's fun, was often completely decorated with solar signs or flowers. . It was believed that this protected the child from evil forces. Images of horses can often be seen on household items (bucket 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 a hut. The sacred role of the horse and deer in Scythian art is often associated with the hope of the successful ascension of the soul to another world.
In the mythology of many peoples, the lion was a symbol of the sun and fire, and at different times among different peoples it personified higher powers, power, power and greatness, generosity, nobility, and intelligence. The image of a lion has existed in decorative and applied arts since ancient times.
For many centuries, the lion remained one of the favorite figures in Russian symbolism. In ancient Russian images associated with grand-ducal power, the image of a lion, depending on what surrounded it, had two meanings: power bestowed by God and the defeated power of evil.

Folk craftsmen often carved lions on the front board of the hut or painted them on chests surrounded by floral patterns; craftswomen embroidered them.

Feminine. The Great Mother, in her terrible form as the weaver of fate, is sometimes depicted as a spider. All lunar goddesses are spinners and weavers of fate. The web that the spider weaves, weaves from the center in a spiral, is 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; The sun is surrounded by rays; The moon, representing the cycles of life and death, weaving the web of time. The spider is often associated with luck, wealth or rain. Killing a spider is a bad omen.

Spider depicted on an American Indian amulet

Thanks to the stability of religious canons, the meaning of symbols in the ornamentation of Egypt and 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 one can “read” a kind of magical texts.

Ethnocultural contacts, trade, military campaigns, religious missions, ambassadorial gifts and visiting 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 previous art and create their own variations on it. Such a striking example is the swastika element, one of the earliest symbols, which is found in the ornaments of almost all peoples of Europe, Asia, America, etc. The oldest images of the swastika are found already in the culture of the Tripoli tribes of the 5th-4th millennium BC. e. In ancient and medieval cultures, the swastika is a solar symbol, a lucky sign, with which ideas about fertility, generosity, well-being, movement and power of the sun are associated.

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 comes from the word “kolo” - sun.

The symbol itself looks like a circle with curved rays, which is why many associate it with the fascist swastika. Although this is fundamentally not true: the fascists really used this solar symbol, but not vice versa.

In 1852, the French scientist Eugene Bournouf first gave the four-pointed cross with curved ends the Sanskrit name “swastika,” which roughly means “bringer of good.” Buddhism made the swastika its symbol, giving it the mystical meaning of the eternal rotation of the world.
There is virtually no modern symbolism in the ornaments of modern times, 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 centuries. these artists tried to create their own symbolism and reproduce it in their work.
Ornament in their works no longer played a supporting role, but became an integral part of the image, organically woven into the outline of the plot.
At the same time, A. Bely, a theorist of Russian symbolism, wrote: “The symbolist artist, saturating the image with experience, transforms it into his work; such a transformed (modified) image is a symbol.” And further A. Bely records 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 an artistic image is inseparable from the content.”
In these three points, the famous poet and prose writer precisely formulated the basic principles of creating a symbolic work, which can be used in any form of art, including ornamental.

How does the Pattern make you feel?

The pattern is what we can see. What do you see in the Pattern? You understand that just a quick glance is enough and it becomes absolutely clear that this is not just a chaotic set of squiggles and crosses. This is a language, this is a code. How to read it and understand it?

Now it is fashionable to say all sorts of words that are incomprehensible, even to scientists, such as meditation. Our ancestors simply saw the whole Universe in the Patterns. Is this Universe opening up to you?

An excellent example of the use of Slavic patterns is folk embroidery. Embroidered patterns were used to decorate towels, wedding valances, tablecloths, curtains, festive shirts, white canvas sundresses, light outerwear, hats and scarves.

Example: a towel is a symbolic and multi-valued product. It not only decorates everyday life, but is also a symbolic reminder of the invisible connections that connect each person with his family, ancestors, and is a piece of art. We can say that the patterns of embroidered towels are an encrypted story about the life of the people, about nature and people.

It is believed that embroidery was used to decorate those parts of the costume through which, according to our ancestors, evil forces could penetrate the human body. Hence the main meaning of embroidery in ancient times - protective. The collar, cuffs, hem, and neckline were embroidered with a protective pattern. The fabric itself was considered impenetrable to evil spirits, since its production involved objects richly decorated with incantatory ornaments. Therefore, it was important to protect those places where the fabric of clothing ended and the human body began.
But The main thing: the pattern on the clothes said a lot about the owner himself. A pattern on clothing as a talisman is not its main purpose. Your own shirt is closer to your body because it is like skin, only yours, for you and about you.

Clothing was like a unique picture of its owner and carried a rich semantic load. Not only by the cut of the clothes, but above all by the pattern, one could understand where the person was from, who he was, what his occupation was, what his spiritual status and idea of ​​the world was, and so on. And the pattern carried a security function as a matter of course. Let me give you an example - if a child walks hand in hand with his father, the father will of course protect his child in case of danger, but this has nothing to do with where they go and what they talk about along the way.

Children's clothes were usually made from parents' old clothes - not only and not so much because they have already been washed many times and are therefore soft and will not harm or rub the child's skin, but because they have absorbed parental energy and strength and will protect them. , will protect the child from the evil eye, damage, and misfortunes. The girl's clothes were sewn from her mother's, and the boy's, of course, from his father's, thus predetermining the correct development depending on gender - the strength of motherhood was passed on to the girl, and masculine strength to the boy.

When the children grew up and already acquired some kind of their own protective power, they got my first shirt, from the novelty. This was usually timed to coincide with the time of the first age initiation - at three years old. From the age of twelve, a girl received the right to wear her own (though still a girl’s) neva, a boy relied first pants-ports.

Since clothes for children under three years old were often repurposed from their parents’, the protective embroidery on them, of course, remained the same, the parent’s. Changing it was not only inconvenient and impractical, but also impractical - after all, it provided, in addition to the protective function also the connection of generations, kinship and continuity. So, if the child’s father was a hunter, then the amulets on his clothes were associated with hunting, and it was they who were passed on to the boy with these clothes. In the same way, through the female line, the craft was “passed on” to the girl. Or rather, it was not the craft itself, but the power of many years of parental experience in it that protected the child. Everyone protects in their own way, right? The weaver will protect the fabric with a special pattern, the spinner will protect it with nauzes, the hunter will protect it with the fang of an animal... And the result will be the same.

But the protective embroidery for a child’s own clothes was already different from the amulets of adults. Firstly, the color of protective embroidery for children was always red, while for adult clothing it could be different. Thus, women often used black in embroidery in addition to red - the color of Mother Earth, thus trying to protect their womb from infertility. Men often needed blue or green colors for amulet - blue protected against death from the elements, green - from wounds. The children did not have this. It was believed that children are under the care and protection of their kind. On a girl's shirt, the embroidery was mainly along the hem, sleeves and necklace, but on a married woman - the chest, collar, the embroidery along the hem was wider - it also reflected a new relationship, belonging to the husband's clan.

The main protective symbols for the girl were: the patron goddess of fate, gender symbol, woody ornaments, the symbol of the patron saint of her birthday, symbols of the earth (again, different from women’s symbols of the earth - for those it was mainly represented either plowed or already sown) and women’s crafts.

Boys (as well as girls) up to the age of twelve wore shirts without belts. The main symbols protecting boys were considered: symbols of fire, solar symbols, images of totem animals, of course, also symbol of the patron clan and the patron spirit of the birthday, bells and symbols of men's crafts.

Until adulthood, boys and girls could also wear common amulets. Going through initiation at the age of twelve, the boy’s amulets changed and became (like the girl’s) more gender-specific. A belt appeared and, of course, there were fewer amulets - after all, its own strength grew.

Images of Gods have already appeared in embroidery, not so much for protection as for patronage; for young girls - symbols of fertility, for young boys - military ones. Of course, neither the girl nor the boy needed them. In addition to embroidery on clothing, many items that were hung over the baby’s cradle, a girl’s or boy’s bed, and then worn on the shoulder or belt, often served as children’s amulets. All this performed not only protective and protective functions, but also served as a connecting link between man and Nature.

Patterns

Often ancient masters depicted signs that designated the sun. These are solar signs. Over the millennia, the sun has received a great variety of image options. These include a variety of crosses - both in a circle and without it. Some crosses in a circle are very similar to the image of a wheel, and this is not without reason: a person saw how the sun moved, that is, “rolled” across the sky, like a fiery wheel. The eternal movement of the heavenly body was marked with a hooked cross, a swastika. The swastika meant not only the moving sun, but also a wish for well-being. It is especially common in northern embroidery, both on towels and shirts, and in bran weaving.

Protective patterns

The essence of amulets exactly corresponds to their name: their calling is to protect people, especially during hard times, during periods of military conflicts and other adversities. In other words, to protect its owner from any directed negative impact, whatever it may be and wherever it comes from. Negative influences can be purely physical influences - such as diseases (which, by the way, are often caused not only by natural causes, but also those that have overcome us due to the evil eye or damage). Charms can protect their owner from any impact on his psyche, soul, or emotional sphere. They will protect you from the imposition of someone else's will, love spells, suggestions from the outside and from severe depression.

The impact of amulets is associated with the colors of the spectrum of the human aura. By putting on a talisman of the appropriate color, we get the opportunity to quickly patch up energy breakdowns in one or another part of the aura, which can be dangerous to our health and even life. From the point of view of a person who is able to see the aura, this will look like an increase in the glow of a certain color of the aura when putting on the amulet.

Signs

1. A wavy line is a sign of Water. Rain is depicted by vertical lines, rivers, underground waters - horizontal, "heavenly abysses" - horizontal.
2. Gromovnik (six-pointed cross in a circle or hexagon). Sign of Thunder (and Perun). Used as a talisman against lightning; is also a military amulet.
3. A square (or rhombus) divided into four parts by a cross - (plowed field). If there are dots inside, the field is sown. These are signs of Earth and fertility.
4. Kolokres (cross in a circle). Sun sign. a barrier and aversion to evil, a sign of closure.
5. Krada (“lattice”) is a sign of Fire. Krada is a sacrificial or funeral pyre.
6. Cross (equilateral cross: straight or oblique) is a sign of Fire (and the God of Fire - Aguni).
7. Month – Sign of the moon, month. The “lunar” pendants are known.
8. The cockscomb with seven ridges is the sign of Fire.
9. Cornucopia. A sign of wealth, abundance.
10. Yarga (swastika). Otherwise it’s a whirlwind. There are a huge number of style options. Yarga is the sign of the Sun (and, accordingly, the Sun Gods: Khorsa, Dazhdbog, etc.). Based on the direction of rotation (salt/anti-salt), a distinction is made between the sign of the light Sun (sun of Yavi) and the sign of the dark Sun (sun of Navi). The Sun of Reveal is a beneficial, creative Power; The Sun Navi is a destructive Force. According to Slavic myths, after sunset the Sun illuminated the Underground (Nav), hence the name. We know that the Sun is not under the Earth at night, but it is difficult to doubt that the Sun has a destructive aspect... There are two interpretations for determining the direction of rotation of a sign; the traditional one, as far as I know, is this: the ends of the rays are bent against the direction of rotation.
11. A tree (most often a Christmas tree) is a symbol of the interconnection of everything in the world, a symbol of long life.
12. The spiral is a symbol of wisdom; if the color scheme is blue-violet - secret knowledge. The most powerful aversive sign for all dark entities of the shadow world - if the color is red, white or black.
13. The triangle is a symbol of man; especially if accompanied by small dots or circles on the apex side. Symbol of human communication.

Gods

Woman with raised palms: Makosh.
With lowered ones: Lada.

From an unusual side, this image is revealed in the article "Ivan. Kupala etymology"

Animals

1. The bull is the sign of Veles.
2. The wolf is the sign of Yarila.
3. Raven is a sign of wisdom and death.
4. A tree is a sign of life and fertility; or – the Universe (World Tree).
5. The serpent is a sign of Earth, wisdom. Connected with the Lower World.
6. The horse is a sign of the Sun, the Solar Gods.
7. The swan is a sign of Mary, death, winter.
8. Bear is the sign of Veles.
9. A deer (important) or a moose cow is a sign of the Goddesses of Fertility (Rozhanits).
10. Eagle is the sign of Thunder, Perun.
11. The Rooster is the sign of Fire, Aguni.
12. Falcon is a sign of Fire, Aguni. There is an opinion that the “trident” (the coat of arms of the Rurikovichs and modern Ukraine) is a stylized image of a falcon in flight.

Colors

Specifically, the colors of the amulet are associated with the protection of one of the seven chakras of a person. Red - for the lowest, located in the coccyx area and responsible for the genitourinary system, rectum, and musculoskeletal system. Orange - for the second, located a few fingers below the navel, responsible for sexual energy and kidneys. Yellow - for the third chakra (solar plexus area) - the center of vital energy, which is also responsible for all the organs of the abdominal cavity. Green - for the fourth, heart chakra. It controls the activity of not only the heart, but also the lungs, spine, arms, and is responsible for our emotions. Blue - for the fifth, throat, responsible for the respiratory and hearing organs, throat and skin, as well as human creative potential. Blue - for the sixth (the “third eye” zone), responsible for our intellectual abilities. Purple is for the seventh (crown), which connects us with Higher powers, with God.

Currently Solar symbols many people associate with submissions of anti-Russian media, it is unknown for whom they work , with Fascism and Adolf Hitler. This has been drilled into people's heads for the last 70 years. Few people now remember that the Swastika was depicted on Soviet money in the period from 1917 to 1923, as legalized state symbols; that on the sleeve patches of soldiers and officers of the Red Army during the same period there was also a Swastika in a laurel wreath, and inside the Swastika there were the letters R.S.F.S.R. There is even a version that the Golden Swastika-Kolovrat, as a party symbol, was given to Adolf Hitler by Comrade I.V. Stalin in 1920. There are so many legends and conjectures around this ancient sign that we decided to talk in detail about this oldest sign on Earth. solar cult symbol.

It is a rotating cross with curved ends directed clockwise or counterclockwise. Now all Solar symbols are called in one word - SWASTIKA, which is fundamentally wrong, since each Solar symbol in ancient times had its own name, purpose, protective power and figurative meaning.

Solar symbols, as the most ancient, are most often found during archaeological excavations. More often than other symbols, they were found in ancient mounds, on the ruins of ancient cities and settlements. In addition, swastika symbols were depicted on various details of architecture, weapons, clothing and household utensils among many peoples of the world. found everywhere in ornamentation as a sign of Light, Sun, Love and Life.

The oldest archaeological artifacts depicting swastika symbols now date back to approximately 4-15 millennium BC.
(on the right is a vessel from the Scythian Kingdom of 3-4 thousand BC). According to archaeological excavations, the richest areas for the use of the swastika, both a religious and cultural symbol, are Russia and Siberia.

Neither Europe, nor India, nor Asia can compare with Russia or Siberia in abundance solar symbols, covering Russian weapons, banners, national costumes, household utensils, everyday and agricultural items, as well as houses and temples. Excavations of the ancients
mounds, cities and settlements speak for themselves - many ancient Slavic cities had a clear form of Swastika, oriented to the four cardinal directions. This can be seen in the example of Arkaim, Vendogard and others (on the left is a reconstruction plan of Arkaim).

Solar symbols were the main and, one might say, almost the only elements of the most ancient Proto-Slavic ornaments. But this does not mean that the Slavs were bad artists. Firstly, the types of images Solar symbols there were a lot. Secondly, in ancient times, not a single pattern was applied just like that; each element of the pattern corresponded to a certain cult or protective (amulet) meaning, since each symbol in the pattern had its own magical power.

Bringing together the strengths of different solar symbols, white people created a favorable atmosphere around themselves and their loved ones,
in which it was easiest to live and create. These were carved patterns, stucco molding, painting, beautiful carpets woven by hardworking hands.

But not only the Aryans and Slavs believed in the magical power of swastika patterns. The same symbols were discovered on clay vessels from Samarra (the territory of modern Iraq), which date back to the 5th millennium BC.

Solar symbols in levorotatory and dextrorotatory forms are found in the pre-Aryan culture of Mohenjo-Daro (Indus River basin) and ancient China around 2000 BC.

In Northeast Africa, archaeologists have found a funerary stele from the kingdom of Meroz, which existed in the 2nd-3rd centuries AD. The fresco on the stele depicts a woman entering the afterlife; a Swastika is emblazoned on the clothes of the deceased.

The rotating cross adorns golden weights for scales that belonged to the inhabitants of Ashanta (Ghana), and clay utensils of the ancient Indians, beautiful carpets woven by the Persians and Celts.

Man-made belts created by the Komi, Russians, themselves, Latvians, Lithuanians and other peoples,
also filled solar symbols Moreover, at present it is difficult even for an ethnographer to figure out which people these ornaments belong to. Judge for yourself.

Since ancient times, solar symbolism has been the main and dominant one for almost all peoples on the territory of Eurasia: Slavs, Germans, Mari, Pomors, Skalvi, Curonians, Scythians, Sarmatians, Mordovians, Udmurts, Bashkirs, Chuvash, Indians, Icelanders, Scots and many others.

In many ancient beliefs and religions Solar symbols are the most important and brightest cult symbol. Thus, in ancient Indian philosophy and Buddhism, the Swastika is the eternal cycle of the Universe, a symbol of the Buddha’s Law, to which everything that exists is subject (Dictionary “Buddhism”, M., “Republic”, 1992); in Tibetan Lamaism - a protective symbol, a symbol of happiness and a talisman.

In India and Tibet it is depicted everywhere: on the walls and gates of temples, on residential buildings,
and also on the cloths in which all sacred texts and tablets are wrapped. Very often, sacred texts from the Book of the Dead, which are written on funeral covers, are framed with swastika ornaments before cremation.

You can see the image of many Swastikas both in an old Japanese engraving of the 18th century (picture above) and on the unparalleled mosaic floors in the halls of the St. Petersburg Hermitage (picture below).

But you will not find any reports about this in the media, because they have no idea what the Swastika is, what ancient figurative meaning it carries, what it has meant for many millennia and means now for the Slavs and Aryans and many peoples inhabiting our Earth.

In these media, alien to the Slavs, the Swastika is called either a German cross or a fascist sign and reduces its image and meaning only to Adolf Hitler, Germany 1933-45, to fascism (National Socialism) and the Second World War.

Modern “journalists”, “is-Toriki” and guardians of “universal human values” seem to have forgotten that the Swastika is the oldest Russian symbol, that in past times, representatives of the highest authorities, in order to enlist the support of the people, always made the Swastika a state symbol and placed its image on money .

This is what the princes and tsars, the Provisional Government, and the Bolsheviks, who later seized power from them, did.

The matrices of the 250 ruble banknote, with the image of the Swastika symbol - Kolovrat - against the background of a double-headed eagle, were made according to a special order and sketches of the last Russian Tsar Nicholas II.

The Provisional Government used these matrices to issue banknotes in denominations of 250, and later 1000 rubles.

Beginning in 1918, the Bolsheviks introduced new banknotes in denominations of 5,000 and 10,000 rubles, which depicted three Swastika-Kolovrat: two smaller Kolovrat in side ligatures intertwined with large numbers 5,000, 10,000, and a large Kolovrat is placed in the middle.

Money with the Swastika-Kolovrat was in use until 1923, and only after the appearance of USSR banknotes were they taken out of circulation.

The authorities of Soviet Russia, in order to gain support in Siberia, created sleeve patches in 1918 for the soldiers of the Red Army of the South-Eastern Front, they depicted a Swastika with the abbreviation R.S.F.S.R. inside (see photo on the right). But the Russian Government of A.V. Kolchak did the same, calling under the banner of the Siberian Volunteer Corps (see photo above left); Russian emigrants in Harbin and Paris, and then the National Socialists in Germany.

Created in 1921 according to the sketches of Adolf Hitler, the party symbols and flag of the NSDAP (National Socialist German Workers' Party) subsequently became the state symbols of Germany (1933-1945). Few people now know that in Germany the National Socialists did not use the Swastika, but a symbol similar to it in design - Hakenkreuz, which has a completely different figurative meaning - a change in the world around us and a person’s worldview.

Over the course of many millennia, different styles solar symbols had a powerful influence on the way of life of people, on their psyche (Soul) and subconscious, uniting representatives of various tribes for some bright purpose; gave a powerful surge of light divine forces, revealing the internal reserves in people for comprehensive creation for the benefit of their Clans, in the name of justice, prosperity and well-being of their Fatherland.

At first, only the clergy of various Tribal cults, creeds and religions used this, then representatives of the highest state authorities began to use swastika symbols - princes, kings, etc., and after them all kinds of occultists and political figures turned to the Swastika.

After the Bolsheviks completely captured all levels of power, the need for support of the Soviet regime by the Russian people disappeared, because it would be easier to confiscate the values ​​​​created by the same Russian people. Therefore, in 1923, the Bolsheviks abandoned the Swastika, leaving only the five-pointed star, Hammer and Sickle as state symbols.

In ancient times, when our Ancestors used the X’Aryan Runes, the word

- Swastika, translated as Came from Heaven.

— The SVA rune meant Heaven (hence Svarog - Heavenly God),

— C - Rune of direction;

— TIKA runes - movement, coming, flow, running.

Our children and grandchildren still pronounce the word “tick”, that is, to run. In addition, the figurative form of the TIKA runes is still found in everyday words Arctic, Antarctic, mysticism, homiletics, politics, etc.

Ancient Vedic sources tell us that even our galaxy has a shape Solar symbol, and our Yarila-Sun system is located in one of the arms of this Heavenly Swastika. And since we are located in the galactic sleeve, our entire galaxy (its ancient name is Svasti) is perceived by us as Perun’s Way or the Milky Way.

Everyone knows that the Slavic prince Oleg the Prophet nailed his shield to the gates of Constantinople (Constantinople),
but few people now know what exactly was depicted on the shield. However, a description of the symbolism of the Prophetic Oleg’s shield and his armor can be found in historical chronicles (Drawing of the Prophetic Oleg’s shield on the left).

Prophetic people, that is, those who have the gift of Spiritual Foresight and those who know the Ancient Wisdom that the Gods and Ancestors left to people, were endowed by the Priests with various symbols. One of the most notable representatives of prophetic people was the Slavic prince - Prophetic Oleg.

In addition to being a prince and an excellent military strategist, he was also a high-level priest. The symbolism that was depicted on his clothes, weapons, armor and princely banner tells about all this in detailed images.

The Fiery Swastika (symbolizing the land of the Ancestors) depicted on the shield of the Prophetic Oleg in the center of the nine-pointed Star of England (symbol of the Faith of the First Ancestors) is surrounded by the Great Kolo (Circle of Patron Gods), which emits eight rays of Spiritual Light (the eighth degree of Priestly initiation) to the Svarog Circle. All this symbolism speaks of the enormous spiritual and physical strength that was directed to protect the Motherland and the Holy Old Faith.

They believed in the Swastika as a talisman that “attracts” good luck and happiness. In Ancient Rus' it was believed that if you draw Kolovrat on your palm, you will definitely be lucky. Even modern students draw Swastikas on their palms before exams. Solar symbols They also painted on the walls of the house so that happiness would reign there.

As a cult and everyday solar symbol that brings happiness, good luck, prosperity, joy and prosperity, the Swastika was initially used only among the white people of the Great Race, professing the Old Faith of the Ancestors - Ingliism, in the Druidic cults of Ireland, Scotland, and Scandinavia.

The only ones who don't recognize solar symbols sacred are representatives of Judaism.

Some people may object: they say that in the oldest synagogue in Israel there is a Swastika on the floor, and no one destroys it. Really, solar symbol is present on the floor of the Israeli synagogue, but only so that everyone who comes tramples it underfoot.

Various variations of Swastika symbols with no less different meanings are found not only in cult and protective symbols, but also in the form of Runes, which, like letters in ancient times, had their own figurative meaning. So, for example, in the ancient Kh’Aryan Karuna (Runic alphabet), there were four Runes depicting Swastika elements:

It had a figurative meaning: a powerful, directed, destructive flow of fire (thermonuclear fire).

Had figurative meanings:
The Sacred Fire of the hearth, as well as the Sacred Fire of Life, located in the human body, and other meanings.

Had a figurative meaning:
Ice Flame guarding the Peace of the Universe. Rune of transition from the World of Reveal to the World of Light Navi (Glory), incarnation in a new Life. Symbol of Winter and Sleep.

Had a figurative meaning
The Primary Fire of the Creation of the Universe, from this Fire many different Universes and various forms of Life emerged.

Solar elements in Russia were used not only by the Bolsheviks and Mensheviks for political purposes; much earlier than them, representatives of the Black Hundred began to use Solar symbols. At the end of the 20th century, the Russian National Unity organization began to use Swastika symbols.

Solar symbols carry a huge secret meaning. They contain enormous Wisdom. Everyone reveals to us the Great Picture of the Universe. The study of ancient symbols, Runic writings and ancient Traditions must be approached with an open heart and a pure Soul. Not for profit, but for knowledge!

A knowledgeable person will never say that Solar symbolism is a German or fascist symbol. Only foolish and ignorant people say this, because they reject what they are not able to understand and know, and also try to pass off what they want as reality. But even if ignorant people reject a symbol or information, it does not mean that the symbol or information does not exist. Denial or distortion of the truth to please some disrupts the harmonious development of others.

Even the ancient symbol of the Greatness of Fertility of the Mother of the Raw Earth, called in ancient times SOLARD, is considered by some incompetent people to be a fascist symbol. A symbol that appeared many thousands of years before the rise of National Socialism.

At the same time, it does not even take into account the fact that SOLARD in the symbolism of RNE is combined with the Star of Lada the Mother of God (see right), where the Divine Forces (Golden Field), the Forces of the Primary Fire (red), the Heavenly Forces (blue) and the Nature (green).
The only difference between the original Mother Nature Symbol and the sign that RNE uses is the multi-colored nature of the Original Mother Nature Symbol (right) and the two-colored one of the Russian National Unity.

Ordinary people had their own names Solar symbol. In the villages of the Ryazan province he was called “feather grass” - the embodiment of the Wind; on Pechora - “hare”, here the graphic symbol was perceived as a piece of Sunlight, a ray, a Sunny Bunny; in some places the Solar Cross was called “horse”, “horse shank” (horse head), because a long time ago the horse was considered a symbol of the Sun and Wind; were called Swastika-Solyarniks and “Ognivtsy”, again, in honor of Yarila the Sun. The people very correctly felt both the Fiery, Flaming Nature of the symbol (Sun) and its Spiritual essence (Wind).

The oldest master of Khokhloma painting, Stepan Pavlovich Veseloye (1903-1993) from the village of Mogushino, Nizhny Novgorod region, observing traditions,
painted on wooden plates and bowls, calling it “saffron milk”, the Sun, and explained: “It is the wind that shakes and moves the blades of grass.”

In the photo you can see swastika symbols even on the carved cutting board (left).

In the village, to this day, girls and women wear smart sundresses, ponevas and shirts on holidays, and men wear blouses embroidered with swastika symbols of various shapes. They bake lush loaves and sweet cookies, decorated on top with Kolovrat, Posolon, Solntsevorot and others. Solar symbols.

As mentioned earlier, before the onset of the second half of the 20th century, the main and almost the only patterns and symbols that existed in Slavic embroidery were Swastika ornaments.

The enemies of the Clans of the Great Race in the second half of the 20th century began to decisively eradicate this, and eradicated it in the same way as they had previously eradicated the Ancient Folk Slavic and Aryan Culture, the Ancient Faith and Folk Traditions, the true, undistorted by the rulers, History, just as they were destroying the long-suffering Slavic itself The people, the bearer of the ancient Slavic-Aryan Culture.

And even now they are trying to ban any types of rotating Solar symbols in many ways the same people or their descendants, but using different pretexts: if earlier this was done under the pretext of class struggle and anti-Soviet conspiracies, now it is a fight against the manifestation of extremist activity.

For those who are not indifferent to the ancient Native Great Russian Culture, here are several typical patterns of Slavic embroidery of the 18th-20th centuries. In the presented fragments you can see for yourself Solar symbols and ornaments.

The use of swastika symbols in ornaments in the Slavic lands is simply innumerable. They are used in the Baltic states, Belarus, the Volga region, Pomorie, Perm, Siberia, the Caucasus, the Urals, Altai and the Far East and other regions.

Academician B.A. Rybakov called Kolovrat the connecting “link between the Paleolithic, where it first appeared, and modern ethnography, which provides countless examples of swastika patterns in fabrics, embroidery and weaving.”

But after the Second World War, in which Russia, as well as all the Slavic and Aryan peoples, suffered huge losses, the enemies of the Aryan and Slavic Culture began to equate fascism with the Swastika, although the Slavs used this throughout their entire existence.

The flow of lies and fabrications regarding the Swastika has filled the cup of absurdity. “Russian teachers” in modern schools, lyceums and gymnasiums in Russia teach children complete nonsense that The swastika is a Nazi cross made up of four letters "G", denoting the first letters of the leaders of Nazi Germany: Hitler, Himmler, Goering and Goebbels (sometimes replaced by Hess).

Listening to such “would-be teachers”, one might think that Germany during the time of Adolf Hitler used exclusively the Russian alphabet, and not at all the Latin script and the German Runic.

Is it in German surnames: HITLER, HIMMLER, GERING, GEBELS (HESS), there is at least one Russian letter “G” - no! But the flow of lies does not stop.

Patterns and elements from solar symbols used by the peoples of the Earth over the past 10-15 thousand years, which is confirmed even by archaeological scientists.

Ancient thinkers said more than once: “Two troubles hinder human development: ignorance and ignorance.” Our Ancestors were knowledgeable and in charge, and therefore used various Swastika elements and ornaments in everyday life, considering them symbols of Yarila the Sun, Life, Happiness and Prosperity.

Only narrow-minded and ignorant people undertake to denigrate everything pure, bright and dear that remains among the Slavic and Aryan peoples.

Let's not be like them! Do not paint over Swastika symbols in ancient Slavic Temples and Christian churches, on the Kumirs of the Light Gods and the Images of the Many-Wise Ancestors.

Do not destroy, at the whim of the ignorant and Slav-haters, the so-called “Soviet staircase”, the mosaic floor and ceilings of the Hermitage or the domes of the Moscow St. Basil’s Cathedral just because various options have been painted on them for hundreds of years Solar symbols.

One generation replaces another, state systems and regimes collapse, but as long as the People remember their ancient roots, honor the traditions of their Great Ancestors, preserve their Ancient culture and symbols, until that time The people are ALIVE and will LIVE!

In past centuries, embroidery for peasants was never just decoration. On the contrary, Slavic ornaments were considered a powerful magical tool capable of creating order out of chaos. In order for life to develop according to the desired scenario, a person had to have a supernatural image, as if a reduced “model” of well-being. This role was played by elements of embroidery on clothing or woven household items, made with one’s own hand or by those closest to them.

Of course, the products were not made just like that, but according to strictly observed canons. When embroidering motifs, not only the exact execution of the element was required, but also the quality of the stitches, equally beautiful on the front and back sides, without knots. From this, the magical power of the product increased many times over and formed an even and strong energy field around the owner.

Different symbols of the Slavs had different thematic meanings. Each element of the ornament performed a specific function: protection from diseases, assistance in spiritual quests, preservation of the family, etc.

For example, in the Sverdlovsk region it was customary for loved ones to embroider something with the following symbol:

It means “Unity and harmony of masculine and feminine principles”, serves to strengthen love and family ties. And the women’s amulet “Blessing of Mother Earth and Ancestors” (Tver region) looks like this:

These Slavic ornaments on clothes gave the woman the belief that she would have many healthy, strong and smart children, and that her youth would not fade for a long time.

“The Sun’s blessing of grains in a field” (Perm region) can be interpreted by contemporaries as a talisman for successful business and academic success, mastering new knowledge:

There is another interpretation of this symbol - “The Holy Union of the Sun and Earth.” Our ancestors believed that this ornament guaranteed a bountiful harvest.

In the Yaroslavl region, a light curtain over a cradle and the clothes of children and teenagers were often decorated with the following embroidery:

It is called “The Blessing of the Seven Elements”: fire, water, earth, air, matter, spirit and mind. Served to protect children from all misfortunes.

“True Love” is already a wedding talisman from the Perm region:

Slavic ornaments, on which S-shaped figures are embroidered, depict pairs of white swans. And the red motifs between them form repeating symbols of Mother Earth. They bless the couple, granting protection from any harm, true and eternal love based on friendship, respect and care.

Ritual embroidery for expectant mothers “Healthy pregnancy and happy motherhood” from the Perm region looks like this:

This is like a graphic spell for a healthy pregnancy and easy childbirth - a blessing from Mother Earth for the mother and baby.

In the computerized era, you won’t see outfits with such embroidery, except that in winter you can see mittens with an ornament on a child. And yet, the ancient art of embroidery of pagan symbols has not gone into oblivion, it is actively being revived. Slavic ornaments attract people not only with their beauty; the belief in their magical power is still alive. This, of course, is good, it means that folk art has survived. And a new wave of interest in the knowledge of our ancestors will certainly revive symbolic art.

Slavic patterns and their history

Since ancient times, the art of the Slavs has been distinguished by its mystery and belief in magical powers. All this is clearly expressed by Slavic patterns, which were used for various purposes and individual patterns and compositions were created according to them. Each pattern was believed to have a special and individual magical power that could protect, strengthen, or even make richer anyone who wears it.

Mysterious Slavic patterns and their meanings

As everyone knows, art and religion are opposite poles, which, nevertheless, cannot exist without each other. It's funny that the religion of our ancestors had very interesting origins: these include Slavic patterns and other symbols, which later became church symbols. Even ancient Russian temples and divine fortresses were completely decorated with special ornaments. So let's talk and reveal the mysterious letters, signs, and find out what the Slavic pattern is and where it is used...

Architecture and ancient beliefs

For us, ordinary tourists and eternal passers-by, numerous Slavic churches seem simply beautiful and interestingly decorated, but in fact they can also be dangerous for people with an unclean soul. The fact is that thanks to their ancient alphabet of seemingly cute and harmless patterns, the Slavs could cast a kind of spell that could torture and heal the unclean.

If you look closely, you will notice that all Slavic patterns have their own meaning, for example, above almost all the entrances to the temple, on the top left side, there is a small “picture”, which is a guardian of peace. The Slavs believed that it was thanks to this pattern that when entering the temple, people were seized with peace and harmony, which gave strength to any lost soul.

Often, each temple was surrounded by Slavic patterns, which symbolized restraint. But this is not the only interpretation, since there is an opinion that this belt symbolized majesty, since it often had a chic and voluminous relief, it can be compared to a royal belt or crown...

The most interesting thing is that you cannot give a name to each and every one, since Slavic patterns have millions of varieties. Each ornament changed from year to year, and each spiritual representative had the right to change all meanings or add new ones. It is also important that each pattern was cut by hand, but only believers and adult craftsmen took part in the work, who gave their lives to art and faith.

Clothes: how they were selected and decorated...

The most interesting thing was the production of shirts and sundresses, which were decorated with Slavic patterns. The patterns were selected directly for the person who subsequently wore the item. As a rule, such ornaments were created with the aim of making the character of its owner stronger and more resilient. For example, if a boy was born weak, then he needed a pattern that would give strength, and if a girl was unkempt, then, accordingly, the pattern should give her cleanliness and neatness... The most important thing was that the pattern was selected after 5-6 years, this complex task belonged to the grandmother, and until the child was five years old, he wore clothes with a protective Slavic pattern.

Slavic patterns

SYMBOLICS OF EMBROIDERY ORNAMENT

The ancients believed that evil forces could penetrate through the edges of clothing (hem, sleeve edges, collars), and therefore these parts of clothing had to be protected with embroidery.

Ornament (from the Greek “ornamentum”) decoration.

In Rus' they used the word “pattern”.

“Pattern” comes from the ancient Slavic word “behold” - to see. See the beauty.

In Slavic ornament, red is the main color.

Geometric patterns are inherent in all Slavic mythology.

The rhombus is the most common embroidery pattern of all East Slavic peoples.

The diamond has many meanings: sun, fertility, agriculture.

A rhombus with extended sides is a symbol of the crown of a log house.

A rhombus divided inside into 4 parts is a plowed field.

A rhombus with dots inside is a symbol of a sown field.

A rhombus with hooks at the top and bottom (rhombus-frog) is a symbol of the feminine principle in nature (fertility, birth of children).

A cross with curved ends (solar sign) is a symbol of the solstice, the change of day and night.

There is a wide variety of designs and two directions of rotation.

The horizontal wavy line is a symbol of water.

A straight horizontal line is a symbol of the earth.

A female figure with arms raised to the sky stands in the center of the pattern

and dominates the animals and plants around her - a symbol of Mother Earth.

At her feet there is a jagged line - water.

The East Slavic goddess Bereginya, or Mokosh (Makosh), was considered the patroness of water, family hearth, and fertility.

"Firebird" - spring sun.

The horse is the guardian of the hearth. According to legend, the horse participated in the movement of the sun across the sky.

Eagle, falcon, rooster - in different regions of Russia these three birds symbolized fire.

“A pair of birds” is a symbol of the bride and groom.

Floral patterns – prosperity, wealth, birth of children.

A variety of plants are found in embroidery depending on the area.

In the south - roses, periwinkle. In the middle zone there are cornflowers and ferns, in the north there are coniferous branches.

The image of a sacred tree is found among many peoples.

In Rus', the sacred tree was the birch.

Ukrainian embroidery is characterized by the following floral patterns:

“Grapes”, “Hops”, “Oak Leaves”, “Periwinkle”, “Roses”, “Currant”, “Viburnum”, “Lily”.

"Periwinkle" is a symbol of unfading life.

"Apple circle" divided into 4 parts and opposite parts,

made in one color - a symbol of love.

"Grapes" is a symbol of family.

"Stars" are a symbol of the Universe.

"Lily" is a symbol of girlish purity and innocence.

“Oak” is a symbol of male energy and life.

“Hop” refers to wedding and youth symbolism.

“Tree of Life” - an ancient symbol depicted in the form of stylized leaves and branches.

The sun is the source of life, possessing life-giving power.

The culture of all peoples of the world developed in its own individual direction and had its own special path of formation. At the same time, in the monuments of the past that have survived to this day, one can easily discern common motifs that are simultaneously characteristic of all countries, nationalities and peoples of the world.

How can we explain such an amazing fact? If you delve closely into the history of art of each individual nation, you can trace a smooth transition from a primitive, untransformed consciousness, endowed with the simplest forms and images, to a more complex, highly artistic and sophisticated perception of reality.

The most compelling evidence of the commonality of cultures is the ornamental symbols that are present in the paintings of all modern peoples in the form of centuries-old, traditionally established artistic forms. If we analyze the elements of ancient ornaments, much will become clear in the way of thinking of the ancients, and the vector of development of global consciousness will come together.

First of all, it is worth noting that all folklore motifs were based on a mythological worldview. They are characterized by simplicity of lines, clarity of shapes and stability of repeating elements, the main ones of which are present to this day in the traditional ornaments of all peoples. Here are the most common and famous of them:

1. Symbolism of the feminine and masculine principles. In almost all cultures there are opposite images of Women and Men (in the abstract meaning of these forms). Most famous ornaments, one way or another, contain these forms in their composition as an integral attribute. For example, the simplest form in our opinion (X) underlies the symbol of the Masculine principle, and the opposite (+) symbolizes the Feminine principle. There are also combined symbols that combine both of these forms. The listed symbols are only the basic basis for drawing an ornament; they are supplemented and developed by numerous other elements.

Rosicrucian symbol. It signifies the atoning power of the blood of Christ and also represents the triumph of the spirit, the cycle of death and rebirth. In some interpretations it also symbolizes the union of the male and female divine principles. The Rosicrucians practiced black magic, cabalism and alchemy starting in the 17th century.

In the center of the embroidery is a symbol of the union of two clans, known as the Wedding Man. The merging of the masculine and feminine principles into one common force, unity and common destiny.

Traditional ancient Slavic solar symbols complement the action of the Wedding Party. Colard and Solard, solar crosses, were traditionally embroidered on the clothes of newlyweds.

Seal of Solomon, or Star of David

This is the famous magical seal of Solomon, or the Star of David. The upper triangle in her image is white, and the lower one is black. It symbolizes, first of all, the absolute law of analogy, expressed by the mystical formula: “What is below is similar to what is above.”

The Seal of Solomon is also a symbol of human evolution: one must learn not only to take, but also to give, absorb and radiate at the same time, radiate for the Earth, perceive from Heaven. We receive and are fulfilled only when we give to others. This is the perfect union of spirit and matter in man - the union of the solar plexus and the brain.

2. Symbolism of Earth and Sky. Also, two clearly opposite concepts can act either in opposition to each other or together, creating a symbol of idyll and harmony (the symbol of the Earth is an inverted equilateral triangle, the symbol of Heaven is a circle with intersecting lines enclosed in it).

In Buddhism, as well as in Japanese burials, you can also find statues consisting of these figures. At the base there is a square, then there is a circle, after that there is a triangle. The square is a symbol of the earth, and the circle is a symbol of the sky. The whole figure symbolizes man and denotes the connection between heaven and earth.

3. Symbolism of the Sun. At the dawn of the development of the arts, ideas about the world were far from those of today, there was no faith in a single God, and the cult of numerous pagan gods was welcomed. One of the most revered is the god Ra in Egyptian mythology (aka Yarila among the Slavs, Helios among the ancient Greeks, Tonatiuh among the Mayans and Aztecs, the sun goddess Amaterasu in Japan, etc.). It is quite understandable that the only correct symbolism of the Sun can be a circle, represented by each nation in its own interpretation.

Solar symbolism is the symbolism of the solar element, the sun, and the light gods.

Variants of the image of the solar disk

Indo-Aryan symbols among the Saltovites

This is the Solar symbol. The Russian name for the swastika is “kolovrat”, i.e. “solstice” (“kolo” is the Old Russian name for the sun, “vrat” is rotation, return). Kolovrat symbolized the victory of light (sun) over darkness, life over death, reality over reality.

4. Symbolism of movement and space. Depicted in ornaments in the form of a broken line. Moreover, what exactly the artist wanted to say largely depends on its direction and method of drawing. Thus, a smooth wavy line clearly means a positive direction - fertility, abundance, wealth, longevity, well-being in all its manifestations. A curve consisting of sharp lines speaks of repulsion, moving backward, breaking.

Swastika in the Star of England. The swastika is a symbol of the eternal circulation of the Universe; it symbolizes the Highest Heavenly Law, to which all things are subject. This Fire sign was used as a talisman that protected the existing Heavenly Law and order. Life itself curtained them from inviolability.

The circular mandala is associated with the natural cycles of the year. One of its axis was formed by the spring and autumn equinoxes, and the other by the summer and winter solstices. It is a universal symbol across cultures for the perception of space, time and direction.

Triquerta is a symbol-amulet, a symbol of movement.

The cross is a symbol of Unity and the key to Unity. A sign of the merger of the four cardinal directions - north, west, east and south. Each line of the cross is essentially a space-time spiral, which continuously generates two main flows of the Universe, as well as all its dimensions and levels.

This is just a small number of basic ornamental symbols that are common to all cultures at the same time. Ornaments made with their help can be complemented by other, less significant elements, creating a single harmonious composition, which, in addition to artistry, is endowed with a certain deepest meaning.