Interior of a Komi hut with black furniture. Lesson notes for the senior group: “Interior of a Komi hut

Target: Formation of ideas about the life and way of life of the people Komi

Tasks:

Continue to introduce children to everyday life and utensils Komi families; with creativity Komi people;

Give children information about the placement of furniture, cradle, stove in the interior of the hut.

Introduce new Komi words: kerka, pach, labich, sov doz, pan, tuis

Expand your horizons, develop mental operations, analysis, comparison.

To cultivate interest, respect and love for folk games.

Progress of the lesson:

Q: Guys, you would like to know how our ancestors lived in the past. I suggest taking a trip in a time machine. Now we will go to our Komi Republic into the past. Let’s close our eyes and say: “One, two, three, turn around and immediately find yourself in the past.”

(Children close their eyes, the teacher turns on the first slide, which depicts a wooden old house.) (Slide No. 1)

Q: In ancient times, as in our time, every person had a house. Why do you think a person needs a house? (Children's answers)

Q: People built houses for themselves to shelter from bad weather, from wild animals, and to warm themselves by the fire. We come home to rest and gain strength. What could people use to build a house before? (Children's answers)

Q: That's right, guys. A long time ago, people built their homes from wooden logs. And the house was called hut (according to komi-kerka). The church was built by the entire village or street.

What are modern houses called? Houses, cottages

Let's look at the interior of a Komi hut. (slide No. 2)

Guys, look, how is a hut different from your house?

Do you like to solve riddles? I will ask riddles, and you look for the answer inside the hut.

1. There is a hut, everyone is sitting on it. (Shop – labich).2. What kind of bird is it that stores salt? (Salt shaker - so many doses).3. She doesn’t eat herself, but feeds all the people. (Spoon - pan).4. A birch bark boy with a cap instead of a hat. It helps people a lot, it preserves all kinds of food. (Tues - tuis).

Guys, what can you store in a container?

What do you think was the most important thing in the hut?

5. Riddle: “He sleeps in the summer, he burns in the winter, his mouth opens, what they give him, he swallows”? In every Komi hut there is a fat Malanya who feeds and warms. Bake.

That's right, it's a stove. (slide number 3). The stove is the heart of the house. Why do you think they say this? What was the stove for? The stove fed the family, warmed the house, children and old people slept on it, (slide No. 4) dried clothes and even washed. Will Komi bake? Pach.

Let's look at the stove. (slide number 5). In the old days, the stove was located in a corner near the wall with front door. She occupied most in the house. The space near the stove was called “woman’s place.” Why do you think he was called that? In this place the hostess cooked food, sewed, and spun.

What do you think the housewife could cook in the stove? Cabbage soup, porridge, baked bread (slide No. 6)

What do you think a canopy is? Each house had a canopy. Where various household tools were stored. (scissors, scrapers, sieve, various tools, chest, etc.) (slide No. 7)

The Komi people also loved to decorate their homes. And he decorated the products with elements of Komi ornament. (slide No. 8) Do you know the elements of Komi ornament? Let's play the game “Recognize and name the element of the Komi ornament.”

Well done. You know many elements.

Guys, what do you think, how did people spend free time How did you relax and have fun? They didn’t have a TV or a computer back then.

(Children's answers)

Q: Women sewed and knitted, men made crafts. They also organized holidays and entertainment. (slides 9 and 10), where Komi people sang songs, danced in circles, and played various games. Let's play one very interesting game. This game is called: “Let's make friends.” For this game we need to make two circles. One circle is boys, the other is girls. We also need 2 assistants, they will hold the scarf between two circles. Under the Komi melody you dance in a round dance, as soon as the music stops, the assistants lower the scarf, the two who are under the scarf must say polite words to each other in the Komi language.

Guys, take a little rest. Now I invite you to the table, here are pictures of Komi life. Let's play a game “Some are made of wood and birch bark, some are made of fur and fabric”. Boys will collect objects made of wood and birch bark into a basket, and girls will collect objects made of fur and fabric into a box.

Well done, everyone did it.

Last game “Repeat” (slide No. 11 with animation)(6 animations)

Is this a pot? No it's not a pot

Is this the number of doses? No, this is not the same dose.

Is this a pack? Yes, this is a pack. Etc.

We played well, visited the past, but it’s time to return to kindergarten. Let’s stand in a circle, close our eyes and say: “One, two, three, turn around and find yourself in the kindergarten.”

Well, here we are back at kindergarten. I really enjoyed traveling with you in the time machine. And next time we will go in a time machine through Komi fairy tales.

M.B. Rogachev © 1999

Due to the scarcity of sources, it is only possible to trace in general terms the evolution of Komi dwellings in the early stages of its development. The oldest type The dwellings of the Komi ancestors were dugouts and semi-dugouts with an open hearth. Archaeologists distinguish four types of buildings for the Eneolithic-Bronze period: log semi-dugouts, semi-dugouts of a pillar structure, polygonal tented semi-dugouts and ground structures without pits (the latter are most typical for the Bronze Age). The Ananyin and Glydenovsky times are characterized by rectangular, slightly recessed into the ground, log structures (3-5 crowns for winter and one crown for summer) with a hut-like ceiling on poles, covered with birch bark (in some Glyadenovo dwellings, holes from pillar structures were found). The development of this type of dwelling are buildings belonging to the Vanvizda culture (second half of the 1st millennium AD), apparently belonging to the direct ancestors of the Komi (Archeology 1997, pp. 268, 359, 427-428).

What follows is a “gap” in our knowledge about the development of housing, due to poor knowledge of the settlements of Perm Vychegda (X-XIV centuries). Perhaps the dwellings of the Permians were similar to those identified at the monuments of the Verkhnekamsk Rodanian culture of the same time, genetically related to the Komi-Permyaks, rather large log buildings without a foundation, under a gable roof, without a ceiling or windows, with bunks along the walls and a fireplace in the center. The dwelling was adjacent to outbuildings: a stable and a barn.

Ethnographer L.N. Zherebtsov, based on inventories of peasant farms of the Yarensk voivodeship office and other documents of the 17th-18th centuries, noted that in the Middle Ages the development of Komi housing was under the influence of northern Russians. On the similarity of Komi and North Russian dwellings at the end of the 17th century. Izbrand Ides indicated in his notes. Apparently, the Komi adopted from the Russians a three-part house, including a hut, a canopy and a cage (a room for storing household equipment, clothes, etc.), but the canopy did not receive the same development as in Russian housing. Houses with two huts appear and soon become traditional (the second hut replaces the cage that “passes over” to the farm yard). Wealthy peasants had buildings of a more complex composition: “a mansion-built hut and an upper room, two cages, including one opposite the upper room with a partition, the other opposite the hut.” Among the outbuildings, courtyards, barns, barns, and baths are mentioned. Apparently, already in the 18th century. a complex consists of two residential premises (two huts or a hut and an upper room), separated by an entryway, in one connection with the utility yard (Zherebtsov L. 1956, pp. 44-46).

And only extensive materials (descriptions of travelers, preserved buildings, etc.) of the 19th - early 20th centuries. allow us to get a fairly complete picture of the various types of Komi housing, reflecting the different socio-economic status of the owners, the features of the economic complex various groups Komi, the influence of the neighboring Russian population. In that brief overview Some of them, the most common ones, are discussed*.

The simplest type of dwelling, quite common back in the 40-50s, but now extremely rare, is a hut with a hallway enclosed by a solid wall, under a pitched roof. The barn was either absent or built separately from the house. Such a house was typical for the poorest peasant families (Belitser 1958, p. 178). Very similar to them are the huts sometimes found today with attached vestibules (in the form of a vestibule covered with boards), covered with a common pitched roof. But they cannot be attributed to this type. As a rule, these are the “remains” of two-hut complexes, in which one hut and a utility yard were dismantled due to disrepair or uselessness.

A very old type of house is the twin hut: two huts (one summer, the other winter), placed almost close to each other (at a distance of up to 1.5 meters), under pitched roofs, forming a common gable roof. The canopy, common to the two huts, is built at the back and connects the living area with the utility yard. It happens that both huts are summer huts, and the winter hut is fenced off in the rear part of the building, occupying half of the utility yard (underneath it in the basement there is a barn, which can be accessed directly from the living space). Another option: a three-walled utility yard is attached to the residential huts, the entrance is cut through its side wall, and the space serving as a canopy is only indicated by cuttings. Currently, twin huts are rare, mainly in Udora and Priluzye (Zherebtsov L. 1971, pp. 58-60).

However, by far the most widespread, and not only in the Komi region, but also in the Russian North and Siberia, was the one that developed in the 18th century. house-connection - two huts (warm and cold), “connected” by a vestibule, with a utility yard built into one connection. This design can be easily divided into individual elements, and over time, a hut that has become unusable can be replaced with a new one. There are buildings in which one part is a traditional four-walled hut under a pitched roof, and the other, newer part is a five-walled hut with a gable roof. If desired, other elements can be added to the main structure. On the middle Vychegda, for example, a small cold room is attached to one of the huts, but the farm yard is not lengthened, and the result is an L-shaped building.

Architect I.N. Shurgin identified two types of connection houses, tentatively calling them “Sysolsky” and “Vymsky”. "Sysolsky" house is mainly distributed in southern areas Komi habitats are on Sysol and Priluzye, as well as on the middle and upper Vychegda, but it is also found on the Vym. The “Vymsky” house exists not only on Vym, but also on Vychegda, Udora and lower Sysol. Both types have the same functional plan structure, and, apparently, developed simultaneously. The difference is in the orientation of the facade relative to the roof. In the “Sysolsky” house, the residential and utility parts have pitched roofs; in the “Vymsky” house, each hut has a pitched roof, which extends over the adjacent part of the utility yard. In both cases, a gable roof is obtained over the entire building (Shurgin 1988, pp. 200-220).

One of the most common types of housing is a six-walled house with an alley (a house with a medium-sized cold room), the spread of which can be traced back to the second half of the 19th century. The middle room is located in the place of the vestibule near the communication house. It is smaller in size than the winter and summer huts, connected by a passage to only one of them, and sometimes serves as an additional room (usually a bedroom), sometimes as a utility room (closet or workshop). The residential part of such a house is connected to the utility part through a vestibule, similar to a twin hut. In all likelihood, this type of house appeared as a result of modification ("sliding" of two main walls) of a twin hut. But it is possible that this is a modified house-connection of the “Vym” type, at least “the main zone of distribution of the six-walled building is adjacent to the localization of the Vym dwelling, penetrating into its environment” (Makovetsky 1962, pp. 43-45; Shurgin 1990, pp. 307).

Also in the second half of the nineteenth century. (on Izhma, probably much earlier) such currently ubiquitous types of housing as a five-walled building (a four-walled log house divided by a fifth main wall) and a six-walled cross-shaped building (a square log house in plan, divided into four parts by two main walls intersecting under right angle). Five-wall buildings come in two types: with a gable roof on the rafters and a utility yard, “connected” by a canopy to the residential part (like a twin hut) and with a four-slope roof on the rafters, not connected to the utility yard. Six-wall cross buildings always have a hipped roof on the rafters and are not connected to the utility yard. In a five-wall building, living quarters are traditionally divided into summer and winter. In a six-wall cross, one room replaces the canopy, the second serves as a kitchen, and two rooms are living rooms (both heated). Currently, instead of a vestibule, a covered porch with a vestibule and a veranda is being added (in such a house there are three living rooms).

Both the five-wall and the six-wall cross appear in the Komi region in a “ready-made” form. The five-wall building with a gable roof “came” from neighboring Russian regions, where it had been common for a long time. The appearance of five-wall and cross-wall buildings is associated with the city, where these types of houses began to be introduced as “model projects” from the beginning of the 19th century. Accordingly, the first type of five-wall is more common in the village, and the second and cross-shaped are more common in the city. A peculiar type of five-walled building is a house with a mezzanine. There are houses where the light is fenced off in the under-roof space, with a window cut into the street, and houses with a “tower” - a small four-walled frame “resting” on the ceiling.

Two-story houses are typical only for the Komi-Izhemtsy and the neighboring Russian Ust-Tsilema. By design, they belong to the types already known to us. The most common is a two-story five-wall building (in the village of Izhma there is a house of this type built in 1781), which has two living spaces on each floor. For such a house, the canopy is built at the back of the living part and connects it with the utility yard. Less common are two-story connected houses (the entrance is arranged from the facade, through the vestibule; on the second floor, due to the space above the vestibule, three living rooms are obtained) and six-walled houses with a side street (the vestibule, like a five-walled one, is arranged behind the living part, and on each floor there are three living rooms). Many of these houses can be considered two-story only with some stretch, since the first floor is equipped in the basement. IN special group We can highlight a few two-story mansions with a mezzanine of wealthy reindeer herders and traders (the houses of Popov, Noritsyn in the village of Izhma, and others). They differ not only in layout, but also in decor.

In other areas, two-story houses were found only among merchants. In such houses the first floor in the basement was used as commercial premises. Trade is associated with the appearance of two-story houses in the few villages where fairs were held. For example, from the end of the nineteenth century. two-story houses began to be built in the village of Vazhgort on Udora, where a large Epiphany fair was held. The peasants rented out the lower floors for shops and warehouses to visiting traders, and the upper floors were allocated for housing. Vazhgort houses differ from Izhem houses in that they are divided into three parts: the front summer half (five- or six-walled), then, through the entryway on the second floor, a utility yard, and a winter quarters (the second floor is residential, and the first floor houses a stable) (Zherebtsov L. 1971, pp. 66-68).

Brief description of the main design features of Komi traditional home shows extreme rationality and adaptability to the harsh northern conditions (primarily heat preservation and waterproofing) of its design. Despite its external simplicity and unpretentiousness, a peasant house embodies centuries-old construction experience - it contains many simple and ingenious devices and structures that contribute to the stability of the building, reliable fastening of its parts, etc. Main building material In the forest region, naturally, a tree served. Only in Ust-Sysolsk could one find a few brick residential buildings. In the village, only churches were made of stone (at the beginning of the twentieth century - about half of all churches in the Komi region) and, in some villages, administrative buildings and schools.

Houses were built from thick pine or larch logs (usually only the lower crowns, which were most exposed to water, were made of larch, which is resistant to rotting). The usual number of crowns is 15-17 (along the pediment). The floors were laid at a height of 1.5-2 meters from the ground. The high basement, common for all northern houses, helped to retain heat and “raised” the living part above the snow. “The dwelling of the local residents is distinguished by its enormousness and massiveness: Initially, two log houses are erected, for two separate huts, at a distance of a fathom from one another. These log houses can be up to 3 in height sazhen*: When two huts are erected, they begin to build a canopy. They are made between the huts and are usually taken from logs, attached, without special fortifications or connections, to the ends of the hut logs," - this is how the “Vym” house-connection in the middle was built XIX century (Avramov 1859, No. 42).

The houses were built “without any plans or foundations.” However, buildings “on the ground” (the first crown is placed directly on the ground) were very rare. Usually the log house was placed on “chairs” (pine logs dug into the ground) or stones placed under the corners of the building. There were also combined options (it was believed that if the house stood only on stones, it would be cold). Only in the second half of the twentieth century. houses appear on strip foundations.

The corners of the log house were cut into a “bowl” with an “outlet”. Cutting "in the paw" was common in the city, but in the villages they began to cut it this way only in the last 30-40 years. The logs of the log house were necessarily lined with moss (for thermal insulation). Until the middle of the nineteenth century. the groove was cut out in the upper part of the log, which was impractical, since water accumulated in the grooves and the log house quickly became unusable. Later, they began to cut the groove at the bottom of the log, which is technically more difficult, but makes the construction more durable. In some old buildings, the upper rims are lined with birch bark, which serves as waterproofing (Zherebtsov L. 1971, P.41). Only at the end of the nineteenth century. houses paneled and painted appear (probably this innovation came from the city, where paneled houses appeared in the first half of the 19th century). Sheathing and painting houses became a widespread custom only in the second half of the 20th century.

The floors were always made double to preserve heat. In the middle of the nineteenth century. they were laid “from whole logs, and on top of them there were other thick blocks split into two with special axes” (Avramov 1859, No. 42). Later, floors began to be assembled from blocks hewn on both sides, tightly fitted to each other using notches driven into the groove of the next block. A similar method was used to attach the floor to the walls of the log house. But there was also another: the log to which the floor adjoins is half-shaved in order to fit the outer block more tightly, and the floor is supported on crossbars (two of them must be laid close to the walls), placed perpendicular to the blocks.

In the surviving houses of the second half of the 19th century. There are ceilings made of whole or split logs in half (with the round part down). Later, the ceilings began to be made from the same blocks as the floor, covering them with earth on top. The ceiling was attached to the walls using a cutout, similar to the floor. In the center, the ceiling rests on a thick round log - matitsa. The floor and ceiling blocks were laid perpendicular to the entrance. Painting ceilings and floors with oil paint is a rather late phenomenon.

The usual number of windows on the facade is six (three in each hut). The five-walled and cross-shaped buildings usually had four windows. In the first half of the nineteenth century. the windows were cut out small (30x40 cm), and the middle window was always slightly larger than the outer ones. They were made single-frame, without platbands. “Small fragments of dull glass are inserted into the frames of these windows, and if there is a shortage of them, the frames are covered either with bull bladder or with scraps of canvas soaked in cow fat; in winter, from the outside, for greater warmth, thin transparent ice is frozen into the windows” (Mikhailov 1852 , p. 322). In the surviving houses of the late 19th century. on Sysol, upper Pechora, upper Vychegda you can find small portico windows above the stove (it is located on the wall opposite the entrance, with its mouth facing the door, and the stove window served to illuminate the floors). At that time. Large (70x90 cm or more) slanted windows with two frames, but without shutters, were already being cut everywhere. Casement windows were very rare.

The entrance to the house was decorated in different ways. In houses with an internal staircase in the hallway, it is located at ground level and is decorated with a small pavement of blocks and railings. The porches of Izhemsk two-story houses were completely absent or were low. But more often the entrance to the vestibule was made at floor level, and a high porch led to it, very noticeable against the background of the monotonous, almost undecorated facade of a residential building. Usually it consists of a platform fixed on four pillars, to which a steep staircase leads. The porch was covered with a flat ceiling, a pitched or gable roof. The porches of the houses on Vym are distinguished by their originality: the lower platform and steep staircase were covered with a flat roof on pillars, and the upper platform had a ridge ceiling decorated with carvings. Similar porches are found on Udora, only without the lower platform. The design of a porch with a vestibule or veranda, which is common today in the 19th century. not applied.

The roof was covered with planks in two rows, and the planks were laid in a checkerboard pattern to ensure water resistance. To drain water in the narrows, a gutter or two paths were cut out (the second option is a later one). The tess was laid on his bed and pressed down with poles on top. The lower ends of the narrows rested on a drainage gutter, mounted on “hens,” and the upper ends were fixed on a prince’s log. With a single-pitched roof covering two huts, the ends of the roofs often did not meet, but went one under the other. This constructive technique was typical for “black” huts - smoke was drawn out into the crack. With a gable roof, the ends of the planks were pressed down from above with a slab - a log with a groove hollowed out in the lower part. For the ohlupnya, a log with a butt was selected, from which a stylized figure of a duck or horse was carved. The truss structure for fastening the roof, which is quite widespread today, was only available in “urban” five-wall and six-wall cross structures.

A traditional Komi peasant house, massive, made of logs darkened by time, is poorly decorated and therefore looks rather ascetic. In addition to ohlupnyas, “hens” were completed with stylized figures of birds. Figuratively carved outlets and threads treated with notched carvings are much less common. In houses of the late nineteenth and early twentieth centuries. Sometimes there are cornices and roof piers and window frames decorated with sawn carvings. It should be noted that few decorative elements are distinguished by significant plastic diversity (Gribova 1980, pp. 32-51).

Internal structure of Komi traditional house in many ways similar to Northern Russian housing. The initial division of premises into a hut, a canopy and a cage already in the 18th century. is replaced by a division into a winter hut, a canopy (they were used not only for access to living quarters and the utility yard, but also as a storage room) and a summer hut (upper room), and there could be several upper rooms, depending on the type of house. The kitchen was very rarely separated into a separate room. The main living room was the winter hut, “the Zyryan’s always favorite peace.” As a rule, the owners did not live in the summer hut - it served as the front, guest part of the house. At the end of the nineteenth century. stoves began to be installed in the summer hut, so that it only by tradition retained its name. But the summer hut remained the front part of the home, with the exception of those cases when one house was “shared” by two families (families of brothers or the parental family and the family of a married son).

Of course, the most honorable place in the house was given to the Russian stove (Dutch stoves appeared only at the beginning of the twentieth century, and then mainly in the city), according to figuratively M. Mikhailov - to the “Zyryan heat”, which occupied “more than half of the room, which, in itself, would have been very spacious without it.” In the middle of the nineteenth century. on the upper Pechora and upper Vychegda, Vishera and Lokchim adobe ovens were still found (Belitser 1958, p. 186). But even at that time, in most houses the stoves were made of unbaked brick, made by the peasants themselves. The stoves were placed either on poles or on a frame made of blocks and were raised above the floor. Bricks or stones filled with liquid clay were laid in several rows on a wooden base. On this basis, the walls and a hemispherical firebox were laid out, and the space between them was filled with small stones with liquid clay. A stitch of clay and sand was made on top, on which the planks of the couch were laid. The height of the stove without a chimney reached two meters. Back in the first half of the nineteenth century. Black stoves (without a chimney) predominated. However, M. Istomin noted in 1862 that “there are currently no so-called black huts with smoke walls in the Izhemsky village.” On Udor in the 70s. XIX century, according to the observation of In. Popov, “many huts are half black and half white. However, recently they began to build only white huts, preferring them to black ones, in order to avoid smoke and cold during the fire” (Istomin 1862, p. 137; Popov 1875, no. 89). Black stoves survived the longest in the upper reaches of the Vychegda, Vym and Pechora.

The most common type of internal layout of a hut is the Middle Russian one, when the stove is located next to the entrance, with the mouth towards the front wall. In this case, the “red corner” (the most revered place in the house, where icons are placed, a table and benches for communal meals) is located near the front wall, diagonally from the stove. Another type, found in the houses of the Verkhnevychegda, Verkhnepechora and Sysolsk Komi, the stove is located at the front wall, with its mouth towards the entrance, and the “red corner” is located near the door. Apparently, “among the Komi this plan arose completely independently, it is the most ancient plan in general and the oldest plan in this territory, its origin is connected with the earlier dwellings of the Komi - a dugout and a half-dugout, in which the door served the only source light" (Belitser 1958, p. 185). The location of the stove also determines the location of the golbets (underground under the living area for storing food and household utensils) and the floors. In the first case, the floors were installed above the door, and the entrance to the golbets was between the stove and the wall houses, in the second - the floors were laid near the front wall of the house, opposite the entrance, and the entrance to the underground was located at the outside of the stove.In the white huts, even with a stove, the floors and golbets were not installed.

The interior space of the hut is clearly divided by matitsa into “front” and “back”. The guest, as a rule, remained in the front part and, without the invitation of the hosts, did not move beyond the mother to the back, family part. The space in front of the stove is considered the female part, the kitchen. It is distinguished by two beams located approximately two meters high perpendicular to the entrance (kitchen utensils were placed on the beams). Opposite the stove was the “red corner” - the most honorable, family ritual place and place of meals.

The interior of a peasant house is extremely simple, even ascetic. All the furniture was a homemade large table in the “red corner”, wall benches (attached in a groove cut into the logs of the wall) and a small table by the stove. Shelves for household items were attached to the walls at human height. Clothes were stored in chests, and dishes were stored in small box at the stove (counter). The family slept on the stove and sheets. The hut was illuminated by a torch fixed in a special metal holder.

At the end of the nineteenth and beginning of the twentieth centuries. elements of the interior of “urban” housing are beginning to penetrate into the rural environment. Furniture includes beds, small tables, chairs, stools, wardrobes handicraft production. Painting walls, floors and ceilings, and wallpapering walls (the logs of the inside of the wall are first trimmed) are becoming somewhat widespread. Curtains appear on the windows, lithographs and photographs appear on the walls. The torch is replaced by a kerosene lamp. But these innovations were typical for a small part of the rural population - the clergy and intelligentsia, wealthy peasants, especially in Izhemsk and suburban villages.

25 Clothing of the Tatars and Bashkirs

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Text content of presentation slides: Traditional house Komi-Zyryan, beginning XX century.Village of Verkhozerye, Udora district of the Komi Republic. 1990 http://pics.livejournal.com/varandej/pic/0010151d The most important thing in a hut is the stove. It gave people warmth, they cooked food in the stove. And they dried mushrooms and berries over it for the winter. The space near the stove was called “woman’s place.” The “Red Corner” was always located diagonally from the stove. The “heavenly” fire - the lamp - was always burning here. This is the most honorable place in the house. The dear guest was seated here, father and son talked here. http://altertravel.ru/professor/march_01_2008/photo_06.jpg http://www.evarussia.ru/upload/produkt/282/282_1.jpg Various household tools were stored in the canopy (sheep shearing scissors and scrapers for sanding logs, carding, sieve, ratchet). All items belong to the village residents and were collected in the national museum during 2005-2006. April 2006. Ust Vym. Interior of the winter half. Kitchenware. April 2006, Ust-Vym http://www.finugor.ru/files/images/IMG_1084.preview.jpg Winter half. All furniture self made craftsmen of the village of Ust-Vym. In the next room you can see a weaving mill, on which, in addition to woven fabrics, rugs were also made. 2006, Ust-Vym. http://finugor.ru/files/images/IMG_1088.preview.jpg http://fotki.yandex.ru/users/tadishheva/view/1392/?page=0 http://s41.radikal.ru/i094 /0811/6e/2dba258017a0.jpg http://www.altertravel.ru/images/367/2.jpg There are no partitions or separate rooms in the hut. Here is the kitchen, and the front red corner, and the hallway - the sub-porozhye. The height of the log ceiling is amazing (height from the floor 3.3 m). Probably, the hut used to be a smokehouse, that is, it was heated “in the black.” Later a white adobe stove was installed. It occupies almost a quarter of the volume of the hut. The area of ​​the hut is small, about 25 m2. However, a large family lived here - more than ten people, and everyone had their own place during work, lunch, sleep... Komi-Permyak hut "Kerku" http://www.heritage.perm.ru/hohlovka/hohlov29.htm # An interior has been created in the hut peasant hut: table, covered with a tablecloth, on it there is a hollowed out cup, a solonichka - a duck, spoons. Nearby there is a ripple on a birch pole. There is also a light, multi-colored belts, sashes. Great place Kitchen utensils occupy the shelves and benches. http://www.heritage.perm.ru/hohlovka/hohlov27.htm# http://www.heritage.perm.ru/hohlovka/hohlov30.htm# http://www.heritage.perm.ru/hohlovka/ hohlov31.htm# The main occupations of the Komi were agriculture and animal husbandry http://www.finnougoria.ru/upload/interier%20komi%20izby1.JPG Where to start drawing a Komi hut? Determine what you will depict: the female half, red corner, male half, stove...Think over the layout of the drawing. Determine where in the drawing there will be an image of the floor, ceiling, walls.

Folk art: living things

Until the beginning of the twentieth century in every peasant family women were engaged in patterned weaving, knitting and embroidery. And although they never considered their products as works of art, the clothes, tablecloths, towels, and mittens they made were truly beautiful.

From the early childhood girls were introduced to women's handicrafts; by the age of five or six they were given small children's spinning wheels on which they could spin flax, hemp, and wool. By the age of ten, mothers began to introduce their daughters to the secrets of weaving, strictly monitoring the correct execution of ornamental motifs. They wove on a wooden weaving mill “dӧra kyan”, similar in design to the mill of northern Russians. The patterns were quite complex. Most often, the pattern was applied with red threads on a white background of homespun fabric. Such patterns were used to decorate towels, tablecloths, hems, yokes and sleeves of women's shirts, and canvas stockings.

Photo by Evgenia Kozmodemyanova

Usually women wove patterns from memory, but sometimes they “removed” them from finished items or created new ones. They also wove rugs - “joj dӧra”, which were distinguished by their rich color saturation. Patterned belts, which were used to tie sundresses, men's shirts, and outerwear, were woven on special “tab” boards - small square dies with holes in the corners. To make wide belts, they used a regular weaving mill. Especially elegant were the belts, which were called gift belts. They were woven from green, red, blue, yellow and pink wool and decorated with tassels. The bride gave these belts to the groom and his close relatives.

Particularly beautiful are the knitted items made by Komi craftswomen: stockings, gloves, scarves, mittens, sashes. They are richly decorated with ornamental patterns, which differed by region, by gender and age. The material is sheep's wool, which the women themselves spin and dye. Knitted products They were always part of men's and women's costumes; they also served as wedding gifts, which the newlywed gave to her new relatives.

Knitted clothes without patterns were very rarely worn, and there are reasons for this. In ancient times, ornamental patterns not only decorated things, but had mythological meanings, which have largely been lost in our days. It was believed that it is the pattern that gives life to a thing; without it, the thing would not exist. The pattern brings the thing to life, so a living thing not only saves a person from the cold, but also protects him from evil spirits. And its purely everyday meaning is that knitting from several colored threads made patterned clothing thicker, and therefore warmer.

Embroidery was widespread only in the south of the Komi region among the Luz and Letsky Komi. It was used to decorate hats, shirts, towels and in many ways corresponded to the ornamental motifs characteristic of weaving. The women’s headdresses looked very beautiful and original – magpies, “yur kӧrtӧd”, embroidered with various geometric patterns. The magpie is a headband with a headband embroidered with multi-colored threads, two “wings” - ties and a “tail” that covered the back of the head. The girl began to embroider such a headdress before her marriage, sometimes several years before it. Among the Izhem Komi, embroidery with beads and gold threads was widespread. The headdresses of brides - “Yurnaya” - were embroidered with beads; kokoshniks, collections, and headdresses of married women were embroidered with silver and gold threads.

The Komi, as a forest people, developed the art of woodworking. This type of art was mainly practiced by men. The main decoration of the wooden hut was the “ridge”, “chibӧ” - the butt part of the ridge, the log holding the gable roof together. “Chibӧ” – translated as “horse”, a horse and was carved in the form of a horse, and often a horse-bird, whose wings were the slopes of the roof. The ohlupen could be decorated with the antlers of a deer, elk, or a carved wooden towel.

The frames of the hut windows were sometimes decorated with carved towels. On Vashka and Mezen, the gables of houses were often painted. These could be symmetrical drawings depicting two lions standing on their hind legs, geometric patterns, in the forties and fifties of the twentieth century, Soviet symbols were depicted on the pediments in the form of red stars, hammers and sickles.

The interior decoration of the house: red corner, shelves, mortise shelves, doors, golbets - were decorated with simple carvings or paintings. Wooden cabinets, sofas, beds, benches, tables were made by the owner himself or local craftsmen. These items were also decorated with traditional carvings or paintings.

You can still see pain in Komi hutsfine wooden bowls in the shape of a duck or a swan, ladles carved from burl and decorated in the shape of the head and tail of a bird. Until recently, almost every home kept a wooden salt shaker in the shape of a duck on the table, with ducklings carved on the lid. In the past, such salt shaker ducks were a mandatory element of a bride's wedding trousseau. The bride brought in new house a salt shaker duck carved by her father as a symbol of future family happiness. The image of a duck is not accidental in applied arts Komi, he is known by archaeological finds the Middle Ages, as well as according to Komi legends about the creation of the world.

The art of wood carving was also used to decorate household items and tools. Among the traditional patterns on the carved parts of the weaving mill, decorations in the form of solar signs - gear wheels with rays - are especially interesting. Wooden boxes, pencil cases, spindles, and boxes for needles were covered with carvings. Birch bark boxes, boxes, and salt shakers were decorated with incised and embossed patterns.

Birch bark dishes were decorated with paintings, depicting flowers on them. Paintings in the form of flowers, branches, as well as horses and birds are found on spinning wheels. The painting on Vychegda spinning wheels was notable for its originality: the leg was decorated with carved ornaments, and the entire surface was covered with a blue cinnabar background, onto which an ornament was applied in the form of concentric circles, rosettes, spirals and zigzags.

The painting was done by professional masters, often by local icon painters. Craftsmen gathered in artels and made painted spinning wheels, chests, cabinets, sleighs, and arcs for sale. The Komi region had its own “centers” for painting. These are the villages of Toima and Verkhozerye on Vashka, Otla and Luga on Vym, Kerchemya and Vomyn on Vychegda, Izhma and Mutny Continent on Pechora. Artels of carvers and icon painters made iconostases with icons for churches in the Komi region, painted icons for peasants, and these icons had high artistic merit. Some of them are the decoration and pride of the National Gallery of the Komi Republic.

As for the picturesque design of the interior and furniture of the Komi hut, plant motifs (flowers, leaves) predominated here, while geometric motifs prevailed on dishes and weaving tools. Floral motifs They were also used to decorate chests and boxes. Painted Komi products were distinguished by the brightness of their designs and the richness of their colors, but already at the beginning of the 20th century they were gradually forced out of use. Wood carving is still preserved among the rural population of the Komi region.

“The houses are excellent”

The Russian traveler and scientist I.I. Lepyokhin, passing through the “Zyryansk settlement called the Ust-Sysolsky graveyard” in 1771, wrote that “the houses there are excellent.” Ust-Sysolsk at that time differed little from other Zyryansk villages, so we can safely say that “excellent houses” have been characteristic of Komi villages since ancient times.

Komi hut in the village of Ezholty, Ust-Vymsky district. Photo by Anatoly Peretyagin

Komi hut, kerka is a log building that combines living quarters and outbuildings into a single whole: a house and a yard. The covered courtyard adjoined residential building and was separated from it by a vestibule; on the lower tier of the yard there was a barn for livestock; on the upper tier, hay for animals was brought through a special porch-transport.

The house was built from pine, but they preferred to make the lower crowns from larch, which is less susceptible to rotting. They raised the house high, up to twenty-one crowns, the underground reached two meters, and the windows village house were at human height or higher.

Scientists distinguish two types of huts common among the Komi: Sysolsky and Vymsky.

Sysolsky was distributed along the Sysola, Verkhnyaya Vychegda and Verkhnyaya Pechora rivers. This is a square building, consisting of residential and utility halves, each with its own roof slope. The living room is divided into winter (voy kerka) and summer (lun kerka) huts and is united by an entrance through the vestibule. Adjacent to it is the frame of the yard (wall). The stove is located in the back of the room, in the corner, and its mouth is facing the door. Nearby is the entrance to the underground, golbets (goboch vyv), polati. The front corner "En uv pelos", "God's corner", is located horizontally from the stove.

The Vym type was widespread in the Vym, Nizhnyaya Vychegda, and Udora. In it, the residential part and the yard have the same roof. The residential part also consists of two huts, but the Russian stove is in the corner by the door and its mouth is turned towards the windows of the side wall.

IN " pure form“These types of dwellings are now rare, and in the past, owners often deviated from the canonical forms. At the beginning of the twentieth century, living quarters began to be divided into rooms, separate huts for children were built in the farm yard-shed, and the house often consisted of four to six living quarters. And on Izhma and Udora, houses began to be built on two floors.

Folk costume: both cats and magpies

The Komi folk costume, similar to the clothing of northern Russians, has a number of local variants or complexes - Izhemsky, Pechora, Udorsky, Vychegda, Sysolsky and Priluzsky. And if the male is uniform throughout the territory, except winter clothes Komi-Izhemtsev, then the female one has significant differences - in cutting techniques, fabrics, and ornaments.

Women had a word of mouth complex. It consisted of a shirt (dörom) and a slanted or straight sundress (sarapan, kuntey), a headdress, an apron and patterned stockings. The top of the shirt (sos) is made of motley (colored checkered fabric), kumach, the bottom (myg) is made of white canvas. The shirt was decorated with inserts of fabric of a different color or an embroidered pattern (pelpona koroma) on the shoulders, a colored border around the collar and frills on the sleeves. An apron (vodzdöra) was always worn over the sundress. The sundress was girded with a woven and braided patterned belt (von). Women's outer work clothing was dubnik or shabur (homespun clothing made of canvas), and in winter - a sheepskin fur coat. On holidays they wore outfits made from the best fabrics (thin canvas and cloth, silk purchased fabrics), and on weekdays they wore clothes made from coarser homespun materials. Purchased fabrics began to spread in the second half of the 19th century.

The headdresses of girls and married women differed. Girls wore headbands (ribbon), hoops with ribbons (golovedets), scarves, shawls, married women wore soft headwear (ruska, soroka) and hard collections (sbornik), kokoshniks (yurtyr, treyuk, oshuvka). The wedding headdress was a yurna (a headdress without a bottom on a solid base, covered with red cloth). After the wedding, women wore a kokoshnik, a magpie, a collection, and in old age they tied a dark scarf around their heads.

Men's clothing- this is a long, almost knee-length, canvas shirt for graduation, tied with a woven or woven belt, canvas pants (gach). Shirts, which came into fashion at the beginning of the 20th century, were much shorter - up to 70 centimeters.

Pants were worn with boots or low leather shoes “kӧt”i", tucking the legs into "sera chuvki" (patterned stockings), tied under the knee with a patterned cord. Outerwear was a caftan, zipun (sukman, dukos). Outer work clothes are canvas robes (dubnik, shabur), in winter - sheepskin coats (pas, kuzpas), short fur coats (dzhenyd pas).

The Izhem Komi borrowed the Nenets clothing complex: “malichu” (straight-cut, straight-cut clothing made from reindeer fur, sewn with the pile inside, with a hood, long sleeves and with fur mittens sewn to them), “sovik” (deaf outerwear made of deer skins with the fur facing out), pima (fur boots made of deer fur with the pile facing out), etc.

During hunting, Komi hunters used a shoulder cape (luzan, laz) - a rectangular piece of homespun cloth with leather sewn on top and a hole in the middle for the head.In front it is waist-length, and in the back below the waist there is a pocket bag attached to it with a hole for killed game. Luzan wears a leather belt with a hunting knife. The ax is suspended in a special leather loop on the back. This very comfortable and practical clothing in the taiga spread to neighboring territories and is still worn by Russians in the Arkhangelsk region, Siberia, and lumberjacks in Karelia.

Traditional clothes (paskom) and shoes (komkot) were made from canvas (dora), cloth (noy), wool (vurun), fur (ku) and leather (kuchik)

Ornament : "encryption" from time immemorial

A pattern of rhythmically repeating pictorial motifs is the most common and characteristic form of decoration among a variety of peoples, including the Komi. Ornaments were used to decorate buildings, tools, furniture, dishes and utensils, and clothing; it was performed using the techniques of weaving, knitting, wood painting, printing, stamping on birch bark, leather, wood carving, bone

The most common in folk art Komi is a geometric pattern that consists of various combinations dots, squares, rectangles, diamonds, crosses, triangles, diagonal lines.

Komi ornaments are similar in style to the ornaments of neighboring peoples; scientists explain this by a common ancient basis. Similar ornaments decorated ceramic dishes of the so-called Andronovo culture, which dates back to the 2nd – early 1st millennium BC. Over time, each nation has developed its own type of ornament, characteristic only of this culture. But even within the people there are differences in ornamental motifs, so that by the pattern on stockings or mittens you can determine in which region of the Komi Republic they are associated. Moreover, it turns out that the patterns of the ornament on stockings differ as male - “man ser” - and female - “woman ser”.

The names of the patterns also have their own specifics. Some of them correspond to the names various items and tools: perna - “cross”, saw pin - “saw teeth”, uterus ser - “compass pattern”, purt yiv - “knife edge”, kuran pin - “rake teeth”, etc. Other names refer to animals and birds: osh paw – “bear paw”, mez sur – “ram’s horns”, kor sur – “deer horns”, gut ser – “fly pattern”, mos sin – “cow eye”, cheran – “spider”. Finally, there are names associated with the plant world: koz ser - “Christmas tree pattern”, dzoridz - “flower”, pysh tusus - “hemp seed”, etc.

Folk musical instruments: forest flutes and heavenly violins

Komi folk music originates in those ancient times (1st century BC – 8th century AD), when the ancestors of the Komi and Udmurts formed one ancient Perm community. This is evidenced by the similarity of some melodic turns in folk songs, laments, as well as the similarity of names denoting musical wind instruments of the flute class. These are probably the simplest types musical instruments: after all, in order to create such a flute-pipe, it was necessary to cut the stem of the angelica - in Komi gum - so that the tube was closed, and cut a small longitudinal slit. From the kala polyan pipe (literally a seagull pipe), which village children still make today, the path leads to a birch bark horn.

More complex are the so-called three-barrel flutes kuima chipsan (three-barrel whistle), which are played today by chipsan players from the village of Chernysh, Priluzsky district. Even more complex are polyanyas pipes, a type of multi-barreled flute. The number of pipes in a set of such an instrument ranged from four to twelve, and they were called that - kvaita or okmysa polyan, a six- or nine-barreled pipe-flute. Women and girls played in chipsans and glades during rest, haymaking, on the way to meadows or forests to pick mushrooms and berries, and in winter - at village gatherings.

There are many varieties of wind instruments: this is the syola chipsan - a hazel grouse whistle - which a hunter made from a spruce knot or bird feather to lure a hazel grouse, this is the bad pu chipsan - a willow whistle - a flute that was made in the spring from a willow branch, these are various gums polyan - flutes made of angelica. More complex were the bad pu polyan, the willow pipe - a pipe made from a willow trunk with two to four playing holes, as well as various syumod buksans and syumod polyan - birch bark horns and pipes.

People attribute the invention of the sigudok, a three-stringed violin-type instrument, to the heavenly god En himself. They say that in time immemorial Yen invented the sigudek, but he couldn’t make soundit worked. Then he turned to Leshem, and he taught his heavenly brother to rub his bow with spruce resin. This is how the inimitable sound of the whistle was born. And if we ignore the legend, then sigudek is really ancient instrument. Archaeologists found a fragment of a similar tool at excavations in Novgorod and dated it to the 10th century AD. e. It is not included in the set of modern Russian folk instruments, but the Komi have preserved it. Sigudek was the most significant instrument in the musical everyday life of the Komi people. It was played at home and in the forest hut of the hunter-trade, songs and dance tunes were performed to it.

The Komi also had other stringed instruments, such as, for example, the well-known balalaika. Homemade balalaikas were similar to the old Russian ones - with a flat-bottomed triangular body. A famous balalaika master was Semyon Nalimov (1857–1916), a native of the village of Vylgort, Syktyvdinsky district, who made these instruments for Vasily Andreev, the organizer of the Great Russian Orchestra of Folk Instruments.

The Brungan string instrument had a powerful sound, reminiscent of the ringing of large church bells. They did it simply: on side wall golbtsa - a wooden extension to a Russian stove - was nailed with thick wire or vein strings, and played by hitting the strings with a hammer.

The Komi musical culture also included a whole set of drums. The most famous shepherd's pu drum is a wooden drum, a wooden pendant-plate that was struck with two sticks. The residents of Toshkod used a mallet to signal the gathering of artel people. The rattle of the sargan was used to drive away, for example, horses that had climbed into other people's crops. Torgan bells and rattles performed a magical function - they scared away evil spirits and predators from grazing domestic animals.

Komi Sikt... its history goes back centuries. It began with several huts somewhere in a clearing reclaimed from the forest, or on the bank of a river.

The construction of a residential building, turned today into a simple technical act, was completed for our ancestors deepest meaning. In ancient times, each person built housing for himself and his family himself - if necessary, he called relatives, neighbors, and friends for help.

Our ancestors settled in wooded areas, along the banks of rivers and lakes. Komi wooden construction is a construction created by the labor and genius of the craftsmen.

For a long time, the Komi people understood and realized the amazing properties of wood and used it everywhere both for the construction of housing and for the manufacture of various household items. Wood gives a special feeling of life, acting as a conductor between man and nature. Being a conductor of Cosmic energies, trees have a beneficial effect on a person’s aura, and, accordingly, on his health. It is the tree that has long been a symbol of Life, its birth and continuation.

In this work we will explore how the culture of building a Komi hut works, in particular in the village of Nizhny Voch.

Object of study is the building tradition of the Verkhnevychegda Komi village of Nizhny Voch, located along the upper Vychegda and Keltma on the Voch River.

Subject of study- Komi Izba as one of the most significant manifestations of artistic and construction culture, a culture ancient, skillful and vibrant.

Target research work: describe the traditions of building a Komi hut, find out how much they have been preserved today in the village of Nizhny Voch.

Tasks:

1. Study the theoretical basis for the construction of a Komi hut.

2. Study the theoretical foundations of the history of ethnography of Komi culture.

3. Determine the main stages of building a house.

4. Study the features of the construction of a hut in the village of Nizhny Voch by collecting information and photographic documents.

5. Show the place and role of traditions and customs for building a house in modern society.

Relevance:

Wooden construction is one of the most significant manifestations of the artistic and construction culture of the Komi people, an ancient, skillful and vibrant culture.

The chosen topic is considered relevant, as it is a valuable source for studying the characteristics of the lifestyle of the Komi people, their ideology and mentality.

Currently, the construction of the Komi people, which is an interesting source for historical, sociological, linguistic research, has been little studied.

Hypothesis

Studying the construction culture will help you get acquainted with the picture of the world of the Komi people, since they reflect time and man, his social status and spiritual world.

The culture of building a hut in a rural community is a kind of meaningful calling card of the village, its resident, which plays a distinctive role, emphasizing exclusivity, singularity, and originality.

Research methods:

Theoretical (study of the scientific basis; processing of received documents; deciphering the material);

Practical (personal observations; conversation, interviews with informants).

As part of the study, 7 informants (ages from 41 to 73 years) were interviewed and notes were made regarding architectural and construction traditions.

The goals and objectives of the work determined its structure: the work consists of an introduction, main part, conclusion, list of references, and appendices.

In the introduction the relevance of the research is substantiated, the purpose and objectives of the work are formulated, the hypothesis and work methods are indicated.

Main part consists of 3 sections: 1. From the history of ethnographic study of Komi culture. 2. Traditions of building a Komi hut. 3. Preserved traditions of building a house in the village of Nizhny Voch.

In custody The results of the research work are summarized.

In the list of used literature publications and sources used by the author are indicated.

Applications include a list of informants, photographic documents.