Folk costumes of Russia. Costumes of the Russian people
Municipal educational institution
Sosnovoborskaya secondary school
Zeya district
Folk festive costume
Pichugina Tatyana, 6th grade.
Supervisor: Kazakova Olga Nikolaevna,
2013
Content
1. Introduction……………………………………………………………. With. 3
2. Components of women's and men's suits…………… p. 6
3. History of the use of folk motifs in fashion…………… p. 10
4. The role of Russian costume in the life of a modern person...... p. eleven
5. Conclusion………………………………………………………. With. 13
5. Literature………………………………………………………. With. 15
6. Applications……………………………………………………… p. 16
Introduction
Epigraph: Respect for the past -
This is the difference between education and savagery.
(A.S. Pushkin)
National clothing is a kind of book, by learning to read which you can learn a lot about the traditions, customs and history of your people. The life of a peasant was inextricably linked with nature, the cultivation of the land and the corresponding labor cycles. The holiday either completed some difficult stage in the difficult life of a peasant, or preceded the next important stage. They were waiting for the holiday and preparing for it.
What outfits did you wear on holidays?
Russian folk costume is a complex and archaic phenomenon. Its main parts took centuries to develop. From time immemorial, from fathers to sons, from grandfathers to grandchildren, it was passed down along with deep-rooted beliefs and traditions. The Russian village remained the bearer of traditional culture until the end of the 19th century. Even at the beginning of the 20th century, peasant costume remained truly folk.
On the eve of folk festivities, heavy chests were opened and numerous shirts, shirts, sundresses, caftans, shushuns and skirts were brought to light. The more chests and the more densely they were filled, the richer the owner of the house was considered and the greater the honor the hostess was.
All festive clothing was very colorful, always decorated with elements of embroidery, stripes of braid, beads, cord, sequins and other details which, as a rule, were not found in everyday clothing.
It should be noted that the peasants cared about festive clothing. It is known that peasant women in especially elegant sundresses not only did not sit down at the table, but did not even sit down on the bench, for fear of getting their outfit dirty or wrinkled. Woolen holiday outfits were not washed or ironed at all, they were stored carefully
folded in special large linden boxes. As a rule, the most beautiful and expensive clothes were prepared for the wedding. And it often happened that the bride in a wedding sundress was led out to the guests by the arms and was immediately taken away again and changed into a less expensive dress.
Festive clothing took a long time to make and was difficult, but at the same time one could judge the taste and skill of the craftswoman from it. The peasant woman was her own fashion designer, a model, and a master of custom tailoring. Even the fabrics from which traditional clothes were made were mostly homemade, so the peasant woman had to be able not only to sew, but also to spin, weave, knit, embroider and do much more.
Subject research work: Folk festive costume.
Our research workrelevant , as it addresses the topic of exploring our spiritual and historical origins. In fine arts and art classes, students become familiar with the features of Russian costume. We conducted a survey among students in grades 5-6. The result of our survey is this diagram. It shows that children do not know enough about folk costume (Appendix 2).
It seems to us that this is important for every cultured person to know. Each national costume has its own characteristics and its own history. Many
the information is not in archives and library collections; it is preserved by people's memory. This is what we wanted to write about in our work.
Target : get acquainted with the history of the costume, talk about the life, traditions and customs of the people, show the historical significance of the people in modern life.
Tasks:
Find information about the festive Russian costume.
Study the history of the costume.
Analyze the dynamics of the use of folk motifs as a historical past.
When writing the work, we used materials from scientific literature, memories of old-timers of the village, articles, and materials from the village museum.
When studying the history of Russian costume, differentmethods and forms of work : work with literature, work on the Internet, sociological survey, excursion to the museum of the village. Sosnovy Bor, survey of students in the department of “Modeling and design of garments” of the Blagoveshchensk Technological College.
In our research work, we tried to find out the history of Russian festive costume. It was not as easy as we thought at the beginning of our work. The archives have not survived. The old-timers of the village told us a lot, and additional literature helped a lot.
Based on these data, we will try to recreate the image of a Russian festive costume.
An object : chronicle of events related to the history of Russian costume.
Item : Russian festive costume.
Problem : Distinctive features of folk festive costume.
Hypothesis : folk costume motifs are reflected in modern fashion.
Project plan
1. Sociological survey “Russian folk costume in the modern world.”
2. Ethnographic research.
3.Visiting the exhibition “According to grandfather’s custom.”
4. Survey of students of the department “Modeling and design of garments” of the Blagoveshchensk Technological College.
5. Making sketches of festive costumes.
Components of women's and men's suits
Interest in Russian folk costume has always existed. Folk costume is a priceless, inalienable property of the culture of the people, accumulated over centuries. Folk costume is not only a bright, original element of culture, but also a synthesis of various types of decorative creativity. In the old days they wore not only home clothes, but also holiday clothes.
For centuries, the majority of the population of Russia was peasants; Russian folk costume has come down to our time as a costume, first and foremost, a peasant one. The folk costume was created taking into account the fact that it should not hinder a person’s movements. The design of the costume often did not require the use of scissors and great skill from the seamstress. The main type of such clothing wasshirt (Appendix 3).It was worn from birth to death. The women's shirt differed from the men's only in that its length was to the toes. While preparing the festive shirt, the village needlewomen tried to show everything they were capable of. The sleeves, shoulders, collar and hem of the shirt were decorated with embroidery and small appliqué in the form of a geometric pattern.
During the ancient pagan mermaid games, women danced “carelessly.” They waved their wing-sleeves. This is how the Frog Princess danced in a Russian folk tale. In ancient times, long sleeves symbolized jets of water.
In Rus' they never walked without a belt. People said that walking without a belt was a sin. The entire belt was decorated with symbols and served as a talisman. Various belts are known: knitted, woven and woven, decorated at the ends with tassels, fringe or ribbons.
Russian folk women's costume in different provinces sometimes differed greatly in appearance (Appendix 4). This was due to the fact that the woman rarely left home and, as a rule, was little familiar with other people’s customs, so she was the keeper of traditions, including in the field of costume.
Sundress - is considered original Russian clothing. Sarafans were worn by peasant women, merchant women, and court ladies; they differed only in cut and quality of material. A peasant's sundress in different regions of Russia in the 19th century could be called differently: a blind oblique, a swing-open ("feryaz"), a straight sundress with straps; goon; curtain; motley In the southern Russian provinces, a sundress was a girl's dress, and in the Ryazan province it was an old woman's clothing. Festive sundresses and shirts were highly valued, they were cherished, worn on the biggest holidays, and passed down by inheritance.
According to the old resident of our village, Maria Afanasyevna Kryukova, a sundress set usually included: a shirt, a sundress, a belt and an apron.Apron consisted of two unsewn long panels of fabric, gathered on a cord; they were tied above the chest or at the waist. Festive aprons were embroidered with red thread. From the pattern one could learn a lot about a woman’s life, her desires, and dreams. Diamonds are a symbol of fertility, birds are a symbol of girls, horses are a symbol of boys.
Another type of women's clothing -shushun . The poet Sergei Yesenin mentions him in the poem “Letter to a Mother”:
They write to me that you, harboring anxiety,
She was very sad about me,
That you often go on the road,
In an old-fashioned, shabby shushun.
Shushun is a long, relatively narrow, slanted sundress with wide shoulders and a shallow neckline on the chest and back. Long folding sleeves were usually sewn onto it, but the arms were never inserted into them. Shushuns were fastened from top to bottom with buttons.
And even in cold seasons, women worewarmer . By
According to the memories of my grandmother Lyubov Ivanovna Kryukova, it was a short, loose jacket, gathered in small folds at the top. A.S. Pushkin in “The Tale of the Fisherman and the Fish” writes: “...his old woman is standing on the porch in an expensive sable shower jacket...” The shower jackets were made from the most expensive and elegant fabrics (brocade, velvet), and embroidered with colored threads. A type of soulgreya wasepanechka (epanichka) - a short insulated blouse without sleeves and a collar, held on by straps.
The oldest type of women's peasant belt clothing isponeva . Poneva is just below the knee length and consists of three partially sewn pieces of fabric. Ponevas were checkered, mostly dark blue or black.
Famous leather shoes -chobots or cats. It was secured with cords passed through loops on the back.
Women always paid special attention to headdresses - the most noticeable part of any costume (Appendix 5). Headdresses were extremely varied, but were always clearly divided into maiden headdresses and married women's headdresses. According to ancient custom, a married woman had to carefully cover her hair from prying eyes. It was forbidden to leave the house or do household chores with your head uncovered. Women wore deaf magpies, kiki, warriors, scarves. Girls in Rus' before marriage could walk with their heads uncovered (one braid). The end of the braid was decoratedwith a braid. Povoinik, crown, ubrus, dressing, kichka, magpie, kokoshnik, koruny - these are the few names of hats. The most common headdress for girls was -handkerchief (I. Bilibin, F. Malyavin, A. Vasnetsov, A. Arkhipov and other artists depicted their heroines in headscarves) (Appendix 6).
And of course, there was a lot of decoration in the festive clothes, especially in the young woman's costume. These are ear, neck and chest jewelry. They were very diverse in shape, composition and size. Various materials were used to make them with all kinds of inserts from glass, stone, beads, beads, and bird down. All this was called"harness". It consisted of colored beads or colored wool jewelry.
But the men's suit, unlike the women's, was simpler. The basis of a men's suit was a shirt and ports. The ports were made from unbleached fabric,
A shirt was made from checkered fabric, and pants were made from striped fabric. The men's shirt was made from a whole piece of cloth, folded at the shoulders, with a neckline and a straight slit on the left. Diamond gussets and, of course, a belt were inserted under the arms.
Traditional outerwear waskaftan . The caftan was fitted with narrow long sleeves and a turn-down collar.
The most common men's hats were felt caps -murmolki .
When leaving home in cold weather, the Slavs wore long, warm clothes made of cloth over their shirts. They were called"retinues" from the word “twist” - “dress”, “wrap up”. In written sources, retinues are mentioned starting with XIcenturies, but they existed, one must think, even earlier. Unfortunately, we do not know exactly the cut of the ancient retinues. Apparently, they were approximately calf-length, fitted the figure quite tightly, the sleeves were equipped with cuffs, and the collar was a turn-down collar. Both were, of course, embroidered. Moreover, for men, embroidery was restrained and less varied. The edges of clothing were often trimmed with strips of thin leather bent lengthwise to protect them from premature wear; such strips were found during excavations of ancient Pskov in layers of the 11th century. But the retinues were fastened, according to scientists, using buttonholes, and not slotted loops, as is more common today. Buttonholes are considered a characteristic detail of ancient Russian clothing.
They also wore short, slightly below the waist, suit-type robes. They were called"zhupanami". By ear, this word seems to us to be some kind of Czech or Polish, but it is Old Russian.
In addition to cloth, the Slavs' favorite and popular material for making outerwear was dressed furs. There were many furs: fur-bearing animals were found in abundance in Russian forests. No wonder"casing" - also an ancient, Orthodox word. Initially, it apparently meant clothing made from leather and fur in general; it is possible that fur or leather raincoats were also called casings. However, most often the casing was still clothing with sleeves and fasteners. They were usually sewn with the fur inside. Ordinary people wore a casing sewn with leather on the outside. The rich covered the top with elegant fabric, sometimes even Byzantine brocade and gold-woven silk. It is clear that such beautiful, expensive clothes were worn not only for warmth. It should be remembered that in pagan antiquity fur was considered
a magical symbol of fertility and wealth. So on some special occasions that required maintaining prestige or attracting magical powers, the Slavs could dress in furs even in the summer.
History of the use of folk motifs
Now the folk style is not dominant, but it has taken its place in the general broad international mainstream of fashion. It is known that design artists constantly turn to folk traditions when creating household fashionable clothing. The talent of an artist is determined by the ability not only to see, but also to select what is essential, to be able to generalize what he saw, to creatively rework it in his artistic practice. The artist gives not only the known reality, but also reveals his individual attitude towards it, his vision of life. The ability for imaginative thinking, the development of this ability expands the scope of vision and communication of the fashion designer with folk art.
Analyzing the history of folk costume and considering modern costume, we can conclude that any modern costume should display the features of folk, national, traditional, which makes it more organic, more original, dearer, closer, more expensive. At the same time, one should take into account the fact that costume and fashion are an international phenomenon, therefore it would not be correct to exclude the mutual influence of costumes and fashion from all countries of the world. Achieving unity in diversity and diversity in unity is the path to the development and renewal of modern costume.
We decided to analyze fashion magazines. Thanks to the Internet and surviving periodicals, the library selected models from the 40s to the 60s (Appendix 7). We got the following results forthe use of folk motifs by season:
Year
Seasonal models
Summer
Autumn
Winter
Spring
1948
23%
37%
13%
27%
1957
34%
30%
12%
28%
1964
29%
27%
66%
17%
Directions for using folk motifs:
If you monitor the use of folk motifs in modeling, you can see periods of its uniform flow, recessions, and outbreaks. For example, in 1945-1949 there was a regular appeal to folk costume. Moreover, the largest number of clothing models with a folk character dates back to 1947 (39% of the total number of models). In 1949 there was a noticeable decline; in 1950-1959, the creative processing of folk traditions in modeling began to increase quantitatively. Since 1967, folk motifs have become firmly established in the work of fashion designers.
The role of Russian costume in the life of a modern person
Collections of Russian folk costume stored in museum collections
open before us beautiful folk art, are evidence of the richest imagination of the Russian people, their subtle artistic taste, ingenuity and high skill. Perhaps no country in the world, no people has such a wealth of traditions in the field of national folk art as Russia: the variety of forms and images, the unusual design and compositional solutions, the colorfulness of the elements and the entire costume as a whole, the grace and uniqueness of the decor, especially embroidery is a big and fascinating world, a kind of academy of knowledge and creative ideas for specialists in modern costume.
The use of folk motifs in creating images of modern clothing also depends on its purpose. The creative activity of fashion designers, and therefore creativity based on folk motifs, depends on a number of objective factors. One of them is the need to make the artistic design of clothing dependent on its practical usefulness. Unlike folk clothing, which was mainly divided into everyday and festive, in modern clothing practical usefulness is specifically manifested in a much larger number of options. In this regard, the figurative solution of clothing should, in each such option, have features that correspond to the environment in which the person is located. Therefore, the use of folk motifs in the design of different types of clothing should occur in different ways.
The group of elegant clothing includes dresses-suits and ensembles. Their appearance usually serves the purpose of decorating a person. This is the main function of elegant clothing - the function of aesthetics. The utilitarian function in elegant clothing plays a secondary role.
We carried outconversation with students Department of "Modeling and design of garments" of the Blagoveshchensk Technological College. We have found that currentlythe models use elements of the cut of the top of folk shirts: straight lines, armholes, lapels, gussets, etc. In the modeling of elegant clothing, embroidery, the shape, silhouette and design features of Russian sundresses are especially often used. Such features of the cut elements of Russian sarafans as division along vertical lines - along the middle line and lines located symmetrically relative to the center, construction of the shape with
featuring a high yoke and straps of various designs. Techniques for placing embroidery on sundresses were also used - for example, embroidery was placed along the central seam, along the lines of the yoke, on the straps (Appendix 8).
Embroidery and various trims open up great opportunities to add elegance to dresses of neutral shapes, simple in design. The peculiarity of elegant clothing is that it should express and emphasize a person’s individuality. The very knowledge of these clothes excludes replication. Here we can draw a parallel with folk costume: not a single example of an elegant costume repeats exactly another, either in the details of cut or in decoration, despite the fact that they are all structurally and decoratively built according to the same principles.
Students provided us with photographs of clothing models from their collections
Together, during the conversation, we came to the conclusion that the folk costume, its coloring and embroidery still make us admire. He infects us with optimism, a mood of festivity and fun. Craftsmen still know how to turn a utilitarian item into a work of art. At the same time, they achieve the greatest variety, based on a simple constructive system.
Conclusion
Based on the collected material, we can conclude that historical events influenced both the birth and the disappearance of folk costume. The assumption was justified.
The practical significance of the study lies in the fact that the materials of this work can be used in practice for conducting classes in fine arts, MHC, as well as in preparing classroom hours.
The history of their people, their country has always worried the minds of people. \
In our work, we conducted research on a topic that is relevant, in our opinion. The study of this topic is dictated not only by a personal, but also by a social need to restore the lost pages of the spiritual heritage of the native land.
Of course, a lot of time has passed. But we should not forget what happened, this is our past, we must know it.
In our work, we wanted to talk about folk holiday costume, its components and the use of folk motifs in modern times.
The work was written under the guidance of a fine arts teacher. The work manager gives recommendations for each stage of the work. Local history work involves direct communication at the stage of collecting information. The peculiarity of rural areas is that we know the people with whom we will communicate, and among them there are extraordinary personalities whose information is very necessary and important for us. People willingly helped us, made contact, communicated with someone on their own, in some cases the help of a leader was needed, and in others the personal charm of our relatives acted on us. In the library I worked with Marina Feliksovna Grigorieva. She provided invaluable assistance in providing me with literature. So, literally everyone got excited about this work: myself, the manager, the librarian, my family, and friends.
I want to connect my future profession with drawing, and I will still have time to complete my research (Appendix 9).
Without the past there is no future. Having studied many sources, we came to the conclusion that in order to revive the spirituality of the younger generation, it is necessary for children to know the history of their people. Respect for origins and respect for traditions are one of the aspects of a person’s moral characteristics. It allows the younger generation to feel like heirs of the past and realize their responsibility to the future.
For us Russians, Russian costume
History is very useful to know!
The suit will encourage you to think about people,
He can tell about everyday life and morals.
We will not raise the ignorant in ourselves,
Let's walk through the exhibition slowly,
Let's look at ancient Russian clothing:
Isn't it simple and good!
Bibliography
1. Andreeva Yu.A. Russian folk costume. Traveling from north to south. – St. Petersburg: “Paritet”, 2006.
2. Efimova L.V., Belogorskaya R.M. Russian embroidery and lace. - M., 1985.
3.Harold R. Costumes of the peoples of the world. - M.: EKSMO-Press, 2002.
4. Rabotnova I. P. Russian folk clothing. - M.: Light Industry Publishing House, 1964.
5. Lebedeva A. Russian folk costume // Young artist. - 1983. - No. 10.
6.
7. Fashion magazines.
Applications.
Annex 1
Glossary of terms
Kaftan - this is a woman’s swinging outerwear; it was adopted from men, making changes.
Poneva - a skirt wrapped over a shirt, consisting of straight linen, tied with a rope.
Zapona - overlaid clothing made of canvas, not sewn at the sides.
Ubrus - a white linen scarf folded into a triangle and pinned under the chin.
Povoinik - a headdress, a type of cap.
Dushegrea - This is a short sundress.
Letnik – this is clothing that is very wide at the bottom with very wide sleeves at the bottom – lice.
Kokoshnik - an elegant headdress with a high front part.
Crown – ribbon decorated with a pattern.
Panya
- This is an underskirt with hoops, trimmed with thick fabric, and bones made of whalebone.
Turnures
– the skirts have a slightly different silhouette, the widening of the sides is replaced by a profile back.
Fan
- an addition to the costume, painted silk, bone or tortoiseshell, decorated with light carvings.
Redingote – outer dress for walking (small bodice, straight narrow skirt).
Corset - a piece of underwear designed to tighten the waist and torso.
Kika – headdress in the form of a crescent on the side.
Armyak - an apron decorated with a pattern.
Appendix 2
We spentsurvey among5th-6th grade students . The result of our survey is this diagram. It shows that children do not know enough about folk costume.
The children were asked questions about the components of a folk costume (headdress, shoes, clothes). According to the questionnaire, it is clear that children are well aware of the patterns used in folk costumes and jewelry, and the color palette. But questions related to the specific names of the costume elements caused difficulties. It can be assumed that the children have a small vocabulary of ancient words.
Appendix 3
Shirt and apron
Appendix 4
Women's costumes in different provinces sometimes differed greatly in appearance.
Appendix 5
Budkin Philip Osipovich “Girl in front of a mirror” 1848
Appendix 6
Mikhail Shankov “Girl in Russian Costume” 1998
Ubrus
Appendix 7
Analysis of fashion magazines for the 40-60s (rural library periodicals and Internet data).
Results foruse of folk motifs by season :
Year
Seasonal models
Summer
Autumn
Winter
Spring
1948
23%
37%
13%
27%
1957
34%
30%
12%
28%
1964
29%
27%
66%
17%
Directions for using folk motifs :
40s - folk embroidery as clothing decor;
50s - border fabrics and printed designs;
60s - characteristic features of folk clothing (jackets, sheepskin coats, sundresses)
The use of folk motifs in modeling
In 1945-1949 there was a regular appeal to folk costume. Moreover, the largest number of clothing models with a folk character dates back to 1947 (39% of the total number of models). In 1949 there was a noticeable decline; in 1950-1959, the creative processing of folk traditions in modeling began to increase quantitatively.
Appendix 8
The use of folk motifs in modern models
Appendix 9
My art
In this type of creativity, like wood painting, most of the works are products that belong to folk crafts. When performing them, the master always turns to ancient traditions. These can be various objects decorated with scenes from the past life of the Russian people: tea drinking, troika riding, folk holiday festivities. These can be toys depicting people or fairy-tale characters. Therefore, it is very important for the painting master to have correct knowledge of what the people of the chosen historical period and the region in which the characters lived were wearing.
Portraying his heroes with historical accuracy, the master simultaneously comprehends himself and preserves the memory of Russian traditions and customs for the viewer.
In this study, the practical work is a reconstruction of an ancient female boyar costume from the 17th century, created on the basis of a photographic collection.
Target:
Study the features of the Russian national costume, paying special attention to the costume of the Moscow province.
Object of study: Russian women's national costume
Subject of study: Features of the Russian women's national costume and its elements
Hypothesis : the features of the Russian national costume and its elements depend on at what time, with what tools, from what materials, in what region and for whom exactly it was made. The costume of the Moscow province has characteristic differences from the costumes of other regions of Russia.
Tasks.
1. Study the features of the Russian national costume regarding its practical purpose.
2. Describe the classification of elements of the Russian national costume.
3. Collect the required number of samples of Russian national costume and its elements.
4. Perform an analysis of the collected material in order to: determine the features of the folk costume of the Moscow province.
5. Arrange a collection of samples in catalog format.
6. Create a reconstruction of the costume of the Moscow province of the 19th century.
Research methods:
Collection of information from available resources in Moscow: libraries, museums, exhibitions, materials from reconstruction clubs, educational Internet portals, private collections.
Systematization of the material in accordance with the generally accepted classification of elements of folk costume.
Data analysis.
A practical experiment in the format of costume reconstruction.
Features of the Russian national costume regarding its practical purpose.
1. The appearance of the costume has noticeable features depending on the specific region.
2. Women's folk costume has distinctive features depending on which class it belongs to.
3. The wardrobe of a Russian woman included costumes for various ritual purposes.
4. The style of clothing has not changed for centuries. The concept of fashion did not exist. Before the reforms of Peter the Great (1698 17th century), throughout Rus', people wore only Russian traditional clothes.
5. The fabrics used to make clothes changed
6. Moscow suit and its features
Regional competition for research, design,
students' creative works
Municipal budgetary general education
institution gymnasium No. 2
Educational
region:
Section:technology, fine arts
Subject:National Russian costume
(girl's shirt)
(project )
Completed by 7a grade students
Leaders:
Titova Olga Evgenievna,
technology teacher
Klimacheva Elena Sergeevna,
art teacher
year 2013
Relevance of the research problem…………………..2
Purpose and objectives of the study……………………………3
Folk costume is an invaluable cultural heritage…… 4
From the history of Russian costume……………………………5
Materials for Russian folk
suit…………………………………………………….7
Color in peasant clothes……………………………8
Symbolism in Russian clothing……………………………...9
Folk costume of the Russian North………………………12
Girls' festive costume of the southern provinces………13
Women's shirts………………………………………………………...14
Shirt pattern…………………………………………..16
Girl's shirt…………………………………………….19
Practical work………………………………………………………20
Without the past there is no present
Relevance of the research problem - is determined by the fact that at all stages of the history of the human community, the “mirror” of national character and moral principles was, to a large extent, the clothing of an individual, social group, or nation.
The study of the history of costume is being updated by the growing interest of the nation and society in the history of Russia. This is expressed in the restoration of lost trades and crafts, the appearance of films based on Russian history, and the organization of numerous exhibitions on topics of Russian life.
Costume is one of the most important elements of human culture. It combines various functions, is an indicator of a person’s personal merits and is the keeper of the owner’s most valuable things. The costume reflects biological functions (protection from weather conditions), sacred (magical protection of the owner, ensuring fertility, model of the universe) and aesthetic (the embodiment of the aesthetic ideal of the ethnic group and the personal tastes of the master).
The relevance of the study is determined by the fact that the study of the Russian national costume helps to understand the cultural heritage of the people and traditions. Helps preserve the identity of the Russian people in everyday life and clothing.
Object of study is the Russian national costume of the Central part of Russia.
Subject of study- national maiden shirt of the central part of Russia.
Purpose of the study- determining the significance of costume as a historical source of understanding the characteristic features of the Russian people. To recreate a sample of the national maiden shirt of the central part of Russia.
The goal determines the following tasks:
collect theoretical material (literary sources, research material from visiting museums, working in the library;
study the technology of cutting and decorating girls' shirts;
create a series of sketches of Russian folk costumes;
do practical work: creating a sample of a Russian girl's shirt.
Research work.
Folk costume is an invaluable cultural asset.
Each nation inherits a legacy from previous generations, made by their hands, created by their genius and talents. The heritage of the Russian people is enormous and extensive. It has been accumulated for centuries, and the Russian people invested in it not only their labor, but also their soul, their dreams, hopes, joys and sorrows. Much has passed and been lost - time has not spared man and his creations, but what has been preserved, what has come down to us, reveals to us the unique, wondrous face of the people - the creator, cleansed of everything random, superficial, capable of distorting the true meaning of what he created.
The beauty of Russian folk costume has reached us not only thanks to surviving museum exhibits.
From the canvases of talented artists, the views of Russian beauties in amazing attire are turned to us. What delighted artists of past centuries - the magnificent outfits of wealthy people or the simple clothes of peasant women - everything breathes dignity, harmony and historical authenticity, although the influence of the artist’s personality is felt. By understanding the history of Russian costume in painting, we get to know ourselves and our place in the modern world.
One of the most famous and talented Russian painters of the second half of the 19th century, who glorified Russian antiquity in his canvases, is Konstantin Egorovich Makovsky (1839-1915). He painted a great many vivid paintings of boyar Rus' of the 17th century. His beautiful “boyars” are dressed in colorful Russian clothes and marvelous headdresses, and adorned with luxurious earrings and necklaces from that distant era, which are drawn with amazing detail. His paintings are so accurate in reproducing the situation of that time that they can replace dozens of textbooks, and are written with such love for Russian culture that they inspire not only to admire them, but also evoke a desire to learn and love the rich heritage of our ancestors.
The magical power of Russian folk costume is so great that once you look into this treasury and realize its connections with customs, rituals, and the ancient origins of Russian culture, when the magical meaning of things and images turned into aesthetic ones, you can no longer tear yourself away from it. The more closely you study Russian folk costume as a work of art, the more values you find in it, and it becomes a figurative chronicle of the life of our ancestors, which, through the language of color, shape, and ornament, reveals to us many of the hidden secrets and laws of beauty of folk art. That’s why the folk costume never dies. It has become a link that connects the artistic past of our people with its present and future.
From the history of Russian costume.
Russian national costume is a kind of chronicle of the historical development and artistic creativity of the people. Russian national clothing has a centuries-old history. Being one of the stable elements of material culture, it has long reflected not only ethnicity and geographical environment: it affected the level of economic development, social and property status, and religious affiliation.
Features of national identity, centuries-old traditions and craftsmanship are clearly manifested in folk costume - the most widespread form of folk art. Folk costume is a synthesis of various types of decorative art: the art of embroidery, folk weaving, lace-making, knitting and other types of applied art.
Over a long period, from the times of Ancient Rus' to the beginning of the 18th century, it did not undergo drastic changes in its basic forms and evolved within the framework of stable traditions. The 18th century was a turning point in its development. This time of socio-economic and cultural transformations in Russia was marked by the legislative activities of Peter I, regulating various spheres of life, society and aimed at radically breaking the usual foundations. The reforms widely affected Russian life, including clothing. In 1700, decrees were issued on the compulsory wearing of Western European-style costumes. The only exceptions were clergy and the peasantry. European costume became the norm for Russian society, but this norm had to make its way through centuries-old traditions.
Thus, costume in Russia has received two directions since the 18th century: Western European forms dominate in noble costume; original Russian forms in folk costume. Along with the peasantry, urban merchants and townspeople of the 18th century, and partly throughout the 19th century, remained adherents of Russian dress, reluctantly accepting European innovations. Traditional peasant clothing, not affected by official legislation, retains stable forms processed over centuries, which determine its originality, until the beginning of the 20th century. And from this point of view, the peasant costume is as interesting as the Russian national costume. He concentrated the most typical features of the Old Russian costume: cut, decorative techniques, method of wearing and much more.
Women's clothing is more expressive in its artistic and figurative design. Compared to men's, it more clearly reveals the features of the local originality of folk culture.
The traditional Russian suit is characterized by a straight cut with freely falling lines. It is distinguished by constructiveness and rationality: the module here is the width of the panel of homespun or purchased factory fabric. The main parts of the clothing were cut by folding the panel in half along the weft or warp. For wedges, if necessary, the panel was folded diagonally. The garment parts, sewn along straight lines, were supplemented with rectangular or oblique inserts (straight, oblique stripes, gussets) for freedom of movement. Although the clothing of the inhabitants of each region of Rus' had its own distinctive features, the entire Russian women's costume had common features - a poorly articulated compact volume and a laconic, soft, smooth contour. When the woman walked, her costume retained its peculiarity - the smooth fluidity of the lines.
Characteristic features also include the significant length of clothing, especially the long sleeve length of women's shirts in some areas, the arrangement of decor, the multi-layered ensemble consisting of several clothes worn one on top of the other, rich coloring with a contrasting combination of colors of individual parts of the costume.
Russian folk clothing differed in purpose (everyday, festive, ritual), and one could judge age and marital status by it. As a rule, it was not the cut and type of clothing that changed, but its color and amount of decor (embroidered and woven patterns).
Materials for Russian folk costume.
A modest blue flower on a silver-green stalk covered large areas of fields north of Moscow. And the further north, the more often these “sky” islands were encountered. It was as if the earth begged the blue northern sky to kindle people at least a little, to reward them for their peasant labor with this plant. However, growing flax and processing it was very difficult, and this fell to the lot of women. Therefore, it is no coincidence that flax is called “the companion of women’s destiny.” Plant, weed, then pull, thresh, spread, knead, weave, comb, and only then spin and weave; These are the components of flax processing. Woven canvases bleached in the sun. Checkered and striped canvases - “motley” - were woven from multi-colored, motley threads. And only after all this work were the clothes sewn. It is clear that the resulting fabric was used sparingly, preferring harmonious styles proven over centuries, allowing imagination only in details and trifles. At home they could also make cloth from woolen threads.
Not only homemade fabrics were used in the festive costume: the textile industry has been developing in Russia since the 18th century. Factory-made calicoes penetrate the life of the village.
And with the development of capitalism in Russia in the second half of the 19th century, at village fairs, a peasant could buy chintz and brocade, ribbons, gold and silver braid (woven braid made of gold and silver metal threads together with cotton or linen thread), multi-colored garus wool yarn, silk , woolen, and paper scarves and shawls. But until the beginning of the 20th century, these fabrics were considered expensive and festive.
Most of the village residents dyed clothing materials themselves at home or gave them to artisans who worked in workshops or roamed the villages. When dyeing fabrics, folk craftsmen used dyes of a fairly wide range of colors and shades, using infusions of herbs, flowers, roots, tree bark with the addition of sour bread kvass and some chemicals (copper sulfate, alum, etc.)
Color in peasant clothing.
“Mother - the damp earth” raised special colors for people and, together with all of nature, taught them the art of combining colors in a unique and bright harmony, similar to a Russian song. Just as on a gray, dull rainy day we are often seized by causeless anxiety, and the time of winter sunset causes melancholy for many, so in a person’s appearance, the color of his clothing, even the distribution of the main color spots in a suit, has an emotional impact on people.
The secret of this influence was revealed long ago by our ancestors. And it was the women’s costume that was distinguished by its multi-colored, uniquely original ornamentation, which always conveyed in various nuances the features of the creative individuality of the craftswoman.
The richness of colors of Russian women's folk costume was distributed according to artistic laws that developed in distant times. The favorite color of peasant clothing was natural white. Shirts, men's trousers, and women's aprons were mainly made from white canvas. Outerwear is made from white woolen fabrics. Common colors were: black, brown-brown, yellow-orange, blue. But the Russians' favorite holiday color was red. The word “red” in the Old Russian language was understood as “beautiful”. When, with the third crow of the rooster, the peasant women hurried to the meadow to see if the dew was abundant on the spread canvases, was it not the disk of the rising sun that filled their souls with a feeling of joy, the fullness of life - the color red.
The color red in Russian folk costume existed in such a wide variety of shades that one could create a whole palette, a kind of color symphony, from them. According to the laws of color contrast, the richness of red increases against the background of green, giving a joyful, festive sound to the costume and appearance of the peasant woman.
It was a protective color - the color of fire, the color of blood. The canvas itself in the shirts was called Earth, and the embroidery was called Yaryu. Thus, the Heavenly Fire, covering the Earth, conceived and protected all living things.
In ancient times, the Russian people distinguished up to thirty shades of red. Each of them had its own name, for example: vermicular (black cherry) - red, crimson - alovishnevy, meat - scarlet, crimson - crimson, ore-yellow - a shade of reddish-red, kumashny - red-scarlet, chremny-krasnoy - red, bokanny - red, etc. To be fair, it must be said that the exact definition and designation of a particular color shade using the words of modern language is extremely difficult, because our distant Ancestors felt colors much more subtly than we did, as well as the mood that they create in the human soul.
The symbolism of the color red was also multifaceted. He was a symbol of fire - and fire in the village is not only warm, but also terrible fires - a symbol of joy and sorrow. In lyrical lingering songs, the “scarlet flower” often served as a background for the sadness of unrequited love...
In women's haymaking costumes, he was the messenger of the “red sun,” a symbol of his union with the earth. People believed: the color red has miraculous properties; it was associated with fertility. Every morning the sun rides horses into the sky. Embroidery patterns, often made with red thread on a white background, introduce us to the mythological characters of the ancient Slavs.
Symbolism in Russian clothing.
Clothing isolates a person from the external environment. And any type of protection, according to the beliefs of our distant ancestors, could be preserved and strengthened with the help of magical actions, often encrypted in ornamental designs, in the forms of works of art. Embroidery or weaving designs that decorated folk clothing were passed down from generation to generation. They were by no means random. Randomness in ornamentation appeared only at the end of the 19th – beginning of the 20th centuries in places where there was a fairly strong influence of the city. In deep times, in eras that are far from being fully studied by us, people conveyed the visible world, their ideas about it, their relationships with it, their ideas about it, their relationships with it in a conventional figurative language. This was the first code system invented by people, which had a magical meaning for them. Perhaps, according to the belief of our ancestors, the convention of the image protected the depicted from evil. Gradually, this system turned into an artistic ornament, in addition to magic, it received an aesthetic content, which it still retains and makes one admire this beauty. So, from the depths of centuries, our ancestors send us signals - symbols about their lives, about their worldview, about their attitude towards the forces of nature. They began to decipher these signals relatively recently, and many more interesting and unexpected things remain to be discovered by people of future generations.
The ornament, complex in design, rich in rich colors, adorned folk clothing. At first glance, it is difficult to understand its distant hidden meaning. The calm beauty of geometric figures is not associated with the system of the universe that existed in the imagination of our ancestors, and yet here we find the sign of the sun with its complex curved ends, and the sign of a field in the form of rhombuses with a dot in the middle, and the sign of a person. There were other patterns in which simpler images of people, animals, and birds alternated, but they all originated from ancient Slavic mythology.
Bereginya
Bereginya- This is an important symbol that is found in many embroideries. The people created it as a mysterious flower that symbolizes maternal strength.
She is Mother Nature herself, who represents the creation and protection of the world, as well as the eternal renewal and harmony of life. Bereginya also symbolizes the Tree of Life (sometimes it was depicted in the form of a bouquet or flowerpot), which is a combination of three worlds and a symbol of the harmony of the Universe.
The world tree has the meaning of the infinity of life, the continuity of the family, each of its branches is the embryo of a new family, therefore it is an integral part of the wedding towel. Birds were depicted on the middle and upper branches - representatives of the upper world, symbols of eternity, the immortal soul and the divine presence.
Kalina is the embodiment of strength and beauty, but extreme strength, and immortal beauty. When viburnum was associated with the birth of the Universe and the fiery trinity: the Sun, Moon and Star, and its name comes from the Old Slavic name for the Sun - “Circle”.
Red viburnum berries are a symbol of blood and immortality, fire and sun. That is why all wedding towels, girls’ and even men’s shirts are filled with bunches of viburnum.
You can build a semantic connection: viburnum - blood - birth, immortality. Kalina is a symbol of a woman’s spiritual life: her virginity, love and beauty, marriage, joy and sorrow. Every girl must cross the Viburnum Bridge, this protected border, because on the other side there live three inseparable sisters: Vera, Nadezhda and Love.
Viburnum flowers decorate the bride's outfit and loaf, and its red clusters are woven into wreaths at the harvest festival.
Folk costume of the Russian North
It consists of a chest garment known as “sleeves”, a slanted swing sundress-“damask”, a brocade short-skinned “half-fur coat”, a high girl’s headband, a “zaboroshnik” (a neck decoration characteristic only of the Summer Coast of Pomorie), a “bush” ( girl's jewelry on her braid) and several rows of large amber beads. Necessary attributes of such an outfit were also jewelry: pearl earrings, silver bracelets and rings
Southern provinces of Russia
Girl's holiday suit
Girl's outfit s. southern provinces of Russia consists of a shirt, a poneva, a short chest garment - shushpan and a headdress - a “ribbon with feather grass” in the form of a hoop with a bunch of feather grass over the forehead and long colored ribbons going down the back.
The Ryazan costume was perhaps the most colorful in the southern provinces. It is distinguished by the joyful, ringing color of calico. Against the backdrop of green meadows and forests, he entered into complete harmony with nature, creating a festive and jubilant emotional mood, inviting people to spring and summer round dances of folk festivals. A distinctive feature of the Ryazan costume is a special type of outerwear, which is worn over a shirt - “nasov” made of woolen house-made fabric of mortgage weaving with woven geometric patterns of fertility. The red swing “shushpan” is a type of this clothing.
The head was tied with a scarf over the kichka. A horned kick with very high horns was also in fashion. The Ryazan suit is massive and wide. So, the width of the pump is 160, and the height is only 102 cm.
Today we are interested in part of the national costume - this is a girl’s shirt.
Women's shirts. Primordial types of clothing are always simple in cut, which usually corresponds to the lifestyle of people who existed in these natural conditions. The main clothing of the Slavs (Krivichi, Vyatichi, etc.) and Finno-Ugric tribal unions was a shirt. She protected people from the scorching rays of the summer sun while working in the fields, and they put fur clothes on her in the winter cold. Inseparable from the human body, the shirt in the eyes of our ancestors had magical powers. If someone wanted to bring evil to his enemy, then he had only to take possession of the enemy’s shirt for a while, cast a few spells, and the owner of the shirt was already doomed, he was “damaged.” This means that it was necessary to protect the shirt, to make it invulnerable, even if it fell into the hands of bad, evil people. But for this it was not enough to cast a series of spells - in the struggle between good and evil, good was the weak, unstable side - it was necessary to forever consolidate the formula of good, to make it inseparable from the shirt. And all this had to be surrounded by mystery, expressed in such a way that it would not immediately become clear to everyone. What could an evil person do harm to? What could he take away with his spells? The head was supported by the neck, and it was surrounded by the collar of the shirt. Without a head there was no life. Human hands, and especially female hands, did all sorts of work. They helped people to be born, they fed, rocked in the cradle, swaddled and washed children, washed, cooked food, reaped cornfields... Women's hands, which turned into wings in fairy tales, did a lot, a lot. It was important to protect the person’s legs – the hem of the shirt touched them. That’s why women covered their collars, sleeves, and shirt hem with embroidery as a talisman. Initially, in deep, deep times, embroidery or weaving designs had a direct magical meaning. But as time passed, new life tore people away from old beliefs. The witchcraft power disappeared from the drawings, and only beauty remained. Women carefully kept it and passed it on from generation to generation.
In addition to everyday and holiday ones, peasant women had mowing shirts. In the village, the days of haymaking, the end of the harvest, and the first pasture of livestock were considered holidays, and peasant women dressed up in special shirts.
A special feature of the mowing shirt was the decoration of its hem with an embroidered or woven colorful stripe with designs that were passed down from generation to generation. The pattern along the hem of the mowing shirt was a sign of a woman’s service to the earth, a sign of closeness to it. Initially, in ornaments, people conveyed their ideas about the world and the relationship with it; there is a sign of the sun, and a sign of a field, and a sign of animals and birds, and a sign of a person. The drawing had a magical meaning and was supposed to protect what was depicted from evil
strength Later, the symbolism of the universe turned into an artistic ornament and acquired aesthetic content. Mowing shirts were most often made of white fabric, but could also be of a different color.
They were called differently (“mowing”, “hay-making”, “stubble”, “stinging”). They were worn with a large slouch over the “girdling” - a narrow, bright belt, under which a canvas scarf or towel was tucked to wipe away sweat. Sometimes this outfit was complemented by an apron.
In the northern provinces, from the second half of the 19th century, mowing shirts began to be sewn with a top made of calico and a body made of white canvas, plaid or heel. The wide strip of woven geometric pattern that decorated the hem sometimes exceeded 30 cm.
Shirt pattern.
The word "shirt" comes from the ancient Slavic "rub" - a piece of fabric. Apparently, the tunic-like long shirt (“bag with sleeves”) is generally the oldest type of woven clothing.
For a tunic-shaped shirt, they took a rectangular piece of fabric and folded it in half along the weft. At the bend, a rounded slit was made for the head, with a long slit on the chest. The women's shirt has always been ankle-length (like a dress), and only began to “shorten” at the beginning of the 20th century (see below).
Women's everyday shirts were made from unbleached homespun flax, hemp, or (in the case of a very poor family) from motley. Festive shirts were made from whoever got what: silk, factory cotton, calico, bleached flax.
For Russian shirts, the fabric was not cut in the modern sense (that is, pieces of the required size and shape were not cut out of a large cloth). Instead, the panels from which the shirt was assembled (sewn) were strictly rectangular, and they were immediately woven to the required width and length. Thus, sewing a shirt was a “waste-free production,” which was important in peasant life.
The Russian women's shirt consists of the following parts:
stanushka (back and front)
paliks (shoulder details) sleeves gussets (underarm details red) 
Despite its apparent simplicity (only rectangular panels), there were several types of shirt cuts. The most common are the following:
"in two dots"
(one panel on the back, one on the front)
"at three points"
(one panel covers three quarters of the back, another covers three quarters of the front, the third covers the side and the remaining quarters of the front and back. The seams in this case are located like this: one on the side, one in front - a quarter of the width from the side line - and one in the back, also a quarter of the width from the side line)
"at four points"
(back - side - front - side. In this case, there are two seams on the front and back, each a quarter of the width away from the side line).
Three-point shirt. 
Shirt "four dots".
The panels for the shirt were sewn not as we are used to now - “overlapping” - but at the butt.
This, by the way, is where the expression “exactly” came from: literally “to sew together.” But this seam was used for everyday shirts. If it was necessary to sew ritual clothing, then other types of seams were used, such as “needle lace”. When using the “needle lace” technique, the panels of fabric did not touch each other at all. Between them a narrow openwork strip of intricately intertwined stitches was created. Of course, this seam was fragile - but strength was not required here, since this was a ritual outfit for one day.
In the village tradition, it was customary to decorate paliki with rich embroidery (that is, almost no fabric should be visible under the embroidery). Initially, this embroidery represented “signs of the family” (each region of Russia had its own patterns. In addition, the main motifs also varied slightly from village to village - that is, the “ancestors from the sky” could immediately see that “this is this woman - our family-tribe").
In the most ancient examples of shirts, only the paliks are embroidered - the actual sleeves remain white. However, by the middle of the 19th century, the concept that embroidery, it turns out, can be not only a talisman, but also simply a decoration, penetrates into rural life (from the life of a landowner). After this, the sleeves of shirts began to be used as a kind of “showcase” to demonstrate the skill of a woman embroiderer. At first, the motifs and patterns were still traditional, but the further, the more (especially in the southern provinces) the sleeves began to be decorated with simply floral patterns and abstract ornaments.
It is necessary to separately mention such a detail of the shirt as a lush cuff, reminiscent of the shape of a bindweed flower. This detail was used only for shirts of marriageable girls and was a kind of symbol of readiness for marriage (“the girl has blossomed”). Bell-shaped cuffs could be very wide, very long (from the elbow to the middle of the fingers), and were always richly decorated with embroidery (Tree of Life, flowers, branches - symbols of fertility), sewn ribbons and lace.
Cuff of an Arkhangelsk girl's shirt. 
Second half of the 19th century.
Cuff of a Tula girl's shirt.
Second half of the 19th century.
It is interesting that in the shirts of the South of Russia (where the suit with a ponevoy dominated), tradition prescribed richly decorating not only the sleeves, but also the hem of the shirt. This requirement for a smart hem lasted until the beginning of the 20th century. And in the northern provinces, embroidery on the bottom of a shirt (daily, not ritual) ceased to be mandatory around the middle of the 18th century.
Again, in areas where sarafan clothing was worn, peasant pragmatism invented the “sleeve” type shirt. What it is. This is when a peasant woman took a small piece of expensive fabric and sewed a bodice from it (slightly longer than “under the bust”) with richly decorated palikas and sleeves. At the bottom of this bodice, something junk and cheap, ankle-length, was sewn with a living thread. When this “waste” part got dirty, it was stripped off and washed (the rich “top” was washed much less often and more carefully, so as not to spoil the embroidery and decorations). Then the “bottom” was sewn to the “hands” again. If the bottom was completely worn out, it was simply replaced with another one.
The logical continuation of the idea of “sleeves” was simply a short (hip-length) shirt, like a modern blouse, which began to be worn in many regions of Russia by the beginning of the 20th century. It is interesting that such a short shirt was often sewn with a yoke (the most famous option is the “Moscow” shirt “with a collar”). Also, to simplify the cut, in some areas the paliks completely disappeared, and the sleeves turned into a semblance of a modern “raglan” (the so-called “fingerless” shirts, in which the sleeves continued all the way to the neck).
Girl's shirt
The shirt is sewn according to an old cut with straight edges.
The sleeves, skirts and hem are decorated with Slavic symbols.
Women's protective embroidery on the chest, collar and skirts.
The shirt is made for young women and girls - brides, because... has symbols of fertility .
The decoration of a shirt was always full of deep meaning and sometimes represented a complex combination of protective and other Volkhov symbols. The collar, hem and sleeves, as well as the seams, were especially richly decorated. The shirts were trimmed with braid, embroidered, and decorated with patterned patchwork patches.
The usual embroidered protective motifs for shirts are: horses, birds, the Tree of Life, plants and floral ornaments in general, lankas (emphasis on “and”) - anthropomorphic characters, images of Gods... Striped ornaments are very diverse: grassy, clawed, with faces, Streams, burrs, hooves, skates, pigs, crosses and circles, etc. It should be noted that sometimes the embroidered parts were altered from an old shirt to a new one (The same thing happened with towels).
GIRL'S COSTUME OF RYAZAN PROVINCE
A girl of marriageable age in the Ryazan district wore a special outfit, in the color scheme of which the main role was played by the white color of homespun wool and linen. It consisted of a long shirt, over which a tunic-like fur coat was worn. The shushka was accompanied by a wide woolen belt, decorated at the ends with three transverse stripes of a diamond-shaped pattern with metallic sparkles. Between them are dark red stripes of cotton fabric, yellow silk ribbons, decorated with glass buttons. The ends of the belt are finished with short dark brown tassels. Such a costume was usually complemented by neck and chest decorations made of beads “chopki” and “markings”, as well as a girl’s headband of gold embroidery with cannons near the ears.
Colorful and multi-colored were the coupling laces of the 18th - 19th centuries from the Mikhailovsky and Zaraisky districts of the Ryazan province with images of peahens, leopards and double-headed eagles
Practical work
The creation of a sample of a girl's shirt from the Ryazan province was carried out according to a pattern. 
The decoration was carried out with embroidery and braid, according to historical samples.
Literature.
1.Encyclopedia. Kingdom of people. M., Publishing house “Rosman”, 1994
2. A.E. Clients. Folk crafts. M. Publishing house “White City”, 2002
3.The first pages of history. Moscow educational company “Record”, 1994
4.Yu.A. Lotman. Conversations about Russian culture. Life and traditions of the Russian nobility. St. Petersburg, 1994
5.M.A. Ilyin. Things are told. M., 1989
6.L.A. Preobrazhensky History reveals secrets. M., 1991
7.T.Ya. Shpikalova. In the world of folk art M., 1998
8. Costumes of the peoples of the world. Publishing house “Litur”, Ekaterinburg, 2004.
9. Russian folk costume. Publishing house “Mosaic-synthesis”, M., 2006.
10.A.Yu. Andreeva. Russian folk costume. Traveling from North to South. Publishing house “Paritet” St. Petersburg, 2004
11. Tales of Ivan Bilibin. Neo-Russian style. M., 2004
12.Russian fairy tale costume. St. Petersburg, 2006
13.N.G. Novosad. The art of dressing. Sverdlovsk: Middle-Ural. Publisher, 1989
Russian folk costume, preserved in peasant life until the beginning of the 20th century, is a monument to the material and spiritual culture of a nation, humanity, and a separate era. Having emerged as a man-made object for utilitarian purposes, expressing the aesthetic feelings of a person, a folk costume at the same time represents an artistic image, the content value of which is closely related to its functions. This is one of the most widespread types of folk art and decorative arts in general.
Chapter I. Historical, cultural and sociological analysis of Russian folk costume of the European part
1. Aesthetic nature of folk costume, its main functions
A folk costume is a holistic artistic ensemble that carries a certain figurative content, determined by its purpose and established traditions. It is formed by harmoniously coordinated items of clothing, jewelry and accessories, shoes, hairstyle, headdress, and makeup. The art of costume organically combines various types of decorative creativity: weaving, embroidery, lace-making, hemming, sewing, appliqué and the visual use of various materials: fabrics, leather, fur, bast, beads, beads, sequins, buttons, silk ribbons, braid, braid, lace, bird feathers, freshwater pearls, mother-of-pearl, colored faceted glass, etc.
An assembled folk costume is an ensemble built in the natural rhythm of lines, planes and volumes, on the correspondence of texture and plasticity of fabrics, on the organizing role of decor and color, on the connection of utilitarian and artistic merits.
The existence of this type of folk arts and crafts was determined by tradition - the historical continuity of the ideological, aesthetic and artistic achievements of previous generations. “Tradition “flickers” in history,” writes I.T. Kasavin, “but it also creates it, being a form of organic growth of spontaneous human activity into regular and law-like social practice. And here it (already as a concept) turns out to be a way of forming historical consciousness, which reveals in tradition not just outdated norms of activity and thinking, but “clumps of historical concrete experience, necessary stages in the development of social relations.”
The custodians of the ancient traditions of folk costume among the Russians, like most other peoples, were peasants. They lived in harmonious unity with their native nature, and through it they comprehended the meaning of Beauty, Goodness, and Truth. Russian peasant clothing was protection from heat and cold, was comfortable, “harmonized with the dominant type of face and figure of the local residents,” had amulet, protective and prestigious meanings, and played an important ritual role in rituals and holidays. Syncretism as the organic unity of folk art, the indivisibility of different types of creativity in it, each of which, according to Yu.B. Borev, “included not only the rudiments of various types of artistic activity, but also the rudiments of scientific, philosophical, religious and moral consciousness,” defined form and principles of folk costume. Therefore, when reconstructing the semantic content of Russian folk costume, it is necessary to involve such diverse and interdependent materials as mythology, information about customs and rituals, folklore, take into account the technological knowledge of folk craftsmen, etc.
Unlike the fine arts, whose artistic language contains life-like forms, Russian folk costume as an expressive art directly conveys people’s figurative perception of life with the help of an aesthetically perfect form. They do not directly resemble the display object, but convey concepts related to life. At the same time, this does not exclude elements of figurativeness, for example, in the ornament of Russian folk costume there are motifs of the human figure, birds, animals and plants, as well as horned forms of women's headdresses.
According to the method of practical artistic development of the material, Russian peasant costume, like other types of folk arts and crafts, belongs to the arts that use mainly natural materials: leather, fur, wool and plant fibers, bast, etc. The aesthetic nature of the impact of a costume on a person is visual. The material certainty of a folk costume, the natural properties of natural materials, its sensual concreteness, which determine the perception of the costume ensemble, simultaneously characterize its aesthetic impact.
The aesthetic in Russian folk costume is its natural, artistic and social features in their universal meaning. Russian folk costume was created according to the laws of the universal aesthetic category - beauty and was based on the diversity of aesthetic properties of reality, which, according to Yu.B. Borev, “arise due to the fact that in the process of activity a person includes the phenomena of the world in the sphere of his practice and places them in a certain value attitude towards humanity, while revealing the degree of their development, the historically determined degree of a person’s possession of them and the measure of his freedom.”
The beauty in Russian folk costume is manifested in its ability to transform a person - to make him beautiful, as well as in convenience, economy and expediency, in the creative disclosure of the possibilities and features of materials, in the harmony of color and rationality of design, in the beauty of the silhouette and in growing on the basis of all this decorative splendor, depth of ideological content and its broad positive universal significance.
At the same time, it must be emphasized that not every costume created by any peasant woman can be called a masterpiece, that is, an exemplary work that is the highest achievement of folk art and craftsmanship. Only that example of Russian folk costume belongs to the masterpieces, evokes a strong aesthetic feeling and deep artistic experience, in which there is an organic unity of the rational and emotional, all factors of artistic expression, turning the costume into a concept of beauty, into the embodiment of the folk idea of beauty.
Among the aesthetic features of Russian folk costume is the stability of the system of aesthetic principles, created by collective creativity over many generations, with the aesthetic originality of each costume.
In Russian folk costume, the owner’s belonging to the Christian faith was manifested, for example, by wearing crosses; icons and crosses attached to beads, metal chains, beaded ribbons, worn on the chest over clothing. Along with the cross, a belt was considered a sign of belonging to Christianity. “He walks like a Tatar: without a cross, without a belt,” people said. A. A. Lebedeva writes that “before, walking without a belt was considered a sin. Unbelting a person meant dishonoring him... A belt was put on a newborn immediately after baptism.”
The belt is a commandment of God, the Old Believers believed and wore belts with woven words of prayers and names. The dead were buried with a belt, and during fortune telling, the belt, like the cross, was necessarily removed. According to G.S. Maslova, “only the demons of the disease seemed beltless, crossless - the twelve fevers (Yuryevsky district of the Kostroma province) and mermaids.”
The life-affirming color richness of festive costumes, along with the strictly limited color palette of mourning clothes or the comical witty combinations in the costumes of mummers, reflected the diversity, on the one hand, of aesthetic functions, on the other, the richness of the implementation of reality, which contributed to the development of an emotional reaction adequate to the people's worldview. The incomparable expressiveness of the decor and monumental forms of Russian folk costume evoke a quick emotional reaction (emotive function), and the deep ideological and figurative content requires time to understand (cognitive-heuristic function). The ideological and aesthetic impact of the suit left a certain imprint on life and its perception, forcing one to relate oneself, one’s actions, and one’s manner of behavior to the image of the suit (ethical function).
The majestic solemnity of forms and the joyful decorativeness of festive clothes contributed to the affirmation of a person, on the one hand, in respect for the team, for tradition, and on the other hand, in his personal self-worth, and determined the compensatory and hedonistic functions of folk costume.
Based on the above, it can be argued that Russian folk costume, as a concentrated artistic expression of social practice, has a cognitive, educational, and most importantly - aesthetic function that permeates these and all its other functions.
P. G. Bogatyrev rightly noted that “the aesthetic function forms a common structure with the erotic function and often seems to hide this latter..., both functions are aimed at the same thing - to attract attention. Attracting attention to a certain object, which is "One of the main aspects of the aesthetic function also turns out to be one of the aspects of the erotic function, since the girl seeks to attract the attention of young people or one of them. Thus, the erotic function often merges with the aesthetic function."
The beauty of Russian folk costume brings joy to people, awakens the artists in them, teaches them to feel and understand beauty, and create in accordance with its laws. Folk clothing expresses the aspirations of its wearer, cultivates the ability to find the measure of objects as their properties correspond to the social needs of a person, forms the aesthetic value orientation of a person in the world and, therefore, not only reflects the world, but also transforms and creates it.
2.The art of folk costume as an expression of social consciousness
Along with morality, religion, science, philosophy, politics and law, folk art, and in particular Russian folk costume, are forms of social consciousness. B. A. Ehrengross writes: “All forms of social consciousness are united by the fact that they reflect reality, and differ in what they reflect in it, how and in what form. Their origin is different, their role in the development of society is different.”
The aesthetic value of Russian folk costume depends only on its beauty and utilitarian qualities, but also on its inherent ability to be a bearer of personal, class, national and universal cultural meanings, to be an exponent of the social circumstances in which it is included.
Researchers note different approaches to the formation of festive and everyday costumes. If utilitarian functions prevailed in the everyday costume, then the festive folk costume symbolized the unity of the spiritual life of the individual and the team; traditionally it expressed “a person’s involvement in any generally significant event”, had complex socio-cultural functions, surpassed the everyday one in the quality of material, decorativeness, quantity of details and decorations
This was most clearly expressed in women's festive and ritual costumes, which were most lavishly decorated, were rich in magical and religious content, symbolism of vital meanings and goals, were distinguished by a pronounced originality and therefore had the greatest aesthetic and artistic value. In the best examples of women's festive and ritual costumes, there is a harmonious balance of emotional-figurative and utilitarian-material principles, content and methods of expression.
A. S. Pushkin noted: “The climate, the way of government, the faith give each people a special physiognomy... There is a way of thinking and feeling, there is a darkness of customs, beliefs and habits that belong exclusively to some people.” About the national originality of the aesthetic perception of reality, the outstanding Russian historian V. O. Klyuchevsky wrote: “Each people by nature is supposed to perceive from the surrounding world, as from experienced destinies, and transform into their character not just any, but only known impressions, and from here comes diversity national warehouses or types, just as unequal light susceptibility produces a variety of colors."
It should be noted that the aesthetic attitude of Russian peasants to their costume was determined primarily by their social interests, religious beliefs - paganism and Christianity, and national psychology. The great power of the aesthetic impact of folk clothing is due to its close proximity to a person in his everyday life and the hourly use, and, consequently, the mass perception.
Thus, the nationality of the peasant costume is explained by the fact that it is a phenomenon of the practical and spiritual activity of the people, an expression of their interests and needs, stereotypes of perception and thinking, value and emotional structures. At the same time, the people act as the object and subject, the creator and custodian of this necessary and understandable type of decorative and applied creativity.
“Nation,” said V. Solovyov, “is the most important factor in natural human life and the development of national self-awareness, it is a great success in the history of mankind.”
I. S. Turgenev emphasized: “Outside the nationality, there is no art, no truth, no life - there is nothing.”
The tradition of Russian folk costume can be considered through a system of correlation of such concepts as collective and individual, tribal and social, national and other ethnic, universal.
Collectivity is an aesthetic category that characterizes the worldview of the peasantry, the structure and principle of their artistic creativity, which determines the gradual creation, testing, selection and rethinking of their traditional costume by the people (collective). It is the collectivity of the process of creating Russian folk costume that explains the incomparable depth and ambiguity of its content, and the inexhaustible variety of decorative solutions.
The individual, personal, and subjective were expressed in peasant clothing through the general, collective, determined by tribal, religious, national, and historical consciousness. In this regard, the problem of ethnic self-awareness is revealed as a spiritual community with a clan and people and, in particular, as a predetermination of an individual’s aesthetic experiences by the entire mass of collective experiences of his clan and people (in the present and past). According to the correct definition of G. G. Shpet, “the spiritual wealth of an individual is the past of the people to which he considers himself.”
“The appearance in folk decorative art of perfect works, classical in their artistic principles, is the result of the creativity of talented, gifted masters... Bright talent in folk art,” writes T. M. Razina, “is therefore bright and significant because it is most profound and fully assimilates the traditional, the most living and relevant in it, sensitively captures what at a given historical moment is most in tune with the aesthetic and spiritual needs of the people around him.”
The individuality of a craftswoman in a folk costume is manifested in the degree of integrity of the coloristic solution, the depth and complexity of the content of the ornamentation, the harmony of the composition, and the level of proficiency in the entire traditional complex of needlework (spinning, weaving, dyeing and bleaching fabric, embroidery, lace-making, hemming, sewing, etc.).
Folk costume, in the totality of original stable ideological and artistic principles, in the unity of natural and folk, collective and individual as a whole, concentratedly expresses the Russian national character and the system of folk aesthetic ideas. As you know, every nation first of all recognizes and values its national identity. And the more original the national vision, writes Yu. B. Borev, the more it carries within itself unique, generally valid information and experience of relationships. This is precisely the most important condition for the high artistry and global sound of a work."
When studying the patterns of development of traditional Russian folk costume, along with intranational artistic interactions, it is important to take into account the influence of the processes of ethnocultural integration of Russians both with related Slavic peoples (Ukrainians and Belarusians), and with other close neighbors, for example, with the peoples of the Baltic states. For the East Slavic peoples, the most ancient forms of shirts, girls' and women's headdresses, jewelry, some types of shoes, etc. were common. The ancient commonality of the genetic roots of the traditional costumes of the Eastern, Western and Southern Slavs is most clearly evidenced, for example, by the types of women's belt clothing.
Russia's vibrant economic ties with various countries of the world, significant imports of fabrics, dyes and various haberdashery goods also influenced the formation of Russian traditional clothing. The inclusion of other ethnic elements in it was determined both by the similarity of ideological concepts and by the need for the culture itself to develop. At the same time, with regard to foreign ethnic influences in peasant clothing, it is appropriate to recall the statement of K. Gradova that “in Russia, all foreign influences in the field of costume, being perceived, gradually dissolved and were absorbed by Russian traditions, without changing the main line of its development”1. From this we can conclude that the national originality of Russian folk costume was enhanced by the interaction of various ethnic cultures in it; the international and universal things acquired a clearly national expression in it.
The natural environment and social relations determined the cultural context in which the Russian folk costume existed: philosophy, politics, morality, religion and other forms of social consciousness, the previous artistic tradition and, finally, life, morals, customs, lifestyle, human activities, etc. etc. At the same time, Russian folk costume as an art form was syncretic, since it was an integral part of ritual syncretism, which included, along with it, song, dance, instrumental tunes, games, works of verbal and poetic creativity, and ritual and household paraphernalia. Before the revolution, traditional rituals and holidays were a powerful means of uniting the nation and nurturing its unique culture. V. Berezkin notes: “Everything that a person created with his imagination and with his own hands was considered by him to be part of one or another ritual.” It should be added that the utilitarian in folk costume, as well as in the ritual as a whole, was imbued with the aesthetic, and the philosophical, religious, and moral were presented as aesthetic values.
Thus, purposeful value-oriented creative activity in folk art, in particular in the creation and perception of Russian folk costume, included people in the aesthetic transformation of life, educated them and enlightened them. In this light, the Russian folk costume acted as an important means of communication (communicative function), carried a large amount of information about its owner (information function) and thereby contributed to cultural understanding both among the peasantry and in contacts with representatives of other social groups of the population, carried out transfer of artistic and historical experience from generation to generation.
3. Specifics of the artistic image of folk costume and its local features
The process of creating a folk costume is an aesthetic transformation of life experience into artistic images, carried out by the talent and skill of the people with the help of imagination through the prism of worldview (aesthetic ideals) on a strong basis of tradition.
The artistic image is a specific form of mastering the world in art in all its diversity and richness, harmonious integrity and dramatic collisions.
One of the most important features of artistic folk thinking is metaphoricality, i.e. synthesis of natural and cultural phenomena according to a general characteristic or property. In a peasant costume, it appears especially clearly in the ornamentation, in the shapes and names of women's headdresses, in the presence of a general process of formation of structural levels of space and the similarity of decorative solutions of a folk costume, a peasant hut and an ancient Russian temple, in the similarity of the names of their individual elements, as well as in their commonality at the semantic level (connection with cosmology and anthropomorphic image). This was pointed out in their works on folk art by I.E. Zabelin, D.K. Zelenin, M.A. Nekrasova, T. N. Tropina. M.A. Nekrasova, in particular, writes that Russian folk costume participated, along with the interior of the house and folk architecture, in the creation of “a spiritual-spatial environment capable of influencing a person and shaping his inner world.” Emphasizing the comprehensive nature of the ensemble principle, she states: “A separate image in folk art operates in the context of the entire system of interacting images. This is where ensembleness is expressed both in a separate work, and in a specific type of creativity and in folk art in general.”
Developing the thesis about the metaphorical nature of folk artistic thinking, it is necessary to mention that the motifs of female figures in the ornament often seem to sprout flowers and shoots, and the sun appears either as a bird, or as a fire-breathing horse or deer. In the forms and names of women's headdresses, there is a connection with real images of animals (horned kitties) and birds - kokoshniks (from the Slavic “kokosh” - rooster or hen), “magpies” and their components called “tail”, “wing flaps”, "wings". Through such aesthetically transformed combinations of artistic images, peasants recognized themselves as an integral part of nature, tried to magically influence it, and symbolically expressed Russian poetic mythology.
It should be emphasized that all elements of the peasant costume ensemble are saturated with multi-valued symbolism, due to the mythological and syncretic nature of folk thinking. Their totality forms an artistic ideological and figurative concept, very stable and holistic. It reflects the peasants’ ideas about the universe and embodies the idea of the fertility of the earth, which in their minds is directly connected with the fertility of a woman, “moreover, one could not be thought of without the other, and the magic of fertility implied the influence of a woman’s fertility on the earth.”
The deity of fertility in works of Russian folk art was depicted as women. A clear confirmation of this can be the story of I. D. Fedyushina that during excavations of the settlements of the first farmers on the site of the village of Tripolye near Kiev, figurines were found depicting women in a conventional manner. Examining them with X-rays showed that they were created from clay mixed with wheat grains. Scientists suggest that everyone sought to have a similar image of the goddess in their home, as they associated it with obtaining a rich harvest.
One of the largest folklorists of the 19th century, a famous researcher of Slavic mythology A. N. Afanasyev noted: “In the ancient poetic language, herbs, flowers, shrubs and trees are called the hair of the earth. Recognizing the earth as a living, self-acting being (she gives birth from her mother’s womb, drinks rainwater, trembles convulsively during earthquakes, falls asleep in winter and awakens with the age of spring), primitive tribes compared the wide expanses of land with a gigantic body, saw its bones in solid rocks and stones, blood in the waters, veins in tree roots and, finally, , in herbs and plants - hair."
The objectively practical attitude of the Russian people to nature, the use of analogies of nature and the human body, formed the ideas of anpropomorphic nature and cosmic man. Together with the organic unity of a person with a social group for Russians (family, clan, class, etc.), this was the basis for the formation of stable traditions of the ideological and figurative structure of folk art, the polyphonic unity of its architectural, plastic, pictorial, poetic means and methods of embodiment.
V.V. Kolesov, emphasizing common sense and eternal human values inherent in the worldview of the Russian people, writes: “At a time when every third year there was a shortage of food, and every ten years a lot of people were carried away in various pestilences, the dream of daily bread is a dream of a good, correct life... Economics is inspired by ethics, but only in the term-word is the subtle difference between all the hypostases of life realized: a person lives life according to Christian custom, but the basis of life is the stomach - this is precisely life in all the fullness of its manifestations ...". This statement successfully explains the priority in the minds of peasants of the important ideas of fertility and land and women, and also confirms the thesis of G.V. Plekhanov that “precious things seem beautiful.”
We emphasize that the harmonious ensemble of traditional artistic images reveals the beauty in Russian folk costume, its universal aesthetic value. About the peculiar syncretism of artistic thinking V. E. Gusev writes that “it is not due to the underdevelopment of the latter, but to the nature of the very subject of artistic knowledge, to the fact that the masses recognize the subject of their art primarily as an aesthetic whole and integral in the totality of all or many of its aesthetic qualities, in the versatility and complexity of its aesthetic nature."
When exploring the problem, it is important to note that the main creative principles when creating Russian folk costume were variability and improvisation based on traditional local types of costume. Improvisation was manifested in the fact that the costume was created directly in the process of its manufacture. This shows an analogy with improvisation in folk music performance. If folk musicians relied in their practice of improvisation on traditional forms of musical thinking (a certain range of chants, intonations, rhythms, etc.), then the craftswomen of folk costume in each locality had their favorite established artistic images, embodied through the use of certain color combinations, methods artistic decoration, etc. By combining the consolidation of a once found musical or artistic image with the free variation of its elements, the people updated and enriched both their music and their costume. Free variation of elements is based on their ambiguity, on the existence of a number of semantically and stylistically related options that characterize the performing dynamism of creating a costume and any other work of folk art. Thus, the concept of tradition does not mean peace, but a movement of a special type, that is, balance achieved by the interaction of opposites, the most important of which are stability (preservation of certain principles and techniques) and variability (variation), and the improvisation that exists on its basis.
So, the artistic image of Russian folk costume is an inextricable interpenetrating unity of objective and subjective, rational and emotional, symbolic and concrete, collective and individual, whole and part, stable and changeable, stereotypical and improvisational. In this fusion, carried out with the help of means specific to the art of Russian folk costume (material, silhouette, color, ornamentation, composition, ways of wearing and completing costume details, etc.), artistic images of both individual parts of the costume and entire costumes are created complexes expressing certain aesthetic ideas and feelings. Thanks to the system of artistic images, Russian folk costume is able to fulfill its aesthetic function, through which its cognitive significance and powerful ideological, educational, moral impact on people are manifested.
Differences in geographical, climatic and historical conditions of the vast territory of Russia became the reason for the emergence of a wide variety of local styles of Russian folk costume. Despite the unconditional dependence on magical and religious content, the style of folk costume as an artistic, aesthetic and socio-historical category is nevertheless primarily characterized by a system of artistic and expressive means.
The structure of the artistic form of expression as a whole is complex and multi-valued. In each costume, the style reflects not only national-stage characteristics, but also its regional and ethno-local typological features, determines the principles of artistic and constructive organization of all elements of the artistic language of the costume, its details into a culturally integral complex.
The concept of all-Russian style implies a commonality of stylistic features of all ethno-local costume complexes, rooted in socio-historical conditions, in the worldview of Russian peasants, their creative method, and in the laws of the artistic and historical process. The general stylistic features of all complexes of Russian folk costume include: material, straight cut, significant fullness and length of clothes, multi-layering, magical and religious symbolism, certain color preferences, methods of artistic decoration, and an abundance of all kinds of decorations.
4.History of the social existence of Russian folk costume
The formation of the national characteristics of Russian folk costume took place in the XIV-XVI centuries. simultaneously with the identification of Russian (Great Russian) ethnic identity and the spread of the ethnonym “Russians”.
By the 17th century The main costume complexes were fully formed.
It should be noted that the social environment of Russian folk costume has changed throughout the history of its existence. Researchers note that a characteristic feature of ancient Russian clothing was that the costume of different segments of the population differed mainly in the number of details and variety of materials with the same cut of its individual parts. At the same time, the peculiarities of national aesthetic views include the presence of a nationwide aesthetic ideal of beauty. “The Russians,” writes M. G. Rabinovich, “who retained state independence for centuries, had national features expressed in the costume of the feudal elite right up to Peter’s reforms.” In the 17th century It was considered extremely important on special occasions to be required to wear Russian traditional dress, even for foreigners. So, in 1606, Marina Mnishek was married in Moscow in the Assumption Cathedral with False Dmitry I at the insistence of the boyars in Russian dress. Later, ceremonial Russian clothes were issued to foreign ambassadors specifically for their ceremonial presentation to the sovereign.
In the first years of the 18th century, by decree of Peter I, the ruling classes had to switch to compulsory wearing of foreign-style dress. However, “since the reform did not affect such a huge layer of society as the peasantry, it was the peasant costume that became truly popular. In its vein, the clothing of the Cossacks, Pomors, one-lords, and various groups of the Old Believer population developed.” Having submitted to the whims of Western European fashion, representatives of the upper strata of society were forced to abandon the original Russian ideas about the beauty of appearance, clothing, and manners. The victory in the Patriotic War of 1812 caused an upsurge of patriotic feelings, and many society ladies began to wear stylized Russian national costumes, which consisted of a shirt with a deep neckline (according to the fashion of the early 19th century), a slanted or straight sundress, tied with a belt under the chest, a kokoshnik, bandages or crown.
The best people of Russia have always understood the vital need to carefully preserve the originality of Russian national culture, and in particular costume. In the early 20s. The 19th century brilliant polymath, poet, thinker and statesman A. S. Griboyedov, whom A. S. Pushkin considered one of the smartest people in Russia, wrote:
Let me be declared an Old Believer,
But our North is a hundred times worse for me
Since I gave everything in exchange for a new way -
And morals, and language, and holy antiquity,
And stately clothes for another
According to the jester's model...
Further, through the mouth of Chatsky, A. S. Griboyedov exclaims with bitterness: “Will we ever be resurrected from the foreign power of fashion?” The seriousness of the great Russian poet’s approach to the problem of returning to national traditions in clothing, as well as the government’s negative attitude towards this idea, which at that time was identified primarily with the trends of democratization of society, is confirmed by the fact that during the investigation into the case of the Decembrists, A. S. Griboedov was the question was asked: “In what sense and for what purpose did you, by the way, in conversations with Bestuzhev, not indifferently desire Russian dress and freedom of printing?”
N.I. Lebedeva and G.S. Maslova noted that the costumes of the burghers and merchants long retained features common to peasant clothing. In the middle of the 19th century. “Russian attire” - a sundress and a kokoshnik - was worn in many cities. Among the townspeople, especially among the richest, it differed from the peasants' in expensive materials and precious decorations."
In the second half of the 19th century. Writers of the Slavophile movement dressed in Russian folk dress for ideological reasons. Their contemporary D.N. Sverbeev wrote: “The Slavophiles did not limit themselves to printing and writing various articles for the sake of printing, they were not satisfied with the oral preaching of their teachings - they wanted to manifest it with outward signs, and so first the murmolka hat appeared, and then the zipun, and "Finally, a beard."
Discussing folk costume as a sign of class, P. G. Bogatyrev notes that in Russia “rich merchants, sometimes millionaires, wore predominantly “semi-men’s” costume in order to show that they wear their costume, indicating their class status, with a sense of superiority and do not want to become like officials and nobles who are often poorer in comparison.”
At the beginning of the 20th century. Russian folk costume was worn by such prominent representatives of the creative intelligentsia as V.V. Stasov, f. I. Shalyapin, M. Gorky, L. A. Andreev, S. A. Yesenin, N. A. Klyuev.
It is noteworthy that in the 20th century. At the royal court there were receptions at which the ladies-in-waiting, according to the royal decree of 1834, were required to wear costumes stylized as Russian boyar attire. Admiration for the beauty of Russian folk costume was expressed in their works by L. N. Tolstoy, I. S. Turgenev, I. A. Bunin, M. A. Sholokhov and many other wonderful Russian writers.
Considering the issue of ethnic consciousness and spiritual culture, K. V. Chistov expressed the idea that “any awareness of the elements of material culture as iconic or symbolic can give them an ideological character.” These words are clearly confirmed by the history of Russian folk costume, which at all times personified the idea of preserving national identity and acted as a means of dialogical communication between Russia’s past and its present and future.
Creating unforgettable images of Russian people and depicting them in traditional national costumes, outstanding Russian artists A. G. Venetsianov, V. I. Surikov, V. M. Vasnetsov, M. V. Nesterov, F. A. Malyavin, K. A. Korovin and many others significantly contributed to the aesthetic orientation of his contemporaries and descendants and the transformation of Russian folk costumes into an ethnic symbol.
At the beginning of the 20th century. The founder of the use of traditional forms and the nature of ornamentation, the decorative principles of folk clothing in creating costumes for modern everyday life was the generally recognized fashion designer N.P. Lamanova. Her clothing models and theoretical articles convincingly proved that “the expediency of folk costume, thanks to the centuries-old collective creativity of the people, can serve as both ideological and plastic material embedded in our city clothes.”
Thanks to the efforts of major researchers and ethnographers D.K. Zelenin, N.M. Mogilyanskaya, N.P. Grinkova, collectors I.Ya. Bilibin, A.V. Khudorozheva, N.L. Shabelskaya and many other qualified specialists, magnificent collections have been collected Russian folk costume, which have enormous historical and artistic value. Among them, in first place are the collections of the State Museum of Ethnography of the Peoples of the USSR in St. Petersburg, and the State Historical Museum in Moscow.
In the post-October period, an extremely rapid destruction of the centuries-old way of life and customs of the Russian village began, the impoverishment of peasants and their mass migration to live in cities. At the same time, almost all family, calendar and religious rituals and holidays were classified as “relics of the dark past” and were completely eradicated as not corresponding to the new Soviet reality. This largely explains the disappearance from the life of the people of traditional costume and many other integral components of ritual syncretism, the decline in the general level of skill in almost all types of traditional art. The seventy-year destruction of national identity in Russia, and primarily in the Russian village, led to the eradication of many of its ethnic symbols and shrines from the consciousness of the Russian people. So, in the 30s. The tradition of making Russian folk costume has died out. From the stage, from the cinema screen, and then from the television screen, a new stereotype of pseudo-Russian attire was imposed, in which the national style and ideological content of Russian clothing were distorted beyond recognition.
The history of the social existence of Russian national clothing allows us to assert that its aesthetic impact at all times is great and extends to the entire Russian people as a whole.
Inna Surmina
Russian folk costume as a means of revealing the cognitive and creative potential of children of senior preschool age
Preschool childhood is a valuable period in a person’s life, in which mental processes, properties and qualities of the individual are formed, a time of active socialization of the child, entering into culture, awakening moral and patriotic feelings, and nurturing spirituality.
National culture becomes for a child the first step in mastering the riches of world culture, appropriating universal human values, and forming his own personal culture.
Every preschooler- a little explorer who discovers the world around him with joy and surprise. The child strives for active activity; it is important not to let this desire fade away and to promote his further development. The need to expand the child’s experience in order to create a sufficiently strong foundation for his creative activity. The more a child sees and hears, the more he understands and assimilates.
A big place in our work is communion children to the cultural traditions of Russia occupies Folk calendar. He combined spiritual, natural and human life. I would like to assign a special role to the organization of familiarization preschool children with Russian folk costume, because folk costume is a system, reflecting a person’s worldview and worldview. Russian traditional clothing is the keeper of the original folk culture, our heritage people, chronicle folk customs - one of the monuments Russian national culture.
Representation preschoolers about national culture are very fragmentary and superficial. And a special attitude towards folk costume leads to the formation of the right image folk culture in general.
Working in this direction, we have set ourselves the following
Tasks:
-Introduce children to Russian folk costume, with its features, names and purposes of individual units suit.
Generate views children about Russian folk costume in the process of educational-research and productive activities
Develop children's aesthetic taste, creative abilities curiosity, interest in Russian history, folk art.
Cultivate a sense of pride in your people, culture, for "golden" hands Russian masters.
System objectives preschool education, require the development of independence, initiative and children's creativity in all areas of their activities and carried out by different means. The main thing is to help children develop their intellectual and creative potential. The need for mandatory accounting age and psychological characteristics children in the content and organization of work within the educational process contributed to the definition of its principles.
Implementation principles:
The basis is the following principles education:
1. Availability: accounting age characteristics of children; adaptability of the material.
2. Systematic and subsequence: gradual presentation of material from simple to complex; frequent repetition of acquired knowledge.
3. Visual and entertaining: the proposed material must be understandable, playful or with elements of a game or surprise.
4. Dynamism: integration of the project into different activities.
5. Differentiation: creating a favorable environment for absorption material proposed for study by each child.
6. The principle of cultural conformity in education, i.e. education based on universal cultural values;
For acquaintance preschoolers with folk costume a long-term plan has been developed for topic: “Cultivating respect for national traditions, culture, costume and life of the Russian people through the organization of work on folk calendar» for the academic year and the system of work for its implementation. (conditions)
The main directions of our work on this topic become:
Studying history suit. Where children become familiar with appearance suit, its shape, coloring, decoration elements.
In our work we use folklore: proverbs, sayings, riddles about suit, fairy tales are like the first acquaintance with costume in illustrations
We introduce household items related to storage and production suits: spinning wheel, thimble, spindle, iron, chest. The materials from which they are made fabrics: linen, wool, leather, bast. We study methods of making fabric and costumes, i.e. labor actions: spin, weave, sew, knit, felt.
- Folk calendar(We are considering costume as an integral part national holiday, the difference between festive and everyday suit.) reveal its symbolism, we give an idea that costume reflected the close connection between man and nature. (Embroidery on suits, fabric paints, images conveyed in silhouette suit.)
Applied arts ( Costume in folk toys, embroidery, lace, beading, rag doll)
Terms of sale:
Organization of subject-spatial development environment. Information material, books, illustrations) Collection of dolls, Card indexes (riddles, proverbs, fairy tales, selection of books for children, Layout "Izba" with family, Didactic doll with a chest of clothes, Educational games for folk calendar, suit, fairy tales, Creative workshop, Coloring pages, strokes, Corner "Mumming"
It must have the character of an open, non-closed system, capable of adjustment and development. In other words, Wednesday should become not only developing, but also developing, it must be replenished and updated.
Organization of educational activities. It is carried out in the process of organizing various types of children's activities: gaming, communicative, labor, educational and research, productive, musical and artistic, etc. Ideas about folk costume successfully integrate with almost all educational areas of the main educational program preschool educational institution
Organization of independent activities children(didactic games, theatrical activities, viewing didactic pictures, illustrations, etc.)
Organization of interaction with families (participation in project activities, the product of which is magazines, creation of collections, drawing up excursion routes, participation of parents in replenishing museum exhibits, etc.)
The work carried out contributed to the development of children's outlook, fostering respect and love for Russian history and culture, formed knowledge about the device Russian life, about history Russian costume. U children vocabulary expanded and enriched, stimulated creative abilities of preschoolers, allowed us to cultivate such qualities as kindness and love for loved ones, for our homeland, traditions people, pride in his achievements.
Publications on the topic:
Development of the creative potential of preschool children Play is one of the main types of children's activities, very attractive for preschoolers. In the game - dramatization of content and character.
Scarlet children are constantly in a state of exploring the world around them. They already know that a chair is made for sitting, a blanket.
Experimentation method as a means of developing cognitive interest in children of senior preschool age Master class "Method of experimentation as a means of developing cognitive interest in children of senior preschool age during familiarization.
Musical project for children of senior preschool age “Journey to the origins of Russian folk culture” PROJECT “Journey to the Origins of Russian Folk Culture” Type: informational-practical-creative, group Participants: music director,.
Introducing children of senior preschool age to Russian folk culture through familiarization with the “Museum of Folk Life”“Introducing children of senior preschool age to Russian folk culture through familiarization with the Museum of Folk Life.” To the present.
