Throughout almost the entire history of the formation of society, girls paid special attention to various embroideries. At first, only a wealthy person could allow drawing a picture on a product. However, after some time, embroideries came into use by different segments of the population. Each country has its own history of the formation of this art.

Features of embroidery in different parts of Russia

Every corner of Russia, city, village has its own distinctive features of creating a picture on a thing.

For example:

• In Chuvashia, 3 main thread colors are used: black, red, white. However, each has its own meaning. Red - a symbol of striving for a new one, white - speaks of purity, innocence, black - is used to create a frame. Feature - when embroidering, special devices are not used to facilitate work.

Ornament on clothes

• It is worth mentioning that Slavic embroidery schemes are built mainly on geometric shapes. Since the craftswoman dyed the threads herself, the process took a lot of time and was quite laborious.
• In Karelia, most often the pattern had a religious meaning. The ornament is embroidered with a red thread on a white fabric. The center of the composition is animals, plants. Has huge popularity in Russia, Europe.
• In Mari El, they use the red color of the thread, embroidering on homespun material. Patterns: geometric shapes, plants, animals. Trees were of particular importance - protection for the family.
• Tarusa technique - linen thread is used, while there is a special technique, a white line and a colored thread. Trees and plants are embroidered on things, which form pictures as a result. Feature - the absence of the wrong side. The technique is also known for embroidering a pattern on white fabric with white thread.

Chuvash symbols

Features of southerners

The southern part of Russia is characterized by the presence of a geometric ornament on embroidery. In the Voronezh, Tambov, Orel, Kursk, Penza regions, craftswomen embroidered with white line, crosses, etc.

Painting embroidery

The following are considered especially common: counting surface, color interlace. The key element of both embroideries is the use of a semi-transparent fabric under the base.

Additional Information! The presence of such embroidery on clothes was evidence of a high level of family income.

color intertwine

Area color features:

• Ryazan is characterized by a blue ornament;
• in Smolensk embroideries, lemon, orange, red, white colors are more common on a gold background;
• patterns of Tula, Kaluga are characterized by red, white colors, which are interspersed with inserts of blue, blue, green, yellow;
• Kaliningrad is characterized by the use of a crimson background with a pattern of scarlet, white, green, gold thread.

Important! Russian embroidery is one of the most developed arts in the creativity of the people. The main geometric shape is a rhombus, a square. Embroidered with a ledge in the corners, diagonals, spirals. Material - silk thread.

northern traditions

In the Karelian Autonomous Soviet Socialist Republic, Vologda, Arkhangelsk, Leningrad, the satin stitch technique, the use of oblique stitches, and also painting are especially popular.

Ornament made in satin stitch

The technique of embroidery with full crosses was used to decorate amulets.

cross pattern

Semi-cross - a type of edging, the basis of a popular type of painting. Using small stitches in bright colors to create vibrant patterns. After creating the edging, the interior space is filled with various types of decorative seams.

The white line on the product looks elegant, attractive. It is based on the use of sparse, slightly translucent fabric. The presence of a dense snow-white plot on things showed the status, a high level of family income.

white pattern

Features of the perception of fine art

Ornament is perceived by a person as a part visual arts. At different times patterns on clothes were perceived differently. Previously, they showed a person's belonging to a class, a level of well-being. The ornament also speaks of the geographical affiliation of the owner of the thing.

Nowadays, the presence of embroidery on things shows the aesthetic component of the image. Embroidered clothing motifs appear at fashion shows every year.

On the example of the history of satin stitch embroidery, one can trace the formation of society's perception of this kind of clothing decorations.

History of satin stitch embroidery

Satin stitch embroidery - applying the right type of lines. The result is a pattern of radiant, shiny threads. A person can admire such an ornament for a long time. The first such embroidery appeared about 2000 years ago.

The technique originated in China in the 6th century BC, at which time the inhabitants belonging to the high class were fond of decorating things with the help of embroidery. Then a similar technique was used in Japan.

Note! Looks especially good on silk fabric.

Then, as a result of the emergence and development of the Great Silk Road, the technique gained popularity in European countries. At this time, the fashion for unusual things was especially strong, so embroideries rapidly spread across the continent.

At this time, embroidery became known in Rus'. At the same time, the fabric and the possibilities for creating an ornament improved. Most often, the schemes were used repeatedly, passing from generation to generation.

IN modern society schemes are freely available on the Internet.

Peculiarities:

• Will be able to perform both the master and the beginner.
• A simple creation technique.
• Large assortment of species.

This ornament is considered one of the main types of art. With proper observance of the rules for performing stitches, as a result, the craftswoman will see excellent embroidery. However, the creation of a drawing requires care, perseverance, and focus on the task.

This version of embroidery has come a long way, adapting, changing, but retaining the basis - the presence of the radiance of the work.

satin stitch pattern

Old Russian facial and gold embroidery

This type of sewing is of ecclesiastical origin. The legend about the life of the Mother of God says that she needed to create a veil of the temple of the Lord from purple and crimson.

Facial sewing - a type of icon painting, appeared from the birth of Christianity in Rus'. Made with colored threads. Formed under the influence of Byzantium.

Also, gold embroidery was developed in Byzantium. In Kyiv, in the 11th century, a school of gold embroidery appeared at the monastery, where lessons were held / In the 15th century, workshops of queens began to appear, where craftswomen hone their skills. The beginning of the 17th century was marked by rivalry between the workshops of famous people and merchants.

Facial sewing

These sewing options make up the sacred part of the temple, as well as frescoes. They have a certain symbolism of the presence of a deity.

At present, the main task of masters is to preserve traditions in ancient art, to achieve the level of a master, and to observe church canons in their work.

Golden sewing

Ornaments of the Slavic peoples and their designation

Charm embroidery of the Slavs, schemes and meaning:

• Bereginya - the image of a woman with her hands down. Protects, protects the family from trouble.
• Water - in the form of a zigzag, a wave, the border between Yavya, Naviu. Gives immortality, brings knowledge.
• Ognevitsa - a talisman for an adult female body. Protects from bad words, evil deeds.
• Spiral - speaks of wisdom. Protected from evil forces, the evil eye.
• Stribozhich - depicts the blades of a windmill. Protects from the elements, embroidered on work clothes.
• Childbirth is a symbol of fertility, family well-being.

Woman in labor - embroidery scheme

Embroidery in Russian folk costume

It is also customary to embroider an ornament on folk costumes, which has been a talisman since ancient times.

Slavic protective embroidery is mainly located in the place where the body comes into contact with the environment:

• at the edge of the sleeve;
• on the bottom of the product;
• at the gate.

It is believed that the ornament will protect a person in this way, strengthen health.

Also, children wore things for their parents, which symbolized the existence of a connection between generations. There are many Russian fonts for machine embroidery.

Additional Information! From the age of 3, the child received the first shirt that protected him. For example, a son receives a men's shirt.

Russian folk embroidery

Krestetskaya line

Application type - through ornament. Gained popularity from the 60s of the XIX century. Embroidery is done on a “broken needle” of a lace look, has a geometric pattern, is rich in decorations, and is different from other types of lines.

The Krestets factory went through several ups and downs. The Great Patriotic War, the change of power in the 90s - everything influenced the state of the factory. Now it has changed its owner, the task is to restore the museum, which opened in 1930. Used to decorate towels, blankets, sheets.

Technology features

Previously, lace was embroidered with a thread pulled out of the fabric. The color of the material determined the color of the ornament.

"White on white embroidery" - a brief description of the line. At the same time, the checkered linen fabric is filled with a figured pattern of thin white threads. To create a line, longitudinal, transverse threads are pulled out, which turn the material into an openwork network. Threads are interlaced with a needle, creating a pattern.

Krestets folk embroidery

Basic rules for choosing a pattern

When choosing an ornament, you need to carefully study the meanings of the symbols, as well as the color scheme. It is also recommended to rely on the geographical location in order to support local craftswomen. Most often, a girl prefers large patterns, while men pay attention to small symbols.

The article analyzes in detail the question of the meaning, the history of the creation of traditional Russian embroidery. Now embroidery is more often performed due to the race for fashion collections, however, it is recommended that when choosing, pay attention to the history of the creation of the ornament. Slavic traditions of beadwork will help to give the image of attractiveness.

Russian embroidery is distinguished by an unusual variety of stitches and embroidery techniques. Each region (and sometimes district) had its own embroidery techniques, ornamental motifs, and color schemes.

Various types of seams used in Russian embroidery can be divided into two large groups:

TO first group include embroideries performed by counting the threads of the fabric;

Co. second group- along a free, pre-drawn contour.

The seams of the first group are called countable, seams of the second group - free.

In addition, seams can be transparent And deaf.

Counting seams were performed by counting the threads of the fabric along the weft and warp, hence the names of the seams. These include a half-cross or painting, cross, set, goat, pigtail, counting surface, etc.

In modern patterns, other seams are also used - forward needle, pigtail, oblique surface.

In ancient times it was used double-sided seam painting

Example

He made both stripes with geometric ornaments and complex plot compositions depicting a horse, a leopard, a bird, and a man. The contour of the pattern was trimmed with thin stitches running in different directions. The silhouette image looked like a delicate lace pattern.

Cross appeared later than the seam painting, approximately in the first half of the 14th century, when drawings from city albums began to spread. To perform it, seam patterns, painting and line embroidery were used. The cross seam is performed much faster than painting and attracts with its density, grainy texture and bright decorative effect. Towels, valances, clothes were successfully embroidered with a cross. This embroidery found great application in the Tambov and Ryazan regions. Apart from simple cross there is also double cross, bilateral And unilateral, in the Tambov region they embroider bilateral cross , framed by four stitches, this is tambov cross .

simple cross

double cross

double sided cross

one sided cross

Tambov cross

The cross is the most common type of embroidery. It can be performed both according to the canvas and according to the pattern, the fabric must be with a uniform weave of threads. Cross-stitch is used comprehensively: for finishing clothes or its details, for decorating table linen, bed linen.

Kit

"goat""pigtail"

Counting surface

Seams of the peoples of the Volga region - "skew stitch", asterisk, spiral

"skew stitch"

"Slanting stitch" — deaf one-sided counting seam.
It is performed with oblique, tightly adjacent to each other or spaced apart at some distance stitches of different inclinations and lengths.

"spiral"

"star"

Transparent seams perform line work on a pre-prepared grid. Such seams are called a line, which is superimposed on a mesh obtained by pulling fabric threads in two directions - along the weft and along the warp. Stitch patterns are not located on the surface of the fabric, but, as it were, change its structure.

Line patterns

Blind seams works on the whole fabric. They are called embroidery. In addition to the stitches already discussed above for embroidery, there are also embroideries in which two types are combined: embroideries along a free contour and counted stitches, for example, the Orlov list, Vladimir stitches, where the cores of flowers embroidered in an arbitrary circle are filled with satin stitches of geometric shapes.

Vladimir seams

For patterns drawn with the free movement of the hand, motifs of a plant nature, animals and humans are used in a very conditional interpretation. Such patterns are made with contour and satin stitches.

Contour seams include: tambour seam, stalk seam, pigtail, goat, lace; to smooth - white smooth surface, Vladimir seams, Alexander smooth surface, Russian smooth surface and satin sewing.

chain stitch

All the given schemes of Russian cross-stitch are taken from the first collection of Great Russian and Little Russian patterns of 1877 edition. Although more than a century has passed since the release of the album, they are extremely interesting even today for all craftswomen who embroider with a cross. In addition to traditional Russian ornaments, the album also contains symbols characteristic of folk cross-stitch (horses, birds, deer, etc.) And, in addition, you will find here schemes of genre pictures. If you are interested in genre pictures, we recommend that you look at the publications. There such pictures are presented much wider.
The motifs from the collection of Great Russian and Little Russian patterns of 1877 are laconic. The color of geometric embroidery is traditionally red, sometimes complemented by blue, black or green. You can use these motifs of Russian cross-stitch when creating towels, embroidered napkins and tablecloths, as details for decorating clothes or accessories (handbags, wallets, etc.). This album will also be of interest when weaving (or weaving) belts and braids - as samples. And for creating knitted patterns, the pages of this book can serve as inspiration.
The scheme of Russian cross stitch. Album of 1877. Page 1.
The scheme of Russian cross stitch. Album of 1877. Page 2
The scheme of Russian cross stitch. Album of 1877. Page 3
The scheme of Russian cross stitch. Album of 1877. Page 4.
The scheme of Russian cross stitch. Album of 1877. Page 5.
The scheme of Russian cross stitch. Album of 1877. Page 6.
The scheme of Russian cross stitch. Album of 1877. Page 7.
The scheme of Russian cross stitch. Album of 1877. Page 8.
The scheme of Russian cross stitch. Album of 1877. Page 9.
The scheme of Russian cross stitch. Album of 1877. Page 10.
The scheme of Russian cross stitch. Album of 1877. Page 11.

The history of cross-stitching goes back centuries. When there was no writing and no Christian prayers. In that distant era, women turned to the pagan gods with an embroidered cross with a request to protect them and their loved ones from grief and adversity. Cross-stitching had a purely sacred meaning.

The Slavs embroidered mostly with red thread on a white field. They painted clothes, shoes, sheets, curtains, towels with a cross.

Every pattern. each line was filled with a special meaning. They carried their own message to the world and God.

One of the common symbols in Slavic embroidery is the symbol of the sun - a square, a rhombus, round rosettes, crosses or swastikas (a rotating luminary). Except the sun great importance for the Slavs. and not only for the Slavs had land. water. rain. So a straight horizontal line denoted land, a wavy horizontal line denoted water, and slanted lines denoted rain.

In addition to geometric figures, often in embroidery there are compositions with a female figure in the center and deer on its sides. This is how the mother of the Family is depicted - the Woman in Childbirth. Rod's mother was depicted in embroidery either with deer or with horsewomen on the sides. In the first case, it symbolized the protection of the family, was intended to protect against diseases and infertility. Often this composition was embroidered on ceremonial towels and sheets. This is one of the most powerful amulets of the family. Also, this composition was embroidered on wedding handrails and babies in the cradle.

Three-part compositions are a fairly common plot of pagan Slavic embroidery. This is the goddess and two riders. This is the goddess and birds, This is the goddess and moose or horses.

The practice of using textile ornament for medicinal purposes is well known in folk culture.

News about embroidery.

It turns out that a thousand years before the computer era, our ancestors used pixels.

Hundreds of large and small squares rapidly replace each other on a huge screen, lining up in uncomplicated figures - the impression that our great-grandmothers' towels and embroidered shirts suddenly “danced”. Kharkiv designer Yuliana Alimova drove it into the computer, modernized it and took a different look at the symbols of her ancestors. She called her project “Tsyatski. Folk pixel art. She explains that she began to virtualize Slavic symbols and signs quickly when she unraveled the secret.

Drawn to return love

Magical symbols and signs have played a huge role in the lives of our ancestors for many centuries, says Juliana. They were painted on dishes, embroidered on shirts, sheets, towels, and at the same time they believed that they were able to bring happiness and fulfill wishes.

For love and family happiness our ancestors also answered the symbols of birds. About a thousand of their images have been preserved. If two birds were embroidered with their heads turned towards each other, it was about happy, mutual love. Otherwise, love did not work out.

A pixel is an indivisible rectangular object that has a specific color. Pixels arranged in rows and columns make up a computer image. The amount of pixels determines how detailed the image is.

Embroidery schemes.

A woman in labor was embroidered in different ways depending on the pagan agrarian calendar. And they asked for help and fertility of the Earth and the family. Female Amulet, leading to harmony the female essence. Calmness and joy in the soul are immediately reflected in the appearance - you become more beautiful and attractive, and most importantly - healthier.

Another female amulet was LADINETS. It gives peace, joy and awareness of being a Woman.

Enhances hair growth on the head, slows down - on other parts of the body (due to the establishment of a normal hormonal background). It bestows women's health and prolongs women's beauty.

The red ray remains unchanged in any case, the color of the second ray changes depending on the sign of the Zodiac. For the elements of the Earth - classic black. For the element of Fire, black is also used, but golden brown is also possible. Blue - for Air, blue, turquoise - for Water.

Another common amulet is LELNIK. It protects, gives tenderness and attractiveness. Purely girlish amulet. But up to three years, the boys could have in the cradle. For babies, the so-called Radinets was also embroidered.

Zhiva was embroidered for girls and young women. It filled the soul with protected harmony and joy, and the body with good health and energy. It was believed that Zhiva relieves stress and fatigue well, fills with vital energy.

The amulet is dedicated to two Slavic Goddesses - Lada (her sign is depicted on the front side of the amulet) and Zhiva - the goddess of life and Spring - her sign is on the back.

This amulet is similar in properties to the Harmony of the Feminine amulet, but its action is more aimed at raising the spirit, vitality, rather than curing female diseases.

The most powerful Family Amulet is the Wedding Groomer. It symbolizes the union of two Clans. The merging of two Elemental Swastika Systems (body, Soul, Spirit and Conscience) into a new Unified Life System, where the Masculine (Fiery) principle unites with the feminine (Water). Very often, the symbol of Belobog was depicted on the reverse side of the Wedding. as a symbol of goodness and prosperity. Such an amulet protects from quarrels and troubles. Creates harmony in the family. Sometimes they made three pendants from freshwater pearls. Three pendants symbolize the three worlds - World Reveal, Navi, Rule.

Charovrat was embroidered to remove black charms. Charovrat was depicted as a fiery rotating cross. The Slavs, as fire worshipers, believed that Fire would destroy the dark forces and various spells, and thereby purify the souls and body of the protected.

For the fulfillment of desire, healing and fortitude, the Fern Flower was embroidered. The people call him Perunov Tsvet. From illnesses and bad weather, they often also embroidered a talisman Odelen grass. as well as in Charovrat, and in the Perun Star, it was believed that fire burns all troubles and misfortunes. so these amulets are very similar. Dukhobor was embroidered for a sick person. Bedspreads with such embroidery covered the sick and the wounded. It was considered. that the Great Divine Fire of the Dukhobor will destroy all bodily ailments and diseases of the Soul and Spirit in a person.

The image of a fabulous bird - peahen (sometimes called the firebird) has long been a symbol of happiness and love among the Slavs. The peahen bird has always been depicted on embroideries in profile with its head proudly thrown up, its wing raised and its huge tail resembling a branchy bush with feathery leaves and small flowers. The fluffy tail of this fabulous bird and its plumage in the form of loops, rings and zigzags shimmered with all colors, emphasizing its unusualness.

Slavic embroidery also has many plant and flower motifs. One of them is the World Tree, symbolizing the connection of the lower, "underneath" world, the earth and all nine heavens. They depicted the World Tree as lush, tall, with various fantasy flowers and birds on the branches.

Analyzing the symbolism of Slavic embroideries, one involuntarily marvels at the depth of thought and the breadth of fantasy inherent in our ancestors. Deep symbolism and allegorism is a sign of a high culture of society, especially considering that these embroideries were created in large quantities, from large cities to the smallest settlements.

Among the many types of Russian folk art, embroidery has always occupied an important place. Seals are everywhere. There was no need to look for special devices, and fabric, needles and threads were in every home. Embroidery decorated clothes and household items: curtains, tablecloths, towels, valances, aprons, hats, scarves, skirts, dresses. Embroidered items in Everyday life quickly aged, worn out and disappeared. The study of embroidery, as a separate art form, began only in the middle of the 19th century, therefore, in museums, the earliest examples belong only to the 18th century.

Material and color

The climatic features of our country do not allow mass-growing cotton, so the main sources for making fabrics were flax and hemp. They were woven into cloth. A thin bleached canvas served as the basis, and threads of linen and wool were used to embroider patterns. In the 19th century shirts and head towels were embroidered with woolen threads. In a number of places, embroidery with wool preceded embroidery with other materials.

The main color of Russian embroidery is red with many shades: from dark lingonberry to orange. The hue depends on the material of the threads and fabric (linen, cotton, wool, etc.), on the paints used for them (mineral, vegetable, animal). Along with red, preference is given to tones of blue, green and yellow. Black is not typical for Russian embroidery. Only in the Tambov and Voronezh regions this color is traditionally used in sewing.

The preference for red does not limit either the choice of other colors or the gradation of their shades. Often white was used or two-color combinations were made. The overall tone of embroidery at the same time always remained joyful and optimistic.

Plots and motifs of ornament.

The variety of Russian embroidery motifs is great. However, images of a bird, a horse and a tree are more often found in ornaments. This choice is due to the legends and beliefs of the ancient Slavs, who speak of a heavenly tree and a bird-sun sitting on it. The horse also symbolized the visible movement of the sun.

Image birds most often used in Russian embroidery. Birds are found as part of complex plots, or they make up separate patterns from birds: in the form of a row where they follow one after another, they often make up compositions with a tree (bush, plant or rosette) and with a female figure in the center; often they are simply turned towards each other and close with their beaks or vice versa with their tails.

Horse not as popular as a bird motif, but also quite common. The image of a horse with a high, proudly curved neck is similar to the images of folk clay sculpture. One of the common motifs is horses on the sides of a tree or plant.

Vegetable world occupied a prominent place in the ornament of Russian embroidery of the 18th-early 20th centuries. The tree was the center of the composition, to which animals and birds were turned; the tree was the object of worship of riders or horsewomen. Sometimes a tree is enclosed in a special building, like a small temple or chapel, which emphasizes its special significance. Plants and trees were embroidered in a strict geometric style with two or more particularly long branches, often roots on a triangular base, which can be considered as generalized roots.

Among the flowers, roses in a basket are especially frequent, realistic, natural scarlet colors. Roses noticeably crowd out other floral motifs from the floral ornamentation of Russian embroidery, in particular the tulip. This, apparently, is connected with the development of a common European ornament, in which the rose motif spreads in the 18th century.

So, I told you quite a bit about the distinctive features of Russian embroidery. This information is very superficial and does not include the whole variety of ornaments, patterns and types of embroidery that were observed in the 18th-early 19th centuries. That's all for now, I hope you enjoyed it. The next part is devoted to the appearance of cross-stitch in Rus'.

The list of references that I used is given below. Of course, now there are more modern sources of information, but I liked these books for their great detail and thoroughness of presentation:

1. Maslova G. S. Ornament of Russian folk embroidery. M., 1972
2. Durasov G.P. "Descriptive Motifs in Russian Folk Embroidery". M., 1990
3. Boguslavskaya I. Ya. "Russian folk embroidery." M., 1972

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Russian folk embroidery has not lost its charm in the 21st century. Fashion designers use Russian embroidery patterns to create new collections, in sports, Russian symbols express patriotism, businessmen use Slavic stylization to stand out from the competition and position their brand as domestic. Russian-style embroidery decorates clothes and interiors, many people return to the origins of Slavic culture.

Initially, hand embroidery was a handicraft, but nowadays manual work has been replaced by machine embroidery. The fact is that machine technologies make it possible to make embroidery much more accurate and attractive, durable and strong. In addition, Russian machine embroidery allows you to produce many thousands of print runs in a short time.

We have been embroidering since 2007. Among our clients are numerous ateliers and fashion designers producing clothes and collections in the Russian style, as well as modern Slavs, role players and reenactors, members of folklore ensembles, Slavic organizations, as well as numerous private individuals, fans of Russian culture. For each, we create the very embroidery that he was looking for. Contact us, we are happy to embroider for you!

History of Russian embroidery

In Rus', embroidery had a sacred meaning: that is, it was closely associated with beliefs in the mystical forces of nature and gods. The pagan embroidery of the Slavs appeared long before Rurik came to reign. Charm patterns and symbols adorned clothes and household items. The red color of the threads dominated: on a white canvas, it stood out brightly and attracted attention.

With the adoption of Christianity, a new round of development of Russian embroidery began. Despite the fierce struggle with pagan roots, here, as in other areas, it was not possible to eradicate ancient customs: folk embroidery combined old Slavic motifs with new church ones. For example, people have always worshiped the sun as a source of light and life, it symbolized the cheerful god Yarilo. With the adoption of Christianity, the sun did not disappear from embroideries anywhere, but now it symbolized God's greatness.

During these times - X-XII centuries - Russian gold-embroidery art was born and began to develop. Luxurious patterns adorned icons, church utensils, clothes of rich people. At the same time - a feature characteristic of Russian embroidery - river pearls entered the decorative art. Pearl embroidery has since become firmly established in world history as a characteristic Slavic feature.

Years passed. Initially, nuns were engaged in embroidery: this was due to the fact that with the help of embroidery in Rus', mainly church attributes were decorated. Gradually, noble women took up embroidery: whether it was the influence of Anna Yaroslavovna, who became the French queen and told about this Western tradition, or whether piety was simply instilled in young girls in this way is unknown.

In parallel, Slavic embroidery develops in a peasant environment. Here, the history of embroidery seems to stand still: ancient pagan patterns and symbols still adorn clothes, linen, and curtains. By the 17th century, folk embroidery came into fashion, and its motifs also penetrated into the nobility.

From the 18th century onward, Western motifs began to influence Russian embroidery. Peter I introduces European costume, and the ladies rush to decorate their dresses in the Parisian or Berlin style. Men's embroidery is most in demand; at court, embroidered caftans come into fashion. Russian embroidery reached a special dawn in the 19th century: the gallant era required elegance and aesthetics.

The emergence and spread of machine embroidery revolutionizes this area of ​​art. In the 20th century, the integration of arts and nationalities takes place: African motifs can coexist with medieval symbols, embroidered lines from A. Blok's poem adorn a dance outfit for a masquerade ball.

Russian ornament in embroidery

An ornament differs from a simple pattern by repeated repetition of the same element. How did such an idea come about? The fact is that in ancient times, embroidery patterns were not a simple decoration: they conveyed sacred knowledge. Repeating this or that symbol over and over again, the embroiderer emphasized and strengthened its meanings. This is especially true for protective embroidery.

Consider the main symbols of Russian embroidery.

Sun. The Slavs highly revered the sun: however, like any ancient pagan people. The sun symbolized life, joy, fertility. In folk embroidery, the luminary is most often represented as a wheel or rosette. Most often, such a symbol was the center around which the ornament is twisted, but there were also repetitive wheel motifs.

Rhombus. Now the popularity of this symbol seems strange, because we have forgotten its meaning. In ancient times, the rhombus symbolized the feminine principle, motherhood. The rhombus was repeated in different variations on towels and tablecloths, dress hems and shirts. It was an obligatory decoration of women's clothing, and also served as a talisman for fertility.

Cross. This symbol was known to us long before the adoption of Christianity. The equilateral cross symbolized the sun: its diverging rays. A close variation of the symbol - the swastika - symbolized the rotation of the sun. It is amazing how the National Socialist Party of Germany managed to choose as its emblem the symbol of the nation they intended to destroy to the root! One way or another, in the 20th century, the whirlpool - our name for the swastika - finally became a thing of the past, it is considered a defiled symbol.

herringbone. Often you can see a herringbone pattern on old embroideries. It symbolizes the tree in general and the Tree of Life, forest and nature.

Other elements of Russian embroidery

Of course, the symbolism of Russian embroidery is not limited to ornaments. Many realities of life are reflected in the art of embroiderers.

The motifs of flora and fauna have always been especially popular. Various flowers and plants are strongly associated with folk embroidery: remember the Pavlograd shawls, Palekh. But embroidery in the style of Gzhel or Khokhloma is common today, it is recognized all over the world! By the way, Gzhel is noticeably different from the traditional colors of Russian embroidery: red, black and gold.

Animals also appear on the canvas quite often. They symbolize the same as the animals from Russian folk tales. However, you are unlikely to find a bear in embroideries. Why? The fact is that in the totemic pagan consciousness the bear was the progenitor of all Slavs, and therefore it is taboo. A bear cannot be portrayed, and even his name is prohibited - the word "bear" is nothing more than a substitute. Therefore, the parent does not appear in embroidery patterns.

Often occurs in ornament female figure: symbol of fertility and femininity. If a female figure stretches out her hands to the sky, this is a symbol of the unity of two principles.

RUSSIAN EMBROIDERY

Information

Description: Russian embroidery is an integral part of the art of the Russian people.

The group is dedicated to Russian embroidery, techniques for its implementation, training, exhibitions, collection of materials on the history of Russian embroidery. Show in full…

Russian folk embroidery of the southern regions, which exists in Kaluga, Smolensk, Ryazan, Tula, Oryol and other regions, unlike the northern ones, is characterized by the predominance of geometric ornament, although floral ornaments are widespread here, and sometimes plot compositions are found. It has much in common with the embroidery of other Slavic peoples. The embroidery of the southern regions is multicolored, and usually several techniques are used for each individual pattern.
Unlike the northern regions, where from ancient times, along with women's costumes and small household items, large decorative items were decorated with embroidery, in the southern regions, embroidery was used only to decorate women's clothes and towels.

In the southern regions, the following embroidery technique was used: painting, typesetting, counting satin stitch, line, colored “twist”, cross stitch and stalk stitch. Location: Russia

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A selection of books on ancient folk embroidery.

Enrollment for the twelfth stream of a web course on ancient Russian embroidery is open. In the meantime, students from previous streams are already admiring their work. With us are Yekaterinburg, Nizhny Novgorod, Kemerovo, Vladivostok, Surgut, Krasnodar, Khabarovsk, Krasnoyarsk, Perm, Novosibirsk, Irkutsk, Tyumen, Orel, Ufa, Novokuznetsk, Chelyabinsk, Bryansk, etc.

Remote ancient Russian embroidery consists of 7 classes, classes will be held from November to February. In addition to studying the scenarios for making seams themselves, in the classroom we will consider issues that are usually of interest to those who want to study embroidery with an ethnographic bias. Classes can be useful both for those who want to learn how to embroider patterns on towels, shirts, tablecloths, as they did in the old days, and for those who want to decorate things with old patterns that did not happen in the old days.

The webcourse is:
– videos with theory and practice for each seam, available for viewing for three weeks,
- pictures of authentic antiques, our main teachers,
- pattern sets
- Opportunity to ask questions and get answers.

Three weeks are given to work out 1 lesson.

High pathos and revelation of Russian embroidery, or a 5-minute test for knowledge of Russian culture. (18+)

This embroidery by my student Irina Zyuzina is very special, iconic. At such moments, you feel the proximity of an incredible innermost secret. Expand text... The image was copied from a Vyatka towel of the late 19th century from my private collection and embroidered in just one (!) evening, but nevertheless it contains a look into eternity, a quote from centuries gone by. How many hundreds of years old is this image? What is behind it? Frightening outlines, they do not fit into our picture of the world, and yet they are truly Russian, truly Slavic. We all read the article by D.A. Baranov and E.L. Madlevskaya “The image of a frog in embroidery and mythopoetic representations of the Eastern Slavs”, the hypothesis that in such ancient images lies the image of a fertile life-giving principle. But can everything be put into words? Can everything be explained by words and hypotheses? Looking at this image, you understand, no, not everything. When you see a repetition of such an image at arm's length, you involuntarily shudder, you feel uneasy. In this image, the birth of an unknown beginning from chaos, in it the mystic, looking at him, seems to expand his consciousness, trying to absorb a completely different aesthetics and semantic layer. In this image there is strength and mystery, the music of meanings unknown to us, behind it there is another dimension unknown to us. Do we recognize this image as an inseparable and important part of Russian culture? Have we ever seen similar images on Russian towels? Does anyone tell us that without such images the idea of ​​Russian embroidery is incomplete? Oryol list, Pudozh canon, do these words mean anything to you? How well do we know Russian culture? Do graduates of art academies and art historians and our average compatriots know the history of Russian art well? The black square of Malevich is on everyone’s lips, the hooliganism of one artist, and ancient folk images are rarely seen anywhere, except by chance, the probability of seeing something like this and finding out that this is a fragment of the Russian worldview is close to zero.

But such an image is not an isolated occurrence. In the towels of the Oryol copy, there are similar images, with fillings, with cuttings inside the contour. Pudozh towels and valances keep such images; thanks to the research of OI Bakirova, set out by her in the book “Folk Embroidery of Pudozh”, they have rightfully acquired the name “Pudozh canon”. The same towel clearly indicates that the “Vyatka canon” quite likely existed, and only the absence of publications of towels of the same series deprives us of the opportunity to single out this canon in a completely affirmative way, to categorize it. And respect, knowledge of such images is an indicator that a person did not hear about Russian culture yesterday, and does not consider himself an expert, because as soon as you see such an image, the fact immediately hits you in the face - we know little, understand little, know little, and to teach us history for more, to teach, to discover, to explore, to seek interpretation - more than one year. To begin with, learn to at least distinguish soap author's patterns with a cross from those created really a century ago. To see and distinguish where is the true story, and where is that which, with an endless stream of realistic roses, flowerpots, flowers and oak leaves at the end of the 19th century, devastated the treasury of Russian patterning by displacement and substitution, and thus took away the semantic depth from Russian embroidery, reduced her to the level of prettiness and philistinism.
The veneration of the ling among the Hindus is a well-known phenomenon, but here we obviously see something similar, giving birth to the beginning, the seed, which means that the ancient man thought not only about survival, but also froze in admiration before the very idea of ​​\u200b\u200bbirth, the continuation of life, he was looking for images that would invest in respect for these ideas, raise the idea of ​​the seed and the uterus (or womb) to an unusually high level, put the very idea of ​​continuing life on an invisible pedestal, help a person realize the ideas of eternity, the birth of life, see the divine spark. Who is the author of this image? There is no name, we do not know in what century this image appeared, but one thing is clear - that its author expressed an extreme degree of admiration and reverence for the maternal and paternal principles, for the ability to give birth and give life, for the divine generative power, and did it much more successfully and more skillful than Courbet, because such outlines belong to a higher artistic canon, tune in to a more serious, detached from the carnal, vision of the sacred laws of nature. Does the idea of ​​a person become richer after thinking about such categories? Absolutely yes. Thanks to such images, our ancestors approached a more conscious understanding of themselves, their essence, their nature, thanks to them they accepted their nature, and saw how the life of all earthly creatures is consonant with ours, and this consonance is noble, worthy of reverent filial attitude. This means that for the viewer and the embroiderer herself, such images are an important reminder of the high destiny of a person, woman, and family.

Is this Vyatka image inferior to the images of the Pudozh canon or the Oryol copy? I am convinced - no, here much less effort has been put into dressing the image, but the goal has been achieved. Minimalism, the absence of decorations, only emphasizes the main features, their sound, due to the laconicism of visual means, makes an even stronger and deeper impression and achieves the goal - to appeal to the mind, soul, spirit of a person.

Look, can this image be called two-dimensional? It guesses 3D reality, volume, perspective. In the 19th or 18th century, or maybe even earlier, our ancestors were already able to create a three-dimensional image with a needle on fabric? I don't doubt it. In order to see this image clearly, we, the people of the 21st century, need to see it captured by someone with the talent of Tarkovsky, with the flair of a great artist, with an open ear, with sensitive eyesight, with a soul alive to the perception of deep important categories. Because in this image there is not something ordinary, there is pathos, pathos in it, abundance and aesthetics in it are no less significant than the aesthetics of Bach's music. Is Russian folk embroidery capable of pathos? Yes. To high rhetoric? Yes. To philosophical depth? Yes. This image is proof of that. Russian embroidery has the right to be in the center of the museum hall, in the spotlight, for sound and direct speech. Russian embroidery is not only applied things, for the delight of the eyes, Russian embroidery does not belong to one area of ​​decoration, but also to the mind, and to the soul, and to the spirit.
And for some reason it seems to me that Russian embroidery and this, yes, this particular towel by Irina Zyuzina, embroidered in October 2016, have the right to take a place at contemporary art exhibitions, because it modern Art in the best sense of the word.

At such moments, with a vengeance, I understand that my efforts to create the Museum of Embroidery are not in vain. Patterns, images that are kept by towels and shirts, valances and countertops, any shreds of fabric covered with embroidery are the messengers of a bygone world, these are our teachers, this is a revelation, these are helping hands extended to us from eternity, by our ancestors, our blood relatives. The ability to see them up close, to copy them is a favor of fate, it is an honor, luck, this is the secret and such a welcome answer of the universe to our aspirations, to our search for something unshakable, on which we can lean like an island. History comes alive. Continues. The thought, expressed on the canvas with a needle and thread a hundred and two hundred years ago, gives a spark and kindles new foci of jealousy for our common invaluable heritage. I am convinced that it is important not only to keep the originals in the twilight of the vaults, but to copy them, devoting days and months to this, or, as in this case, devoting one, just one evening to this copying. And in this confidence that we will still be able to win back truly Russian images from obscurity, oblivion, non-existence - the truth and salt of my life.

Russian folk embroidery (page 1 of 4)

STATE EDUCATIONAL INSTITUTION

SECONDARY VOCATIONAL EDUCATION

KEMEROVSK VOCATIONAL AND TECHNICAL COLLEGE

"RUSSIAN FOLK EMBROIDERY"

students of the KM-71 group,

Vorobieva Irina Alizhanovna

Stages of the project

1 History of traditional Russian embroidery

2 Symbolism in designs for embroidery

3 Color meaning in embroidery

5 Business case for making a collection

Project results

Name of the project "Russian folk embroidery"

The main developers of the project are students of the KM-71 group: Vorobieva Irina, students of the Z-41 group

Heads: Elena Viktorovna Golysheva, teacher of the disciplines "Designing clothes", "Modeling and artistic design of clothes", Gampel Vera Nikolaevna, teacher of the disciplines "Technology of garments", "History of costume"

Education of artistic culture, development of interest in folk art, its traditions and heritage

Development of cognitive interest, technical thinking, creativity and technological knowledge in the process of studying and creating products using elements of Russian folk embroidery

· Instill love for traditional Russian folk embroidery;

· Develop artistic and creative abilities on the example of a manufactured product;

· Formation of a holistic perception of folk art as part of the culture of the people;

Stages of project implementation

1. Studying the history of traditional Russian embroidery

2. The study of symbolism in patterns for embroidery

3. Learning the meaning of color in embroidery

4. Practical implementation of products

5. Participation in exhibition activities

Folk art is our material and spiritual wealth. Unique and diverse in its types, it makes up a significant part of the national culture. Folk art crafts are a peculiar form of folk art. Among the many forms of artistic folk crafts, embroidery is the most accessible and beloved. The ability to transform the white fabric of the canvas into a beautifully decorated thing through the application of one's own labor has always attracted Russian women to embroidery, and their natural artistic abilities contributed to the extraordinary development of this art form among the people. The works of folk craftswomen carry the historical memory of the people, keep their ideas about the world, man, beauty and goodness.

Works of applied art, decorated with artistic embroidery, gradually again began to penetrate into urban life, the clothes of citizens. At present, there is a great interest in elegant, colorful, elegant embroidered things. Many well-known domestic and foreign fashion designers use the expressive means of artistic embroidery in the development of collections of women's and children's clothing. Artistic embroidery becomes a means of special expressiveness in modern clothes, decor of various interiors.

PROJECT STAGES

1 History of traditional Russian embroidery

The art of embroidery has a long history. The existence of embroidery in the era of Ancient Rus' is evidenced by the finds of archaeologists dating back to the 9th-10th centuries. These are fragments of clothing, decorated with patterns, made with gold threads. In ancient times, household items, clothes of noble people were decorated with gold embroidery.

The traditions of embroidery art were constantly developing; in the XIV-XVII centuries, embroidery became even more widespread in decorating costumes and household items. Church vestments, clothes of kings and boyars rich in silk and velvet were embroidered with gold and silver threads in combination with pearls and gems. Wedding towels, festive shirts made of fine linen fabric, and scarves were also decorated with colored silk and gold threads. Embroidery was mainly common among women of noble families and nuns.

Before the wedding, at the exhibition of dowry, by the amount of canvas, by the perfection of the embroidered pattern, fellow villagers evaluated the bride's hard work, her ability to do homework. According to the things made by the hands of the bride, it was determined which mistress enters the house.

Embroidery was carried out by peasant women by counting the threads of the fabric, by a grid of threads plucked into the fabric along the warp and weft, or by the whole fabric - by painting, cross stitch, counting stitch, set. In the North of Russia, until the middle of the 19th century, painting (half-cross) was common - a double-sided seam with a red pattern (linear stitches) on a white background; in the center a female figure or a tree was depicted, on the sides - riders or birds. In the provinces of Kaluga, Smolensk, Tula, Oryol, Ryazan provinces, color interweaving was most often used: white ornamental figures against the background of a through grid intertwined with red thread, with a rare inclusion of other colors. In the Vologda, Yaroslavl, Kostroma, Novgorod provinces, they embroidered mainly with white stitching, with the introduction of colored threads into various patterns.

Each embroidery had its own purpose. Embroideries on shirts were located at the points of contact of the human body with the outside world (i.e., along the collar, sleeves, hem) and served as a talisman. The location of the pattern and embroidery techniques were organically linked with the form of clothing, which was sewn from straight pieces of fabric. The seams were made according to the number of threads of the fabric, they were called countable. With such seams it is easy to decorate the shoulders, the ends of the sleeves, the slit on the chest, the hem of the apron, the bottom of the apron, the bottom of the clothes. Embroidery was placed along the connecting seams.

The embroidery of towels reflected the cosmological ideas of people, ideas associated with the cult of fertility and the cult of ancestors. First of all, this concerns the ornament of folk sewing, in which ancient symbols are preserved until the 2nd quarter of the 20th century.

Since ancient times, man, protecting himself from the unfavorable forces of nature, covered his clothes and dwelling with images-amulets ... In folk art, many ancient symbols-amulets have been preserved, depicting which on clothes, dishes, dwellings, a person drove away unwanted spirits.

The first plot of Russian folk embroidery is a tree, it is both a tree, and a tree of the world, and a tree of knowledge, and a model of the world. We say - the roots of memory, the roots of history, the roots of the family. We say - a family tree, a family tree. The tree participates in our life not only serving us as a dwelling, giving fruits, decorating our house. A tree is not only a boat, a cart, a toy, not only household items and art. A tree is an image of the world and a way of thinking. The first man was a gatherer of roots and fruits, and he owes his life to the tree. A tree is both a house and a temple, and the last refuge of a person. The tree was the universe. The roots are a sign of the underworld, the earthly world corresponds to the trunk, and the sky corresponds to the crown.

The tree also personifies the world with nature, because a person has not yet picked up a weapon, an ax, a stone, has not begun to hunt the beast. He gathers fruits, he is in union with nature. But now a person gradually becomes a hunter, and the beast becomes his breadwinner. One of the first animals, judging by the numerous traces left in folklore, rituals, in embroidery, was a deer. The deer cult was very widespread. The deer is a sign of a successful marriage, a sign of abundant life. Two deer, brought together by their heads, is the plot of a female kokoshnik. He was not only a sign of heaven, but also a sign - of mother and daughter, giving birth to all life on earth.

Women in labor are ancient Slavic female deities, companions of the god Rod. Revered since the late Stone Age (7 thousand-4 thousand years BC). The personification of the female life-giving principle and the great mystery of nature. Symbol of female fertility. Women in labor are traditionally depicted in the pose of a woman giving birth, in the form of two deer, or horned female figures.

Time passed, and man gradually began to understand that the beast, the animal is not as omnipotent as it seemed to him for many centuries. The power of nature, the power of the sun, the power of spring, heat, rain turned out to be much more power for the tiller and cattle breeder than the power of the beast, which could not help him grow and harvest. But this power and strength had to be embodied in something that was known to man. And the man endowed this force with human traits. First of all, a woman became the personification of this fruitful force, since nature and the earth, which fed, cared for, gave birth to bread, had much in common with a woman who also gave life, fed a person and raised her child. The mystery and miracle of birth, which a woman is endowed with, was perceived as a kind of powerful force. The sign of fertility, reproduction was the first meaning, which consisted in the image of a woman. As the earth multiplies the grain, so the woman will give birth to a man. The mother of cheese, the earth, is the earth watered with rain and giving a good harvest, carrying rivers and waters. Mother and earth are synonymous in the perception of our distant great-ancestor. Hence the place where the clan lives - the homeland - of the feminine gender.

The main aspects and significance of Russian folk embroidery

Russian embroidery occupies a special place among other stylistic trends. She is not only beautiful, but also very versatile. On the vast Russian territory, different provinces used their own distinctive techniques. In addition, there were differences in the materials used and in the color palette.

What is interesting about this type of needlework?

In each country, embroidery and other ways of decorating robes are different and unique. Russian embroidery was divided into several types:

• urban;
• peasant needlework;
• embroidered motifs that were used as a talisman.

Russian embroidery

From an early age (from about 5-6), peasant girls were taught the art of embroidery, sewing and even creating lace. It was they, unlike urban girls, who carefully honored traditions and tried to convey all cultural features (ornaments, patterns) in their works. They embroidered in various ways: with a cross, plain stitch, Moscow stitch.

Russian embroidery - an ancient form of folk art

At that time, there was a custom according to which girls from the age of 5 should begin to prepare a dowry for themselves, which was quite voluminous.

They had to decorate with a cross and other stitches various textile accessories (tablecloths and towels), clothing items.

The art of embroidery has a long history

Numerous sundresses, high skirts, fur coats, shirts, aprons, etc. acted as clothing. At the same time, not one set of clothes was prepared, but several (for each individual occasion or celebration: wedding, celebration, festivities, for work, etc.).

Hope chest

City girls tried to bring a bit of European fashion into the patterns of their creations. The French style had a great influence on embroidery.

French style embroidery

No less popular was embroidery, which was used as a talisman. The most popular technique was the cross. At the same time, even the smallest detail in such embroidery had its own meaning and significance.

Ornaments and patterns with a cross were quite diverse, but the most popular was the image of Rod - the mother, who was surrounded by deer. As a talisman, she could often be seen both on the clothes of newborn babies and on wedding dresses. It was believed that she would protect her owners from various misfortunes.

Embroidered amulet with a picture

Each of these types is incredibly beautiful and has its own characteristics. In addition, each area had some of its own distinctive features.

northern traditions

The folk traditions of the north, which includes the Karelian ASSR, Vologda, Arkhangelsk and Leningrad, were united. The most popular techniques were satin stitch, oblique stitches, and painting.

satin stitch embroidery

Embroidery with a full cross was common only when creating some amulets.

Cross-stitch

The most popular was the painting, which in its essence was a semi-cross. It consisted of small stitches, mostly bright red, which created certain patterns. After the edging was ready, the interior space was filled with other decorative seams. In some cases, edge decoration was also used. For this, additional strokes, patterns of stars or snowflakes were made.

Ancient Russian embroidery, like the process of embroidery, had a ritual meaning, was close to agrarian ritual actions.

The white line looks good too. As a basis for embroidery, a slightly sparse fabric was used, which was slightly translucent.

white embroidery

Thus, a dense snow-white plot on a light and transparent background looked amazing.

Features of southerners

The southern regions (Voronezh, Tambov, Orel, Kursk and Penza) were characterized by the presence of various geometric ornaments. In these territories, there was hand-painted embroidery, white stitching, sometimes cross-stitching and other stitches.

hand-painted embroidery

But the most common were considered to be a colored interlace and a countable smooth surface.

Color interlace is somewhat similar to white stitching. The main feature that unites these two techniques is the use of a translucent fabric base. This technique was quite complicated, especially if a fairly large colorful plot was taken as the basis. Therefore, the presence of embroidery in this style was very prestigious and testified to a certain wealth of the family.

color intertwine

The color scheme was quite diverse:

• Ryazan was famous for its blue embroidery;

Blue embroidered shirt

• in Smolensk one could often find a golden background and colorful lemon, orange, red and white scenes;

Smolensk embroidery

• Tula and Kaluga were characterized by a reddish-white gamut, interspersed with a wide variety of (blue, light blue, green and yellow) inserts;

Russian embroidery is an extremely complex and multifaceted phenomenon.

• in Kaliningrad, a bright crimson background was used, and the plot was created from various scarlet, white, green and golden threads.

Embroidery is perhaps the most developed art among many types of Russian folk art.

At the same time, the main geometric shape was a rhombus or a square. They were embroidered with ledges at the corners, diagonals, spirals, etc. The figures were placed one after another, embroidered with a double cross, a hemstitch, a satin stitch, a slanting stitch. And silk threads were used as a material.

Embroidery rhythms in the center of Russia

The central regions combined the traditions of both northern and southern territories quite well. But at the same time they added their own "zest". From the North, they borrowed the white line, as well as the motifs and plots inherent in it. To this day, this technique is used to decorate textiles in the Ivanovo and Kalinin regions.

Russian embroidery is an integral part of the art of the Russian people

In some areas (Yaroslavl, Kostroma), the white line has been somewhat modernized. Instead of traditional all-white plots, white embroidery with a colored outline, gold, blue and pink threads began to appear.

For several centuries, the Russian people have developed certain techniques for performing embroidery, the nature of the ornament and its color.

The most exquisite embroidery looked in the Kostroma region. There, needlewomen used mainly pastels and silk threads to create their works of art. Thanks to the calm color transitions, the embroidery looked incredibly beautiful, and the silk gave the product highlights and overflows.

Snow-white embroidery with silk threads

The painting, traditional for the North, was also modernized. Unlike the original version, in the center it was made with a greater density of sewing, since woolen threads were mainly used in the work.

hand-painted embroidery

There was also a famous southern rhombus in the central regions. It was also decorated with jagged edges, diagonals, sewing with various techniques (cross stitch, satin stitch and other seams).

The image of a rhombus in Russian embroidery

The unique technology has glorified the Gorky region. "Gorky guipure" was an unusually elegant technique. The most common motif for Gorky openwork embroidery is a medium-sized rosette with rounded corners in the shape of a rhombus.

Gorky guipure

Tablecloth with Gorky guipure

From the first time, it is quite difficult to understand all the styles and techniques of folk embroidery. After all, each area had its own characteristics that distinguished her work from others. The most accurate cultural features were preserved in the peasant type of embroidery, as well as in the technology of making amulets.

The article was written based on materials from sites: easycross.ru, www.promvishivka.ru, vk.com, mirznanii.com, ethnoboho.ru.