Russian towel patterns drawings. The ornament of Russian folk costume is like a talisman. Its connection with protective magic

Folk ornament of weaving and embroidery - ancient writings. But at the same time, this is an unusual sign system for transmitting information with a rigidly fixed meaning of each element, since the components of an ornament are always a mythological image and a whole complex of ideas associated with this image. Having arisen at the origins of time, in the depths of proto-culture, where thinking was not yet differentiated, ornamental symbols are in principle the same among all peoples of the world, differing only in the type of graphics or minor details. Thus, there is a known case when a Mexican weaver recognized an ornament from the Arkhangelsk province of Russia as her national pattern. Elements of the ornament will have different names (and sometimes meaning!) different nations, but everywhere they will designate a close mythological complex of ideas, a similar archetype, the assessment and comprehension of which can be polar opposite. Therefore, an ornamental composition cannot be read as a simple set of certain signs: when deciphering it, the meaning of each symbol must be chosen from a number of options depending on all the elements used in it, as well as the color and location, purpose of the ornament, clarifying certain shades of the described images .

The images of archetypes underlying ornamental compositions are associated with the image of two main schemes of the cosmogonic process, known to ancient mythology.

Scheme 1

At a time when Heaven and Earth were not yet separated from each other, in the center of the World Ocean rose the World Mountain - Alatyr - the stone of Russian folk conspiracies and fairy tales - on the top of which there was a deep well full of water and leading into the bowels of the mountain - the other world - where in the underground palace - cave - Labyrinth lived the God of the Earth - the Underworld - the Thunder Bear:

Most of the time the Bear slept in darkness and cold, vigilantly guarding his treasure - fire, in the form of a cauldron full of molten gold or precious stone. Once a year, the Goddess of the Sky, the Horned Deer, descended into the Labyrinth, bypassing the water whirlpool-tunnel: , dipped her horns in gold and returned back to Heaven. The Heat and Light emanating from the horns melted the snow and ice; the water penetrated into the Labyrinth and woke up the sleeping Thunderer: .

When he woke up, he took off his bear skin , turning into a bird, and rushed in pursuit of the kidnapper.

Having overtaken the fugitive, the God of the Earth entered into marriage with her, causing a thunderstorm and pouring streams of life-giving waters onto the Earth:

Mighty wings raised fiery whirlwinds, carrying the seeds of life in different directions: .

(Later the whirlwind transformed into an independent deity of the wind - Stribog .)

The deer shed her golden horns, which were returned to the winner as a guarantee of the marriage, and hid in the underground palace.

Deprived of heat and light, the Earth was covered with snow and ice. The giant bird fell asleep, gradually grew overgrown with wool and fur, and again turned into a Bear.

It is easy to see that this scheme describes the alternation of polar day and night in the northern latitudes of the Earth with the absence of solar eclipses characteristic of this region. The penetration of the bearers of the myth into the middle and southern latitudes, their encounter with the phenomenon of a solar eclipse and contact with the inhabitants of the southern regions develops the myth...

One day, when the Deer with fiery horns had already risen into the Sky, and the Bear had not yet woken up, a Dragon (Lion, Leopard, Cat, Boar...) crawled out of the depths of the Abyss (Pekel World), attacked the defenseless Deer, and, tearing her apart pieces, took possession of the Golden Horns. Not knowing how to handle fire, the Beast caused a world flood, and then almost caused a world fire, but the awakened Thunderer in a fierce struggle defeated his opponent, chained him as an eternal guard at the entrance to the palace and returned the fire.

The Thunderer watered the remains of the Deer with dead and living water, causing the Horns to grow into the World Tree , separating Heaven from Earth. On the branches of this tree, the Fleece and Horns of the Deer rose into the sky, turning into the Sun, Moon and Stars. The Thunderer could now ascend to Heaven and descend to Earth along the trunk and branches of the Tree, connecting the worlds in the image of the Moon: .

To prevent the misfortune from happening again, he placed guards on the four cardinal points to protect the Tree from the penetration of creatures from the Abyss.

Scheme 2:

At the beginning of time, the Great Virgin Goddess

fell into the waters of the primordial ocean and found salvation on the back of a giant Snake (Lizard, Turtle, etc.):

Having become pregnant, she became the mother of two twin sons, one of whom was very stubborn (angry, cruel, etc.), and the other fair (kind, warm-hearted, etc.). When the due date approached, the stubborn child, despite the warnings of his brother, made his own exit from the mother's body, killing her, while the second child was born in the proper way. The soul of the Goddess ascended to Heaven along the branches of the World Tree that grew from her body, but since with her death evil entered the world, the inhabitants of the Heavenly World surrounded the “affected” area of space with guards so that death and evil could not penetrate into other worlds.

Born twin brothers began to create their own world, and one of them constantly interfered with the other - spoiling or destroying what had been created.

A variant of the same myth is the legend about twins - a brother and sister, who, out of ignorance of their relationship, entered into a love affair. Upon learning of the incest, one of them dies (or a brother kills his sister), as a result of which the world is desecrated.

The same type includes myths about the struggle between the Virgin-Sun and the Serpent, or myths about the furious Fire-Virgin-Sun, rushing across the sky in a chariot drawn by two charioteers .

***

No matter how this world arose, traditional thinking ordered the people living in it to behave in the image and likeness of the ancestors-Gods who created it: things, clothes, housing were made according to a once and for all established model, weddings were played, significant events and dates. In ornamental compositions this was reflected by the use of identical symbols with different meanings depending on their location on clothing. For example, the same sign "Orepei":
in the shoulder area a woman’s costume will be read as a world mountain or Alatyr-stone with a Deity sitting on it: ;
in the elbow area as "ancestor" ;
at the hem- as an entrance to the other world , or also "ancestor".

A characteristic auxiliary pattern allows one to highlight the images of the Gods - the image of chariots, in which, according to the ancients, the Deities moved in space. These chariots were driven by animal charioteers, characteristic of each Deity - snakes, birds, horses, deer, animals...

With the identification of new Divine hypostases, shades appear in the reading of certain elements of the ornament, and their graphic changes. Thus, the selection from the Archetype of the World Deity of images that personify its individual qualities - the wind (Stribog), Thunder (Perun), the Water King (Vodishche), the Lord of the Other World - Svarga (Svarog), the Deity of the Earth, Fertility (Veles), the Guardian of Grain, Harvest, Grain Reserves, Fruit-bearing power of Grain (Yari), fruit-bearing fire (Pereplut, Yarilo, Semargl) - leads to the emergence of symbols based on one graphic image, just as mythological characters themselves retain common properties or attributes - the ability to control waters, cause a whirlwind, rain, etc., forge, command lightning:

With the change in leading social roles in society - the emergence and development patriarchal way of life - cultural heroes change their gender and the “gender” interpretation of symbols similarly changes:

But the meaning of the combined symbol - the eight-pointed cross

remains the same: the connection of the feminine and masculinity, monad, fertilized egg, life and death - fate. It is no coincidence that with the adoption of Christianity he receives popular name"Star of the Virgin Mary" The interpretation stands out somewhat due to the variant of this symbol - . A number of ethnographers note the presence in the languages of peoples North Caucasus And Ancient Scythia traces ancient concept about the Universe as a five-fold structure: in addition to the concepts of the three-dimensional level that are familiar to us - Heaven, the Middle World, the Earth (or the Underground World) - it included Inferno and Side (Lateral space). At the same time, the most ancient cosmogonic models usually characterize the Universe as feminine. The five-row space of the Universe - the Great Mother, stretching to the four cardinal directions and generating Life - is approximately how one can clarify the reading of this symbol.

How does symbolism work? Let's start with the fact that any graphic image has a weak torsion field that bends the surrounding space:

Energy (leptonic) models (damage, evil eye, etc.), falling into the zone of curved space, are either repelled or become fixed in the image zone, or self-destruct as a result of uneven curvature. Uniform mesh of graphic images on the surface of clothing or household items, created by patterned weaving or embroidery, provides its energetic effect. At the same time, the most uniform grid (and, therefore, a stronger effect) is given by an ornament of a geometric and geometrized type, in which the thickness of all lines is the same (Reference: the famous Mezen knitted patterns were always typed according to the following principle - at the beginning of the pattern there was a row of alternating 3 loops of the colors used - the ornamental grid was initially uniform). Another important principle of the energy work of the ornamental network is the principle of changing polarity in the ornamental line and in the composition as a whole.

Color also contributes. For example, on the territory of our Ryazan region, the leading element, from which the pattern received its name, was always made white, and the background field was filled with color, mainly shades of red; white the ornament passed the influence of surrounding energies to the owner or “reflected” the negative, as if “refracted” through the prism of the form and meaning of the symbol, dispersing everything else; and the background field is energy of a certain frequency...

And, of course, magical meaning symbol...

In women's and men's costumes, zones corresponding to Heaven, the Middle World and Earth can be distinguished. Depending on the location in a specific area, the magical effect of the applied image changes.

Female

Male

In addition, the places where the densest ornamental mesh is applied coincide with the locations of the largest nerve plexuses of the human body, corresponding to the main energy centers or chakras. The zone of the heart center is intensively protected - literally “on four sides.” There is one more subtlety - in a woman’s suit, the pattern located on the front always primarily protects its owner and her expected child, but in a man’s suit it primarily actively influences those around her (the same woman, for example), and The protective pattern itself comes from the back - this explains the presence of “female” symbols on the chest embroidery of men’s shirts, especially festive and wedding ones.

Where did the symbols come from? Why are they almost the same for all nations? Symbols are information. The most ancient of them have a geometric or geometrized shape. Let us assume that it is based on information about some universal processes.

There is an interesting scheme of ideas about the structure of the Universe among the ancient Slavs-Russians, published by A. Ivanitsky in the essay “The Ways of the Great Russian” (almanac “Slavs”) and given in abbreviations by M. Shatunov (“Russian Health”, M., 1998, p. 159). Let's continue this diagram, completing it in accordance with the movement of the Solar ecliptic across the sky from the position of an earthly observer relative to the change of seasons (Fig. 1). Let us obtain an egg-shaped matrix (in accordance with Russian traditions, I will call it “Roda’s egg”) and look at this egg from the end side (Fig. 2). Comparing both projections with the drawings of Leonardo da Vinci and the spirals of the “golden ratio” of Drunvalo Melchizedek (D. Melchizedek. " Ancient mystery flower of life", vol. 1, pp. 229-230, "Sofia", 2001), we will see that Egg explains their origin. Now let's connect all three pictures. The result is a matrix in which it is easy to see all the elements of Russian known to us ( and not only) ornaments, also divided according to their belonging to the Worlds of Pravi (frontal projection), Navi (lateral projection) and Reveal (geometrized shape of the “golden section” spirals).

Mara Minina

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

We can say that a decorative design is the result of the found relationship between the perception of nature and the decorative display of reality. Over many years of existence decorative arts Various types of patterns have developed: geometric, floral, complex, etc., from simple joints to complex intricacies.

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

First, geometric patterns arose, it was at the dawn human culture. What could be simpler than straight or wavy lines, circles, cells, crosses? It is these motifs that decorate the walls of clay vessels. primitive people, ancient products made of stone, metal, wood and bone. For ancient man they were conventional signs with the help of which he could express his concept of the world. A straight horizontal line meant earth, a wavy line meant water, a cross meant fire, a rhombus, circle or square meant the sun.

According to ancient belief, the symbols in the patterns carried spiritual power, capable of conjuring any evil and injustice of the elemental forces of nature. These symbolic signs, which came to us from ancient ritual holidays, have magical symbolism. For example, in the Filimonov toy (Russia) we see symbols of the sun, earth, water, and fertility. The masters passed all the images and symbols through their perception of the world and showed their perception of the world in the painting. Ancient symbols are also found in the Dymkovo and Kargopol toys. But they are different in ornamentation everywhere. In every craft we notice symbols of the sun, water, etc. The ancient symbolism of peasant religion runs through them as a thin thread.

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

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

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

tree of life

In addition to geometric, in ornament Ancient Rus', very often you can find various ancient pagan stories. For example, female figure personified the goddess of earth and fertility. In pagan art, the tree of life embodied the power of living nature; it depicted the divine tree, on which the growth of herbs, cereals, trees and the “growth” of man himself depended. Very often you can find plots of magical calendar rituals that are associated with the main stages of agricultural work.

The most diverse symbolism is characteristic of images of the plant world, which included flowers, trees, and herbs.
In Egyptian ornaments, the decor often used a lotus flower or lotus petals - an attribute of the goddess Isis, a symbol of the divine productive power of nature, regenerating life, high moral purity, chastity, mental and physical health, and in the funeral cult it was considered a magical means of reviving the dead. This flower was personified with the sun, and its petals with the sun's rays. The lotus motif has become widespread in ornamental forms. Ancient East(China, Japan, India, etc.).

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

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

Hops is a cultivated plant, the picturesque appearance of which has contributed to the widespread use of plant forms in ornamentation. The image of hops combined with ears was used as decoration on household items.
Grapevine - clusters and branches were especially revered in antiquity and the Middle Ages. IN ancient greek mythology this is an attribute of the god Bacchus, among Christians - in combination with ears of corn (bread and wine, meaning the sacrament of communion) - a symbol of the suffering of Christ.

Ivy is an evergreen climbing shrub, sometimes a tree; like the vine was dedicated to Bacchus. Its leaves have a variety of shapes, most often heart-shaped or with pointed lobes. They were often used in ancient art for decorating vases and wine vessels.
Oak is the king of forests, a symbol of strength and power. Oak leaves were widespread in Roman ornamentation. Their images are often found on friezes and capitals, church utensils and other forms applied arts Gothic, as well as in the works of masters Italian Renaissance. Currently, images of oak leaves along with laurel can be found on medals and coins.

Oak is a symbol of power, endurance, longevity and nobility, as well as glory.

IN ancient China pine symbolizes immortality and longevity. a truly noble personality. The image of the pine tree echoes the image of the cypress, which was endowed in Chinese beliefs with special protective and healing properties, including protection from the dead. Among flowering trees, the wild plum occupies an important place - meihua - this tree is a symbol of the New Year, spring and the birth of everything new. Among the flowers central place reserved for peony. Peony is associated with female beauty and family happiness. Orchid and chrysanthemum are associated with the divine world and ritual ceremonies. The most common symbol among vegetables is the gourd, which has become a symbol of immortality and longevity.

Painted gourd, vessel and talisman (China, 19th century)

“Happy fruits”: pomegranate, tangerine, orange - symbols of longevity and a successful career.

Sakura motifs are often found in Japanese arts and crafts. It is a symbol of beauty, youth, tenderness, and the inevitable variability of the transitory world.

Flowers are widely used in ornamental motifs of all times and styles. They serve as decoration for fabrics, wallpaper, dishes and other types of decorative art.
The rose has polar symbolism: it is heavenly perfection and earthly passion, time and eternity, life and death, fertility and virginity. It is also a symbol of the heart, the center of the universe, the cosmic wheel, divine, romantic and sensual love. The rose is completeness, the mystery of life, its focus, the unknown, beauty, grace, happiness, but also voluptuousness, passion, and in combination with wine - sensuality and seduction. A rosebud is a symbol of virginity; withered rose - transience of life, death, sorrow; its thorns are pain, blood and martyrdom.

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

The heraldic medieval rose has five or ten petals, which connects it with the Pythagorean pentad and decan. A rose with red petals and white stamens is the emblem of England, the most famous breastplate of English kings. After the "Wars of the Roses", named after the badges of the families fighting for the English crown, the scarlet rose of Lancaster and the white rose of York were combined in the form of the "Tudor Rose". The bright crimson rose is the unofficial emblem of Bulgaria. The famous tea rose is the emblem of Beijing. Nine white roses are in the coat of arms of Finland.
In ancient ornaments, along with plants, various animals are often depicted: birds, horses, deer, wolves, unicorns, lions. They form a horizontal structure of the tree of life: at the top are birds; at the level of the trunk - people, animals, and also bees; under the roots - snakes, frogs, mice, fish, beavers, otters.

Animals can be seen on embroidered towels and aprons , on a painted chest X, on carved and painted spinning wheels; on the walls of ancient Russian cathedrals and in the decorations of huts , in the ornaments of initial letters. Ancient images of a horse and a bird have been preserved in folk toys and in dishes. Pommels for horse whips and combat bows were carved in the shape of animal or bird heads. Stylized animals and birds decorated hair combs, utensils and dishes. In ancient times, many natural phenomena were personified in the images of animals and everyone looked at these phenomena from the point of view that was closer to him, depending on his lifestyle and occupation: the point of view of the shepherd differed from the views of the hunter, and both of them - from the warrior. People transferred their knowledge about earthly animals to atmospheric phenomena.
A bird in folk arts and crafts could personify wind, cloud, lightning, thunderstorm, storm and sunlight. Ladles and salt shakers were carved in the shape of birds; embroidered birds decorated women’s clothing. . The image of a bird has widely entered the folklore of almost all peoples of the world.

The horse also represented everything natural phenomena associated with rapid movement - wind, storm, clouds. He was often depicted as fire-breathing, with a clear sun or a moon on his forehead, and with a golden mane. A wooden horse, made for children's fun, was often completely decorated with solar signs or flowers. . It was believed that this protected the child from evil forces. Images of horses can often be seen on household items (bucket handles, spinning wheels , spindles), on clothes .

IN northern regions natural phenomena associated with horses were also attributed by ancient people to deer . Deer were often depicted near the tree of life on an embroidered towel; sometimes they were placed instead of a ridge on the roof of a hut. The sacred role of the horse and deer in Scythian art is often associated with the hope of the successful ascension of the soul to another world.
The lion in the mythology of many peoples was a symbol of the sun and fire, as well as different times among different peoples, he personified higher powers, power, power and greatness, generosity, nobility, and intelligence. The image of a lion has existed in decorative and applied arts since ancient times.
For many centuries, the lion remained one of the favorite figures in Russian symbolism. In ancient Russian images associated with grand-ducal power, the image of a lion, depending on what surrounded it, had two meanings: power bestowed by God and the defeated power of evil.

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

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

Spider depicted on an American Indian amulet

Thanks to the stability of religious canons, the meaning of symbols in the ornamentation of Egypt and the art of the countries of the Ancient East remained unchanged for many millennia. Therefore, for ethnographers and archaeologists, ancient ornaments are signs with which one can “read” a kind of magical texts.

Ethnocultural contacts, trade, military campaigns, religious missions, ambassadorial gifts and visiting artists contributed to the movement of works of art from one country to another, which led to the spread of artistic ideas and styles.
Often subsequent generations of artists use previous art and create their own variations on it. So a shining example may serve as the element swastika, one of the earliest symbols, which is found in the ornaments of almost all peoples of Europe, Asia, America, etc. The oldest images of the swastika are found already in the culture of the Tripoli tribes of the 5th-4th millennium BC. e. In the ancients and medieval cultures The swastika is a solar symbol, a lucky sign, with which ideas about fertility, generosity, well-being, movement and power of the sun are associated.

Kolovrat or Solstice is one of the oldest Old Russian symbols, personifying the Sun and the solar gods Svarog, Dazhdbog and Yarila. The name of the symbol comes from the word “kolo” - sun.

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

In 1852, the French scientist Eugene Bournouf first gave the four-pointed cross with curved ends the Sanskrit name “swastika,” which roughly means “bringer of good.” Buddhism made the swastika its symbol, giving it mystical meaning eternal rotation of the world.
There is virtually no modern symbolism in the ornaments of modern times, despite the fact that it exists in abundance in the surrounding reality. As an exception, there may be the work of modernist artists. IN late XIX- early 20th century these artists tried to create their own symbolism and reproduce it in their work.
Ornament in their works no longer played a supporting role, but became an integral part of the image, organically woven into the outline of the plot.
At the same time, A. Bely, a theorist of Russian symbolism, wrote: “The symbolist artist, saturating the image with experience, transforms it into his work; such a transformed (modified) image is a symbol.” And further A. Bely records the main slogans of symbolism in art: “1. a symbol always reflects reality; 2. a symbol is an image modified by experience; 3. shape artistic image inseparable from the content."
At these three points famous poet and the prose writer accurately formulated the basic principles of creating a symbolic work, which can be used in any form of art, including ornamental.

The ornament of clothing, of course, should decorate it, but it turns out that initially it also served another function. The ornament in Russian folk costume was a kind of protector from evil forces, a talisman, a kind of talisman. That is why the pattern of the ornament is not located just anywhere, but in places where the edges of the clothing meet the open surface of the skin, so to speak, unprotected. This is the collar, cuffs, hem. In this ornament the embroiderers concluded secret signs, ideograms that they selected individually for each owner. These signs were supposed to protect the wearer from an external enemy and from accidental harm. Hence catchphrase“He won’t spare his shirt.” This is what they said about an extremely generous person who is ready to give his shirt, and with it all his protection.

The meaning of patterns

The word “pattern” itself is derived from the word “dawn” - obsolete Russian word, meaning sunset and the moment the stars appear in the sky. All depicted on the ornament folk costume, very symbolically reflected the vision of the world of the people of that time. The way they perceived space, the sun, the stars and their place in it all. For example, it was often depicted running white horse against the backdrop of stars. The horse symbolized the sun, which is why it was surrounded by stars. Images of the spring sun god Lado are also common.

The rituals that existed among peoples at that time were also reflected in the ornaments of folk costumes. For example, the spring ritual - rainbow, the holiday of Ivan Kupala and others. The ornamental design also changed depending on where it was located. If it was a hem, that is, a part of clothing located closer to the ground, then rhombus and cross-shaped compositions were depicted on it, meaning earth, fertility, fire. If these were patterns on headdresses, that is, closer to the sky, then they embroidered signs personifying the sun, sky, birds, and so on.

All these facts give grounds to conclude that there is a strong connection past culture, worldview with the cult of nature. The ornament also reflects the ideas of the people of a given culture about their existence. In fact, it was a unique product of folk art, attitude and thoughts. Ornamental embroidery was one of the first magical arts of humanity, which is passed down from generation to generation and thus does not allow the current generation to forget about their ancestors and how they lived, felt and what they believed.

Ornaments are akin to ancient writings and, like them, can tell a lot about the worldview of a person from distant eras. For a long time, people remembered the purpose of ornaments. Back in the 20-30s of the 20th century, residents of some northern Russian villages demonstrated their knowledge of the meaning of the depicted pattern in front of the oldest craftswoman of the village in special readings: young girls brought finished works to gatherings and talked about them in front of the whole world. In some places in the outback you can still hear the ancient names of the patterns: crowberry, Perun, although the masters are most often unable to explain their meaning.

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

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

I really want it to ancient art ornament has been preserved, has not disappeared, so that skills, traditions and beauty folk culture continued to live, delight and benefit people. After all, this beauty has incredible kind energy (one would like to say - soul), capable of helping people. I believe that the topics raised in the book will be of interest to new researchers, and then such an amazing phenomenon as Russian folk textile ornaments can really be understood from different angles. In the meantime, the ancient image-writings continue to wait for their full reading.

Second book, which allows us not only to understand the place of folk textile ornaments in our culture, but to confirm the author’s assumptions about the mechanisms of the energy-informational influence of the ornament on a person. Folk ornament is part of an incredibly ancient system of spiritual knowledge that allows a person to harmoniously build his relationships with the outside world. Its strict forms contain the story of the development of our Universe, ready-made biotechnologies, and specific recipes for the survival of the race and man.

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

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

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

Ornament of all times and styles

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

The author knowledgeably accompanies the reader into the history of ornament and decor, shows the diversity of this special type of art, introduces its external side and deep symbolism, and initiates into the practical secrets of carvings, frescoes, stained glass, enamel, carpets and mosaics.

As Peter clarified in the comments (see below), Lorenz's book and Rakinje's book on ornaments are one and the same(Lorenz took almost everything from Rakinier, slightly modifying the text and drawings in it).

This book clearly shows what means and techniques bring an organized and creatively transformed space closer to the triumph of refined taste - at different times and in various parts Sveta. Rich decoration this publication appeals to aesthetic feelings and stimulates creative imagination reader.

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

Any people during their existence used various ornaments and patterns

The tendency to keep dishes with folk paintings at home and decorate the interior with ornaments and patterns is becoming more fashionable every day. Even if you are not an artist, you can purchase stencils or print them. Then use ready-made templates as your inner voice will tell you.

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

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

Russian ornament: stencils that are easy to make yourself

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

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

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

Once you get simple patterns, you can switch to more complex ones.

Gallery: ornaments and patterns (25 photos)

Buryat patterns: song of the steppe

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

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

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

Yakut ornament

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

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

Yakut works of art patterns amaze with their beauty

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

Tatar pattern: patterns of a great people

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

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

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

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

Tatar and Bashkir craftsmen specialized in bright ornaments and patterns

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

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

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

Geometric patterns in the interior: the trend of the season

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

Geometric style came to homes in different forms:

like furniture
as accessories
like patterns and ornaments.

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

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

Simple and beautiful. And this becomes the motto of fashionable modern designers and customers of such interiors who strive for harmony.

Oriental patterns: visiting a fairy tale

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

Oriental patterns are gaining popularity again today

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

Patterns for children: creating together with kids

Developing a child’s abilities by teaching him the art of patterns and ornaments is a way that gives excellent results. Try making a light floral pattern first. Below are step-by-step instructions that make everything very easy to do.

The operating procedure is as follows:

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