Russian folk pattern.

Folk ornament weaving and embroidery - ancient writings. But at the same time, this is an unusual sign system for transmitting information with a strictly fixed meaning of each element, since the components of the ornament are always 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 ornament will have different names (and sometimes meaning!) among different peoples, but everywhere they will denote a similar mythological complex of ideas, a similar archetype, the assessment and interpretation 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 gemstone. 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 into different sides: .

(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 growing overgrown with wool and fur, and again turned into a Bear.

It is easy to see that this diagram 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 sides of the world 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 were formalized. 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" ;
on 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 ideas of 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, which are based on one graphic image, just like themselves mythological characters save general properties or attributes - the ability to control waters, cause a whirlwind, rain, etc., forge, command lightning:

With the change of leaders social roles in society - with the emergence and development of the patriarchal structure - 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 union of the feminine and masculine principles, the monad, the 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 of traces in the languages ​​of the peoples of the North Caucasus and Ancient Scythia 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 energy work 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; the white color of 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, the magical meaning of the 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 - in 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

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 trend is to keep dishes with folk painting, decorating the interior with ornaments and patterns is becoming more and more fashionable every day. Even if you are not an artist, you can purchase stencils or print them. Then already ready-made templates use it this way, 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

After they start to succeed simple patterns, you can switch to more complex

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 figures:

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

If the hand is at least a little trained at the most simple drawings, you can take up 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. Among the geometric shapes, the Yakut people love 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 clothing (hats, 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.

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 fashionable trend of the year. Strictness, harmony, aristocratic aesthetics - all this admires and is used in the work of designers more and more often.

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.

Complete the following sketch.

Add some small details at your discretion.

The unnecessary lines along which the sketch was made must be erased with an eraser.

Oh, these Russian folk patterns ! Just as their fine ligature attracts attention, something resonates in the soul! And it seems that these lace ornaments exude the intoxicating aroma of ancient secrets and, shimmering, are trying to say something. Alas! Not many people know the symbolic language of Slavic patterns, not many understand their multi-layered images and their meaning. Slavic patterns are as beautiful as a nightingale’s song in summer, but it’s true that you need to have some kind of spiritual resonance with the heritage of your ancestors in order to hear their quiet music. This article shows whichRussian folk patterns and their meaning were used in the "Northern Fairy Tale" artel to create a model of a women's sweater with protective patterns.

The true beauty of Slavic patterns- in their meaning

Slavic patterns are like a holographic picture - they must be viewed with defocused vision, switching attention first to a dark pattern, then to a light one. Meaning Slavic patterns can only be understood by combining in the mind the meaning of the dark pattern, which “speaks” on behalf of the earthly, obvious world, and the meaning of the light pattern, which “speaks” on behalf of the heavenly world, the world of Rule. In addition, the interpretationRussian folk patterns changes depending on the place where they are located - after all, Slavic clothing had a three-part division (preserved, by the way, in the ancient archaic canons of Mezen painting).

The hem of the clothing symbolized the Sky, the World of Rule, the sleeves and throat were ritually connected with the Earth, close to the world of Navi, and between them is the space of Revealing. Now try to imagine how the meaning of at least one Slavic pattern will change when you “move” it “ different worlds" It is impossible to comprehend the beauty and meaning of Slavic patterns on the run, in a hurry - you need a subtle attitude, a special spiritual state in which a person is open to the call of the heart, the call of nature.

Let's look at embroidery patterns. Thus, on a women’s sweater with protective patterns from “Northern Fairy Tale”, there is a “linked cross” sign, symbolically associated with the First Ancestor. This is a powerful protective sign, its strength rests on the roots of your family tree. It is present in all the “three Worlds” on our sweater (you can see the illustrations below).

On the hem (remember that this is the heavenly world) the Slavic pattern of the First Ancestor is made in white, that is, it is symbolically connected with Heaven. This is the strongest heavenly protection of the Native Gods, the First Ancestors of the Slavs. Further, on the chest, in the territory of the obvious world, the sign of the First Ancestor is already red (dark) in color, these are the roots of your family, supporting the life trunk of your family tree “here and now”, carrying earthly energy, and finally, for the third time, the sign of the First Ancestor appears on the sleeves, woven into a pattern that protects the owner of the clothing from premature departure to Nav. Here the sign of the First Ancestor is precisely red (dark), earthly, holding.

Let's take a closer look at the patterns of Slavic patterns

“Patterns are great travelers in Time and Space,” writes Marina Kachaeva, whose magnificent and thoughtful studies of Slavic patterns served as the basis for the symbolism of a women’s sweater made in the “Northern Fairy Tale” artel.

I will try to tell you as much as possible about this handmade sweater, which even professional knitters can knit in only three weeks.

The first thing you need to see: Earth or Sky?

And, considering the general scheme of the Slavic pattern, evaluate what is more in it - light or dark. In all the protective patterns of this sweater, a balance of dark (red) and light (primary color) is maintained, and only on the large protective pattern on the back there is a predominance of the red color of the Earth. This means that this garment, harmonizing the flows of masculine and feminine energy, still gives its owner a little more feminine softness, so necessary in our cruel world.

In general, remember that:

if there is more darkness, the pattern connects its owner with the earthly world of the living, its purpose is to activate physical processes in the body and energy (let's call it a trance effect);

if there is more light (there are even options for “white thread on white”), then the pattern stretches its powerful connecting threads between the owner and the Sky. This pattern helps spiritual work;

if the pattern includes an equal number of light and dark threads, then its purpose is to harmonize the Earth-Man-Sky system as a whole.

The second thing you need to see: what Slavic patterns are located on the “Earth” and “Sky”

Let's take a closer look at the patterns on clothes with a story from the Northern Fairy Tale artel.

Heaven (Rule the world)

This is the hem of our sweater. It has a dark pattern, made with red threads, and a light one, the main color in equal proportions (an equal number of light and red threads).

What does the light pattern tell us, whose energy is maximum in this place?

The first thing that is important is the “linked cross” of the First Ancestor. Its meaning has already been said; we will simply enjoy contemplating this Slavic ornament, beautiful in its geometry. Here this symbol is “white in Heaven,” which gives it key significance in this ornamental script, symbolizing the patronage of the Gods of Rule themselves. Perhaps Svarog himself is looking after the owner of this sweater? Then the housewife is guaranteed a bright, creative, constructive life and good health- after all, Svarog, the Supreme God-blacksmith is also the God of Fertility; he created Blue Svarga - a country in the skies where our glorious ancestors live.

Prayers are sent to him for an abundance of earthly fruits. Svarog taught people to cook (create) cottage cheese and cheese from milk, which were once considered sacred food, a gift from the Gods. “Bungle” still means to create something new, previously unknown, in a miraculous, masterful way.

And, for the harmony of such a strong energy of the Heavenly Ancestor, the Goddess-Earth herself, the Mother of Cheese Earth, appears to us in the form Slavic symbol"sprouting grain" The meaning of thisSlavic pattern- the power of the Earth, the power of life-giving energy, a clot of earthly, obvious embodiment.

So, meeting on this hem, higher power Earth and Heaven favor the creation of new life. It is no coincidence that this pattern in a sweater from “Northern Fairy Tale” covers the loins, protecting the very center of feminine power.

Now let’s make a mental effort and switch our perception to considering the dark (in our case red) pattern.

Earthly energy, maximally enhanced by the sign of the “sown field”, symbolically associated with the Great Goddess Mother of Cheese Earth, is found here with the Slavic sign “horned”, the sign of Makosh, the Goddess of Fate and Magic. Its appearance gives new depth to the meaning of this Slavic pattern.

It contains the confrontation and unification of the earthly and the heavenly, the desire for a simple, ordinary life and a talent for female magic.

And here it is no longer possible to understand this “intrigue” without digging deeper into the difficult relationship between the two most important female patrons. Cheese's Mother Earth patronizes joy in simple everyday life, and Makosh, the Goddess of Fate- a mysterious companion of women's magic, fortune telling and divination.

Russian folk pattern “Horned” is associated with Makosh, since its influence intensifies along with the Moon. The Goddess Makosh herself was depicted in a “horned” headdress, and the traditional headdress of Slavic women - the “kichka” was the most beautiful decoration, who had pronounced horns in honor of Makosh, the Goddess of Fate and Magic.

• If you want to know more about this, read the article« »

So, interacting “in Heaven,” the two Goddesses came here to give the owner of this clothing their power.

Overall, on In the scheme of the Slavic pattern of this hem, we see the strong influence of Svarog and Makosh, the Gods of Rule, and the light influence of the sign of the First Ancestor is so strong that the support of the “horned” sign, made in the red, earthly version, is sufficient.

To hold and even resist this luminous energy, the sign of the Earth Goddess is repeated twice on this ornament, in white and red, which overall creates a warm protective field for the owner of this wonderful clothing.

The central field of this pattern is framed by two stripes with a “wave” pattern - this is a symbol of water, life, movement.

Earth (border between Reality and Navu)

Nav is the lower world into which the righteous Soul goes, joining its relatives and becoming the guardian of the next generations. The soul is in the world of Navi until its new incarnation. Unfortunately, the Souls of those who lived wrongly and died unjustly also go to Nav. Their existence in Navi reborns them into dark and terrible Navi, striving to return to the manifest world. The meaning of the ornaments in this part of the clothing is very simple - it was believed that the patterns on the sleeves do not allow evil, dark waves to penetrate into a person.

What a magical action is happening right before our eyes, under the enchanting eyes of the wonderfulSlavic patterns?

We look closely at the ornament with white, heavenly energy and see “a germinating grain» Goddesses of the Earth. This sign was “in Heaven” and has now appeared here “on Earth”.Such mastery of the entire space of this sign promises the owner of this sweater health and increased wealth.

The appearance of “orepia,” of course, is also not accidental. This is the sign of Ognedeva, who embodies the strength and vital energy of the entire visible world. And here, on the “territory of the Earth”, it appears in the form of a variant of the drawing, which was called a “labyrinth”. They say that whoever walks through the spirals of the Hyperborean stone labyrinth, holding in his head the obvious intention of seeing the future,while moving, he can feel a hidden but powerful force coming from the ancient stones. The walker seems to be walking through mirages, at first rather blurry, but leaving a noticeable vibration throughout the body, an inaudible powerful roar in the ears, a flicker of light in the eyes, and unprecedented concentration in the thoughts. Measured steps, circles, soft turns, merging in consciousness into some new path according to all conceivable sensations, lead the questioner to the center. A forced stop - and divine illumination, penetration through time and space, will sparkle with a bright flash before the traveler’s mind’s eye.

Perhaps a discerning connoisseur will get the same impression when looking at thisSlavic patternon this sweater.

Much is said about labyrinths as doors to another world. It is dangerous when these doors are open; special rituals are needed to welcome the Ancestors and protect themselves from the Navies. In this pattern, the Ognedeva’s labyrinth is tightly sealed with four locks and securely stores its owner.

• If you want to learn more about labyrinths, read the article

The dark, red pattern, which has maximum power here, includes a “lattice” - giving us new meaning what's happening. Here Ognedeva, who sealed the passage to the lower world with heavenly energy, appears in the image of a luminous Goddess, rushing in a cart drawn by Pribogs. As Marina Kachaeva writes, “she rushes in a fiery chariot harnessed by a pair of Gemini - swans or horses. This image of the Virgin corresponds to lunar cults associated with love magic" An attentive connoisseur of the meaning of Slavic patterns will remember, of course, the energy of Makosh, the Goddess of Fate and Magic, filling the hem ornament.

And, of course, the power and calmness of the “linked cross”, which carries the age-old protection of the First Ancestor.

Here, on the border of the world of Reveal and Navi, it is made with threads of red, earthly, feminine color, it reigns here, beaming with its protective energy. All the Mothers of your kind stand on guard, protecting against unwanted penetration of dark navies.

Let's think about the meaning of the Slavic pattern as a whole. This is the scheme. By connecting and protecting, the sign of the Fire Maiden in the form of a white labyrinth and the red sign of the First Ancestor block unwanted energy from both principles - male and female.

At the same time, here lies the growth of the feminine spiritual principle (white sprout) and the ability to influence men (red Ognedeva, who gives strength in love magic).

Third: look at the patterns guarding the wrist and throat

On the women's sweater from "Northern Fairy Tale", just like on the men's, there is the famous "Russian cross". The patterns in this place are extremely important; they are the ones that hold the Soul in the body. The Russian cross is a pattern consisting of female “diamonds” and male “crosses”, and in the correct color scheme - a dark female diamond and a light male cross. What is there to say for a long time - it turns out that this pattern, harmonizing the feminine and masculinity, holds the Soul precisely by the power of Love, which constitutes such an attractive part of our Explicit life.

Fourth: look at the world of Revealed

Between the hem and sleeves-collar there is a space symbolizing our obvious world in which we exist on the physical plane. In Slavic clothing there were patterns on the chest and back, and, what is important, all clothing was girded with a belt, preferably also patterned.

The sweater from the Northern Fairytale artel already has a patterned protective stripe in the waist area. Let's take a closer look at her treasures.

On the wave of white, male energy, Ognedeva is located here - in the form of an “orepia”, protecting the mistress from unnecessary ill-wishers of the obvious, physical world, and she, on a white chariotin a lattice pattern ", giving the strength to love and be loved.

And look at the feminine powers bestowed by these patterns - the red “horned” one, Makosh, Goddess of the Moon, Goddess of Fate and Magic, repeated twice (in direct and mirror versions) promises an easy, bright destiny in this manifest life.

People say: “your shirt is closer to your body.” Why, semantics will tell us about this folk costume, composition, its color, ornamental cryptography. After all, it is in folk costume that the most important features and features of national self-awareness, its social, moral, religious ideas.

It is worth noting that clothing, whose initial appearance was due to functional necessity, immediately became a ritual object. Its task was also to stimulate certain life processes. Therefore, we consider clothing not only as a thing, but also as a symbolic form - a sign in the context of culture.

N.M. Kalashnikova, the author of numerous works related to the theme of folk costume and its symbolism, notes that the semantic status of clothing, in the author’s words, its sign functions, were established at an early stage of development; they had to be “read” not only by its owner, but also by fellow tribesmen 1.

At different age and social stages of a person’s life, the costume changes at the structural level. These changes manifest themselves in the quantitative composition of the costume, color semantics and the development of ornaments.

The ornament served not only as decoration, but also as a charm against the evil forces of nature, a “talisman”. That's why these patterns were embroidered where the clothes ended, where they touched the open body: at the collar, on the hem, on the cuffs.

In addition, ornamental medallions protected the shoulders and knees. The ornament contained signs, writings - ideograms, which the embroiderers specially selected for each owner of the shirt, so that it would protect its owner not only from the cold, but also from any accidental misfortune.

That's why when they talk about spiritual qualities generous person, we hear: “He will not regret his only shirt.” It was believed that a generous person thus gave away not only his clothes, but also took off his amulet, that which is closest to his body...

The ornaments of all nations come from ancient times; they have never included a single “idle” line - each has its own meaning, is a word, phrase, expression known concepts, representations. People invented symbols to designate and reinforce what they understood. Transferring such knowledge means learning to interpret symbols.

V. Vardugin mentions that even in early XIX centuries, the ritual of reading patterns was preserved in villages, when girls dressed up in a festive way and brought their handicrafts. The boys, having chosen elderly women as guides, listened to the latter’s explanations about the meaning of the patterns depicted in the girls’ handicrafts 2.

The words “pattern”, “patterned” come from the words “dawn”, “burn”, “sun” and come from the common Slavic concepts of “light”, “shine”, “warmth”. Embroidery patterns were associated with the cult of the sun and sky; they became his “divine images”, signs and symbols. We can say about embroidery that it contains a folk awareness of the world and nature, a kind of folk poetic mythology.

From the point of view of mythological consciousness, the cosmos is divided into two worlds: sacred, sacred and profane (from the Latin profanus) - uninitiated, devoid of holiness, moreover, unholy, sinister, blasphemous and unclean. It is not surprising that Russian folk clothes have such an abundance of ornamentation with symbolic images that helped to establish a connection with the sacred world.

The idea of ​​the sun in the form of a horse in ornamental compositions is embodied, for example, in the form of a white zealous horse, with stars in the background and birds along the edges of the dominant motif. Motives of Pava-rook, there are images of Lado - the god of the spring sun. Rituals are reflected in the ornamentation, such as, for example, the rainbow - this is a spring rite, the day of remembrance of ancestors, veshnik - “curling a birch tree” in honor of the revival of nature, the holiday of Ivan Kupala, etc. The pagan goddess Makosh had a connection with water - one of the most frequently mentioned characters in ornamental plots.

The ornament, as already mentioned, served not only as decoration, but also as a charm against the evil forces of nature, a “talisman”. And the modern reader’s heart aches when he reads the lines in “The Tale of Igor’s Campaign” about the death of one of the soldiers: “... one drop the pearl soul from the brave body, through the gold necklace.”

Ornamental symbolism in to a greater extent inherent in ancient clothing: shirts, shirts, ponevas, aprons, belts. It is important to note that the parts of the costume were closely related to the choice of ornamental motifs. Like the costume, the ornament suggested a tiered division. The hem is the first tier, it is closer to the ground. As a rule, it contains diamond-dot or cross-shaped compositions (symbols of agriculture, fertility, fire). In embroidery of headdresses, the opposite prevails solar signs, images of birds, etc. Thus, through such a composition, the costume was likened to the World Tree.

The ornaments on clothes were most often embroidered. “Folk embroidery, this first code system acquired by people and having a magical meaning for them, has been studied for just over a century. Much has not been solved, and so many more “wonderful discoveries” conceal the simplest patterns, containing signals-symbols about the life and worldview of long-gone generations” 2.

When considering the historically specific forms of the costume, one can notice that it has a macro- and micro-constructive basis and a decorative system. Ornamental inserts that have an independent symbolic meaning acquire special semantic significance in it.

Ornament, in contrast to the cut and design of clothing, is deeply conservative, little subject to change, being a product of and belonging to traditional culture. Its roots go back to archaic times and is the keeper of mythological ideas about existence. It does not lose its purpose of recalling the primary meanings and symbols of culture, being interspersed into the structure of the costume as a kind of integrity. The ornament has a graphic structure, it is similar to secret writing, the ideogram of certain hidden meanings, expressed graphically, i.e. spatial symbols.

Drawing a parallel between amulets and ornament as a talisman, let us consider the basic postulates of magic formulated by modern researchers. Here they are: 1) like produces like (law of similarity); 2) things that come into contact with each other then continue to interact at a distance (the law of contact and infection). On the basis of these laws, not only ornamental compositions are built, but also the structure of the costume as a whole.

For primitive man, a part is the same as the whole. If, for example, a character changes into someone else's clothes, he is identified with its owner. Behind the change of appearance is a change of role, then of essence. The basis of all mummery is a semantic principle. (It can be easily compared with the semiotic meaning of clothing and dressing up as such).

Another principle of magic is sympathy. L. Levy-Bruhl wrote about him: “The sympathetic principle means “to carry one along,” to encourage, to teach, but at the same time to force, in the sense of physical influence.” 3. Based on this principle of magic, things, “thanks to secret sympathy, are connected among themselves and influence each other at a distance.”

Therefore it was believed that life force natural objects are transmitted to humans through: skins, teeth, skulls, claws, stones and amulets. Our ancestors used jewelry-amulets in their wardrobe for greater “safety.” The symbolism of these jewelry, as well as the symbolism of ornamental inserts on clothing, is associated with the cult of the sky, the sun and the spring fertility of the earth. Talismans and amulets were created according to the unwritten laws of magic. Many of them can be divided quite clearly into male and female.

At excavation sites (usually in female burials) a figurine of a horse is often found. The horse, according to the beliefs of the ancient Slavs, is a symbol of goodness, happiness, and the wisdom of the gods. His cult is associated with the veneration of the Sun, with the Slavs’ belief that Dazhdbog rides across the sky in a chariot driven by four white golden-maned horses with golden wings: therefore, the solar circular ornaments on the skating amulets are not at all accidental. Slavic women wore them at the left shoulder. And it is not at all by chance that skates were often connected with a talisman in the form of waterfowl - swans, geese, ducks: after all, the same Dazhdbog crosses the ocean-sea twice a day (morning and evening) on ​​a boat harnessed by these waterfowl. There are even amulets - the body of a waterfowl, and the head of a horse. These pictorial motifs continue to exist in embroidery patterns.

Women wore small copies of household items (ladles, spoons, combs, keys) on their clothes as amulets. Their task is to attract and maintain satiety, contentment, and wealth in the house.

Both women and men wore amulets - hatchets. The only difference was in the way they were worn. Women - at the shoulder, men - at the waist. The ax is a symbol of Perun, the warrior god, patron of the harvest, who sent warm thunderstorms.

Only men carried miniature copies of weapons - swords, knives, spears, sheaths.

Round women's amulets pendants are nothing more than solar symbols; yellow alloys were used on them, while the lunar pendants used white alloys (cold, like the moon itself) made of silver, silver with tin, and less often, bronze.

Mythological consciousness perceives the whole world as alive, therefore it regulates relations with everything in this world, as with living beings, and charges material objects with living energy.

Often, ethnographers resort to the method of analogies in their interpretations of archaic symbols. W. Talbitzer, studying the Eskimos of the eastern coast of Greenland in the 1920s, wrote: “Amulets are consecrated with the help of formulas and spells... They become alive. We find a specialized formula in the belief that an amulet, in the form of a knife or other weapon, suddenly, at a moment of danger, begins to grow in size and independently performs the act of murder” 3.

Women's lunar jewelry was born from the ancient cult of the Moon. The Sun and Moon introduced themselves ancient man brother and sister, husband and wife, sometimes parent and child. They are characters of dualistic lunar-solar myths. They reflect oppositions: male - female, day - night, heat - cold, positive - negative. There are lunar plants with floral designs, which symbolizes the primary duty of the moon - to monitor the growth of grasses and trees.

Considering only amulets, from their symbolism we see that with the help of them our ancestors established a connection with the sacred world, through the organization of connections in the microcosm, the desire to establish a connection with the macrocosm.

The language of ornamentation in folk costume was also used for the same purpose.

Literature

1 Kalashnikova N.M. Semantics of folk costume. - St. Petersburg: 2003.
2 Vardugin V. Russian clothing. - Saratov: Don Book, 2001.
3 Lévy-Bruhl L. Supernatural in primitive thinking. - M.: 1937. - P.33.
4. History of Russian ornament of the X-XVI centuries / Ed. S.Yu. Ivleva - M.: Art spring, 1997.
5. Prokhorov V.A. Materials on the history of Russian clothing of the 11th-13th centuries. - St. Petersburg: Publishing house. Prokhorov, St. Petersburg printing house of the Academy of Sciences, 1876.
6. Serov N.V. The color of culture. - St. Petersburg: “Rech”, 2004.
7. Stasov V.V. Slavic and eastern ornament according to manuscripts of ancient and modern times. - St. Petersburg: [b.i.], 1887.
8. Strekalov S. Russian historical clothes from the 10th to the 13th centuries. St. Petersburg: [b.i.], 1877.
9. Chemist O.Ya., Art culture primitive society. - St. Petersburg: 1995.

Since ancient times in Rus', on every piece of utensil, on every piece of clothing, as well as on houses, various elements and symbols were depicted, which formed patterns. Each detail had its own meaning and place. This is how the Russian folk pattern was formed.

Historical information about Russian folk patterns

It should be understood that there are two terms - pattern and ornament. And it was not the same thing from the beginning. Even now, not every pattern can be called an ornament. For example, if this is a constantly repeating pattern (rapport).

In Rus' it was believed that the pattern was much deeper, it meant more. The word ornament is borrowed from Latin, and it appeared much later and means decoration. In Rus' there was an analogue to it - “decorations”. It was believed that it was intended for decorative stylization. However, later these two concepts became intertwined and began to complement each other.

Russian folk pattern is a collection of various lines, symbols, and other elements that can be repeated or be in a single version. Pictures may vary in different areas. So, in eastern regions in Rus', in the pattern you can find such an element as the “Indian cucumber”, which is still popular today.

Also, each area had its own color scheme of patterns and ornaments.

Signs and symbols in the Russian pattern

If we consider the Russian folk pattern from the point of view of symbolism, then we can say that not a single element is depicted there just like that. Each has its own meaning and is in its place.

The most popular symbols in the pattern are:

• The star of Alatyr, or, as it is also called, the cross of Svarog. It has eight petals and symbolizes the Universe, its cycles of folding and unfolding.
• The symbol of Beregini (Rozhanitsa) is also very popular. This is a schematic representation of a woman who protects.
• Very a significant symbol is which is sometimes also called the World Tree. It combines the world axis, the universe and the race.
• Everyone knows: During the time of Hitler, the swastika became a symbol of war and fascism, but initially this was not at all the case.
• Also popular is the Orepei symbol, which is a comb diamond. This symbol brings happiness, balance and peace of mind.
• In addition, flowers, stars, spirals and other symbols are used in the pattern and ornament, each of which carries a specific meaning, enhancing the positive and protective energy of a person.

In addition to the above elements, there are many others. In addition, almost all patterns of the scheme are quite diverse. The same symbol can be depicted in different ways, maintaining, however, common features and lines. This is how entire protective phrases arise, as well as small stories or conspiracies.

The sacred meaning of the pattern

You should know that the same symbol, but depicted in different parts of clothing, could have different meaning. For example, the Orepei sign, depicted in the elbow area on women's clothing, denoted an ancestor. If he was depicted on the hem, then he was the entrance to the other world.

The ancient gods who rode in chariots were also symbolically depicted. They were harnessed to various animals that personified a specific deity.

Some Russian patterns (photo below) carried a certain code in their numerical repetition. So, the following numbers were important:

• three (Absolute, Trinity, time, space);
• four (cardinal directions, seasons);
• seven (symbol of harmony);
• twelve.

Such patterns and ornaments also reveal the attitude towards Mother Nature of our ancestors. With their images, they seemed to ask her for protection and patronage from various evils, troubles and misfortunes.

Where are Russian folk patterns used?

The use of patterns is quite varied. They are used in towels, napkins, for painting utensils, houses, and for carving wood and metal. In the old days, not a single object was left without a design.

Russian patterns (photos of them are in our review) are not only the beauty of an object, but also protection, a talisman for its owner. It is known that even before the advent of writing, people already depicted various symbols (diamonds, lines, dots) on utensils.

Differences in patterns in different regions

Each region of Russia has its own history of painting, embroidery, patterns and ornaments. Let's look at the Russian folk pattern (pictures of some will be presented below) for some types and areas:

• Gzhel painting - characterized by blue and white colors in the drawings that are made on ceramic and porcelain products;
• paintings, for which the village of Zhostovo is famous, on metal trays;
• Khokhloma painting with various patterns is very interesting; it is characterized by a golden color (there are also red, yellow and orange);
• in addition, in many regions they made their own special toys (Dymkovo, Kargopol, Stary Oskol), each of which had its own unique pattern in the painting;
• Pavlovo Posad shawls are also very famous, which are made in red and black colors, with floral patterns.

And these are not even all the known crafts where Russian folk patterns are used.

The most ancient patterns

The most ancient patterns include a set of various signs, which in ancient times had a special meaning and were simply not applied to any product. Each family had its own set of embroideries and paintings, which were passed down from generation to generation. They even have a special meaning for the family, being its own symbol. Of course, over time, knowledge was lost.

Ancient Russian patterns breathe mystery into us, the power of amulets, the meaning of every curl or sign.

Nowadays, many people collect similar images that make sense.

How to start drawing Russian folk patterns

Now people are increasingly turning to our ancestral heritage, wanting to revive lost traditions. For example, many people wonder how to draw a Russian pattern. Where to start?

First, you should understand that in Rus' there are many techniques of painting and embroidery, which have their own characteristics. For beginners, you need to take patterns that are not very complex, having a repeating pattern. This will make it easier to grasp its very essence.

Before drawing itself, you need to practice with its simple components: dots, lines, strokes, droplets, loops, etc. In fact, the most difficult pattern consists of the above details. From these simple forms, after some time of training, it will be possible to create more complex ones.

In order to understand how to draw a Russian pattern, you should not rush. Some forms may indeed seem complex, but you need to remember that they are all made up of simple ones. First, lay out the repeating pattern into details; start depicting it with the easiest and most basic ones, for example, a point. Gradually draw other shapes around it, and so at the very end you can get your finished pattern. Take a look at the photo below, which shows all the stages of drawing. And make sure that this process is not so complicated.

Thus, you can learn how to create ornaments and patterns yourself. In principle, you can take ready-made diagrams and then transfer them to the surface.

Using patterns on household items

Also, patterns and ornaments in ancient times were made on household items. For example, in Rus', a six-petalled rosette was depicted on salt shakers. This had symbolic meaning. This rosette represented the sun, and salt was considered associated with it. Also, her image was often found on spinning wheels, as a symbol of endless time.

In addition to the symbolic painting of utensils, there was also simply decorating the product. Of course, it did not appear immediately, but the technology was developed over the years.

It should be noted that some patterns, the patterns of which are quite complex, are still made by craftsmen. This is, for example, Khokhloma painting, which looks very beautiful and rich. However, its production is quite complex and multi-stage.

Using patterns in embroidery

Russian embroidery in Rus' traditionally not only decorates clothes, towels, bedspreads and other linen products, but is also a talisman. The interweaving of patterns is by no means random. All symbols are in their place.

In addition, the color of the thread that is used also matters in embroidery. Let's consider some points:

• an embroidered rooster or horse in red or black colors is suitable to protect the baby;
• for successful activities, embroidery should be done in blue or golden-green tones;
• woolen embroidery is suitable if there are already some energy holes; it is done in the area of ​​a person’s chakras;
• flax is used for peace; it is used to embroider trees, birds, stars or the sun;
• for women, black color should be used in embroidery to protect against infertility;
• for men - green (protects from wounds), blue (protects from the elements).

In addition, symbols are also used in embroidery - a cross (barrier and protection from evil), a star (heavenly fire), a circle (denotes fertility, abundance and motherhood) and others.

Thus, Russian embroidery is a whole set of knowledge that our ancestors used in ancient times, protecting themselves, their relatives and their clan.

The use of patterns on clothing in the old days

Probably the most famous use of pattern and ornament is Even the most ignorant person in this matter will recognize this embroidery. True, colors and patterns again vary by region.

For example, the further south the area, the brighter the clothes people wore. This was due to the fact that used to paint was of natural origin, and the warmer it was, the greater the variety in the possibilities of producing it.

If we talk about men's and women's clothing, then the first had almost no differences in the regions, except for preferences in color and pattern. But women's clothing was quite varied and significantly different.

And also embroidery of various animal figures was very popular in the northern part of Russia. But the southern ones had more colored embroidery (often red).

The use of Russian folk patterns in modern clothing

Russian folk patterns on clothes periodically return to fashion. Famous fashion designers release collections with folk motives(for example, in 1976 Russian Collection from Yves Saint Laurent).

In our time, Russian patterns have long been a priority among true connoisseurs. In addition to colorful traditional ones, bright floral (or other folk) prints are used. I remember the ancient patterns that craftswomen embroidered on clothes for their family and friends. You can also certainly order similar clothes for yourself if you wish.

Products that have long earned recognition both in quality and style (for example, Pavlovo Posad shawls) also remain popular.

Thus, the Russian pattern simply cannot go into oblivion. His influence on the people is undeniable, this is his legacy, and one day he will rightfully take his rightful place in the hearts of people. After all, ancient Russian patterns truly carry the harmony and beauty that was known to our ancestors. This is also our history, which should not be forgotten.