Studying folk embroidery, I understand that it is necessary to understand individual symbols and their combination. In other topics, I talk about individual patterns, and here - about their combinations. The patterns of the folk embroidery of Russia, our North, are amazing. Their combinations, simple patterns of folk embroidery give rise to whole stories!

PROTECTIVE EMBROIDERY "RUSSIAN CROSS-HARMONY"


Folk embroidery scheme "Russian cross - harmony"

Folk embroidery symbols:

  • male symbol "cross"
  • female symbol "rhombus"

For whom: For a woman who wants to strengthen her existing marriage.

Meaning: harmony.

Feature of this embroidery: the activity of the earthly male power.

Action on a woman: harmony in the family, well-being in relations with a man, increasing one's own activity, energy, assertiveness, if necessary - the call of the child's soul, a successful birth.

Action on a man: harmony in the family, well-being in relations with his wife, activation of the life center "jarlo", which is responsible for vitality.

PROTECTIVE EMBROIDERY "RUSSIAN CROSS - APPEAL"



Folk embroidery scheme "Russian cross - call"

Folk embroidery symbols:

  • male symbol "cross"
  • female symbol "rhombus"
  • a sign of prosperity and union of male and female principles "sown grain"

For whom: for a woman who wants to find her betrothed and make the right choice.

Feature of this embroidery: predominance feminine energies, both in the earthly and in the heavenly sphere, the male energy in this embroidery is “heavenly”, that is, we are talking about a man who is kindred in spirit.

Action on a woman: bodily energy, increasing attractiveness, raising the ability for foresight and choice, launching into the call space for a man - a narrowed one.

FOLK EMBROIDERY OF RUSSIA "RUSSIAN CROSS - LOVE"



The scheme of the folk embroidery "Russian cross - love"

Folk embroidery symbols:

  • male symbol "cross"
  • female symbol "half-bomber"

For whom: for a woman who wants to ignite the love of a man, and for a man who wants to be loved.

Feature of this embroidery: the predominance of "earthly" energies, both male and female, and we are not talking about the birth of a child, but about earthly love between a man and a woman.

Action on a woman: bodily energy, increased attractiveness, increased emotional power over a man, revival of feelings in a woman, which are “spread” to a man. The effect is greatly enhanced if the same ornament is applied to the hem of a sweater.

Action on a man: bodily energy, an increase in attractiveness, an increase in emotional power over a woman, the revival of feelings in the man himself, which are "spread" to the woman.

SCHEME OF FOLK EMBROIDERY "BEST SHARE"

The name "Best Share" is not a traditional name, but it reflects well the essence of the ornaments located here.



The scheme of folk embroidery "The best share"

Folk embroidery symbols:

  • "Polrepya - Ancestor"
  • female symbol "Rhombus"
  • female symbol "Heavenly Deer - Progenitor"
  • sign of the Goddess - Mother, Mistress of destinies, Great Makosh

For whom: for a girl and a girl with the wish of safety in the parental family, for a woman who wants to preserve and increase what she has.

The meaning of Slavic patterns: request - confidence in a better share for the future

Feature of this embroidery: in the scheme of folk embroidery, the prevailing presence of divine forces: ancestors on the mother's side (symbol "Heavenly Deer - Progenitor") ancestors on the father's side (symbol "Orepius"), the presence of the Goddess of Fate Makosh - all this is next to the earthly rhombus, symbolizing a woman - a supplicant ...

Action on a woman: harmony in the family, well-being, well-being, respect of others.

PROTECTIVE EMBROIDERY "WELL-BEING"

The name "Wellbeing" is not a traditional name, but it well reflects the essence of the ornaments located on this embroidery pattern.



Folk embroidery of Russia "Prosperity"

Folk embroidery symbols:

  • Sun Sign - Virgo, Vesnyanka, giving joy and life
  • Signs of Pribogs bringing gifts from Heaven
  • Sign of the Mother Goddess - Cheese Earth, bestowing well-being
  • Heavenly Cloud Sign - Deer
For whom: for not married woman, for a married woman who wants a new level of life, security, tranquility and respect

Feature of this embroidery: embroidery, gently affecting the situation, sets in motion the heavenly forces, which begin to work for wealth and tranquility. Heavenly patronage of the Mother Goddess - Cheese Earth creates an all-encompassing patronage, the rest of the signs support this ancient Slavic magic

Action on a woman: a sense of calmness, awareness of one's beauty and attractiveness, calm acceptance of well-deserved well-being.

FOLK EMBROIDERY OF RUSSIA "ARMOR OF ANCESTORS"

The name "Armor of the Ancestors" is not a traditional name, but it reflects well the essence of the ornaments located here.



Folk embroidery of Russia "Armor of the ancestors"

Folk embroidery symbols:

  • sign "Hooks - Horses"
  • sign "Orepius - Ancestor"
  • God Perun "Perun's color"

For whom: a boy and a man in order to protect from the influences of the external environment

The meaning of Slavic patterns: the sign of Perun, the patron saint of warriors in a light tone, means the heavenly patronage of this God, the presence of earthly-colored horses means the rapid approach of this patronage; the reason for patronage is Orepius - Ancestor, that is, a man is protected by the strength of his ancestors.

Feature of this embroidery: the rapid approach of the heavenly patronage of Perun and the Ancestors, since it is the horses harnessed to the divine chariot of earthly color.

Action on a man: protection from the adverse effects of the external environment, both physical and energy.

SCHEMES OF FOLK EMBROIDERY OF THE RUSSIAN NORTH

For a long time we have been asked to show schemes of protective folk embroidery. We have collected them from the northern villages and are finally sharing this knowledge with you.

All this is the northern guard cross, the most powerful protective symbol. You can embroider it with the usual cross, or better - with the northern typesetting (counting) seam.

Remember the main rule of protective embroidery: everything should be natural, from fabric and thread to a needle. Bone or brass needles work best for this.

In this post, we have collected for you the most popular patterns of embroidery ornaments in different styles... They will be useful both for novice needlewomen and experienced craftswomen.

The easiest way is to download the embroidery patterns, then print or copy the patterns, and then repeat them on the fabric. However, if you have been doing needlework for a long time, you can simply check the screen or glean specific ideas from this selection of diagrams.

We have selected exclusively patterned embroidery of popular ornaments. Among them there are very simple options, but there are also quite bizarre shapes and bends. A master with any experience will easily find something suitable. These schemes will help you decorate various napkins and tablecloths in an original way, as well as some items of clothing (tops, shirts, accessories, etc.). These patterns will look especially great on plain, plain fabrics.

For beginners, the easiest way is to carry out patterned embroidery on linen or standard canvas. That is, on those materials where it is easy to calculate the distance between elements.

Below you will find several patterns of embroidery of Ukrainian patterns, which are very popular lately. Men's and women's embroidered shirts have become quite a fashionable attribute, and traditional patterned motives are used in a variety of crafts and master classes.

Another category is cross stitch. It is very easy to do. You can simply download cross stitch patterns and attach them to the fabric, then sew directly on the paper. Then the paper is removed (torn off), and the pattern remains on the fabric. However, sometimes such actions are superfluous - it is much easier to sketch a picture.

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

Material and color

The climatic features of our country do not allow the large-scale cultivation of cotton, so the main sources for the manufacture of fabric were flax and hemp. Linen was woven from them. Thin bleached linen served as a base, and linen and wool threads were used for embroidery patterns. In the XIX century. woolen threads embroidered shirts, head towels. In a number of places, wool embroidery preceded embroidery with other materials.

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

The preference for red does not limit the choice of other colors, nor the gradations of their shades. White was often used or two-tone combinations were made. At the same time, the general tone of the embroidery always remained joyful and optimistic.

Plots and motives of the ornament.

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

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

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

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

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

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

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

  1. Maslova GS Ornament of Russian folk embroidery. M., 1972
  2. Durasov G.P. "Figurative motives in Russian folk embroidery." M., 1990
  3. Boguslavskaya I. Ya. "Russian folk embroidery." M., 1972

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

Initially, hand embroidery was a handicraft, but nowadays handwork has been replaced by machine embroidery. The fact is that machine technology makes embroidery much more accurate and attractive, durable and strong. In addition, Russian machine embroidery allows the production of thousands of copies in a short time.

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

History of Russian embroidery

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

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

In these times - X-XII centuries - Russian gold embroidery art was born and began to develop. Luxurious patterns adorned icons, church items, clothes of rich people. At the same time, a characteristic feature of Russian embroidery, river pearls entered the decorative art. Since then, pearl embroidery has firmly entered world history as a characteristic Slavic feature.

The years passed. Initially, the nuns were engaged in embroidery: this was due to the fact that with the help of embroidery in Russia, mainly church attributes were decorated. Gradually, noble women took up embroidery: whether it was the influence of Anna Yaroslavovna, who became the French queen and told about this Western tradition, or simply piety was instilled in young girls like that - it is not known.

At the same time, Slavic embroidery is developing in the peasant environment. Here, the history of embroidery seems to stand still: ancient pagan patterns and symbols still adorn clothes, linen, and curtains. By the 17th century, folk embroidery became fashionable, and its motifs penetrate into the noble milieu.

From the 18th century onwards, Western motives began to influence Russian embroidery. Peter I introduced the European costume, and the ladies rush to decorate their dresses in the Parisian or Berlin style. The most in demand is men's embroidery; embroidered caftans are becoming fashionable at court. Russian embroidery reaches its special dawn in the 19th century: the gallant era requires grace and aesthetics.

The emergence and spread of machine embroidery revolutionized this field of art. In the 20th century, the integration of arts and nationalities takes place: African motifs can coexist with medieval symbols, embroidered lines from a poem by A. Blok can decorate a dance dress for a masquerade ball.

Russian ornament in embroidery

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

Let's consider the main symbols of Russian embroidery.

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

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

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

Herringbone... You can often see a herringbone pattern on old embroidery. It symbolizes the tree in general and the Tree of Life, forest and nature.

Other elements of Russian embroidery

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

The motives of flora and fauna have always been especially popular. Various flowers and plants firmly associated with folk embroidery: remember the Pavlograd shawls, palekh. But embroidery in the style of Gzhel or Khokhloma is widespread in our days, it is recognized all over the world! By the way, Gzhel differs markedly from the traditional colors of Russian embroidery: red, black and gold.

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

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

RUSSIAN EMBROIDERY

Information

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

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

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

In the southern regions, the following embroidery techniques were used: painting, set, counted satin stitch, line, color "intertwine", cross and stalk stitch. Location: Russia

229 entries

A selection of books on ancient folk embroidery.

The enrollment for the twelfth stream of the web course on old Russian embroidery is open. Meanwhile, the students of the previous streams are already admiring their work. With us Yekaterinburg, Nizhny Novgorod, Kemerovo, Vladivostok, Surgut, Krasnodar, Show in full ... Khabarovsk, Krasnoyarsk, Perm, Novosibirsk, Irkutsk, Tyumen, Oryol, Ufa, Novokuznetsk, Chelyabinsk, Bryansk, etc.

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

The web course is:
- videos with theory and practice for each seam, available for viewing for three weeks,
- pictures of genuine antiques, our main teachers,
- sets of patterns,
- the ability to ask questions and get answers.

Three weeks are given to work out 1 lesson.

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

This embroidery by my student Irina Zyuzina is very special and iconic. At such moments, you feel the proximity of an incredible innermost secret. Show in full ... The image was copied from a Vyatka towel of the late 19th century from my private collection and embroidered in just one (!) Evening, but nevertheless it contains a look into eternity, a quote from the past centuries. How many hundreds of years is this image? What is behind it? Frightening outlines, they do not fit into our picture of the world, and yet they are truly Russian, truly Slavic. We have all read the article by DA Baranov and EL Madlevskaya "The image of a frog in embroidery and mythopoetic representations of the Eastern Slavs", the hypothesis that such ancient images contain an image of a fertile life-giving principle. But can everything be conveyed in words? Can everything be explained by words and hypotheses? Looking at this image - you understand, no, far from everything. When you see a repetition of such an image at arm's length you involuntarily shudder, it becomes uncomfortable. In this image, the birth of an unknown beginning out of chaos, there is a mystic, looking at him as if his consciousness expands, trying to absorb a completely different aesthetics and semantic layer. In this image there is power and mystery, the music of meanings unknown to us, behind it there is another dimension, unknown to us. Do we recognize this image as an inseparable and important part of Russian culture? Have we ever seen such images on Russian towels? Does anyone tell us that without such images the idea of ​​Russian embroidery is incomplete? Orlovsky copy, Pudozh canon, do these words tell you anything? Do we really know Russian culture so well? Do graduates of art academies and art critics and our average compatriots know the history of Russian art well? The black square of Malevich is on everyone's lips, the hooliganism of one artist, and ancient folk images are rarely seen where, perhaps by chance, the likelihood of seeing something like this and finding out that this is a splinter of the Russian worldview is close to zero.

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

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

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

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

Russian folk embroidery (page 1 of 4)

STATE EDUCATIONAL INSTITUTION

SECONDARY PROFESSIONAL EDUCATION

KEMEROVSKY PROFESSIONAL AND TECHNICAL COLLEGE

"RUSSIAN FOLK EMBROIDERY"

students of the KM-71 group,

Vorobieva Irina Alizhanovna

Stages of the project

1 History of traditional Russian embroidery

2 Symbols in patterns for embroidery

3 The meaning of color in embroidery

5 Economic justification making a collection

Project implementation results

The name of the project "Russian folk embroidery"

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

Supervisors: Elena Golysheva, teacher of the disciplines "Design of clothes", "Modeling and decoration of clothes", Gampel Vera Nikolaevna, teacher of disciplines "Technology garments"," The history of the costume "

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

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

· To instill a love for traditional Russian folk embroidery;

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

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

Stages of project implementation

1. Studying the history of traditional Russian embroidery

2. The study of symbolism in patterns for embroidery

3. Studying the meaning of color in embroidery

4. Practical implementation of products

5. Participation in exhibition activities

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

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

STAGES OF PROJECT IMPLEMENTATION

1 History of traditional Russian embroidery

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

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

Before the wedding, at the dowry exhibition, by the amount of canvas, by the perfection of the embroidered pattern, fellow villagers appreciated the bride's diligence and her ability for home craft. According to the things made by the bride's hands, it was determined which hostess entered the house.

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

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

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

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

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

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

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

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

The main aspects and significance of Russian folk embroidery

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

What is interesting about this type of needlework?

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

  • city;
  • peasant handicrafts;
  • embroidered motifs that were used as a talisman.

Russian embroidery

From an early age (from about 5-6), peasant girls were taught the art of embroidery, sewing and even making lace. It was they, unlike urban girls, who carefully honored traditions and tried to convey all cultural characteristics (ornaments, patterns) in their works. Embroidered different ways: cross, regular satin stitch, Moscow stitch.

Russian embroidery is an old form of folk art

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

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

The art of embroidery has a long history

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

Hope chest

Urban girls tried to add a little European fashion to the patterns of their creations. The French style had a great influence on embroidery.

French embroidery

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

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

Embroidered charm with a picture

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

Nordic traditions

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

Satin stitch embroidery

Full cross stitching was widespread only in the creation of some amulets.

Cross-stitch

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

Ancient Russian embroidery, like the embroidery process, had ritual significance, was close to agrarian ritual actions

The white line also looked beautiful. As a basis for embroidery, a slightly sparse fabric was used, which was slightly translucent.

White embroidery

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

Features of the southerners

The southern regions (Voronezh, Tambov, Oryol, Kursk and Penza) were characterized by the presence of various geometric patterns. In these territories there was embroidery with painting, white stitching, sometimes with a cross and other stitches.

Hand embroidery

But the most common were considered to be colored intertwine and counting smooth surface.

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

Colored interweave

The color range was quite varied:

  • Ryazan was famous for its blue embroidery;

Embroidered shirt in blue tones

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

Smolensk embroidery

  • Tula and Kaluga were characterized by a reddish-white range, in which the most diverse (blue, blue, green and yellow) inserts were interspersed;

Russian embroidery is an extremely complex and multifaceted phenomenon

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

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

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

Embroidery rhythms in the center of Russia

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

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

In some regions (Yaroslavl, Kostroma), white stitching has been somewhat modernized. Instead of traditional completely snow-white plots, white embroidery with a colored outline, decor from gold, blue and pink threads began to appear.

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

Embroidery looked the most exquisite in the Kostroma region. There, needlewomen used mainly pastel colors and silk threads to create their works of art. Thanks to the calm color transitions, the embroidery looked incredibly beautiful, and the silk gave the product glare and play.

Snow-white embroidery with silk threads

The painting traditional for the North has also been modernized. In contrast to the original version, in the center it was performed with a greater density of sewing, since mainly woolen threads were used in the work.

Hand embroidery

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

The image of a rhombus in Russian embroidery

The unique technology made the Gorky Region famous. "Gorky guipure" was an unusually elegant technique. The most common motif for the Gorky openwork embroidery is considered to be a medium-sized rosette with rounded corners in the shape of a rhombus.

Gorky guipure

Tablecloth with Gorky guipure

From the first try it is quite difficult to understand all styles and techniques of folk embroidery. Indeed, each area had its own characteristics that distinguished her work from others. Most accurately, cultural features were preserved in the peasant type of embroidery, as well as in the technology of making amulet plots.

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

Patterns for cross stitch patterns and ornaments

Patterns for cross stitch patterns and ornaments

Today we will talk about patterns and motifs that needlewomen use for cross stitching. I use them in different fields, embroidering individual small elements on clothes or filling large canvases with a cross for pillowcases or napkins. Let's talk about some types of patterns.











Folk patterns

The very first cross stitch patterns originated in Ancient Rus. Slavic motifs were embroidered on clothes, headdresses, towels and interior items. The characteristic drawing of Slavic patterns cannot be confused with anything else. It is still used to decorate costumes, wedding tablecloths and towels. Also, Slavic patterns are used for embroidery of Russian amulets, which are embroidered according to special patterns and have a strict meaning.








The basis for folk cross stitching is natural woven fabrics such as linen. You can embroider on it without pulling the threads, since the pattern of the interlacing of the flax threads can serve as the basis for work. Usually, needlewomen embroider Slavic patterns through two threads.
For embroidery, floss threads are most often used, most often in four threads. Both matte and silk threads are used. Very often, Slavic motives suggest the presence of red. Embroidered birds, animals, plants are also typical for folk embroidery.
Most of the patterns are embroidered using the full cross technique; they are also used for some elements of the pattern and other seams.

Geometric patterns

To decorate their work, embroiderers often use schemes with simple geometric patterns.




For embroidery of towels and decoration of towels, more complex and multi-colored patterns are used. They can be combined in different variations to create a unique and combined pattern. Also, a geometric ornament is used in clothing and interior elements.




There are special patterns made up of geometric shapes for embroidering pillowcases. If you choose bright color combinations for embroidery of such a pattern, then refresh the interior of any room.






If you are cross-stitching a geometric pattern in the form of a border or a track, then you can pick up a fabric with a coarse weave of thread. In this case, you can embroider without canvas.





Choose any cotton thread, the main thing is the excellent quality of the material. If you embroider on canvas # 14, then the thread folds in half, # 11 - three times. And when embroidering on the fabric, choose the embroidery step and thread thickness yourself empirically.
Any small picture or postcard you embroidered can be framed with a geometric pattern frame. It can be either narrow or wide, rectangular, round or oval. The scheme you will use should fit in size to the main picture - the frame should not be too close to the picture or too wide.
Almost all geometric ornaments are embroidered with a full cross.

Flower patterns

Sometimes, in order to decorate a towel or make embroidery on clothes, a more delicate and colorful border is required than with a geometric pattern. In this case, the needlewoman embroiders floral ornaments.




They can be both the simplest two-color and complex and multi-colored. Of course, the more colors you use, the higher the complexity and painstaking work.
The choice of the base for embroidery and the thickness of the thread also depends on the pattern. For the simplest designs, you can use a regular fabric and in this case embroider by counting the threads on the fabric. A cross is obtained on linen through two or three threads, and a floss thread in three or four folds. It all depends on the thickness of the fabric.






A more complex pattern looks nice on a small canvas, for example No. 16 or 18. The thread is folded in half to make the pattern brighter. Most often, the full cross technique is used, but other techniques can be used depending on the level of complexity of the embroidery.
Sometimes a beautiful floral border is enough to decorate a pillowcase or napkin. An openwork branch curling along the edge looks gentle and elegant.




Floral ornament

One of the categories floral motifs needlewomen distinguish floral ornaments. The patterns are composed of intertwined wreaths, leaves and berries.




Such an openwork branch can also be on a napkin, tablecloth or cushion cover. Or maybe on clothes, for example, on women's blouse or children's shirt. For cross stitching, there are very different schemes, divided by complexity and type of drawing. Two-color patterns are considered the easiest to embroider. Their drawing is simple, you won't get confused in the colors and it is embroidered quickly, because the canvas for it is taken large.






The floral pattern can be embroidered on canvas No. 11 or 14. The thread is used in two and three folds. For simple schemes embroiderers use only a full cross, for more complex ones, incomplete cross techniques and connecting stitches for embroidering vines can be used.
The threads and fabrics are chosen of natural origin, you can also embroider on silk fabrics, but in this case, the pattern must be applied to the fabric in a printing house.

Childrens pattern

For children's paintings and embroidery bed linen and curtains are very often used for children's patterns. The embroidery pattern can be anything: toys, pencils, items of clothing and shoes, nipples and bottles, bows, butterflies, hearts and many more different motives.









Young mothers are happy to decorate children's clothes and embroider paintings for the children's bedroom. And with the help of children's patterns, you can decorate a photo frame or embroider a baby's birthday card.
Both the fabric and the threads that you use to work depend on the embroidery patterns. It is advisable to choose several motifs for edging of the same height and width, so that they can be joined together in a continuous round dance or a small train.
To decorate pictures, you can take large canvas, not necessary white... If you are not going to embroider the background, then choose a canvas that matches the color of the wallpaper or curtains of the children's room.








And for a children's postcard or a towel, you can take natural linen and embroider a narrow canvas consisting of children's patterns.
Choose threads of a natural composition: matte or silk. You can choose from the Gamma thread sets, which include spools of thread of different colors and shades, 15-20 per set. Bright color and thread casting will make children's embroidery very expressive and festive.
If you don't want to place your embroidery work under the glass, frame the fabric with any suitable pattern, and place the painting without any additional frame.