National Komi patterns. The magic of ornament

28.05.2019

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Slide captions:

Komi folk ornament.

Goal: to deepen students’ understanding of the signs and symbols in the Komi folk ornament. Developmental tasks: * Develop the skill of making patterns from various elements. * Promote the development of imagination. Educational objectives: *To develop neatness. *Arouse interest in the art of the Komi people.

Ornament is the decoration of a product (thing) with various geometric, plant, and animal elements.

The ornament served not only as decoration, it also performed other roles: it protected against the evil eye, it had a magical meaning; Needlewomen decorated their belts with ornaments. The belt protected against evil spirits, and helped the hunter not to get lost in the forest. The belts were knitted from wool, woven from threads, wicker, leather; narrow and wide.

The ornaments contain simple geometric elements (motifs): dots, squares, rectangles, diamonds, crosses, triangles, diagonal lines. In more complex patterns these elements are combined.

Patterned knitting was very common. The pattern looks like ornamental elements different colors nested one inside the other. Why did you knit the pattern? The thing became warmer, and the pattern served as a talisman.

Ornaments can be divided into several main groups: - some are associated with tools and other objects (teeth, saws, cross, compass...)

Others refer to representatives of the animal world (horn, insects,...) - still others are images of plants (Christmas tree pattern, flower, grain...)

The fourth were images of human figures.

Distribute the ornaments into groups. Plant Animal Subject

Distribute the ornaments into groups. Human figures Animal Subject man woman Horns of a young deer compass Horns of an adult deer Cow horns Ram horns Deer collar Cow collar star

Painting a mitten with elements of the Komi ornament (student work).

Literature: 1. Gribova L.S. Decorative and applied art of the Komi people. 1980. 2. Historical and cultural atlas of the Komi Republic. Moscow. 1997. 3. Traditional culture of the Komi people. Ethnographic essays Syktyvkar.1994. 4. Klimova G. Komi textile ornament. Internet resources: foto.mail.ru › Photo › NATIONAL COSTUMES Part 1/6

On the topic: methodological developments, presentations and notes

Decorative drawing in the strip of ornamental elements of the Komi people.

Integrated lesson (fine arts + local history). This lesson promotes the development of multicultural education....

Fine art "Geometric ornament. How different ornaments are obtained"

Objective of the lesson: To have an idea of ornament and geometric ornament. Understand how to geometric shapes you get different ornaments, and be able to create them.Educational...

Municipal budgetary educational institution

“Secondary school No. 5” Sosnogorsk

“The meaning of ornament in Komi Izhesma costume.”

(Educational and research work.)

student of 11A class

Head Maria Volkova

Arkadyevna

Sosnogorsk

2011

Introduction………………………………………………………………………………..4

Origin and ethnic history of the Komi people………………….5

1.1 Ethnographic groups of the people…………………………………………. 8

Izhemtsy traditions associated with costume……………………………10

Casual and festive costumes of peasant women of Izhma………..12

1.1 Description of the suit and fabrics used for its manufacture……. 12
1.2 Features of cut and design……………………………………………………… 15
Ornaments of the Komi peoples…………………………………………………………….16

4.1. The history of the ornament…………………………………….. 16

4.2. Typology of Komi ornament……………………………………………... 18

4.3 Brief description Komi - Permyak ornament………………. 19

4.4. The meaning of the Komi passes that make up the ornament……………………….. 20

Reflection of the elements of the Komi Izhem costume in

modern fashion…………………………………………………………….22

Conclusion………………………………………………………………………………23

List of references……………………………………………………….25

Appendix 1 Costume of Izhma peasants, late 19th century

Appendix 2. Design drawing of a shirt and sundress

Appendix 3, 4 Photos of interlocutors in Komi national costume

Application 5 Komi ornament consisting of passes

Appendix 6 Household items decorated with ornaments

Annotation

In recent years there has been active growth national identity of the Komi people, which causes increased interest in their history and traditional culture.

We live on Komi land and must know the history, culture and traditions of the Komi people. The work consists of two parts: theoretical and practical. The theoretical part reveals the features of the Izhemsky costume: the history of the appearance of Komi national clothing, the features of the cut, the manufacturing technology of this product and the features of the Komi-Permyak ornament. In the practical part, a reduced model of the Komi Izhem costume, decorated with embroidery, was made in compliance with all the rules.

This work contains: 25 pages, 6 appendices. A lot was used to write the work. literary sources, a conversation was also held with the indigenous residents of the village. Izhma and the village of Akim and workers of the Komi center in Sosnogorsk.

The work was carried out by a student of class 11 “A” Bulgakova Ekaterina, supervisor Volkova M.A.

Introduction

Any national culture that has a centuries-old history manifests and carries within itself unique components inherent in this particular ethnic group, starting with the arrangement of life and everyday life, housing construction and ending with the traditions of folk applied and oral poetry. The decorative and applied arts of the Komi people were multicolored and varied, so I chose the topic “History and development of the Komi Izhem costume.”

An integral part of the material culture of any people is costume. Today we can distinguish one nation from another by the features of the costume, the cut of the clothing, and the accompanying jewelry.

Folk clothing Komi has For Komi folk art, the most characteristic form of decoration is an ornament - a pattern consisting of repeating, rhythmically ordered motifs.

In Komi ornament, the pass is defined as one of the leading principles of the ornament and several functions of the pass are distinguished: a sign of tribal affiliation, a magical function (amulet), and a decorative function.

has much in common with the clothing of the population of the Russian North and some Finno-Ugric peoples. But there are also features of the Komi national costume. Currently, on the territory of Komi there are five types of women's costume: Priluzsky, upper - Vychegda, Udorsky, Sysolsky and Izhemsky. All of them differ from each other in the variety of styles, cut of parts, embroidery, and ornaments.

1. Origin and ethnic history of the Komi

In ancient times, the distant ancestors of the Komi, Finns, Hungarians, Nenets and a number of other peoples formed a single large ethnolinguistic community. This is evidenced by similarities in the languages spoken by these peoples. Linguists call this community the Ural language family.

In the 5th - 4th millennia BC, the Ural community was divided into Samoyed (ancestors of the Nenets, Selkups and some other peoples) and Finno-Ugric.

In the 3rd millennium BC, the Chalcolithic-Bronze Age began. The population of the Pechora and Vychegda basins was then very ethnically diverse, but, as researchers emphasize, the leading role in ethnic history The European North-East still played Finnish - Ugric tribes. Over time, the Finno-Ugric community was divided into Proto-Ugric and Paraffin-Perm. The latter later split into the Paraffin-Volga (ancestors of the Mari, Mordovians and possibly the ancestors of some other peoples) and the Right-Volga.

In the 1st millennium BC, on the basis of the Paraffin-Volga community, the Baltic-Finnish (ancestors of the Finns, Korels, Estonians and some other peoples) and the Right-Volga communities arose.

Representatives of the Proto-Perm linguistic community inhabited the banks of the Kama, Vyatka, Vychegda, Pechora and some other rivers. In the last centuries BC - the first centuries AD, this community was divided. New cultures formed, one of which is associated with the ancestors of the Udmurts, the other with the ancestors of the Komi and Komi-Permyaks.

In the middle of the first millennium AD, the era of the great migration of peoples began. The European North-East was invaded by warlike nomads - cattle breeders of the Hunnic tribal union. According to archaeologists, it is precisely this invasion that is associated with the division of the single community of the ancestors of the Komi and Komi-Permyaks into two different ones.

The territory of Komi began to be populated since the Paleolithic era. Paleolithic settlements in the north could not have been long-term. People appeared here in pursuit of prey and did not stay in one place for long. In addition, the oncoming cold forced Paleolithic man to retreat south. Therefore, there is no doubt that in the Paleolithic era there was no permanent population in the region, but there were occasional occasional visits by hunting hordes. We can say that the “birth” of the Komi people was a consequence of climate change. After all, migrations from the Kama region to the territory of the modern Komi Republic probably began in the 8th century AD, when the warming climate made the natural conditions of the North more suitable for farmers and livestock breeders living to the south. Moreover, migrations did not go over long distances, not immediately from the Kama to the Vychegda, but gradually with the development of intermediate territories.

A stable population in the region appeared only from the Mesolithic period. It can be assumed that from about the seventeenth millennium BC, people began to completely master the territory of modern Komi, and at first they settled in separate pockets on the shores of large lakes (Sindorskoe, Yam - lake and others). However, temporary sites of wandering Mesolithic hunters on the banks of the Pechora, Vychegda and their tributaries have been found in significant numbers.

Thus, research recent years allow us to speak about the existence of a wide Mesolithic area, distributed from the Lower Volga to Pechora.

The main occupation of the population continued to be hunting with bows and arrows. Along with it, fishing with nets and with the help of special barriers occupied a prominent place. The population used skis, sleighs and boats, made birch bark utensils and used polished stone tools.

Thus, ethnic ties in the Early Neolithic, as in the Mesolithic, covered a fairly wide area and stretched both to the east in the Trans-Urals and to the south to the Urals.

About ethnicity the late Neolithic can only be said speculatively. According to O.N. Bader, it was at this time that the Permian-Finnish branch separated from the ancient common Finno-Ugric trunk.

The main occupations of the population were still hunting and fishing. A new important step was taken in the development of economy and culture. Ceramics appeared, stone tools became noticeably more diverse and better made: various arrowheads, darts and spears, scrapers, knives, chisels, adzes, chisels, axes, picks, saws, ground tools, and so on. Bone was widely used in crafts.

In the second millennium BC, the Neolithic gave way to the Bronze Age in the region. Occupations in the Bronze Age remain the same. The tools were mostly stone, with few bronze ones: arrowheads, celt axes. Metal was used more for decoration.

The Early Iron Age was characterized by the settlement of the Ananyinsky and later Glyadenovsky tribes, which some researchers consider Finno-Permian, implying possible participation among the creators of these cultures, in addition to the Permians, representatives of the future Volga - Finnish peoples. Among the monuments of this time there are sites confirming the habitation of trans-Ural settlers in the region. Therefore, it can be considered certain direct participation Trans-Urals in the process of ethnogenesis. The main occupations of the population continued to be hunting and fishing. The beginnings of cattle breeding appear.

Fur trade emerges. Tools were made of bone (arrowheads, copies, etc.) and stone (rough scrapers). Not enough metal. Copper and bronze were mainly used to make jewelry. Iron objects are rare.

To summarize the above, it can be argued that over the previous centuries (and millennia), the Komi region was inhabited by people of various ethnic communities and was periodically part of different ethnic areas. In the first millennium BC to the first millennium AD, the region firmly entered the circle of settlement of the Finno-Perm tribes. As a result of various, including ethnic, contacts of these tribes with related unrelated neighbors, the Vychegda Perm culture arose (10-14 centuries AD).

The tenth to fourteenth centuries AD play a special role in the ethnic history of the Komi people. There are Vychegda Perm tribes - the direct and immediate ancestors of modern Komi (Zyryans).

In subsequent centuries, further changes occurred in the territory of Komi settlement. Shrinking in the west and south, expanding to the east and north, it is gradually approaching modern borders. According to an established, but not scientifically supported by anyone, tradition, it is generally accepted that the Komi have always lived approximately within the borders that outline the borders of the Komi Autonomous Soviet Socialist Republic. In reality, this was far from the case. Close to modern borders, Komi settlements in the west took shape by the sixteenth century. Somewhat later, the limits of Komi settlement in the east and north took shape. In the east, the Ural Mountains became the border, and in the north, where the Izhemtsy were engaged in reindeer herding, a wide, vague contact zone arose between the two reindeer-herding peoples of the Severakomi and Nenets.

What were the Komi people like during the Middle Ages? The main occupation was hunting and fishing. Agriculture and cattle breeding developed, which, in the course of economic development and under the influence of the Russian peasantry, conquered everything higher value, and from the eighteenth century began to play a decisive role. In the fourteenth and fifteenth centuries, the Komi experienced the collapse of the clan system. Feudal relations began to develop. However, the development of feudal relations among the Komi already occurred within the framework of the Russian state, and this left its mark. The nascent local nobility was quickly replaced by the governors and proteges of the Russian Tsar, including the Vym princes, and the free Komi community members turned into black-growing state peasants, obliged to bear numerous taxes and duties in favor of the feudal state.

In subsequent centuries, through the collapse of the ancient ethnic community of the Vychegda Permians, through the period of formation of neighboring associations, the process of resettlement and mixing of representatives of these “compatriots” communities, the Komizyrian people and their culture gradually emerged.

And only in the 11th century the ancient Komi were formed. The final stage in the formation of the Komi people occurred in the 17th and 18th centuries. At this time, there was an increase in productive forces. The areas occupied by agriculture increased, the role of which increased in the Komi economy. Local socio-economic conditions, which were getting closer to the national ones, were leveled out. Small crafts grew, the marketability of agriculture increased, industrial enterprises arose, and internal exchange developed. The framework of land unions, which at first had little connection with each other, was gradually overcome. This was facilitated by both strengthening trade ties and mutual relocations of residents from one area of the region to another.

1.1. Ethnographic groups of people

In the course of the ethnic history of the Komi people, the boundaries of their settlement have repeatedly changed, and new territories have been developed. Accordingly, environmental conditions changed, new cultural and economic ties were established with neighboring peoples. Representatives of other ethnic groups entered the territory of the Komi region and settled there. There was a certain isolation between individual regions of the region, caused both by a certain isolation of territorial peasant communities and by the roadlessness typical of the European Northeast. For these reasons, the Komi-Zyryan population developed and consolidated in traditional culture regional differences in its individual elements, in language, clothing, ornaments, economic activities, and others.

As a result of analyzing these differences, ethnographers identified areas distinguished by their cultural specificity and identified the main ethnographic groups of the Komi people. Some of these groups - the Vymchi, Nizhnevychegdtsy, Priluztsy, Sysoltsy, Udortsy - formed already in the 16th - 17th centuries, others - the Izhmtsy, Upper Vychegdtsy, Pechorytsy - later, as a result of further settlement of the Komi-Zyryans in the territory of the region. The northernmost Komi ethnographic group was the Izhemskaya.

Despite the fact that the processes of interethnic consolidation and the formation of the Komi people were largely completed in the 18th century, differences in the culture and life of ethnographic groups persisted for a long time. The erasure of these differences occurred especially intensively already in Soviet era, and this was due to the general breakdown of the traditional way of life of the Komi people. Nowadays, only the Izhemsk Komi retain certain features national culture. Among other ethnographic groups, regional ethical specificity has been largely lost, excluding the dialectal features of the language.

2. Izhemtsy traditions associated with costume

Traditionally, among the Komi, clothing was perceived as a “cover, a shell” and at the same time a “trace, shadow” of a person. All the clothes that a person wears during his life were considered inextricably linked with him and his destiny. The expression “man without clothes” refers not only to an undressed person, but also to an exhausted, sick person, about whom they can also say that he has no shadow—an amulet. It is no coincidence that in the past, those who wore tattered clothes not only violated the norms of traditional etiquette, but also exposed themselves to serious danger. Damage or loss of clothing may portend misfortune or illness for its owner.

The Komi had a special witchcraft technique called stealing a shirt: they tried to steal a woman’s shirt with traces of menstruation, and then place it in a crevice in a creaking tree. As a result, the owner of the shirt will be chronically ill and “creak” like this tree.

With the help of your own clothes you can get rid of your enemy. Among the Izhemsky Komi, it is believed that the patient or his relatives should take “clothes with illness or damage” to the forest and leave them on the trunk of an aspen or any drying tree until they completely decay. To this day, the Izhem Komi have maintained the tradition of leaving the clothes of a sick person (or a fragment of it) as a butt on the votive cross, according to the covenant.

There is an idea everywhere that you can get rid of a disease by “transferring” it to another person along with your clothes. In the past, the Komi were strictly forbidden to give away their clothes, even for temporary use. For this reason, worn-out clothes were never thrown away, but were hung in the attic or shed of the house until they completely decayed. A person who showed excessive persistence in the desire to receive or acquire someone’s clothes, as a rule, was suspected of wanting to damage the owner of a particular outfit. To prevent possible damage or the evil eye through clothing, it was prescribed to burn it.

According to a tradition that is widely practiced among the Komi people to this day, on the eve of leaving for another world, elderly people give away some of their personal clothing to their relatives and friends (women, as a rule, give most of their headscarves in this case) “to commemorate their souls after death.” Clothes associated with certain milestones in a person’s life were especially carefully preserved: a gift for a child when cutting his first teeth; a shirt given by the godmother during the baptism ceremony. Clothes received by a person as ritual gifts were also considered an effective amulet. Everywhere among the Komi, ritual and everyday belts were supposed to be kept, first tied with a knot or a loop; an untied belt could be perceived by others as a sign of wishing someone illness or death.

Unlike everyday clothes, festive and ritual clothing was forbidden to be washed. Once a year (in summer) it was weathered in the sun or evaporated over a heater in a bathhouse. Certain prohibitions were also observed when washing everyday clothes: women’s outfits should not be washed together with men’s and children’s clothing - men will not have luck in hunting, and children may get sick. Among the Komi, the symbol of marital ties is a scarf, the ends of which the newlyweds held during the wedding. After the death of one of the spouses, this scarf is torn in half: one part is placed in the coffin of the deceased, and the other is kept by the widow (or widower) until his departure to the next world.

The traditional perception of clothing as a shadow-amulet for a person largely determined the strict observance of prohibitions associated with the order of putting it on, wearing and storing it every day. Until now, a certain sequence has been observed in putting on various items of clothing. Violating this order is fraught with various troubles for a person throughout the day. The procedure for removing clothes before going to bed is no less strictly observed. So, for example, it was prescribed to take off a sundress inside out and over the head (removing it through the legs is a sin, “they only take it off from a dead person like that”). You can only store a sundress turned inside out in a chest - “if you leave such a sundress uncovered at night, then the devils will wear it later.” For this reason, everyday clothing taken off at night was always left inside out.

Any changing of clothes during the day was condemned, since it was perceived by others as tunavny (witchcraft, divination). Women, putting on a sundress in the morning, tried not to take it off during the day, and if necessary, put on other clothes over it. Only during the holidays was it not forbidden to change clothes multiple times during the day. different clothes, although many women, even in this case, wore two or three sundresses at once, one under the other, and in the same way several skirts for the pomp of the outfit.

In fairy tale folklore and beliefs of the Komi magical power is endowed not only with clothing as a whole, but also with its individual elements. With the help of a mitten, you can easily determine whether a stolen item will be found or not: if a thrown mitten falls to the ground with your thumb pointing up, it means that the loss will soon be discovered. A patterned glove tucked into a belt in the summer is considered the best amulet against midges and mosquitoes. You can easily provoke a headache in a person if you toss his hat several times or twirl it.

Ritual dressing in the “outfit” of the deceased to participate in the funeral was also considered unsafe for human life. Christmas fortune telling. The idea of the direct connection of the soul of the deceased with his clothes is reflected in a number of Komi beliefs: you cannot leave knots tied on the clothes of the person being buried at the moment of lowering the coffin into the grave - otherwise the deceased will often disturb the living in their dreams; If you do not wash the clothes and linen in which a person died for a long time, then the soul of the deceased will suffer, etc.

In rituals, a person’s clothing is considered both as a “border” from the influence of another world, and as a means of establishing contact with other world. In Komi family rituals and love magic, the integrity of the personal clothing of the spouses acts as a metaphor for their closeness and a symbol of family well-being.

3. EVERYDAY AND HOLIDAY COSTUMES OF IZHMA PEASANT WOMEN

3.1.Description of the suit and fabrics used for it

manufacturing

The historical development of the main types of Komi clothing took place in close connection with natural conditions, the economic specifics of certain population groups, and cultural ties with neighboring peoples. However, it is difficult to trace the entire path of evolution of folk clothing, since there is no reliable data on the material culture of the Komi over entire historical eras.

The ancient clothing of the Komi ancestors - the Zyryans - is being restored based on materials from archaeological excavations. It was made from fabrics woven from wool and plant fibers.

Komi folk clothing has much in common with the clothing of the population of the Russian North and some Finno-Ugric peoples. At the same time, in the very complex of traditional Komi clothing, in the features of cut, in the nature of decorations, in some specific attributes folk costume Ethnic specificity is clearly evident. It should be noted that the presence of common types of clothing among different peoples should not always be considered as direct borrowing. The origin of certain common elements in traditional clothing among different peoples could be due to similar natural and climatic conditions and, accordingly, common types housekeeping.

From the words of our interlocutors, we learned that until the beginning of the 20th century, the Komi sewed clothes mainly from home-made fabrics: canvas (white and colored) and cloth. In addition to cloth, half-woolen fabrics were also used to make outerwear.

Komi women's clothing is characterized by a sundress complex of the Northern Great Russian type with some unique details of the cut of the sundress and shirt and specific headdresses.

The main element of a woman’s costume was a shirt, the upper part of which was made of motley cloth, calico or embroidered canvas, and the lower part was made of coarser white canvas. Very often they bought chintz for the upper part, and silk and satin for rich fabrics, and for the lower part of the shirt, which was covered with a sundress, they used old canvas or new fabric, but of poorer quality. The shirt was decorated with inserts of fabric of a contrasting color: gussets on the shoulders and kunlos under the arms. A straight cut was made on the chest, in the middle, with a one-button clasp at the collar. The collar, hem and sleeve edges were embroidered with a pattern. In Izhma they often wore two shirts - a long lower one, made of white fabric, and an upper one, reaching to the waist, made of brocade, lined with cloth. A sundress was worn over the shirt. Traditional Komi clothing is diverse; its different types had different purposes and different methods of production. Everyday outfits were made from coarser homespun materials in modest colors.

Festive clothing was made from the best quality fabrics (thin canvas, thin cloth, and later silk factory fabrics). In Izhma there was a festive sundress made of brocade - “damask”. The damask was usually sewn on a harsh canvas lining, so they were very heavy. On such a sundress they wore an apron decorated with embroidery, sewn ribbons or lace.

Komi women's headdresses varied according to age. Girls' hats left some of their hair uncovered. Of particular interest are wedding headdresses. For example, during a wedding, Izhem Komi brides changed up to five different headdresses. On the eve of the wedding, after a ritual ablution in the bathhouse, the bride’s loose hair is covered with a yurnoi - a headband without a bottom, covered with red cloth, embroidered with beads and decorated with fur (to protect the bride’s beauty from the evil eye). Married women braided their hair into two braids, placing them around their heads, and covered their heads with a special cap - a “hair cap”. When going out into the street, when guests came to the house, a woman would put a scarf or other headdress over her hair, which completely covered her hair. The headdresses of married women were different great variety. So on Izhma there are various kinds of embroidered headbands on a soft basis: treukh, or oshuvka.

Komi women's outerwear was close to men's. Women's fur coats were made of straight cut from tanned yellow sheepskins. Fur clothing of the Komi - Izhemok (Malitsa) differed from men's in more beautiful trim at the hem, fur frill, as well as decorations from various pieces of fur and cloth.

Traditional Komi shoes for both sexes were almost the same in cut. In summer and autumn they wore: pistons made of rawhide and tied at the ankle with a strap; cats - leather shoes with a low cloth top. These shoes were worn over canvas foot wraps or woolen stockings.

Currently, Izhemsky reindeer herders continue to wear clothes and shoes made from reindeer fur according to the traditional cut.

The richness of the fabric and the peculiarity of the cut make Izhemsky shirts with sleeves stand out. Their width at the armhole can reach 45–60 cm. The sleeve at the wrist is assembled into double-sided or one-sided folds that form a cuff. Women of the Izhemsky region wore so-called round sundresses. For their sewing, silks with floral patterns were used, mainly in cold shades - dark purple, dark green. The hem was decorated with lace. Before the advent of factory lace, the hem of the sundress was trimmed with homemade fringe, which was made from cotton threads or garus, dyed black. APPENDIX 1.

The description of the appearance of the Izhem Komi costume was compiled from the words of an old-timer Arteeva Polina Moiseevna(village Akim) and Kozhevina Elena Yakovlevna(village Izhma). For us, they kindly agreed to be photographed in their costumes, which they inherited from their ancestors. Suits self made made by their great-great-grandmothers. According to interlocutors, suits are of great value to them. APPENDIX 3.4.

3.2. Features of the design and technology of the suit

Komi women's clothing is characterized by a sundress complex of the Northern Great Russian type with some unique details in the cut of the sundress and shirt.

A long women's shirt consisted of two parts: the upper one (“sos”) and the lower one – “myg” (bed, camp). The shirt was sewn with straight shoulder inserts - “lastovich” or polyki, with a stand-up collar, gathered at the collar into a gather. A straight cut was made on the chest with a one-button closure at the collar. The sleeves were long and wide, for which wedges were inserted into them. Small square gussets called “kunlos” were sewn under the sleeves. Sometimes the sleeves were made very wide with large wedges without kunlos. The sleeves and shoulders of ancient shirts were trimmed with a woven fabric ornament in the form of transverse stripes made of red cotton threads. The lower part of the shirt was usually sewn from three straight panels - two in the front and one in the back; wedges were inserted into the sides to increase the width at the hem. The hem of the bozhdor shirt was often decorated with a red stripe, the width of which reached 20–30 cm. With development commodity relations In the villages, the upper part of the shirt began to be sewn from factory fabrics. The cut of the shirt and sleeves has changed. The cut of Komi women's shirts differed from the tunic-like shirts of other Finno-Ugric peoples, which is explained by early Russian cultural influence. However, the ancient Komi women's shirts were also tunic-like.

A sundress was worn over the shirt, which was girded with a patterned belt.

According to the cut, sundresses are distinguished between oblique and straight ones, with gatherings at the waist and with a bodice. The slanted sundress - shushun basically had three straight panels - two in the front and one in the back, and four wedges inserted two into the sides. The sundress was supported by straps, which were knitted at the back and sewn on at the front. The front of the shushuna was straight, and the back was gathered. Up to half of the shushuns were made on a lining of rough canvas to make the bottom heavier so that the hem would not lift during the wind. The front of the shushun had a seam, on both sides of which a braid was often sewn, and in the middle there were buttons. The length of the shushun is 110 – 115 cm. APPENDIX 2.

The appearance of the straight sundress among the Komi people is associated with the spread of factory-made fabrics. A straight sundress with straps was a skirt with narrow sewn-on straps, sewn from five or six panels of fabric. The front of the sundress was often made in a holding pattern, and the back was folded or gathered. Trims made of colored fabric, lace and fringe were sewn onto the hem of the sundress. At the front, the sundress did not have a longitudinal seam and this also distinguished it from the clinic. The length of the sundress reaches one meter.

They wore a straight sundress much lower than a slanted one, but they also always belted it with a woven or braided strap. The width of the sundress at the hem reached 4–5 meters. Ancient sundresses were even wider. Under the hem. To make it lie better, we sewed a 0.5 meter wide lining made of satin, calico or calico. For pomp, one or more skirts, and sometimes an old sundress, were worn under the sundress. For a straight sundress with a bodice, the skirt was sewn from one transverse piece of fabric, and the bodice was folded into a small fold. The skirt was made with a canvas lining. The bodice was fastened at the front with two iron hooks. This sundress was also held on the shoulders by means of straps. Its length is 85 - 90 cm. On top of the Komi sundress, women wore a zapon - an apron without a bib. The embroidery was done with silk and wool, mainly dark red in combination with black, the ornament was geometric (a rhombus with continuing sides). The embroidery uses multi-colored beads, which stand out brightly against the background of red material. IN antiques In Komi, chain stitch embroidery is often found - red threads on white fabric or white threads on red fabric.

4. Ornaments of the Komi peoples

4.1 History of the appearance of the ornament

For Komi folk art, the most characteristic form of decoration is an ornament - a pattern consisting of repeating, rhythmically ordered motifs. Researchers note the closeness of the geometric patterns of the Komi to the ornament of the Volga Finns, the peoples of North-Eastern Europe (Estonians, Karelians, the population of the Russian North) and North-Western Siberia (Khanty, Mansi). Probably the similarity of the ornamental motifs various peoples was due to their common ancient basis.

IN scientific literature, dedicated to the study of Komi folk art, several points of view are expressed regarding the origin and development of various compositions and variants of geometric patterns among the Komi.

Scientists define the pass as one of the leading foundations of the ornament of the Finno-Ugric peoples and identify several functions of the pass: a sign of tribal affiliation, a magical function (amulet), and a decorative function. In their opinion, with the loss of the first two functions, the pass was preserved as an ornamental motif. This statement does not agree with the traditional ideas, characteristic of many peoples, that the ornament serves as a talisman against evil spirits.

G.N. Klimova in her monograph “Textile Ornament of the Komi” examines the dynamics of the development of the geometric ornament of the Komi over the last two centuries and comes to the conclusion that its development was determined by a number of factors: materials of manufacture (clay, wood, leather, fabric); technical methods of its execution; influence of other cultural traditions.

The author identifies several local variants of the Komi geometric ornament, the appearance of which he considers a natural result of the historical conditions in which various Komi ethnographic groups developed. In particular, in the geometric patterns of Komi knitted products there are three main variants: Izhemsky - with a predominance of the so-called seven-fold borders; Vashko-Mezensky and Srednesysolsky - wide borders and mesh patterns; Verkhnevychegda, which is characterized by features of groups 1 and 2 of patterns. It should be noted that when considering the issue of distribution in the Komi territory various options G. N. Klimova’s diagonal-geometric ornament clearly exaggerates the role of external influence. The researcher, in particular, notes that the same decorative features could not have developed independently among different peoples, but could only appear as a result of population connections. This statement contradicts another thesis of the author that the laws of development of ornamental compositions are largely determined by the technique of their execution. Despite the presence of common features in the geometric ornament of the population of the Russian North, the Finno-Ugric peoples and even the Turkic peoples, in most cases significant differences are found, which manifest themselves in the combination of technology, the ratio of parts of ornamental compositions and, finally, in color scheme.

4.2 Typology of Komi ornament

Depending on the motives, several groups of Komi geometric patterns are distinguished:

Patterns of simple geometric motifs - dots, squares, rectangles, diamonds, crosses, diagonal lines, triangles - are presented in most types of technology.

Patterns with transverse and longitudinal stripes, patterns of combined squares, rectangles and stepped diamonds are typical for knitting, carved items and fur mosaics.

In Komi textiles, the most numerous and varied are diagonal geometric patterns, in which several main compositions are distinguished:

a) so-called seven-shaped borders (discontinuous and continuous);

b) mesh patterns;

c) patterns of asymmetric structure (tangle);

d) symmetrical patterns, which are characterized by equality of pattern and background.

Most of the variants of the diagonal-geometric ornament developed on the territory of the Komi from signs of property - passes, which were initially applied to clay, birch bark and wooden products, and were later reproduced in the textile ornament of the Komi.

Floral ornamental motifs are found in embroidery on clothes, towels and various bedspreads among the Izhma, Verkhnevychegda, Vym and Udor Komi. Towels often combine embroidered (floral) and woven (geometric) patterns. The hems of aprons, bedspreads and the ends of towels were often decorated with lace with floral patterns.

Floral and ornithomorphic ornamental motifs are also characteristic of printed homespun canvas, covered with a pattern using special printed boards. Komi people mainly sewed sundresses from printed fabric. The most common printed cloth among the Komi is blue fabric with a simple floral pattern in white or yellow flowers. More complex printing was made using several printing boards and paints of different colors: several ornamental stripes of different motifs and colors were printed on one piece of fabric.

Researchers of Komi folk art believe that floral ornaments became widespread on Komi territory in the late 19th - early 20th centuries, together with the technique of lace weaving and the manufacture of printed fabrics under the influence of Russian culture and has no local specificity. Nevertheless, folk craftsmen skillfully combined innovations with local geometric ornamental traditions (geometric ornamental motifs are often found in Komi embroidery and lace products). APPENDIX V

In traditional Komi life, wooden utensils, tools, furniture, buildings, and clothing were decorated with ornaments. The Komi ornament is extremely diverse in its technical implementation: knitting, weaving, embossing on fabric, birch bark, clay, leather, wood and bone carving, wood painting. APPENDIX VI

4.3. Brief characteristics of the Komi-Permyat ornament

Ornament is a Latin word meaning decoration. This is a pattern consisting of rhythmic elements to decorate any objects or architectural structures.

One of the main parts of the folk art of the Komi-Permyaks was ornament. They were used to decorate various household items made of wood, fabric, and fur. The art of ornament has been passed down from generation to generation. The instillation of skills began in childhood. Along with mastering the methods of making this or that product, children developed a sense of rhythm, color harmony, and proportionality.

The ornaments of the Komi people are mostly dominated by geometric motifs, which go back to ancient times, to the origins of human culture. Among them are an oblique cross, a simple rhombus, multi-layered, with crossed and extended sides, straight and wavy lines, oblique mesh, checkerboard pattern. In addition to typical geometric motifs, there are stylized figures of humans and animals, as well as motifs of a plant nature: a rosette flower, stems with a bud, flowering branches. Sometimes geometric elements are combined with plant motifs.

4.4. The meaning of the Komi passes that make up the ornament

The word pas means sign, brand, tamga, brand. They are placed on plots of land, on bags in which grain bread is carried for grinding, on trees in the forest, to indicate the direction of the path, or the area of \u200b\u200bwhose path it is; also on sticks or oblong tablets, for various economic calculations; finally, these signs are placed on the actual passes or tags.

“Pass-calendar,” says Mr. Savvaitov, “there is a hexagonal stick about four inches long, thickened in the middle and divided into two equal parts by a notch. The edges of this stick appear jagged because notches are made on them; against some notches on all sides of this The sticks are carved with special signs. The number of cuts on the edges - 365 - indicates the number of days of the non-leap year, and the cuts on the sides are fixed holidays indicated in the calendar, and some household notes are placed on each edge, which are separated from each other by a cut-out. middle. The beginning of the year on March 1 is indicated by a special clipping.

In fact, the meaning of Komi passes is much broader. The main definition of passes in the Komi language is Rödvuzh, the main goal is to resist mystical forces and diseases, which were considered the result of evil spiritual power and damage. The concepts of “Rödvuzh”, “Nim” and “Pas” are central to the traditional worldview and ethnography of the Komi-Zyryans.

Pass calendars, exhibits from Komi National Museum, Syktyvkar (length about 20cm). Wooden hexagonal (there is one tetrahedral) carved, known from the 12th century, these samples late XIX century. On each edge there are notches for the number of days in two months. There are many passes (signs) on all sides. On these samples of pass-calendars New Year starts on March 1, personal family lines are marked with passes memorable dates owner, and the passes themselves have at the same time nominal, magical witchcraft and practical purposes.

You can also learn Komi passes on a spinning wheel. There were spinning wheels in almost every house, and each family painted them in its own way. The main purpose of the drawings and passes was to protect the family from evil spirits and evil spirits, and to convey the history and spirit of their family line. Application……

A written spell has more power than a spoken spell. Passes have the main magical significance. Different ornaments mean different sacramental meanings and purposes, also on our website. The drawings mean an appeal to various gods; images of domestic animals were made to protect them from damage. Most of the circles symbolize the sun. Such necessary and important elements according to Alexey Sidorov, such as round holes and metal inclusions, are technologically available in spinning wheels. Superimposed arc lines are characteristic of the northern Komi associated with reindeer herding.

Deciphering the images gives a general picture of the life and everyday life of the traditional Zyryan family and clan, although many elements allow for the multidimensionality inherent in Komi culture. For example, an oblique cross X on passes, according to Lyudmila Koroleva (Kortkeros), can have meanings and names: edge; intersecting rays; howl ser (new pattern); fire; Sun; cross or slanted cross as a protest against Orthodoxy. Moreover, it can usually have several simultaneously different meanings. A simple diamond ◊ on passes can have the following meanings: circle; fire; Sun. And of course, each clan or family can give any element its own generic meaning.

5. Reflection of elements of the Komi Izhem costume

in modern fashion.

Various industries have developed in the Republic. Appeared major cities, urban-type settlements. There have been fundamental changes in the traditional way of life and spiritual life of the people. Gradually, there was a decline in original folk art. The spread of factory-made urban clothing led to the displacement of traditional folk costume and the disappearance of local woven and knitted patterned products.

Exploring modern direction fashion, it was revealed that the craving for traditional art didn't disappear at all. It was expressed in preserving samples of patterned fabrics and embroidered things that people continued to use, occasionally wearing them. Interest in the traditional is manifested in the preference to buy factory fabrics with colors reminiscent of homemade ones. White and light fabrics, red or burgundy colors, as well as blue satin, dark-colored chintz with a small light pattern, reminiscent of folk printed fabrics, and various striped and checkered fabrics were and are still considered favorites. The Komi-Izhma people used purchased fabrics for sewing clothes, including elegant and expensive ones (satin, velvet, brocade, etc.), with very bright and at the same time noble designs.

The similarity can be seen not only in the fabrics used, but also in the cut and design of the clothes. In modern fashion, decorative and structural elements are relevant, such as a stand-up collar, decorating products with embroidery and beads.

Many leading fashion designers produce clothing collections in folklore style, using the design of traditional national clothing.

From the above we can conclude that elements of Komi clothing have found application in modern fashion and are quite relevant. Traditional Komi folk art has now found a new life. This is one of the manifestations of the spiritual revival of the Komi people, their rich original culture, which occupies a worthy place in the treasury of world culture.

CONCLUSION

The active growth of national self-awareness of the Komi people is causing increased interest in their history and traditional culture. Having completed this work, I learned many new facts from the life and traditions of the Komi Izhemsky people, and also gained knowledge about the Komi national Izhemsky costume.

In the 11th century, the ancient Komi people formed. The final stage in the formation of the Komi people occurred in the 17th and 18th centuries. At this time, there was an increase in productive forces. The areas occupied by agriculture increased, the role of which increased in the Komi economy. Local socio-economic conditions, which were getting closer to the national ones, were leveled out. Small crafts grew, the marketability of agriculture increased, industrial enterprises arose, and internal exchange developed. The framework of land unions, which at first had little connection with each other, was gradually overcome. This was facilitated by both strengthening trade ties and mutual relocations of residents from one area of the region to another.

During the 17th – 18th centuries, the process of forming the Izhemsk Komi ethnographic group was basically completed. As a result of long-term interethnic mixing and ethnocultural mutual influence, the Izhma people developed unique features in the anthropological type. A special Izhem dialect arose with significant borrowings from the Russian and Nenets languages. Changes have occurred in the traditional economic complex, and other significant differences from other Komi ethnic groups have emerged.

Nowadays, only the Izhma Komi retain certain features of their national culture. Among other ethnographic groups, regional ethical specificity has been largely lost, excluding the dialectal features of the language.

The settlement where the Komi Izhma people lived was first the village of Izhma (1567) - the center of the Izhma region. Named after the river Izhma of the same name, on which it is located. Today this is the city of Sosnogorsk, which is known as a large railway junction, a center of oil production, gas processing and energy. From here, trains with oil, coal, timber leave to all corners of Russia, and electricity runs through wires. The city is a financial donor to the Komi Republic.

The Izhma people, like all peoples, had their own traditions, rituals and their own unique national costume. Traditionally, among the Komi, clothing was perceived as a “cover, a shell” and at the same time a “trace, shadow” of a person. All the clothes that a person wears during his life were considered inextricably linked with him and his destiny. The expression “man without clothes” refers not only to an undressed person, but also to an exhausted, sick person, about whom they can also say that he does not have a shadow-amulet.

Komi folk clothing has much in common with the clothing of the population of the Russian North and some Finno-Ugric peoples. Komi women's clothing is characterized by a sundress complex of the North Russian type with some specific details. The Izhemsky costume is one of the most colorful costumes of the Komi people and has its own characteristic features. It differs primarily in that purchased fabrics were used for its sewing. Women's shirts were made of silk with a special detail on the collar and sleeves. Sundresses are a type of round sundress. Silk was used to sew costumes, often with floral patterns. Braid, lace, embroidery and beads were used in decoration. The headdress in a suit was of great importance. It was a kokoshnik, embroidered with beads and mother-of-pearl buttons, worn over a large silk shawl with long tassels.

Some elements of the Komi costume have found wide use in modern fashion. Fashion designers in their models are increasingly using designs and drawings developed many years ago by our ancestors. It has become fashionable to use embroidery and beads to decorate modern products.

This topic is quite interesting and relevant. The work can be used in technology lessons when explaining topics related to the regional component.

List of used literature

Northern expanses // - 2001 No. 2 – pp. 30 - 33.

Savelyeva E.A., Korolev K.S., In the footsteps of the legendary miracle. - Syktyvkar: Komi Book Publishing House, 1989. – p.120.

Zherebtsov I.L., Konakov N.D., From the life of ancient Komi. - Syktyvkar: Komi Book Publishing House, 1985. – p.133.

Ilyina I.V., Zherebtsov I.L., Nesanelis D.A. et al., Traditional culture of the Komi people./ I.V. Ilyina, I.L. Zherebtsov, D.A. Nesanelis et al.; Ethnographic essays. – Syktyvkar: “Komi Book Publishing House”, 1994.-p. 269.

Belitser V.N., Komi - Zyryans./ V.N. Belitser; Historical and ethnographic reference book. - Syktyvkar: Komi Book Publishing House, 1993. - With. 176.

Zherebtsov I.P., Where do you live: Populated areas of the Komi Republic./ I.P. Zherebtsov - Historical and demographic reference book - Syktyvkar: “Komi Book Publishing House”, 2000. – p. 185.

Sosnogorsk: at the turn of two millennia. – Regional Printing House LLC, 1999.

The fate of a changing zigzag: dedicated to the 60th anniversary of the Sosnogorsk gas processing plant - Severgazprom LLC, 2001.

Gribova L.S., Savelyeva E.A., Folk art of Komi./ L.S. Gribova, E.A. Savelyeva – Ministry of Culture of the Komi Republic: Publishing house republican center“Veterans for Peace”, 1992. – p.270.

Zyryansky world - Essays on the traditional culture of the Komi people - Syktyvkar: “Komi Book Publishing House”, 2004. – p. 256.

Monuments of the Fatherland Komi Land. – almanac of the All-Russian Society for the Protection of Historical and Cultural Monuments. - Syktyvkar: Komi Book Publishing House, 2004.

Klimova G.N. “Textile ornaments of Komi” - Monograph.

Target: deepen children's understanding of the signs and symbols in the Komi folk ornament. Developmental tasks: * Develop the skill of making patterns from various elements. * Promote the development of imagination. Educational tasks: *Cultivate neatness. *Arouse interest in the art of the Komi people.

Ornament - This is the decoration of a product (thing) with various geometric, plant, and animal elements.

The ornament served not only as decoration, it also performed other roles: it protected against the evil eye, it had a magical meaning;

Needlewomen decorated their belts with ornaments. The belt protected against evil spirits, and helped the hunter not to get lost in the forest. The belts were knitted from wool, woven from threads, wicker, leather; narrow and wide.

Others refer to representatives of the animal world (horn, insects,...)

Still others are images of plants (Christmas tree pattern, flower, grain...)

Vegetable

Animal

Subject

Distribute the ornaments into groups.

Animal

Subject

Figures of people

Cow collar

Ram's horns

Horns of the young

Adult horns

Cow horns

Deer collar

Mitten, scarf, hat... At first glance, it’s an ordinary knitted item. Yes, different colors, different patterns. Have you ever thought that each symbol in an ornament has its own meaning, its own sacred meaning?

Komi mythology is very interesting. The Komi worshiped sacred trees and believed that after death a person’s soul resides in a tree. They also revered animals. The most significant among the Komi are the cult of the bear (Osh) and the myth about the duck - the ancestor of all life on earth.

Among the ancient Komi, the world was divided into 3 parts: the upper world (where the gods lived, birds flew and the sun shone), middle world(the world of animals and people) and the lower world (fish and spirits, personifying material assets and the underworld). The symbolism of ornaments is closely related to these ideas.

The Komi ornament has many varieties, it has common features with ornaments of the Slavs and Finno-Ugric peoples. Not surprising, because Komi has many neighbors: Vologda, Kirov, Arkhangelsk region, Perm region, Nenets, Yamalo-Nenets and Khanty-Mansiysk districts. Residents of the Ust-Tsilemsky and Izhemsky districts managed to preserve a special type of ornaments. As a result of all this, each region has formed its own artistic variety of ornament, all together they create the unique look of patterned knitting of the Komi people.

These symbols did not appear on household items or clothing by chance. They were considered protective - that is, they protected the owner from evil spirits and misfortunes, and attracted good luck and health.

The Komi have no common color meanings; each region had its own preferences. Most often, products for women were brighter, more elegant, for men - more calm in color, and sometimes black and white. But, as a rule, red was still considered a talisman. Komi often used black or dark brown for contrast.

ZIGZAGS. This is an image of water that takes away all negative aspects from your life. Zigzag also distorts space, preventing evil spirits from influencing you.

BEREGINYA (at Slavs Makosh) is a sacred female deity that protects women's health, well-being, and family.

DEER (deer antlers). Among the Komi, deer is a symbol of life; without it, life in the north is impossible. Among the Slavs, the deer is full of solar symbolism. Branched horns have always been associated in people's minds with the sun's rays, the crown, and the “tree of life.” The ability to replace old horns with new ones was seen as a special power of renewal and rebirth.

HOME is stability, protection, family well-being.

THE SUN (in Komi SHONDI) is a bright amulet, like the sun it protects life, warms, and protects from evil spirits. This ornament is used mainly in the region of Sysola and Vychegda, and less frequently in other regions of Komi.

OREPEY, BURRODY - a Slavic protective sign, “catchy”, attracting happiness, good luck and prosperity. Symbol of happiness, peace of mind, and balance. Suitable for both women and men.

FISH is a symbol of wealth, material well-being. According to the Komi, fish is a representative of the lower world, which is also responsible for material values.

Previously, on the territory of Komi, silver coins were in use, and fish scales look exactly like these coins, perhaps that is why in the Komi language the word “money” and “scales” are called the same - “SEM”

FIELD (VIDZ) - among the Komi and Slavs - a symbol of fertility, continuation of life. A sown field is one of the main ancient symbols. This symbol was treated with the same reverence as the sun and water. A sown field meant prosperity and wealth, prosperity and success. The symbol allows you to increase vitality a person, make him more self-confident, enhances his ability to bear children.

Municipal budgetary educational institution

"Yukseevskaya average secondary school»

Elements of patterns of the Komi-Permyak costume

(educational and research work on art)

Research work

completed: Androv

Vasily Alekseevich

4th grade student

Supervisor:

teacher primary classes

Dozmorova V.S.

Yukseevo, 2015

Content

Introduction _________________________________________________3

Chapter 1. National costume, its components ____________5

Chapter 2. Names of ornamental motifs____________________7

Chapter 3. My research ___________________________________8

Conclusions __________________________________________________9

Conclusion ________________________________________________11

List of used literature _____________________________________12

Applications

Appendix No. 1. Presentation “Komi - Permyak ornament”

Appendix No. 2. Questions “Your attitude towards Komi-Permyak clothing”

Appendix No. 3. Questionnaire “What do you know about Komi-Permyak patterns”

Introduction

In second grade, I participated in the regional competition “Komi - Permyak Ornament” in the “Drawing” category. When I was preparing for the competition, I thought about what these symbols meant - “cross”, “diamond” and others. I addressed my question to teacher Valentina Semyonovna. She explained that each pattern has its own name. The Komi-Permyaks used them to decorate their clothes. Unfortunately, the national Komi clothing, Permyak clothing, has not been preserved in our house. But I saw Komi-Permyak costumes at the festival of Finno-Ugric peoples in Parmailovo. The speakers from different villages were dressed in national Komi-Permyak costumes. It is very bright, beautiful and attractive. The patterns on the costumes of groups of artists from Bolshaya Kochi, Bachmanovo, Yukseevo, Kudymkar, Sergeevsky, and drama theater artists were very different: in color, figure, and symbol. I became interested in finding out what elements of patterns can be seen on Komi-Permyak clothing and what names these patterns have.

Research topic : “Elements of patterns of the Komi-Permyak costume.”

Purpose our work is:

studying the features of patterns of Komi-Permyak national clothing using the example of the Komi-Permyak sundress, men's shirts and a sash.

To achieve this goal in our work, we solve the followingtasks :

Study literature on the topic;

Analyze the national costume and its components;

Study the elements of the patterns of the Komi-Permyak costume;

Create a slide presentation and organize an exhibition “Komi - Permyak ornament” in the classroom.

Object of study : national Komi - Permyak costume.

Subject of research : elements of patterns of Komi-Permyak clothing.

Research methods :

* theoretical analysis literature;

* the story of my teacher, my grandmother;

* observation;

* survey - interview;

* student survey.

Relevance of the study The point is that we, modern schoolchildren, know little about the national culture of the Komi-Permyaks, about the clothing of our ancestors, therefore, I consider it necessary to expand students’ knowledge on this topic. We live in the Komi-Permyak district, which means we must know the culture of our people, including Komi-Permyak patterns and their purpose.

Practical significance research is that the results of the work can be used in classes, when getting acquainted with the culture of my people, in lessons on technology, art, and the surrounding world.

Hypothesis : I assume that this study will be a thread of connection between the study of the past, the present modern life and the future of our small Motherland; connections between children and parents, grandmothers and grandchildren.

Degree of study of the topic:

Many people have written about the Komi-Permyak national costume. Thus, G.N. Chagin, V.V. Klimov, L.V. Karavaeva co-authored the history of the Komi-Permyak national costume in the book “Komi-Permyak National Costume”. G.N. Klimova’s book “Textile Ornament of the Komi” covers issues of the typical composition of the ornament. All these circumstances indicate a genuine and growing interest in the Komi-Permyak folk culture, to the Komi-Permyak national costume, in particular the study of costume ornaments.

Chapter 1. National costume, its components.

Mysterious land- Parma. It is ancient and beautiful and must be treated with care and understanding. Our national costume is also special and unique. National costumes are very beautiful and varied. Each costume tells about the individual characteristics of its population, its age, social status, character, aesthetic tastes.

For men and women, shirts played an important role. They were usually made at home, from spinning to embroidery.

Among the Komi-Permyaks, the men's shirt became widespread - a tunic-shaped blouse with a slit at right side and a low stand-up collar. Complemented men's clothing trousers. They were cut from straight panels. They wore a shirt untucked, over pants, and belted it with a narrow belt (Appendix No. 1, slide No. 13).

The women's shirt was long, sometimes the length reached the feet. In the 19th century, the cut of women's shirts changed. The women's shirt consisted of two parts different materials: the top is made of beautiful motley, thin canvas or factory fabrics, and the bottom is made of rough canvas (Appendix No. 1, slide No. 14).

Women's everyday clothing was sundresses. Initially they were called dubas. Later, the sundress is replaced by a couple - a skirt and a jacket. In the 1920s it became the main type of women's costume.

The women's costume was complemented by wearing an apron (apron, apron). In this case, two types of apron were used - only to the waist and with a bib. Festive aprons were decorated with embroidery and lace sewn to the hem.

Priest s. Gayny N. Popov said in 1848 that men and women had two types of costume - festive and everyday. The festive suit looked more elegant (Appendix No. 1, slide No. 13).

The Komi-Permyak costume has been the most persistent for many centuries; it reflects traditions and purposefully combined artistic functions. It amazes with its beauty and ease of wearing. Its artistic value is so great that in our time it is necessary for folklore groups, theatrical performances, and for understanding the spirit and soul of the people. It is impossible for him, as a symbol of the people, to become a thing of the past.

Chapter 2. Names of ornamental motifs.

While studying the book “Textile Ornament of the Komi” by Galina Nikolaevna Klimova, I learned about the names of ornamental motifs. When showing their things, women will definitely call the patterns by name. Here are some of them.

“Rake” pattern (see Appendix No. 1, presentation “Komi - Permyak ornament”)

- "Cross" - "Saw Teeth"

- “Perna” (“Pectoral cross”)

- "Bird" - “Berry”

- "Ram's Horns" - "Magpie's Leg"

- "Scallop"
- "Circle"

Based on what concepts the names convey, we have identified four main groups.

Names corresponding to the names of labor tools, household items or their parts (rakes, saw teeth, combs).

Names reflecting an essential feature of the pattern (cross, circle).

Names corresponding to the names of representatives of the animal world and their organs (magpie's foot, ram's horns, bird).

Names corresponding to the names of plants and their parts (berry).

Conclusion: the Komi-Permyak ornament contains the names of plants and animals, tools.

Chapter 3. My research.

In order to identify students’ attitudes towards Komi-Permyak clothing, a survey was developed on the topic “Your attitude towards Komi-Permyak clothing”.

23 students in grades 1 and 4 were surveyed. Students answered 3 questions (see Appendix No. 2).

All survey results were entered into a table and a chart was drawn up for each response for comparison.

Do you have national Komi - Permyak clothes in your house?

1st class

4th grade

Yes, available

1 person

4 %

No, not available

10 people

12 people

96 %

How many of you have worn (at least once) the national Komi-Permyak clothes?

1st class

4th grade

Yes, I did

1 person

3 people

17 %

No, I didn't wear it

9 people

10 people

83 %

1st class

4th grade

Yes, I know

No, I don't know

10 people

13 people

100%

Conclusions

Based on the survey results, the following conclusions were made:

Of the 23 students, only one keeps a national women's costume in her house and wears it during traditional holidays;

Students wore national clothes while dramatizing a fairy tale on native language and in the competition of readers of works of Komi - Permyak poets and writers;

None of the students surveyed know the names of the Komi-Permyak patterns, but they would like to know.

Next, a survey “What do you know about Komi-Permyak patterns” was conducted among primary school students, numbering 31 people, and a survey was conducted among middle school students, numbering 29 people, and high school students, numbering 13 people (see. Appendix No. 3). They were asked the following questions:

Do you like Komi-Permyak patterns?

Primary classes

(%)

Middle classes

(%)

Senior classes

(%)

97 %

62,1 %

76 %

Don't like it

3 %

37,9 %

24 %

Primary classes

(%)

Middle classes

(%)

Senior classes

(%)

Don't know

32,3 %

55,2 %

7,7 %

Komi peoples - Permyaks

25,8 %

20,7 %

76,9 %

Woman

41,9 %

24,1 %

15,4 %

Primary classes

(%)

Middle classes

(%)

Senior classes

(%)

Don't know

12,9 %

Out of interest

9,7 %

10,3 %

For decorating clothes

77,4 %

89,7 %

100 %

Primary classes

(%)

Middle classes

(%)

Senior classes

(%)

At the holiday

58,1 %

79,3 %

53,8 %

In the library

19,4 %

17,2 %

38,5 %

At home

3,5 %

7,7 %

In class

22,5 %

All

Based on the survey results, the following conclusions were made:

Komi-Permyak patterns are liked for their beauty and attractiveness;

Many students could not name the author of the Komi-Permyak patterns;

Most saw Komi, a Permyak ornament, on the clothes of artists during the holiday, and middle school students learned about it in art lessons.

Conclusion

During the research we came to the following conclusions:

The patterns of the Komi-Permyak ornament contain elements of animal and plant origin and tools.

Ornaments serve not only to decorate clothes, but are also a talisman.

IN national clothes The desire of the Komi-Permyak people for beauty continues to live.

Having completed the research, we introduced our classmates to the results of our work and organized an exhibition of works “Komi - Permyak ornament”

(Appendix No. 1, slide No. 12). The students of our class learned a lot of interesting and new things about the culture of the Komi-Permyaks, which means we helped preserve another piece of the culture of the indigenous peoples of the Komi-Permyaks.

If any of you have Komi-Permyak clothing stored at home, treat it with care and precision. We must never forget the art of our grandparents.

This work We hope it will provide invaluable assistance in organizing work with schoolchildren.

Komi - Permyak ornaments are beautiful -

They contain all the signs of my homeland.

You will no longer find it throughout Russia

Such patterns and fabulous animals.

Patterns on clothes and dishes

Red as the sun and white as snow -

Looking at them since childhood, our people

The beautiful will not be parted forever.

They came into life for a reason

From - under the needles, and brushes, and incisors:

After all, wood craftsmen

They put their souls and hearts into them.

List of used literature

1. Gureev M.P. Rainbow over Parma. - Kudymkar: Komi-Perm. book ed., 1994.-51p.

2. Klimova G.N. Komi textile ornament. – Kudymkar: Komi – Perm. book ed., 1994. – 130 p.

3. Klimov V.V., Chagin G.N. All year round holidays, rituals and customs of the Komi-Permyaks. – Kudymkar: Komi – Permyak prince. ed., 2005. – 256 p.

4. Chagin G.N., Klimov V.V., Karavaeva L.V. Komi-Permyak national costume. - Komi-Perm. book ed., 2006; Perm: Perm book. ed., 2006. – 88 p.

Appendix No. 2

Sociological survey

Dear students! In connection with carrying out scientific and practical work and within the framework of the study “Elements of patterns of Komi-Permyak costume”, we ask you to answer our questions on the topic “Your attitude to Komi-Permyak clothing”.

1. Do you have Komi-Permyak clothes in your house?

a) Yes, there is

b) No, not available

2.Which of you wore (at least once) national Komi-Permyak clothes?

a) Yes, I did

b) No, I didn’t wear it

3.Do you know what the patterns mean?

a) Yes, I know

b) No, I don’t know

Appendix No. 3

Sociological survey

Dear students! In connection with the scientific and practical work and within the framework of the study “Elements of patterns of the Komi-Permyak costume”, we ask you to answer our questions on the topic“What do you know about Komi-Permyak patterns”

1. Do you like Komi-Permyak patterns?

Like ______

Don't like ________

2.Who invented the Komi-Permyak patterns?

Don't know_____

Komi peoples - Permyaks_____

Woman ________

3. Why do you think the woman came up with Komi-Permyak patterns?

Don't know _____

Out of interest________

To decorate clothes______

4.Where have you seen Komi-Permyak patterns?