An ancient women's costume could tell a lot about a woman. Clothes determined age, place of residence, profession, and level of income. The headdress was considered a particularly important element of the costume. With its help, the woman tried to emphasize her advantages and attract attention. That is why the ancient Russian women's headdress often had a rather intricate design and was brightly and intricately decorated. Customs divided the ancient women's headdress into girls' and women's. married women.

The rules of decency allowed girls not to cover their heads completely, which gave candidates for their hearts the opportunity to admire their luxurious braids. An ancient girl's headdress was a hoop (crown) or a bandage on the forehead (bangs - from the word brow), decorated with chains, embroidered ribbons, beads, and pendants.

The nakosnik was very popular among girls - a triangle made of birch bark, which was covered with fabric and generously decorated with beads and lace embroidery. The braid was attached at the base of the braid.

Crowns (from crown) or high crowns (up to 10 cm) were used as festive headdresses. The edge of the crown was jagged. The highest teeth were located above the forehead, which favorably emphasized the woman’s facial features. Crowns were also decorated with pearls, precious stones, pendants.

The most characteristic ancient Russian headdress is the kokoshnik, which was worn after a wedding. Kokoshniks had different shapes. The most common is a hat with a high brim.

The most common ancient headdress of a married woman is the kichka (kika). The shape and size of the kitty depended on the region: semi-oval, oval, bowler-shaped kitty and horned. Embroidery, as well as beads, glass, pearls, and lace were used to decorate the kichka. A woven mesh or fringe of beads or pearls was attached to the front part (bezel) of the headdress.

Educational and methodological material on folk art

To help the manager

folklore group

Ostaptsova Tatyana Nikolaevna

teacher of the department of musical folklore

MAU DO of the city of Kaliningrad "Children's Music School named after. R.M. Gliere"

2016

Introduction

The peasantry is the keeper of aesthetic ideas and traditions in folk costume

Russian traditional clothing is the custodian of primordial folk culture, the heritage of our people. The variety of forms and types, the bright decorativeness of the artistic design, the originality of the ornament and the techniques of its execution are characteristic features of Russian folk costume for many centuries. Photographs of rich and unique images of Russian clothing allow us to show the beauty of the compositional design of a peasant costume, the expressiveness of the decor of its components - headdresses, jewelry, shoes; ingenuity in the use of materials, ranging from precious metals and pearls to fabric appliques and dyed feathers.

Folk costume has come a long way in its development, closely connected with the history and aesthetic views of its creators. It is an important element of material culture and a true phenomenon of great art, synthesizing various types decorative creativity, up to the middle XX century, which brought characteristic traditional elements of cut, ornamentation, use of materials and decorations characteristic of Russian clothing in the past.

Purpose of the work: consider the characteristic features of women's Russian folk traditional costume, classify the various elements of folk costume, consider the richness of its forms and types.

Women's headdress

In Russian folk costume, women's headdress was given special attention. The headdresses of Russian women were distinguished by their richness and variety. This was due to the highly developed symbolic function of this part of the costume. The shape of the headdress and the nature of its decoration depended on the age and marital status of the woman, as well as on her place of residence.

For married women, the custom of covering their heads was strictly observed; the girls walked with their heads uncovered, their hair loosely (withXIXV. already rarely seen, unless only for a crown) or braided hair, the headdress was certainly with an open crown and had the shape of a circle or semicircle. It also differed in the material it was made of (metal wire with pendants on it, a ribbon, a scarf folded into a ribbon, a piece of braid, brocade, fabric with embroidery, etc.).

The shape of the headdress was always combined with the hairstyle. Girls braided their hair in a braid, Russian married peasant women braided two braids and laid them on their heads or rolled their hair into a bun at the front. Researchers admit that although braiding is a very ancient custom, among married women it was apparently preceded by rolling up hair without first braiding it and wearing loose hair among girls.

Despite the uniformity of shape, girls' headdresses were called differently: wreath, bandage, ribbon, pochelok, bunch, bandage, wreath, koruna, golovodets, etc. Sometimes they existed under the same name different types headdresses, sometimes the opposite happened - the same type of headdress was called differently in different places. The most common headdress of girls of the Russian North was a bandage, which in the Arkhangelsk province by the middle - endXIXV. “grew” to impressive sizes.

The most common were girls' dresses in the form of a crown or hoop. Depending on the place of existence, the material for their manufacture varied. In the southern regions of Russia, fabrics, braids, ribbons, beads, buttons, sequins, and feathers were widely used.The color scheme of these headbands, headbands, and wreaths is bright and rich. Dyed bird feathers, including peacock feathers, were used not only in the headdress itself, but also as its additional parts.
Headbands, ribbons, laces made of brocade and braid, damask fabric and strips of calico with rich embroidery with gold thread, typical of the northern provinces, were made wide, on a thick base. Sometimes they were decorated with a lower part or duckweed made of river pearls, chopped mother-of-pearl, and beads that descended to the forehead. Volumetric openwork “crowns with cities”, crowns, bangs, decorated with pearls, mother-of-pearl, precious and colored stones, and foil have become widespread.

The wedding crown was a dense rim with a braid, under which protruded an openwork wreath, decorated with pearls, mother-of-pearl, beads, with inserts of foil, glass, and sometimes sewn on brooches. A variant of the all-Russian girl's headdress was a factory-made scarf folded into a rope and tied with the ends back. It was complemented by beaded pendants.

The decoration of the headdress and its color scheme gave an idea of ​​the woman’s age and place of birth. Before the birth of a child, women wore very bright kichkas, and in old age - with simple ornaments. Residents of the Ryazan and Tambov provinces preferred dark red and black color; Oryol and Kursk - bright red, green and yellow colors. They were usually decorated with embroidery made of wool, cotton or lye with the addition of sequins and beads. The headdresses of women living in the northern regions of Russia were especially elegantly decorated. They used chopped mother-of-pearl and freshwater pearls, colored pearls and bugles.

Headdresses of the Pskov and Olonets provinces. XIX century.

Kichka or kika is an ancient headdress of a married woman, which, unlike a girl’s “crown,” completely hid her hair. Kichka was also the name for the forehead part of the entire structure, which was duplicated with hemp or birch bark for greater rigidity and covered with elegant fabric on top.

Together with the “magpie” and the “back of the head,” the kitchka was an integral part of a complex headdress. It was the kitschka that determined his main features. The headdress of a married woman could include up to 12 different elements and reach a weight of five kilograms.

There were various variations of this dress:

In Ryazan, as well as the southern provinces, along with flat kitties, with barely visible horns on their headdresses, there are headdresses with horns up to thirty centimeters high. In the Tula province, kichkas were modified through an additional complex structure of several vertically fixed layers of gathered ribbons, giving the impression of a lush, bright fan.

Magpies and kitches of the Ryazan, Tula, Voronezh and Kursk provinces.

Embroidery with painting, set and satin stitch with multi-colored silk, wool, cotton thread with the addition of sparkles and beads was widely used. Just like the magpie, made of red and velvet, the back of the head was covered over the entire surface with dense embroidery, often complemented by gold embroidery. The front part of the magpie was decorated with a strip of shiny braid, “tufts” of drake feathers. Bundles of brightly colored poultry feathers tucked into the side of a headdress, and goose down “gun” balls attached to the ear or ear became widespread. Sometimes the ears were covered with ear pads or wings with braid, braid, beads, and sparkles.

Embroidery provided comprehensive information about a woman’s age. The headdresses of young women before the birth of a child were most brightly decorated. Gradually, the pattern became more and more restrained; old women wore magpies with white or sparse black embroidery.

Women's headdresses in the northern provinces of Russia, which had the common name "kokoshnik", differed significantly in their appearance from those in the south. Unlike magpies, they were made to order by professional craftswomen from factory fabrics. The forms of northern headwear, despite the unifying origin and name, were very diverse even in nearby areas.

The shape of the crest was different in different provinces: in the Kargopol district of the Olonets province, the kokoshnik was made in the shape of a cap with an elongated headband and blades covering the ears. A layer of chopped mother-of-pearl descended onto the forehead. The Vologda kokoshnik, called a collection, was distinguished by numerous assemblies over the headband. The Arkhangelsk kokoshnik had a rigid oval shape with abundant decoration at the top; in the Novgorod and Tver provinces it had a helmet shape.

Kokoshniks, from left to right: A - two-horned kokoshnik of the Arzamas district of the Nizhny Novgorod province; B - one-horned kokoshnik, Kostroma province; C - kokoshnik; D - kokoshnik, Moscow province, E - kokoshnik, Vladimir province, F - kokoshnik in the form of a cylindrical hat with a flat bottom (with a scarf) G - Double-comb, or saddle-shaped, kokoshnik (profile view).

In most provinces, expensive kokoshniks were worn with scarves. On special occasions, scarves with dense floral patterns embroidered with gold and silver threads were used. The drawing took up half of the scarf. When putting it on, its ends were folded under the chin. The centers for the production of gold-embroidered scarves were Kargopolye and certain areas of the Nizhny Novgorod and Tver provinces.

Women's scarves and shawls of the Russian North. The end of the 19th – the beginning of the 20th century.

By the end of the 19th - beginning of the 20th centuries, kokoshniks were replaced by easier-to-make povoiniki and collections made from factory fabrics.

Women's end headwearXIX-started XX century

Conclusion

Interest in studying material on Russian traditional folk costume appeared relatively recently. Only in the 19th century was the idea of ​​compiling the history of Russian folk costume born, and its collection and study took place in the second half of the 19th century. Museums and individual connoisseurs began to show interest in collecting folk costumes that were disappearing from everyday life. In the middle of the 19th century, on the pages of the Sovremennik magazine, the question of the historical significance of folk costume, its internal meaning and significance in general was considered. human development. At the beginning of the 20th century, an International Costume Exhibition was organized in St. Petersburg, at which the Russian section of the exhibition was interestingly presented. The exhibition widely demonstrated historical and modern costumes from the central provinces of Russia; the high artistic taste of the clothing creators was distinguished, which was reflected in the cut, ornaments, color combinations, etc. In Moscow, at the beginning of the 20th century, a society of lovers of Russian clothing arose.

Without a deep study of folk traditional art, progressive development is impossible contemporary art. This also applies to the creation of costumes - household and stage. Traditional costume- This is an invaluable, inalienable cultural heritage of the people.Collections of folk costumes stored in museum funds are a kind of academy of knowledge and creative ideas formodern fashion designers and couturiers.

The soul of the people and their ideas about beauty are reflected in Russian folk clothing...The more closely you study Russian folk costume, the more values ​​you find in it, and it becomes a figurative chronicle of our ancestors, which, through the language of color, shape, and ornament, reveals to us many hidden secrets and laws of beauty of folk art.

List of used literature:

Grekov B. D., Artamonov M. I. Cultural history ancient Rus' - M.,1951.

Gorozhanina S.V., Zaitseva L.M. Russian folk wedding costume- M.,2003.

Efimova L. V. Russian folk costume (18-20 centuries) - St. Petersburg, 1989.

Zabylin M. Russian people, their customs, rituals, legends, superstitions and poetry - M.: Publication by bookseller M. Berezin, 1880.

Strekalov S. . A. Russian historical clothes from X to XIII century - St. Petersburg, 1877.

Shangina I.I., Sosnina N.N. Russian traditionalcostume: Illustrated Encyclopedia– M.: Art, 2006.

Internet sources:

Illustrations:

Scanned photographs from the above literature

http:// img- fotki. yandex. ru/ get/3813/ hor- j.23/0_30582_4 da281 a5_ XL. jpg

Hairstyles and headdresses of the Moscow principality changed little and retained their basic forms from the time of the founding of Moscow until Peter I came to power, who, as is known, not only moved the capital from Moscow to St. Petersburg, but also shaved the beards of the boyars.

Still from the film “Ivan Vasilyevich changes his profession.”
Headdresses of the king and queen.

So, men's hairstyles have remained virtually unchanged since the times of Kievan Rus - these were short haircuts, for example, “under the potty.” The “pot” haircut got its name thanks to an ordinary clay pot, which was placed on the head during the haircut and the hair was cut along the length of it. A little later, “bracket” and “circle” haircuts appear.

Pointed beard with mustache and clip-on haircut.

Boyars, like ordinary people, wore long beards and mustaches. However, the fashion for shaved faces periodically appeared in Moscow. So, Prince Vasily Ivanovich shaved his beard in honor of his second marriage. The boyars followed his example. However, the fashion for shaved faces did not last long.

Beards came in a wide variety of shapes - a “shovel” beard, a wedge beard, a pointed beard, a round beard, a beard divided into two parts. For example, Tsar Ivan the Terrible wore a small pointed beard with a mustache and a clip-on haircut.

The fashion for shaved faces will come to Moscow again during the Time of Troubles and with the appearance of the Polish-Lithuanian Commonwealth troops (the state that then united the current lands of Poland, Lithuania, Belarus and Ukraine) at the walls of Moscow. The Polish-Lithuanian Commonwealth wanted to place False Dmitry (there were several of them) on the Moscow throne, supposedly the son of the last Moscow Tsar from the Rurik dynasty, Ivan the Terrible. These attempts failed, and the Romanov dynasty soon ascended to the Moscow throne.

Russian clothing from the 14th to the 18th centuries, terlik and murmolka hat.
(The view depicts the city of Astrakhan at the beginning of the 17th century).

Under the first Romanovs European clothes(or as they are called by German, Polish) and hairstyles are increasingly beginning to penetrate Russian lands. Tsar Alexei Mikhailovich (father of Peter I) also wore European clothes as a child, and, as a tsar, he did not particularly interfere with Western influences.

However, in his old age, a year before his death, in 1675, he issued a decree prohibiting his subjects from wearing Western clothes: “As a steward and solicitor and a Moscow nobleman and tenant... His sovereign decree was to say that they should not adopt foreign German and other customs, They didn’t cut the hair on their heads, and they didn’t wear dresses, caftans and hats from foreign samples, and that’s why they didn’t tell their people to wear them. And if anyone in the future learns to cut their hair and wear a dress from a foreign model, or the same dress appears on their people, they will be disgraced by the Great Sovereign, and from the highest ranks will be written down to the lower ranks.”

A. P. Ryabushkin. They are waiting for the king to come out. 1901 Sketch.
The boyars have gorlat hats in their hands.

Great importance was also attached to hats. Traditional men's headdresses in the Moscow Principality were:

1. Cone-shaped felt caps with embroidery and metal decorations.

2. Felt round hats different colors with a fur edge.

3. Tafya- lower headdress, worn under large hats. Tafya was a round or quadrangular skullcap. It was made of velvet and embroidered with gold embroidery or beads.

4. Murmolka- a type of cap. It was made of fabric, low, and embroidered with beads. At the same time, from the face there were lapels made of fox, marten, and sable fur.

5. Gorlat hat- a hat that looks like a pipe, a mandatory headdress for boyars. This hat was made entirely of fluffy fur. And only the round bottom was made of expensive fabric.

6. At the court of Ivan the Terrible they wore sable hats.

And, of course, speaking about men’s headdresses of Muscovite Rus', one should not forget about the “Monomakh cap” - a kind of crown, a royal headdress. “The Cap of Monomakh” was used to crown the kingdom. The shape of this headdress was a cone. It was decorated with precious stones and gold. The bottom is trimmed with valuable sable fur, and there is a golden cross on the crown.

Hairstyles of Russian women and girls

Women's hairstyles were not very diverse. As in the days of Kievan Rus, women were required to hide their hair under their headdresses.

Girls wore braids. . During the wedding, the bride’s braid, accompanied by the sad songs of the bridesmaids and their sobs, was unraveled and intertwined into two braids, which were placed around the head - women's hairstyle. Thus, the bride and her bridesmaids said goodbye to the girl’s unmarried life and her girlhood.

Princess O.K. Orlova at a costume ball in 1903.
Headdress - kokoshnik.

Abram Klyukvin. A woman in a Toropets pearl kokoshnik and a scarf.

Headdresses of Russian girls and women

Women's hats were varied. They wore hats shaped like an onion. Such headdresses were made of dense fabric - brocade, satin, silk, stretched over solid foundation. The edges of the headdress were framed by fringe. The kokoshniks themselves were painted with various patterns and decorated with pearls.

By the way, in those days, many jewelry were made from freshwater pearls (they were used in embroidery on clothes and hats), since they were relatively cheap and locally produced. Sea pearls were brought from the East.

Women's headdress (kika) of the Kaluga province. 1845.

In addition to kokoshniks, they wore a kika - an elegant headdress. The shape of this headdress depended on the area. For example, in Tula region wore a “horned” kika.

Shovel-shaped kitty (kika). Ryazan region, XIX century.

There were also warriors - the lower headdresses of married women. In shape they resembled small hats or bonnets. They were sewn from linen and linen.

Woman and girl of Biryuchensky district. End of the 19th century.
In the warriors.

They wore ubrus - a heavy outer headscarf, and in winter - small fur hats and woolen scarves.

V. Surikov, sketch for the painting “Boyaryna Morozova”.
Ubrus.

The queen's headdress was a crown with one or more teeth. The crown was worn on top of a thin scarf. It was embroidered with gold threads, decorated with precious stones, and pearls around the edges.

Publications in the Traditions section

The most unusual headdresses of Russian wives

In the old days, a headdress was the most significant and elegant item women's suit. He could tell a lot about his owner - about her age, marital and social status, and even whether she had children. About the most unusual headdresses of Russian women - in the material of the portal "Culture.RF".

Female festive costume. Nizhny Novgorod province. Photo: narodko.ru

Kokoshnik. Photo: lebrecht.co

Women's festive costume. Bryansk province. Photo: glebushkin.ru

In Rus', girls wore rather simple-shaped headbands and wreaths (crowns), leaving the crown and braid open. On the wedding day, the girl’s braid was unraveled and placed around her head, that is, “twisted.” From this ritual the expression “to entice a girl” was born, that is, to marry her to yourself. The tradition of covering the head was based on the ancient idea that hair absorbs negative energy. The girl, however, could take risks by showing off her braid to potential suitors, but a bare-haired wife would bring shame and misfortune to the whole family. Hair styled “woman-style” was covered with a cap that was pulled together at the back of the head - a povoinik or volosnik. On top they put on a headdress, which, unlike a girl’s, had a complex design. On average, such a garment consisted of four to ten removable parts.

Headdresses of the Russian south

The border between the Great Russian North and South ran through the territory of the modern Moscow region. Ethnographers include Vladimir and Tver in northern Rus', and Tula and Ryazan in southern Russia. Moscow itself was influenced by the cultural traditions of both regions.

Women's peasant costume in the southern regions was fundamentally different from the northern one. The agricultural south was more conservative. The peasants here generally lived poorer than in the Russian North, where trade with foreign merchants was active. Until the beginning of the 20th century, in southern Russian villages they wore the oldest type of Russian costume - a checkered ponyova (a waist-length garment like a skirt) and a long shirt, the decorated hem of which peeked out from under the ponyova. The silhouette of the southern Russian outfit resembled a barrel; it was combined with magpies and kichkas - headdresses distinguished by a variety of styles and complexity of design.

Kika horned

The horned kichka is the headdress of peasant women in the Bogoslovshchina district of the Mikhailovsky district of the Ryazan province. The end of the 19th - the beginning of the 20th centuries. Photo: Ryazan Historical and Architectural Museum-Reserve.

Peasant woman of the Ryazan province in a horned kitty. Photo: Fund of the Russian Ethnographic Museum (REM).

The word “kika” comes from the Old Slavonic “kyka” - “hair”. This is one of the oldest headdresses, which dates back to the images of female pagan deities. In the minds of the Slavs, horns were a symbol of fertility, so only a “manly woman” could wear them. In most regions, a woman received the right to wear a horned pussy after the birth of her first child. They wore a kika both on weekdays and on holidays. To hold the massive headdress (the horns could reach 20–30 centimeters in height), the woman had to raise her head high. This is how the word “boast” appeared - to walk with your nose in the air.

The clergy actively fought against pagan paraphernalia: women were forbidden to attend church in horned kicks. By the beginning of the 19th century, this headdress had practically disappeared from use, but in the Ryazan province it was worn until the 20th century. Even the ditty has been preserved:

Ryazan horns
I will never quit.
I will eat only chaff,
But I won’t throw my horns!

Kika hoof-shaped

Festive costume of a young peasant woman from Ostrogozhsky district, Voronezh province. The end of the 19th - the beginning of the 20th century. Photo: Zagorsk State Historical and Art Museum-Reserve.

"Human" was first mentioned in a document of 1328. Presumably, at this time women were already wearing all sorts of derivatives of the horned kick - in the form of a bowler hat, a shoulder blade, a roller. It grew from a horned and kitty in the form of a hoof or horseshoe. The solid headband (forehead) was covered with richly decorated material, often embroidered with gold. It was attached over the “cap” using a cord or ribbons tied around the head. Like a horseshoe hung over the front door, this headdress was designed to protect against the evil eye. All married women wore it on holidays.

Until the 1950s, such “hooves” could be seen at village weddings in the Voronezh region. Against the background of black and white - the main colors of Voronezh women's costume - the gold-embroidered kika looked like the most expensive decoration. Many hoof-shaped kicks from the 19th century have been preserved, collected in the territory from Lipetsk to Belgorod - this indicates their wide distribution in the Central Black Earth region.

Magpie Tula

Festive costume of a young peasant woman from the Novosilsky district of the Tula province. Photo: Fund of the Russian Ethnographic Museum (REM).

Costume of a peasant woman from the Tula province. Photo: Fund of the Russian Ethnographic Museum (REM).

IN different corners In Russia, the same headdress was called differently. Therefore, today experts cannot finally agree on what is considered a kick and what is considered a magpie. Confusion in terms, coupled with the great variety of Russian headdresses, has led to the fact that in literature the magpie often means one of the parts of the kika and, conversely, the kika is understood as an integral part of the magpie. In a number of regions, from about the 17th century, the magpie existed as an independent complex headdress for a married woman. A striking example of this is the Tula magpie.

Justifying its “bird” name, the magpie was divided into side parts - wings and back - tail. The tail was made of pleated multi-colored ribbons sewn in a circle, which made it look like a peacock. Bright rosettes rhymed with the headdress, which were sewn onto the back of the ponya. Women wore this outfit on holidays, usually in the first two to three years after the wedding.

Almost all magpies of a similar cut kept in museums and personal collections were found on the territory of the Tula province.

Headdresses of the Russian North

The basis of the northern women's costume was the sundress. It was first mentioned in the Nikon Chronicle in 1376. Initially, sundresses shortened like a caftan were worn by noble men. Only by the 17th century, the sundress acquired the familiar look and finally migrated into the women's wardrobe.

The word “kokoshnik” appears for the first time in documents of the 17th century. “Kokosh” in Old Russian meant “chicken”. The headdress probably got its name because of its resemblance to a chicken comb. It emphasized the triangular silhouette of the sundress.

According to one version, the kokoshnik appeared in Rus' under the influence of Byzantine costume. It was worn primarily by noble women.

After the reform of Peter I, who banned the wearing of traditional national costume Among the nobility, sundresses and kokoshniks remained in the wardrobe of merchant women, bourgeois women, and also peasant women, but in a more modest version. During the same period, the kokoshnik, in combination with a sundress, penetrated into the southern regions, where for a long time it remained the outfit of exclusively rich women. Kokoshniks were decorated much more richly than magpies and kiki: they were trimmed with pearls and bugles, brocade and velvet, galloon and lace.

Collection (samshura, morshen)

Headdress "collection". Novgorod province. Late XVIII - early XIX centuries. Photo: State Historical Museum Foundation.

Women's costume with a “collection” headdress. Oryol province, con. XIX century Photo: Fund of the Russian Ethnographic Museum (REM).

One of the most versatile headdresses of the 18th–19th centuries had many names and tailoring options. It was first mentioned in written sources of the 17th century as samshura (shamshura). Probably, this word was formed from the verb “shamshit” or “shamkat” - to speak indistinctly, and in a figurative sense - “to crush, to reap.” In Vladimir Dahl's explanatory dictionary, samshura was defined as “the Vologda headdress of a married woman.”

All attire of this type was united by a gathered or “wrinkled” cap. A low morshen, similar to a cap, was part of a more casual costume. The tall one looked impressive, like a textbook kokoshnik, and was worn on holidays. The everyday collection was made from cheaper fabric, and a scarf was worn over it. Collection old woman could look like a simple black cap. The festive dresses of the young were covered with braided ribbon and embroidered with precious stones.

This type of kokoshnik came from the northern regions - Vologda, Arkhangelsk, Vyatka. He fell in love with women in Central Russia, ended up in Western Siberia, Transbaikalia, and Altai. Along with the subject, the word itself spread. In the 19th century, the name “samshura” began to be understood in different provinces different types headdress.

Pskov kokoshnik (shishak)

Women's festive headdress - “Kokoshnik”. Pskov province, end of the 19th century. Photo: Russian Ethnographic Museum Foundation.

Women's festive costume. Pskov province. Photo: Russian Ethnographic Museum Foundation.

The Pskov version of the kokoshnik - the shishak wedding headdress - had a classic silhouette in the shape of an elongated triangle. The cones that gave it its name symbolized fertility. There was a saying: “How many big shots, so many kids.” They were sewn onto the front of the cone, decorated with pearls. A pearl mesh was sewn along the bottom edge - underneath. Over the bump, the newlywed wore a white scarf embroidered with gold. One such kokoshnik cost from 2 to 7 thousand rubles in silver, therefore it was kept in the family as an heirloom, passed from mother to daughter.

The Pskov kokoshnik became most famous in the 18th–19th centuries. Particularly famous were the headdresses created by the craftswomen of the Toropets district of the Pskov province. That is why shishaki were often called Toropets kokoshniks. Many portraits of Toropchan women in pearl headdress, which glorified this region, have been preserved.

Tver "heel"

Women's hats - “heels”. Tver province. Late XVIII - early XIX centuries. Photo: State Historical Museum Foundation.

The cylindrical heel was in fashion at the end of the 18th century and throughout the 19th century. This is one of the most original varieties of kokoshnik. They wore it on holidays, so they made it from silk, velvet, gold braid, and decorated it with stones. Under the “heel”, which looked like a small cap, a wide pearl bottom was worn. It covered the entire head, because the compact headdress itself only covered the top of the head. The “heel” was so common in the Tver province that it became a kind of “ business card» region. Artists who worked with “Russian” themes had a particular weakness for him. Andrei Ryabushkin depicted a woman in a Tver kokoshnik in the painting “Sunday Day” (1889). The same dress is depicted in “Portrait of the Wife of the Merchant Obraztsov” (1830) by Alexei Venetsianov. Venetsianov also painted his wife Marfa Afanasyevna in the costume of a Tver merchant’s wife with the obligatory “heel” (1830).

By the end of the 19th century, throughout Russia, complex headdresses began to give way to shawls that resembled the ancient Russian scarf - ubrus. The very tradition of tying a scarf has been preserved since the Middle Ages, and during the heyday of industrial weaving it received new life. Factory-made shawls woven from high-quality, expensive threads were sold everywhere. By old tradition, married women wore scarves and shawls over the warrior, carefully covering their hair. The labor-intensive process of creating a unique headdress, which was passed down from generation to generation, has sunk into oblivion.

Additional education teacher

Part I

Women's Russian folk

Hats

D Revnerus women's headdress has been studied better than men's, thanks to the abundance of archaeological finds. The custom, according to which a married woman had to carefully cover her hair (“a simple-haired woman” could supposedly somehow harm others by “showing her hair”), obviously has its roots far back in time, in pre-Christian times. Girls in ancient Rus', as later, could walk without a headdress that would cover all their hair. Hair loose over the shoulders or braided in one or two braids was often kept whisk - a narrow strip of metal or bright material that covered the head and was fastened or tied at the back of the head. A more complex, richly decorated rim was called Koruna. There are known remains of such crowns, made on a wire frame, in Kyiv treasures of the pre-Mongol period. Apparently, the decorated koruna was an attribute of a rich city girl and was highly valued. Somewhat more modest, but also equipped with metal decorations, were apparently also worn by peasant girls in the northern Russian lands. The aureole and crown did not cover either the crown of the head or the hair of the girls that hung down to the shoulders.

Girls' hats were quite simple in shape and method of manufacture. The most common were headdresses in the form of a crown or hoop made of tree bark, covered with fabric and embroidered with beads and pearls. A bandage made of a strip of fabric, brocade or with golden embroidery was used. Sometimes headdresses were decorated with bottoms made of freshwater pearls, beads, inserts of glass, chopped mother-of-pearl, and foil.

Women's headdress - howl , judging by the images, was made of towels, as evidenced by the mention in the chronicle in connection with the headdress of the word"ubrus" - towel. It wrapped around the head, completely covering the woman’s hair, and sometimes went down to the shoulders, both ends could hang down on the chest. A man who rips off a woman's crown and she turns out to be bare-haired was punished in Novgorod in the 12th century. a high fine, twice as high as for damaging a cloak, since in this case the woman was considered disgraced.

In normal times, men and women wore hats on the street. But a man had to “break his hat” as a sign of respect to those he met of a higher social status. That is why men are depicted in most of the miniatures in the Radziwill Chronicle without hats. Women, for the reasons stated above, always remained in hats.

The most traditional was, perhaps, the women's headdress. Its composition and design were dictated by the fact that it has long been believed that a married woman should not show her hair to anyone, and if she “shines her hair,” this could even cause some harm to others. “Save me from the sorcerer and from the smooth-haired girl and from the plain-haired woman,” said the old plot. But girls, regardless of whether their hair was curly or smooth, were supposed to walk with their heads open at home, and in the summer and on the street.

Decorated a girl's braid braid or braid - a gold thread woven into it or, more often, a triangular pendant, usually on a rigid base, richly embroidered with threads and pearls, bordered with lace or metal plates. Around the head (whether the girl braided her hair or wore her hair loose) there was dressing - silk ribbon, and for the rich - also made of gold threads. Decorated on the forehead with embroidery (sometimes with pearls), it was also called forehead or bangs ; if the ornament went along the entire circumference - wreath or crown.

Women's headdress is reflected in the sources in some detail. Its main parts are listed in the wedding rite recommended in the 16th century. Let's build a house. During preparations for the wedding, it was prescribed that on the dish near the “place” of the newlyweds in the bride’s house, “put a kick and put a cuff under the kick, a cowlick, a hair cord, and a blanket.” Podububernik or warrior was a light soft cap made of colored material; The woman's hair, braided in two braids, was tucked under it. A scarf of the same color as the warrior was tied at the back for the same purpose - slap on the head . Wore it over everything ubrus - a towel, richly embroidered headdress, pinned with special pins (its other name is shlyk), or hair - a net with a band made of gold or gold embroidered fabrics.

Finally, the main part of the headdress was kika or kichka - a symbol of marriage. Kika had a soft crown surrounded by a hard valance that widened upward. It was covered with bright silk fabric and had pearl embroidery on the front. forehead, cassock at the ears, backside made of a piece of velvet or sable skin that covered the back of the head and the sides of the neck. Sometimes a scarf was also worn over the kiki, so that the forehead remained visible. In addition to kiki, sources of the 17th century. also called magpie and (more often) kokoshnik.

“This is an ugly, but the richest attire, already out of custom; but I myself have also happened to see a magpie worth ten thousand rubles.” Richly embroidered wedding magpie - gold picker , which the young woman wore on holidays and in the first two or three years after the wedding and in the 19th - early 20th centuries, notes G.S. Maslova.

Women's headdresses in the northern provinces of Russia were called kokoshniks. They were made by professional craftswomen from factory fabrics. White beads, foil, glass, mother-of-pearl and river beads were used in the ornamentation of kokoshniks. The basis for embroidery was silk, velvet, and ornamental motifs - branches, shoots, flowers. Often, pearl headbands were used to decorate kokoshniks. There were kokoshniks different shapes, but mostly these are caps with a high front.

When going outside, a woman wore a scarf or (for the wealthy) a cap or hat over this headdress. Women's hats were round, with small brims, richly decorated with cords of pearl and gold threads, and sometimes with precious stones. The hats were fur, mostly with a cloth top. The stolbunets hat was tall and resembled a man's gorlat hat, but it tapered towards the top and had an additional fur trim at the back of the head. The Kaptur was round, with blades that covered the back of the head and cheeks, the triukha resembled modern earflaps and had a top made of expensive fabrics. Sometimes a scarf - veil - tied over fur hat, so that the corner of it hung over the back.

Kichka - a separate headdress for a married woman (mostly Northern Russian). Kichka was distinguished by its diversity and imagination of the solution. Only by shape they distinguish tussocks as horned, hoof-shaped, spade-shaped, bowler-shaped, in the form of a hoop, oval, semi-oval, etc. Horned kitties were found mainly among the population of the southern regions, where the Poneva predominated (in Ryazan, Tula, Kaluga, Oryol and other provinces). Hoof-shaped kitties had their own region of distribution - Arkhangelsk and Vologda provinces. Researchers attribute the development and spread of tussock-shaped headdresses not to the ancient common Slavic community, but to a later period and associate their appearance with the Finno-Ugric ancestors (X - XIII centuries), who had some similar types of headdresses.

Magpie - an ancient Russian headdress of married women or part of it. It was widespread in central Russia, as well as among some Mordovian groups. Was the richest of women's headdresses; By the beginning of the 20th century, the magpie fell out of use.

The magpie, like a headdress, is a kind of kichka, slightly lower on the forehead, and slightly higher on the sides than a regular kichka.

As part of the headdress - a cover made of canvas, calico or other fabric, worn over the kichka.

A magpie decorated with embroidery or precious stones was called planted ; was also forty winged (with side blades with ties, or wings): hair is pulled back sderihoy on the back of the head. Sometimes in front magpies a pearl garter was added on the magpie itself (aka ochela). If on top of a magpie tied a scarf, then she called herself “magpie with a howl.”

The “magpie” wedding headdress consisted of three parts: a kichka with small sharp horns, the back of the head and the magpie itself, which was heel-shaped. The magpie is an ancient Russian woman's headdress in origin and way of wearing it.

The basis of the wedding headdress of a Voronezh peasant woman is a kichka - a solid forehead part in the form of a horseshoe with small horns sticking up, lined with red. A piece of canvas is attached to it, the edges of which are gathered onto a thin cord called “holding.” The kichka is put on the head at forehead level and the woman’s hair is carefully covered with canvas, then the fabric is secured to the head with a cord, tying the cord around the horns several times and securing it. The back of the head is covered with the back of the head (occipital plate) - a rectangular strip of velvet embroidered with gold threads, fixed on cardboard for rigidity, to the top and sides of which strips of silk fabric with ties at the edges are sewn. They are crossed on the forehead and tied several times around the horns, thus tightly fastening the kitty to the back of the head. And finally, on top of the horns they put a small magpie sparkling in gold, which crowns this entire complex structure. The main motifs of the gold embroidery ornament on the back of the head and along the top of the magpie are “trees”, similar to similar images on the sleeves of a wedding shirt. The local names of the individual parts of the magpie have been preserved: there is a “headband” in front, “circles” on the sides, and “wings” running down the “back of the head” at the back.

Sometimes the magpie was made by the peasant women themselves, but more often it was sewn to order or bought at fairs.

Main types of traditional women's headdresses - towel, kitty and kokoshnik . Kick-shaped headdresses, as a rule, were made composite.

Appendix 1

(see Presentation: Women's folk headdress)

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Part II

Stylized women's headdresses

for the collection "Maslenitsa"

t.m. "Victoria"

Before proceeding directly to the manufacture of hats, we studied the history of Russian headdress in the association of the Victoria Fashion Theater and chose several varieties of kokoshnik and kiku as a basis.

All models are made of burgundy, purple and pink color. The decor is made of crocheted and knitting with lace and beads. The girls chose the patterns for their hats themselves. Parents and fellow villagers took an active part in making lace along with the girls. Joint discussions, studying photographs, exchanging impressions - all this over a cup of tea at the samovar - have become necessary for all of us.

First model (2nd slide, see Appendix) - koruna decorated with a crocheted scalloped lace motif.

Second model (3rd slide) – koruna with a high front part decorated with beads. The upper part of the headdress is decorated with round lace (hook).

Third model (4 slide) – warrior with a flat hard top attached at the back of the head and trimmed with a border of an Orenburg down scarf knitted.

The fourth model (5th slide) – made in the form of a high kokoshnik rounded shape. Decorated with lace on the front and back (hook). There is a large bow attached to the back of the kokoshnik. The pattern is taken from the circular napkin motif.

Appendix 2

(see Presentation: Stylized women's headdresses

for the collection "Maslenitsa", t.m. "Victoria")

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Materials used:

1.photograves from personal archive.

Internet resources:

2. "Crown" Women's headdress,