A scarf that symbolizes in Russia. History - Pavlovo Posad shawls

Russian shawls. How often they warmed half-naked beauties in the 19th century, for whom it was easy to catch a cold in their transparent outfits, or they adorned the shoulders of simple peasant women and girls. Judging by the portraits of Russian artists V.L. Borovikovsky and I.P. Argunov, shawls on women's shoulders appeared in Russia in the 90s of the 18th century.

One of the trophies in 1799, the young Bonaparte brought cashmere shawls from the East. They were quite expensive back then. Ladies had a special preference for Indian shawls. But the Turkish ones were not inferior to them in beauty and price. Then came English and French. When the ladies opened the boxes with gifts brought to them from the East, the first thing they could feel was the smell of patchouli. What did it say? Well, of course - there was a shawl. And what does patchouli have to do with it, which soon began to be used in perfume? The fact is that shawls were sprinkled with patchouli to protect them from moths. A little time has passed since Napoleon surprised the French ladies with a valuable gift...

In 1806, the production of their Russian shawls began in Russia. Russian Nizhny Novgorod landowner Nadezhda Merlina, then Saratov landowner D.A. Kolokoltsov, Voronezh landowner V.A. Eliseev - they all started the production of shawls. At first, shawls in Russia were produced according to the principle of the Oriental - Kashmiri, Persian and Turkish. They were large sizes from the wool of Tibetan goats. English and French shawls were also made.

The ornament was all in the same oriental style - motifs in the form of arches, beans and other elements filled with small floral ornaments. All shawls - both eastern and western - had a front and back side. The shawls produced in Russia were distinguished by high perfection and were famous in the world market. It should be noted that in the workshops of Vera Andreevna Eliseeva, for the first time, Tibetan goat hair was replaced with saiga wool. According to the reviews of that time from the “Journal of Manufactories and Trade” “... this fluff turned out to be so delicate, thin, soft that the yarn spun from it is likened to silk, and the shawls made from it are not only not inferior to ... Kashmir, but also surpass them". There were 450 meters of thread in 13 grams of wool. Imagine how thin the yarn and the product from it were. But that's not all. They wove on small looms containing not shuttles, but small needles, the number of which was as many as the shades in the product. And our Russian shawls did not have a front and back side, they were the same on both sides. Tie as you wish. The color scheme was varied - bright, colorful, with a rich flora - there were roses, poppies, lilacs, phloxes.

... And in the light folds of a women's shawl
There was silence in the night. A. Blok

Thanks to the use of new technology, Russian shawls have become a luxurious addition to the dress of secular ladies. The art of wearing a shawl, draping in it, and even dancing with a shawl was taught to girls in aristocratic families from an early age. In the novel “Crime and Punishment” by F. M. Dostoevsky, Marmeladov says to Raskolnikov: “Know that my wife was brought up in a noble provincial noble institute and danced with a shawl with the governor and with other persons upon graduation, for which she received a gold medal and a commendation sheet. ".

The names of those craftswomen who worked in the workshops of the above-named landowners have not come down to us, but their contemporaries highly appreciated the skill of these nameless women. Shawls were made for a long time - from six months to 2.5 years and were very expensive. Serf craftswomen at the landowner V.A. Eliseeva worked for up to 10 years, after which they received freedom with a small capital, and they were not needed, after working for such a period, the workers lost their eyesight.

Few such shawls have survived today, but if you look at the paintings of Russian painters, we can still imagine the beauty that Russian women craftsmen created.

... But remained in the folds of a crumpled shawl
the smell of honey from innocent hands. S. Yesenin

Such expensive shawls could not be available to many. Therefore, silk, woolen, cambric shawls, dyed in different colors, with a printed pattern, became more widespread. Gradually, shawls turned from luxury items into an integral part of the outfit. And everyone put on a shawl - from aristocrats to townswomen, merchants and peasant women.

Time passes, centuries change - fashion is changing faster and faster, borrowing the details and elements of past years. Therefore, even now in your wardrobe a Russian shawl will not be superfluous. It is not affected by time. This is a classic piece of women's wardrobe.

Shawls and scarves were the traditional headdress of Russian peasant women 100-150 years ago. Many peoples had a tradition according to which women had to hide their hair, since it was believed that women's hair had witchcraft power, a woman with an uncovered head becomes easy prey and a receptacle for evil spirits. That is why it was the height of indecency to appear simple-haired, and to disgrace a woman it was enough to tear off her headdress. It was the heaviest insult. From here it happened to “goof off”, that is, to disgrace.

In the old days, the head was covered with towels, which were called ubrus. Information about ubrus towels has been preserved in written monuments since the 12th century. The custom of covering one's head with towels existed in some places in Russia as early as the 19th century. In ancient times, pieces of fabric - boards - were also used to cover the head. Towels-brusses and scarves - scarves were usually worn over the headdress, and only with the death of the original folk costume in the 19th century, head towels go out of everyday life, and scarves begin to cover the head first on soft hairs (a soft hat made of fabric that was worn immediately after the wedding) and then straight to the hair.

Before the advent of large-scale industry, towels and scarves were woven by peasant women on simple home looms. They were either decorated with patterned woven stripes, embroideries, or dyed and stamped with printed designs. The kerchiefs themselves appeared in Russia in the 16th-17th centuries and were called "ditches". These were rather large boards made of thin silk with multi-colored stripes. Ditches were traded by eastern merchants, they were brought from afar, and for a Russian woman they were a carefully kept treasure. Such a scarf was worn loose, thrown over the headdress in the middle of the oblong side, wrapping the whole figure with it.

In the funds of the East Kazakhstan Regional Architectural-Ethnographic and Natural-Landscape Museum of the Reserve, shawls and scarves of textile production of the late 19th-20th centuries are carefully preserved and enchant with their diversity and beauty.

It was the most desired gift - always in all cases, love, attention or affection was expressed by the gift of a headscarf. Shawls and shawls were bought in shops in the village or in the city, they were expensive, worn carefully. The archives of the museum testify: before dispossession (1920s), rich families had forty sundresses and forty shawls. Most of the ancient scarves and shawls of the museum collection are festive ones, which is why they have survived to this day. They were bought by parents for daughters as a dowry, they were given for a wedding, a husband bought his wife, a brother bought his sister. Especially loved were cashmere shawls - "cashmere" - so our residents affectionately called them. Antique shawls are distinguished by the brightness of colors, the clarity of the pattern, and the realistic interpretation of floral motifs.

The fashion for shawls came to Europe at the end of the 18th century after the Egyptian campaigns of Napoleon I, who brought an oriental shawl of extraordinary beauty as a gift to Josephine. Soon shawls became an indispensable part of the female aristocratic costume. Patterned shawls woven from the down of Tibetan goats cost from 1 to 15 thousand rubles. a piece. Genuine oriental shawls that reigned in Europe in the 1800s and 1810s were gradually supplanted by the fabrication of French and English production. Very soon, the fashion for shawls came to Russia, where they were in great demand. According to the statements of the Department of Foreign Trade for 1825 and 1826, the value of bringing foreign shawls to Russia was more than two million rubles. in year.

Since the end of the 18th century, the production of large scarves and shawls, similar to Kashmir ones, has been successfully developing in Russia. The factories of V.A. Eliseeva in the Voronezh province, N.A. Merlina in the Nizhny Novgorod province and D.A. Kolokoltsov in the Saratov province.

V. A. Eliseeva, trying to unravel the secret of making shawls carefully guarded by the Indians, cut out pieces with patterns and unraveled the fabric in various ways. Five years of hard searching brought the desired result. Indian shawls were woven from the wool of Tibetan goats, Eliseeva replaced this wool with the down of saigas, which were found in abundance in the steppes of Western Siberia. At Russian manufactories, methods were developed for processing this raw material for the preparation of the finest yarn. A bundle of yarn of 13 grams contained a thread 4.5 kilometers long. A shawl cloth woven from such yarn, according to the very texture of the fabric - its subtlety, softness, luster - created a great artistic effect. The find was so successful that a few years later, when the fame of Eliseeva’s workshop shawls spread widely, they wrote about them: “This fluff ... turned out to be so thin and soft that the yarn spun from it is likened to silk, and the shawls prepared from it , not only are not inferior in purity and fineness to real Kashmiri fabrics, but surpass them.

Exceptional perfection in the weaving of patterned shawls was achieved by the craftswomen of the manufactory Merlina. The shawls they created were double-sided, and when worn, both front and back sides could be used. Weaving with the finest threads of the most complex patterns, sometimes having up to 60 shades, required an enormous strain of vision, extraordinary dexterity and flexibility of the fingers. Therefore, young girls from the serfs were involved in the work. The work was hard. After 10 years, workers received freedom from serfdom. But the price for freedom turned out to be too high - by this time they were losing their sight and becoming disabled. At some manufactories, almshouses were created for them.

At all Russian industrial exhibitions, including the first international industrial exhibition in London in 1851, these shawls were awarded the highest awards. The fame of Russian shawls was so strong that Caulaincourt - the envoy of Napoleon I - "traded Merlin's shawl for the Empress".

In imitation of colored shawls, expensive and inaccessible to a wide range of people, Russian manufactories began to produce printed scarves. The main production centers were Moscow and Pavlovsky Posad. The most famous enterprises in Moscow were the manufactories of the Guchkovs, Rochefort, Sopova, Sapozhkova and others, in Pavlovsky Posad - Labzin and Gryaznov. At the beginning of the 20th century, the Association of Manufactories of Y. Labzin and V. Gryaznov (now Pavlovo Posad Shawl Manufactory OJSC) was the largest enterprise for the production of woolen scarves and shawls, which became famous far beyond the borders of Russia. More than two thousand people worked here. Warehouses of goods were located in Moscow, Kharkov, Omsk, Romny, Uryupin, at the Nizhny Novgorod and Irbit fairs.

For almost the entire 19th century, scarves and shawls were stuffed by hand. The tradition of heeling in Russia comes from ancient times. Since time immemorial, Russian clothing has been made from linen, on which the heel was especially good, so the art of stuffing drawings has reached high skill in Russia. The process of heeling is complex and lengthy. First, the woven fabric was bleached, then it went through a series of preparatory operations before dyeing. The fabric was cut to the size of scarves, fastened on a wooden frame, and for stuffing the most complex patterns, it was glued to a table covered with thick cloth or felt. The pattern on the fabric was applied with carved wooden boards: flowers and manners. When printing, they beat the shape with a heavy cast-iron hammer so that the paint would better saturate the fabric, from where the term "heel" or "stuffing" came from. Paints were applied to the fabric with flowers, and each color required a separate board. The contour of the pattern was stuffed with manners. Their manufacture was more laborious: at first, the pattern on the tree was burned, filled with lead. The contour thus obtained was superimposed on separate boards. Depending on the size of the scarf, the pattern was divided into 4.16, or 24 parts. First, the contour of the pattern was stuffed, then all its colors were sequentially stuffed. Some shawls with complex patterns required up to 400 patch boards.

Creating a pattern for a shawl was a very important matter; artists were specially engaged in this. The drawing itself was valuable. So that the drawing could not be used by competitors, he was insured. The created drawing got to the colorist. The color scheme distinguished Russian shawls from Eastern and Western ones. Saturated, but very pure and delicate tones of red, pink, green, blue, turquoise, violet, yellow in the decorative floral patterns of Russian shawls created a major mood that corresponded to the Russian folk taste. Scarves were worn by girls and women at different times of the year, on weekdays - simpler, on holidays - more elegant, they gave the women's costume a special colorfulness and originality. The scarf, along with the sundress, has become a symbol of the Russian costume.

Researchers M. Shvetsova, who visited our region in the late 1890s, N. Grinkova - in the 1920s, noted the beauty of the headdress of peasant women. Girls wear shawls rolled up in a wide strip, which is superimposed in the middle on the forehead and wraps around the head, the ends of it are twisted at the back and transferred forward again with skillful curls, it turns out something like a crown, high in front and lowering behind; the crown remains open. Married women leave the corner of the shawl unwrapped to cover the crown of the head, the elderly unfold the ends of the shawl over the back, and the young twist around the head.

In the urban and merchant environment, the custom to cover the shoulders with a shawl took root, which corresponded to the Russian tradition of the costume to hide the shape of the female body.

In the XX - XXI centuries scarves and shawls have become one of the necessary accessories. Modern textile products preserve and develop traditions, responding to the demands of fashion and the tastes of the time.

A collection of shawls and scarves occupies a worthy place in the funds of the East Kazakhstan Regional Architectural-Ethnographic and Natural-Landscape Museum-Reserve. In 2009, it has 205 storage units and is constantly updated with new exhibits. This includes scarves and shawls made of wool, silk, cotton of the late 19th - 20th centuries of Russian and foreign textile production. The exhibits were purchased by the museum staff from all ethnic groups in the villages of the East Kazakhstan region, the cities of Ust-Kamenogorsk, Leninogorsk (now the city of Ridder), Zyryanovsk, Semipalatinsk.

Many peoples had a tradition according to which women had to hide their hair, as it was believed that women's hair had witchcraft power. A woman with an uncovered head becomes an easy prey and a receptacle for evil spirits, which is why it was the height of indecency to appear simple-haired, and in order to disgrace a woman, it was enough to tear the headdress off her head. From here it happened - “to goof off”, that is, to be disgraced.

Bandage "in a woman's way".
Shawl with "raw"

Archival materials of the museum testify: “Earlier, without a headscarf, a woman - God forbid - go out to the people! At home, she combs her hair, braids, 2 pigtails, puts on a shashmurka (a soft hat made of fabric) and ties a scarf. Researchers: M. Shvetsova, who visited our region in the late 1890s, N. Grinkova - in the 1920s, describing the women's costume, noted the beauty of the women's headdress. Girls wear shawls rolled up in a wide strip, which is superimposed in the middle on the forehead and wraps around the head, the ends of it are twisted at the back and transferred forward again with skillful curls, something like a crown is obtained, while the crown remains open. Married women leave the corner of the shawl unwrapped to cover the crown of the head.

Previously, they wore shawls, half-shawls, scarves and undershawls - such a classification of scarves, and with variants of explanations, was common among the inhabitants of our region: “a shawl and a half-shawl must be with tassels, a half-shawl is smaller than a shawl, a scarf without tassels, it can be one-color and multi-colored, liner - with a pattern in the corner. Or: “The shawl is big, but the scarf is smaller. They simply tied a scarf - they wore it at home. The shawl is also with tassels, but smaller shawls, it was worn over a scarf. You can't wear a shawl every day."

Cashmere and so-called "Turkish" or carpet scarves and shawls were especially popular among the peasants and merchants. Informants call them raw shawls, referring to the untwisted silk threads with which the pattern is woven. So, Rakhmanova Kharitinya Matveevna, born in 1926, a resident of the city of Zyryanovsk, recalling the stories of her mother, told that dealers-merchants brought shawls with raw materials from China. They left with horns (antlers), and from there they brought goods that they sold in the villages. For such a shawl, one could give a cow or three rubles. These shawls were called three-rouble ones. Silk shawls with two colored threads were called "two-faced" by our local residents, and thin, light-weight silk shawls - "wind blowers". A characteristic artistic technique for decorating scarves was a combination of contrasting bright colors: black with orange, green with red, and so on. Scarves and shawls were bought in shops in the village or in the city, they were expensive and worn with care. Before dispossession (1920s) "... rich families had forty sundresses and forty shawls." The old shawls of the museum collection are mostly festive, which is why they have survived to this day. They were bought by parents for daughters as a dowry, they were given for a wedding, a husband bought his wife, a brother bought his sister. In the famine years of the 1930s and 1940s, mothers cut shawls into pieces for their daughters as a keepsake.

The ritual significance of scarves is also known. According to the local wedding tradition among Russian old-timers, the bride and groom were designated by special ritual details of the costume. The groom was usually tied over his shoulders with shawls folded diagonally with an angle or stripe. The bride was covered with a special cloak that covered her head, reaching from behind to her waist, hanging down over her face in front. In the village of Sennoy, for example, it was made from two uncut coupons of printed shawls, in Bystrukh they threw on a cashmere shawl - “kashamirka”.

KP-18-20406
Tatar woman in a silk knitted shawl

GIK-7-1477
Glubokovsky district, village of Tarkhanka

Kazakh women, according to informants, in the post-war years (late 1940s) began to wear shawls and scarves instead of "borik", "saukele", "tubeteek". At present, the Kazakhs have preserved a transformed version of the rite of kidnapping the bride: if a girl who enters the house of a young man is thrown a scarf over her head, then she becomes a bride.

Most of the knitted silk shawls were purchased from Tatar women. According to informants, every prosperous Tatar family had such a shawl, it was tied around the head, sometimes over a cap - kalfak, one end went down on the chest, and the other was tied around the neck.

The special value of collections of this type are shawls and scarves with hallmarks and trademarks of the enterprises where they were made. In the collection of our museum there is a multicolored woolen shawl of the end of the 19th century with the trademark of the Konstantinov factory in Moscow.

Printed chintz shawls and shawls with a bright floral pattern along the sides on a light or colored background were the most popular in the city and the countryside. There are cotton shawls with tambour embroidery, multicolored, twill in the collection. Unfortunately, there are no chintz scarves with thematic patterns covering important events in state, social and cultural life. This interesting page in the history of the scarf is probably lost to us.

Creating beautiful scarves is an extremely delicate matter and requires great skill and creativity - proof of this is the museum collection. All shawls in the collection are industrial products, among them there are unique monuments of the late 19th and early 20th centuries, allowing you to see the artistic and technical features of the textiles of that time.

Museum archive. B/N folder, 2007, pp. 10-11. Expedition to Zyryanovsk. Informant: Ovchinnikova A.K., born in 1923, originally from the village. Snegirevo.
Museum archive. Folder B / N, 2006, p. 198. Informant: Ermolaeva A.F., born in 1928, p. Bystrukha, Glubokovsky district.
Museum archive. B/N folder, 2007, pp. 10-11. Informant: Ovchinnikova A.K.
Museum archive. Folder 1/64, 1981, p. 29. Informant: Korotkova H.K., born in 1903, from the village of Verkh-Myakonka, Zyryanovsky district.

Elizarova L.I.

Well? One more concern -
With one tear the river is noisier
And you are still the same - forest, yes field,
Yes, patterned to the eyebrows ...

And the impossible is possible
The road is long and easy
When it shines in the distance of the road
Instant glance from under the scarf,
When ringing melancholy guarded
The deaf song of the coachman! ..
A. Blok

Today I would like to talk to you about a feminine, gentle, chaste item of women's wardrobe - a scarf.

I used to wear a scarf only to visit the temple, not even a scarf, but a stole, and it was so comfortable, and beautiful, and the sensations are completely different, not the same as from a knitted hat.
This winter, I wanted to update the hat, and no matter how much I looked for it, everything was unsuccessful, everything seemed uncomfortable, or it didn’t suit me, or the color was wrong. Then I was inspired by the images of girls who wear headscarves instead of other hats, and decided to try.

Of course, it was important for me that the scarf was made of natural fabrics, as well as warm and beautiful. Therefore, I went directly to the Pavloposadsky Shawls store (Pavloposadsky Manufactory has been operating since 1795). The choice of scarves is simply mesmerizing, it was not easy to choose, but nevertheless I decided by choosing a scarf of lingonberry-pink-scarlet tones with a mixed pattern - a few flowers and a little ornament "cucumbers". Of course, at least 2-3 more scarves appeared on my list of next purchases.

To be honest, the feeling of wearing a scarf is amazing. It looks very feminine and unusual, soft and modest. He restrains - in a scarf it is much more difficult, for example, to be rude, or to argue.

It became interesting for me to study the history of the headscarf in Russia, and to understand why it makes me feel that way?
I invite you to join me on a short journey through history.
Initially, back in pagan times, women covered their heads in Russia to protect themselves from the cold, from the harsh climate.
After the Baptism of Russia, with the advent of the Orthodox faith on our land, women's headdresses are considered an integral part of the women's costume.
The headdress was a symbol of integrity: it was the height of indecency to seem “straight-haired”, and in order to disgrace a woman, it was enough to tear off the headdress from her head. It was the heaviest insult. This is where the expression 'to goof off', that is, 'to disgrace', came from.

In Ancient Russia, women wore crowns or rims, first made of leather or birch bark, covered with rich fabric, and then metal, adorned with precious stones. From above, long covers were attached to the crowns, which fell on the backs. According to V. O. Klyuchevsky, from the XIII century. noble Russian women began to wear kokoshniks on their heads. The word comes from the word "kokosh", that is, a hen, a chicken. Kokoshniks resembled an onion in shape. The edge of the kokoshnik was framed lower in the form of a net or fringe.
Kokoshniks were sheathed with dark red fabric and beautifully humiliated with pearls and stones. Kokoshniks for rich noblewomen and hawthorns were made by special craftswomen.

Artist Zhuravlev.

Then women began to wear ubrus - part of the headdress of a married woman - a towel richly decorated with embroidery. It was laid around the head on top of a lingerie - a soft cap that covered the hair - and tied or stabbed with pins.

Ubrus is a rectangular panel 2 meters long and 40-50 cm wide. The material depended on the wealth of the owner. The most common option is linen or other dense fabric decorated with embroidery or border. Noble women wore an ubrus of white or red satin and brocade. They wore such a scarf over a headdress.
In everyday life, peasant women wore simple scarves - a symbol of marriage.

Artist Surikov

At the end of the 19th century, scarves as a headdress were widespread in Russia. They were worn by girls and young women at different times of the year. Scarves gave the women's costume a special colorfulness and originality. At first, scarves were tied over a headdress (usually kichki), later they began to be worn on their own, tied in different ways on the head. Girls tied a scarf under their chin, and sometimes with the ends back (this is how married women wore a scarf). The fashion to wear headscarves, tying a knot under the chin, came to Russia from Germany in the 18th - 19th centuries, and the image of a Russian woman - "Alyonushka in a headscarf" tied in this way - was already formed in the 20th century.

A headscarf in the image of a Russian woman was the logical conclusion of the costume. He was, as it were, a salary for her face, a woman without a headscarf, all the same, that "a house without a roof", "a church without a dome." The scarf gave the woman a special femininity, tenderness. No other headdress gave so much lyricism to the appearance of a woman as a scarf.

Artist Kulikov.

A headscarf as a symbol of social status

Unmarried girls had different headdresses and hairstyles. Their main headdress was crowns, also called beauty. For example, the image of the tower in several tiers, separated by a pearl trim. The crown was a ribbon of Byzantine brocade pasted on a solid pad, one edge of which was raised and cut with teeth. The rim was made of silver or bronze.
At the ends of the corolla, hooks or ears were arranged for a lace, with which it was tied at the back of the head. The back of the head of the girls in such headdresses remained open. Cassocks descended along the cheeks from the crown - strands of beads made of stones or more often pearls, and the forehead was decorated with bottom. The crown was always without a top, because open hair was considered a sign of girlhood. The crowns of middle-class girls consisted of several rows of gold wire, which were sometimes decorated with corals and semi-precious stones. Sometimes it was just a wide bandage embroidered with gold and pearls. Such a bandage narrowed at the back of the head and was tied with wide embroidered ribbons that fell down the back.

In winter, the girls covered their heads with a high hat, which was called a stolbunets. Its bottom was trimmed with beaver or sable fur, and the high top was made of silk. Braids with red ribbons fell out from under the column. The fact is that a bandage was also put on under the columnar, wide in front and narrow in the back, which was tied with ribbons in the same place. Kosniks were sewn to girlish ribbons - dense triangles made of leather or birch bark, covered with silk or embroidered with beads, pearls, semi-precious stones. They were woven into a braid with the help of a golden twisted thread. After the girl got married, her head was covered with a woman's headdress.

A headscarf on the head of a married woman since biblical times has been a symbol of female nobility and purity, humility and humility before her husband and God, which is why without using a headscarf a woman expressed her pride, disobedience, and therefore could not be admitted to the temple for spiritual repentance.
It is also believed that a married woman showed her dependence on her husband with a handkerchief, and an outsider could not touch or disturb her.
A scarf gives a woman a sense of security, safety, belonging to her husband, adds femininity, modesty and chastity.

Scarf production

Throughout the 19th century all scarves were nameless. All the names of factory masters, authors of wonderful scarves, have not come down to us. Danila Rodionov is the first craftsman whose name is mentioned, he was both a carver and a printer.
Oriental shawls appeared in Russia earlier than in France. They entered the official fashion at the end of the 18th century. - in 1810, when the Empire style came. In the tenth years of the 19th century. the first Russian shawls appeared.

They were produced mainly in 3 fortress factories.

1. Kolokoltsov shawls - at the factory of Dmitry Kolokoltsov, a Voronezh landowner.

2. In the workshop of the landowner Merlina, who started with the production of carpets in the Voronezh province, then switched to shawls and moved the workshop to Podryadnikovo, Ryazan province. "The scarves and handkerchiefs of Mrs. Merlina, with their high kindness, deserved the first place among the products of this type."

3. In the workshop of the Voronezh landowner Eliseeva.

The shawls of all 3 workshops were called Kolokoltsov. Unlike Eastern and European shawls, Russian shawls were two-sided, the wrong side did not differ from the face, they were woven from goat down using the carpet technique and were highly valued. In the first quarter of the 19th century a shawl cost 12-15 thousand rubles. The best shawls were woven for 2.5 years.

In the middle of the 19th century in Russia, a special center for the production of national scarves is being formed - Pavlovsky Posad.) 0 there is material in the journal "Manufactory and Trade" for 1845. Excerpts from there: "On May 13, 1845, the village of Vokhna, Bogorodsky district, and 4 nearby villages were renamed Pavlovsky Posad ".
The merchant Labzin and Gryaznov, who entered into business with him, opened a factory for printed scarves, the factory employed 530 workers. Silk and paper products of the factory were bought up at fairs, which were held in Pavlovsky Posad up to 9 a year.

In 1865, Shtevko opened a large-scale production of printed shawls made of wool and chintz. But only from the 80s of the 19th century, when the Labzin factory switched to aniline dyes, did the type of Pavlovsky scarf begin to form, which glorified Pavlovsky Posad. The fact is that it is extremely difficult to obtain pure bright colors on woolen fabric with natural dyes. And now natural dyes were replaced by bright chemical ones - by the end of the 50s, aniline, and since 1868 - alizarin.
By the end of the 19th century. - early 20th century Pavlovian shawls are exhibited at international exhibitions, captivating with their originality and national identity. Bright, multicolored, they have become the most beloved among the people. Their popularity was facilitated by their versatility: the scarf went to everything and everyone - to the outfits of peasants and urban lower classes.

Patterns of Pavloposad shawls

Pavlovian shawls of the period of 1860-1870s stylistically differed little from the shawls of Moscow manufactories, which were mainly decorated with the so-called “Turkish” pattern, the style of which goes back to woven oriental shawls. This pattern is most characteristic of Russian woven and printed shawls of the first half of the 19th century. It involves the use of certain ornamental motifs in the form of a "bean" or "cucumber", geometrized plant forms. In Russia, interest in the art of the East was quite stable throughout the 19th century. Although some researchers erroneously associate exclusively floral ornamentation with the Pavlovian shawl, nevertheless, Pavlovian shawls with a “Turkish” pattern were also quite diverse.

In the 2nd half of the XIX century. the image of flowers, and in a somewhat naturalistic interpretation, was very fashionable. This was probably due to the romantic tendencies of the connection between man and wildlife, characteristic of the entire era of historicism. Preference was given to floral motifs in embroidery, lace, and fabrics. Porcelain, trays were decorated with bouquets of flowers, their images began to appear in interior painting. So, in decorating shawls with flowers, the desire of Pavlovsk craftsmen to make a fashionable product that would be in demand among buyers was manifested.

In the drawing workshop of the factory in 1871, already 7 draftsmen worked: Stepan Vasilyevich Postigov, Ivan Ivanovich Ivanov, Mikhail Ilyich Sudin (Sudin), Akim Vasiliev, Pavel Zakharovich Nevestkin, Boris Efremovich Krasilnikov, Zakhar Andreevich Prokhanov. By the end of the century their number had reached eleven. The work of artists was highly valued: the salary of the highest paid of them, Stepan Postigov, was at that time 45 rubles, which was almost 2 times the salary of a carver and several times the earnings of workers in other specialties.

Late XIX - early XX century. can be considered as the time of the final addition of the style of the Pavlovian shawl. The pattern was printed on cream or colored grounds, most often black or red. The ornament included a three-dimensional image of flowers gathered in bouquets, garlands or scattered across the field of a scarf. Sometimes flowers were supplemented with thin ornamental stripes or small elements of stylized plant forms. A distinctive feature of Pavlovsk shawls was the perfect harmony in the selection of color combinations and individual decorative elements. It is no coincidence that in 1896 the enterprise received the highest award of an industrial exhibition in Nizhny Novgorod: the right to depict the State Emblem on signboards and labels.

Since the mid-1920s, the traditional floral ornament has received a slightly different interpretation. Floral forms in these years are enlarged, sometimes acquiring an almost tangible volume. The color of the scarves is based on bright contrasting combinations of red, green, blue and yellow colors.
The drawings of the post-war period are characterized by decorative saturation, a denser composition of the floral pattern. The color and compositional fullness of the drawing with complex light and shade developments corresponded to the general trend in the development of applied art of those years.
In the last decade, work has been carried out to restore the drawings of old Pavlovian shawls. The creation of new drawings is carried out in two directions. Along with the development of the classical line, new, modern patterns appeared, taking into account the pan-European trends in the development of the scarf. In accordance with the fashion and style of the time, the color system of products changes. The color scheme is based on a harmonious combination of close tones with a predominance of beige, ocher, brown and greenish.

If you, like me, are interested in scarves, then look at the scarves on

MKOU "Secondary school d.Burmistrovo"

Russian shawl crown

Project work

9th grade students

Ermolaeva Antonina

Head: teacher of fine arts

Icategory Sudakova V.V.

2015

Content

Introduction

Main part.

II .

Practical part.

III .

Economic justification of the project.

Cost calculation.

Economic evaluation of the project.

IV .

Environmental assessment of the project.

V .

Conclusion.

Bibliography.

Internet resources.

Terminological dictionary.

Attachment 1

Application2

Annex 3

Appendix 4

Annex 5

Appendix 6

Introduction

Recently, the preservation of the traditional culture of the Russian people, which includes a large number of types of folk creative activity, has a huge potential in pedagogy, has become particularly relevant. It includes the spiritual and moral values and ideals of the people formed over the centuries, expressed in relation to the family, nature, economy. In ancient times, Russian folk costume was one of the elements of folk education, because everything in folk culture brought up: traditions, holidays, folk philosophy, worldview, folklore, accuracy, cleanliness and beauty had a positive effect on the child.

Russian folk costume is a source of creativity, an indicator of artistic, aesthetic, ethical views and worldview, for many centuries of the existence of Russia-Russia, serves as proof of the creative abilities and capabilities of Russian people. Its study has a deep ideological, moral, patriotic meaning, contributes to the development of contemporary art, the continuity of generations, the transfer of social experience to subsequent generations.

In the technology classes, I got acquainted with such a type of arts and crafts as patchwork plastic.Working with fabric with your own hands gives pleasure and incomparable joy from the implementation of the most daring ideas.I had a desire to create a collection of plot dolls in the national Russian costume and more fully.consider an element of the costume - a scarf.

In my work, I want to talk about the role of the headscarf in traditional Russian culture andshow the ten most common types of tying a scarf, conveying the mood that corresponds to the spirit of a Russian woman.

Target:

Create a story puppetin national Russian costumewith the characteristic features of life andshow how to wear and how to tie scarvesin Russia.

Tasks:

To study the history of the emergence and distribution of the Russian headscarf.

Find out from what fabrics scarves were made in Russia and how they were decorated.

Learn how to make doll models.

Show the traditional ways of tying scarves in Russia.

To arouse interest in folk traditions.

Practical significance choosing an idea comes down to the fact that in the future I want to transfer my collection to the school ethnographic museum.

The history of the emergence and distribution of the Russian headscarf in Russia.

custom to wearhandkerchiefRussia has a long history. Even in ancient times, a woman covered her head with a piece of cloth - a scarf, a scarf. At first it was worn over a headdress, and then they began to tie it directly on the hair.In the old days, the head was covered with towels, which were called ubrus. Information about ubrus towels has been preserved in written monuments since the 12th century. The custom of covering one's head with towels existed in some places in Russia as early as the 19th century.The traditions of the Russian headscarf are directly related to the Feast of the Intercession of the Mother of God, which exists only in the Russian Orthodox Church.In Russia, the image of a married beauty was unthinkable without a headdress. A scarf on her head meant a change in social status to a married one.Any changes in the life of a Russian woman were reflected in her headdress. During the ritual "Unleashing the mind" - the first haircut, the girl was presented with a skirt and a scarf. But wearing a headscarf was not obligatory for her until the girl reached the age of the bride. Then she still wore a wreath, a ribbon, a folded scarf, from under which a braid peeked out. The headdress has always been used in divination for the groom, for the Feast of the Intercession and for Christmas time. The wedding ceremony usually lasted more than a week, and each stage of this important celebration in the life of each girl was accompanied by a ritual with a headdress. The main sign of the engagement was a scarf worn on the bride by her father in the presence of her friends and older women. The show to relatives, the bachelorette party and the bride's bath were held using this accessory. Throughout the day of the wedding, the bride changed her scarf several times. After the ceremony, the hairstyle also changed: one braid was intertwined into two. Scarves were given to new relatives. After the wedding, a woman could not appear in public and among households without a headdress, which consisted of several elements: a warrior - a light soft cap, under which braids, "magpies" and a scarf or shawl were hidden. "Magpie" is a cap made of canvas or calico. If you look at the back of the woman's head in this cap, the headdress resembles a bird with bent wings. It was this bird that became the symbol of a married woman. The headdress was considered a solar, heavenly sign, as well as birds. Feathers and down were used as decoration for the "magpie". The shawls worn over had different colors. Young women wore predominantly colorful and red scarves, older women and widows wore black ones.

povoynik

Technologies for the manufacture and decoration of scarves.

The concept of "Russian shawl" is recognized in the world thanks to the work of talented artists and craftsmen in weaving and dyeing. Before the emergence of a monopoly industry, peasants,along with hand weaving in Russia in the second halfXIXcentury, the production of scarves on machine tools took on a mass character, cheaper printed scarves began to be produced.They wove scarves at home on simple homemade looms. Decorated with patterns and woven stripes. ATXIXIn the century, the decoration of fabrics in a printed way was already known, when, with the advent of cities, fabrics became a subject of trade. In order to speed up the process of drawing a pattern, a board with a carved pattern was covered with paint, placed on a cloth, and the image was imprinted with the blows of a wooden hammer. In the 17th century, Nizhny Novgorod handicraftsmen were engaged in heeling for themselves and for sale. The industrial production of printed and patterned scarves in Russia began at the turn of the 18th-19th centuries. Peasant farms with dye-houses and hand-looms became the basis of the future textile industry. Gradually replacing manual labor, steam engines, calico-printing machines, machines (Appendix 1) for patterned weaving were introduced. The hand-made peasant heel already had to compete with factory calico printing.

The first manufactories for the manufacture of scarves.

The manufactory, which began the production of shawls in the style of Kashmir, arose in 1806 in the estate of the landowner N.A. Merlina in the village of Skorodumovka, Nizhny Novgorod province. In 1813, a manufacturing workshop was opened in the village of Khava, Voronezh Region, on the estate of the landowner V.A. Eliseeva. The famous "Kolokoltsevo" shawls were magnificent. They were called so because they were made in the village of Alexandrovka, Saratov province, on the estate of General D. Kolokoltsev. Among woolen shawls, woven "carpet" shawls with oriental patterns can be called the first. The initiators of their production were the Moscow manufacturers Guchkovs in the 40s. XIX century. The weaving technique made it possible to make patterns one- and two-sided.

In Russia, they wore shawls, half-shawls, scarves and shawls, such a classification of scarves, and with explanations, was common among residents of the Altai Territory: a shawl and a half-shawl must be with tassels, a half-shawl is smaller than a shawl, a scarf without tassels, can be either one-color or multi-color , liner - with a pattern in the corner.

Shawl

Traditional ways of tying scarves in Russia.

There were ten ways to tie a scarf that have existed in Russia for several centuries, but are still found in our time and can be traced in modern ways of wearing this is a warrior, howler, (Appendix 2); sew, lump, wrinkle, (Appendix 3); covering of boards, fold, (Appendix 4); marmoset, bag (Appendix 5).

Tools and fixtures.

For work I need:

1 m of aluminum wire (doll frame).

Cotton fabric white and colored.

Multicolored ribbons.

Cotton threads.

Scissors.

Sewing machine.

Plywood (for stand).

PVA glue.

The technology of making a doll model.

Operation name

A photo

Tools, materials and fixtures

Create Sketch

Whatman paper, pencil, eraser.

Prepare the wire frame

Pliers.

Formation of the head and body.

Sintepon, kapron fabric, thread.

Sew a shirt.

White fabric.

Sew a skirt.When cutting the costume, we take into account the requirements of the traditional cut of folk clothes

Colored fabric, ribbons for decoration.

Tie a scarf.

Thin cloth.

Prepare the base.

Jigsaw, chipboard, ruler, pencil.

Attach the doll to the base.

Screwdriver.

Workplace organization and safety.

To work on a project, I have everything you need: a desktop, a sewing machine, an iron, an ironing board. Working with these products is not the same as the knowledge of work and safety precautions on a sewing machine and iron acquired in technology lessons. To work with fabric, I acquired a “patch” at a school circle.

Economic justification of the project

Cost calculation

Name

Quantity per 1 unit

Price (per 1 sq.m.), (pcs.) rub.

Total (rub.)

colored fabric

20 x50cm.

fabric white

10 x30cm.

1.70

braid

hair thread

beads

20pcs

Total:

10.70

The cost of purchased materials was 200 rubles, and the cost of materials used was 170 rubles.The material costs do not include the purchase of scissors, glue, brushes, drawing paper, synthetic winterizer, as they were used and purchased earlier.I do not take into account the cost of electricity, since the work was carried out in the daytime.

Therefore, the cost of my project is 170 rubles.

Consequently, my design work is economically beneficial, because, having spent 170 rubles on consumables, I received a collection of dolls that I like, and I hope that everyone who will watch it will like it (Appendix 6).

Chapter 4. Environmental assessment of the project

The technology of making dolls does not have a negative impact on others. In the manufacture of the product, environmentally friendly materials were used.

The execution technology does not have a negative impact on human health. Consequently:

The atmosphere is not polluted;

Non-harmful materials for human health;

Virtually waste-free production.

Work on the project was not very difficult to complete, but it required the ability to sew on a typewriter, attentiveness and accuracy, knowledge of the history of Russian traditions and creative abilities. And most importantly, a good mood.

Conclusion.

Working on the project brought me satisfaction. I learned a lot about the appearance of the headscarf in Russia, about its creation, about the traditions of wearing a headscarf, and what great significance it had in the costume of a Russian woman.

I learned how to create models of dolls from improvised materials. In my works, I tried to convey a piece of history. Each way of a tied scarf carries the goodness and wisdom of our ancestors, from youth to old age.

And I think that such crafts, which will tell about the significance of each way of a tied scarf on the head of Russian women, will arouse interest not only among children, but also among adults.For students, such dolls will serve as a good object of labor, for a teacher - a visual aid in the study of traditional Russian costume.

Bibliography.

1. History of the culture of the Russian people. A.V. Tereshchenko. Moscow;EKSMO,2007

3.Internet resources.

https://ru.wikipedia.org/wiki/

http//www.glebushkin.ru Shawl in Russian traditions and modernity.

Terminological dictionary.

Ubrus - part of the headdress of a married woman - a towel richly decorated with embroidery. Wrapped around the head - a soft cap that covered the hair - and tied or stabbed with pins. Known in the XVII-XVIII centuries in European Russia and Siberia . Ubrus steel successor and a scarf.

Jacquard (Jacquard)- a large-patterned smooth fabric with a relief contour repeating pattern, similar in appearance to a tapestry. Its warp may contain more than 24 differently intertwined threads. The fabric is made by the so-called jacquard weaving on a special machine. The density of jacquard depends on the thickness of the thread.

French weaver Joseph Marie Jaccara (Joseph Marie Jacquard, 1752 - 1834). In 1808, he introduced the jacquard loom, which became one of the most advanced machines for the production of cloth. A complex drawing, previously created by hand, is now stored in the memory of the machine. The uniqueness of the mechanism consisted in the possibility of controlling the individual warps of the thread during the formation of a canopy for each direction of the thread.

Attachment 1

Annex 2

The headdress of married women consisted of a soft cap and a scarf. It was made from canvas, chintz, calico, silk and satin. The hat was always covered with a scarf - silk and cashmere on holidays, canvas, chintz, satin - on weekdays. Going out into the street in one hat, without a scarf, or being at home with a stranger was considered very indecent. Over time, the cap was replaced by a cotton scarf, folded diagonally and tied at the back of the head. Over time, the warrior managed to supplant all the old hats: kokoshniks, magpies, borchats, bastings. It was widely distributed in Siberia. In the last century, it has become the headdress of older women. Some grandmothers, and sometimes young women, especially in villages, still wear a warrior.

- a silk scarf of a brownish-yellowish color, striped or checked. He pounced on the bride's head, covering a significant part of her face, when she lamented, according to custom, during the "bachelorette party". Then the scarf was thrown on when the bride was waiting for the groom in front of the crown, when she went to the crown in a sleigh. In the traditional wedding costume, as a rule, a howler was used - another name is a diaper. It was believed that the howler protects a girl who is getting married from the evil eye and evil spirits at the most important moment in her life.

Annex 3

- silk scarf folded in the form of a wide ribbon. It was wrapped around the head in such a way that the top of the head remained open. It was a symbol of not marriage. The ends were tucked under the scarf from the sides, and sometimes they were straightened at the temples. The ends were tucked under the scarf from the sides, and sometimes they were straightened at the temples. Sometimes at the temples descended "twigs" - tassels of horsehair, or "guns" - from goose feathers, iridescent drake feathers.

Scarves do not go out of fashion, they just sometimes appear at its peak. In Russia, a covered head was very important for a woman, so wearing a headscarf is associated with a whole tradition. You can tie a scarf “like a woman”, “like a merchant” and “like a noble”.

Pavloposadsky shawl

It seems that since the time of Tsar Gorokh, girls have been wearing Pavloposad shawls. They look so primordially Russian and original that their origin is beyond doubt! In fact, these bright colorful scarves appeared much later: the year 1795 is indicated on the logo of the Pavloposad manufactory. It was then that the hardworking peasant entrepreneur Ivan Labzin organized a small scarf factory.

White openwork "cobwebs" of the Orenburg shawl, which fit in the shell of a goose egg and pass through the wedding ring, really delight. For the first time, they learned about these products at the end of the 17th century, when the Russians, who had established themselves in the Urals, entered into trade relations with the local population. But downy knitting craft gained real fame in London after the world exhibition in 1862: in the famous "crystal palace" among many hundreds of exhibits, Orenburg downy shawls were first presented.

Tradition

A woman's headdress served as a kind of calling card: marital status, the class of the hostess, the wealth of the family, one could find out about all this only by looking at the scarf.

So, for example, married peasant women tied a scarf under their chin, “like a woman” - with the ends back, and ladies of high society preferred airy shawls-capes that corresponded to their “antique” outfits.

By the way, the fashion to wear headscarves, tying a large knot under the chin, came to Russia from Germany in the 18th century, and the image of "Alyonushka in a headscarf", tied in this way, was already formed in the 20th century.

In general, a scarf, oddly enough, appears in the wardrobe of a Russian woman only in the 17th century. Its predecessor was the ubrus - linen for peasant women, silk for noble persons, a piece of embroidered cloth. They covered their heads, cleaving under the chin.

patterns

"Russian Shawl" is a painstaking work of talented artists, masters of weaving and dyeing. In the colorful compositions of scarves, one can discern the traditions of folk art: carved patterns on the architraves of houses, embroideries on homespun towels and shirts, painting icons.

Among the simple class, canvas shawls with a woven pattern along the edges, shawls trimmed with calico and wool velvet, and printed chintz shawls were popular.

Wealthy ladies appreciated the lack of a wrong side (shawls are equally beautiful on both sides), the virtuosity of workmanship and expensive materials.

Eliseev shawls and shawls from the Voronezh province were famous for the amazing finesse of work, the richness of the ornament and color schemes. Vladimir was the largest manufacturer of chintzes and printed scarves.

The expression "goof off" has long roots and means: "to disgrace, to be in a disadvantageous, uncomfortable position." Still, after all, to appear to a woman with untidy hair in front of someone else was considered not quite decent, and tearing off the headdress from her head (leaving her simple) was a terrible insult.

In Russia, there was a tradition of “untying the mind”, when a little girl was given a skirt and a scarf. It was not necessary to wear it until a certain age, but the girl already received her first scarf from her father’s hands. In the old days, a scarf was the most desired gift.

A guy caring for a girl, a peasant husband returning from the city market, christenings appointed in a noble family - a gift in the form of a handkerchief was a sign of love, care, respect.

According to an old belief, a wedding scarf had a special magical power. It consisted of two colors - red (the color of a man) and white (the color of a woman). This combination meant matrimonial union.