Name
Valkevich Svetlana Ivanovna
Scholastic degree
•
Academic rank
associated professor
Honorary rank
—
Organization, job position
Shuya State Pedagogical University
Web site url
—
Articles count: 9
The article reveals the meaning of several Slavonic signs and symbols on the embroidered ornaments of Russian folk costumes and objects of domestic decor. The role of decoration of embroidered national costumes traces in the transmission of values and meanings of ethnic culture. Perpetuation of national cultural traditions in Russia
The article traces the history of origin of ecclesiastical embroidery in Ancient Russia, the use of works of embroidery in the design of Christian worship and decorative furnishings of the temples. The process of creation and artistic features of the medieval Russian art sewing
This article analyzes the economic development of agriculture which is possible in terms of market unity and public relations and the need for state support of small business on irrigated lands
The article traces the history of origin of ornamental embroidery in Ancient Russia and the use of works of the embroidery in the design of Christian worship. The process of creation and artistic features of the medieval Russian art sewing is also presented in the article
A study of the Russian costume and household
items was carried out. It is proved that folk art of
embroidery has deep artistic and craft traditions
and historical roots and is a special socio-cultural
type of folk culture. The ornaments were one of the
characteristic features of Russian clothing, its
technical techniques of embroidery, specific
ornamental motifs and colors, which determine its
originality, being, as it were, a passport of culture,
its historical path, intercultural and interethnic ties.
It is determined that decorative decoration with
embroidery of costume complexes, related to
archaism, is the value of Russian folk culture at
historical stages as universal values. The nature
and quantity of embroidery, even the semantic
meaning of ornamental patterns, depended on the
expediency, characteristic of folk clothes, on
reasons of economy, age and local differences, and
various customs in accordance with which clothes
were used. Images of ancient Slavic mythology
came into folk embroidery and lived there for
centuries not by chance. They decorated clothes,
towels, and ghosts, which had important ritual
significance during folk festivals and traditional
rituals. The people faithfully observed the laws of
fathers and grandfathers, along with them, from
generation to generation, images of ancient
mythology also came. The implication of the
research is that the history of every country entirely
depends on the artifacts which bear global
information about the epoch they were created
The article discloses a feature of graphic ornamental
motives of embroidery in clothing and household
decoration, typical for the North-West region of
Russia in the XVIII century. The semiotic status of the
Russian clothing and household decorations with
decorative ornaments embroidery with figurative
ornamental motives as a group of functionally related
items have remained very high, having both utilitarian
and sign pragmatics for millennia. Despite the sociohistorical
processes, changing the external shape of
the suit, the symbolism of embroidery patterns
remained unchanged and continued to exist until the
twentieth century. In connection with the political
events, readier subjects and fine motives can be traced
in the Russian folk embroidery due to the resettlement
of Novgorod in the XV century. This is the way from
Novgorod to Arkhangelsk and the path from Veliky
Novgorod to Vologda where Novgorod settled,
keeping their culture. It is proved, that there is a
correlation between the zoomorphic pendants, amulets
female ornaments of the tenth century and plot
embroidered with iconic ornamental motives of the
North-West region of Russia. People piously observed
the laws of their fathers and grandfathers. The
embroidery from generation to generation has been
portraying images of ancient mythology. The most
common images in the northern Russian embroidery
were the goddess of Mokos, Rozhanitsy, birds, horses,
moose, deer, and wild animals and plants, depicted in
subject compositions. The zoomorphic motives are
also the images of flying dragons, symbolizing
lightning, they are often found in Russian folk tales.
Fire Dragon was considered the protector of property
and fire. The people’s attitude to fire was special: it
was called "You sir, the King-fire", and it was
regards’ a god. One of the main roles in the
embroidery is given to the technical side. Counted
Russian embroidery stitches do not only recreate the
image, but also express its essence
The author carried out a research about folk motifs in
maiden headwear in the Russian north. The author
finds out that headwear is an important part of
women’s clothing that reflected aging and social
changes in the lives of Russian women. Headwear had
certain elements of the Upper world– the sun, water,
goddess outstretching their hands into the sky. The
author found out that a lot of attention was attached to
a human head in women’s headwear: it had solar
symbol on most of the embroidery (a radiant disk).
If there were five elements on maiden’s bands, it was
an indicator of a child-bearing age and often was
followed by a marriage. A decorative element with 5
beams and female bodies with outstretched hands
indicated her maidenhood, a connection with the sun
and upper gods. Seven fragments of this pattern at the
top point to child- bearing goddess; 7 pointy lines on
the top on the headwear in the Russian north.
The author also explains the meaning behind motifs
on the headwear which represents a cosmologic
system; it emphasizes the connection with the
Universe. The author concludes that those motifs also
revealed a complex nature of human outlook as helped
ward off sinister forces. The symbols are multifaceted
and require profound understanding. The structure per
se expresses in every component a complex nature of
the world
The author carried out a research about the
beginning of embroidery craft in Ivanovo region in
the XIX – XX centuries. Flax weaving has become
a foundation for embroidery—one of the most
peculiar feature of Ivanovo region. The author
proves that the folk craft of embroidery has deep
artistic-vocational traditions and historical roots.
Motifs of the ornament, symbolic designs were
also common not only for North-Western Russia
but also were widespread in the present Ivanovo
region, former Vladimir, Kostroma and Yaroslavl
provinces. The research found out that those who
lived this territory used to live in Novgorod lands
that was often proved by the motifs of the
embroidery that were quite popular in that part in
ancient times. The techniques of embroidery and
patterns of the drawing echo with the ones from
Arkhangelskay province in the XVIII – XIX
centuries. By the end of the XVII and the
beginning of the XIX centuries Ivanovo region was
well-developed in crafts that became an important
part of folk culture of the Upper Volga region. The
author researches the organization of embroidery
craft after the October revolution of 1917,
formation of craft groups and their reorganizations.
It was also found out that by the middle of the XX
after the Great World War of 1941-1945 the craft
was reorganized one more time. New experimental
and creative workshops were formed; new
production locations were built for factory workers
on a state level, special favorable conditions were
created for effective work. With the advent of
Perestroyka in 1990s embroidery as a craft was
almost lost. The implication of the research is that
the history of every country entirely depends on the
artifacts which bear global information about the
epoch they were created
The article dwells on the reason that brought about
changes in Russian folk costume in the XIV–XVIII
centuries. Long time ago Russian towns that were
located on the banks of Volga as well as Nizhniy
Novgorod that had close connections with South
Baltic and with Ganza played a significant role. It also
establishes a connection between Russian population
and overseas merchants from the areas of the Caspean,
Blue (Aral) seas, and South-Western coast of the
Baltic Sea. The author reviews a range of goods that
were sold. The author shares their findings about
Nizhniy Novgorod and later on Russia could get the
merchant goods from Europe’s major cities during the
XIV–XVIII centuries. The author also determines the
fabric that was imported from Asian and Western
countries that was used for manufacturing clothes for
Russian nobility, merchants, and rich peasants. The
author introduces new findings about women’s
garment (pinafore) and new method of embroidery.
Russian North because if its location (sea and ground
ways) and business was adopted urban traditions
which resulted in a new type of a pinafore dress. The
author dwells on the business between Russia, Persia
and Central Asiaand also finds out the contribution of
the people from the area of the Volga River who
enriched a range of artistic expression in Russian folk
costumes and introduced oriental motives in them.
Bright and dynamic accents appeared inholiday
costumes of Russian people. Those clothes were made
from eastern and European fabrics. The author
examines the clothes of that time and infers that the
fabric and decorative elements that were imported
form abroad considerably enriched Russian folk
costume: new methods of embroidery and bright
colors in decorative elements