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0RUSSIANS IN THE CULTURAL CULTURE OF CUBAN COSSACKS
Maltseva L. V.
Kuban State University, Russia
Abstract
At the present stage of social development there is an intensification of interest in the national, historical and aesthetic heritage of the Kuban Cossacks. Having absorbed the cultural, spiritual, moral and aesthetic experience of our ancestors, folk art crafts make up a huge and ancient layer of samples of decorative and applied art.
Keywords: embroidery, traditions, customs, culture, upbringing, Cossacks, ranks, ornament, towels, towel.
Embroidery is one of the most common types of needlework. It was associated with the customs and rites of the Cossacks, which was the purpose of this work. With the help of a needle and various threads, women turned a simple cloth into a work of art. From generation to generation, we transmitted and processed, improved patterns, color solutions, and created patterns of embroidery with characteristic national features.
Embroidery is part of the living history of the Kuban people, which absorbed the table, from the Gentiles to today. In each region these methods are their own.
How much can an ornament tell a man is a language of millennia: each sign contains a whole concept, and several characters standing in a row, like a phrase in a letter.
It is known that the ornament is a pattern built on the rhythmic alternation of elements. But not every pattern can be called an ornament. A pattern in which there is no consistent repetition of identical elements is not such. Ornaments can be:
Vegetable ornament is an orderly, rhythmic image of a plant motif.
Geometric ornamentation is created with the help of regular repetition, an abstract (linear) motive.
An ornament is called zoomorphic, in the composition of which there is at least one series of clearly expressed
animals, birds, insects.
Epigraphic is a textual motif.
Anthropomorphic ornamentation is a consistent the Kuban used mixed ornaments, which consist of gerepetition of stylized elements, in which the figures of ometric motifs. people were applied, and they rhythmically alternate with other ornamental motifs. Many embroideries of
In the Kuban embroidery the bird's image both in folklore and in ornament means the mediator between heaven and earth. She was also endowed with the func-
tions of protecting the health of women and her children. Representing a pair of birds meant a symbol of love and happiness.
Peacock - popular in embroidery. With the peacock in various traditions, the motifs of abundance, fertility, immortality are connected. It is considered a symbol of wisdom because of the many eyes on the tail. Widespread image of a peacock or two near a tree. In the East Slavic ornament the peacock is known for a long time.
Plant motifs occupy a central place in the Kuban embroidery.
Kalina - a favorite image in the song folklore of the Kuban Cossacks.
The grapevine played a big role in the southern ornamentation. She was a favorite motif of the embroiderers.
One of the first places in the ritual and everyday culture of the Kuban Cossacks was embroidered and woven towels - towels. They played a special cult role.
In the house of the Cossacks there were at least thirty embroidered towels. Some of them were intended for the bride's dowry and were prepared by the girl before the marriage. This is primarily a towel for newly-weds - the newlyweds used it the first few days. Two towels were prepared for future kids: for a boy - with a geometric ornament, for a girl - with a vegetable. A large family towel for guests was in the hallway. For the children of the guests, small white towels with embroidered flowers and birds were prepared [4].
Decorative towels intended for decoration of the interior, made of the best hemp and linen bleaching cloth and cotton. The length of the towel was from 2 to 4 meters, width 36 to 40 cm, less often they were made narrower 25-35 cm.
Towel decorating the icon
They were mainly embroidered with cotton thread on a hemp house, less often they used flax. At the beginning of the twentieth century, the factory cloth, mit-kal, came into use. Dominated by embroidery, which
were: the main colors - red and black. Sometimes the masters used black or gray in the place (from light gray to cold gray-blue).
The vast majority of embroidered products were made with a cross. Cross-stitch embroideries were common everywhere and also differed in the variety of methods of execution. In the Kuban, products made by the so-called Bulgarian cross (double cross) are not rare. In the ornamentation of women's shirts, less often towels, there is an embroidery with a small cross on account of the thread of the fabric. Embroidery on canvas appeared quite late. It began to spread in Russia especially from the second half of the XIX century, which was mainly due to new types of ornamentation and the
possibility of a more realistic interpretation of the motifs. In the first half of the XX century cross stitch embroidery became predominant.
The arrival of autumn in the Kuban marked the onset of the wedding time. Embroidered towel is an indispensable attribute of all pre-wedding and wedding ceremonies from ancient times to today. Each girl, preparing for her future marriage, embroidered wedding towels from a young age. Bread was served on a towel, hands were tied with a "young" towel.
Wedding Towel
When matchmaking in the Kuban, the towel played a certain role. So, if the bride agreed to a marriage, "she gives each of the matchmakers a plate of rush-ku, or a towel, as a sign that she accepts their offer. Usually it happened on a specially appointed day, which was called - "day of towels". By this time in the house of the bride her relatives and close acquaintances gather, are with the groom and matchmaker. "The bride gives presents to her father-in-law and her mother-in-law," boyar "and" boyfriend "- on a scarf," matchmakers "- in a towel. The bride herself shews her hand with a handkerchief, and the matchmakers are bandaged over the right shoulder with towels.
Throughout all stages of the wedding, the towel was used as a gift, as well as a sign of the wedding participants. Towel served as a belt for the bride during the wedding. Before going to church, the bride was given a towel and an icon. These towels were different for the bride and groom, i.e. embroidered men's and women's towels. The common element on the ornaments of these towers was lily flowers, which symbolized the continuation of the family, and on the women's towels - also innocence, and grape foliage with clusters that symbol-
ized the welfare of the house. On a woman's towel embroidered Kalina - a symbol of the feminine. Towel for the groom's icon. Oak leaves and acorns were embroidered on the towel of the groom, which meant stability and man's hand in the house, strength and health.
The towel served as a stepmaker, which was spread out in the church under the feet of the newly-wedged ones, a copper coin was put under it. After the wedding ceremony the footman (rushnik) and the money remained in favor of the church. Towel, to which the bride and groom became feet in the temple, in no case should have included ornaments of flowers or birds. Flowers and birds symbolize the basic family values - a joint life, love, children, therefore under their feet they did not put. On this towel was embroidered floral ornament. The most characteristic were viburnum, grapes, oak leaf and acorns. Sometimes the vegetative ornament was replaced by a geometric pattern, characteristic for this or that region of the Kuban.
Embroidered towels in the Kuban under the loaf. He was the most vivid and informative, for him there were practically no such restrictions as for the previous ones, on the contrary.
Towel under the loaf
On it were embroidered floral arrangements, in particular, the most common were the flowers of lilies and roses in the association one with another or separately. To them, other flowers were added. In addition, on this towel embroidered bird pairs. Most often on wedding towels embroidered pairs of pigeons, which symbolize love and consent; Swans, as a sign of loyalty to each other; swallows, which symbolize spring and love. In addition, on this towel embroidered wedding wedding rings and inscriptions-wishes.
Embroidered a towel, which connected the hands of the newlyweds, he combined elements of the towels, which were embroidered on the icons. Also on it were elements typical of the towel under the loaf. Embroidered wedding rings were embroidered on the towel for the newlyweds and inscriptions were made. By the way, embroidered wedding rings appeared on a towel in Soviet times. Embroidering a towel with wedding rings, it is important to remember that they must be fully closed.
Towels, which connected the hands of the newlyweds
Towels served as a sign of the costume of friends, as well as matchmakers.
The main patterns of embroidery on wedding towels were flowers, vases, birds, etc. The bottom was decorated wedding Towel rack-like or brushes adorned than achieved not only an illusion weighted bottom, but also feeling solemnity festive holiday.
Since joining her husband's house, the young mistress had to hang her towels, which she had prepared. At certain stages of the wedding guests gave rushniki. Accompanied by the ritual of the "transition" of the bride from her home to the house of her future husband
and had a prestigious value as an indicator of the bride's security, its handle-Delije and diligence. Often, ornamented objects were regarded as a sign of wealth.
All the rituals of the wedding for the Cossacks were associated with two main goals - protection from evil and ensuring young prosperous life and the continuation of the family.
Embroidered Cossacks decorated women's and men's shirts. They decorated their shirts with embroidery on the hem of the hem, along the edges of the sleeves, over the collar and on the chest. Embroidery
was carried out mainly with a cross, black and red cotton threads.
The bridegroom was sewed and embroidered by the bride herself and handed it over to her on the eve of the wedding. The main part of the female costume was also a shirt. In appearance, the shirts were
tselnokroenye with sewn sleeves and integral whole shirts.
Shirts were decorated with embroidery: everyday people are very modest, and festive, especially wedding, differed rich in ornamentation. Especially magnificently decorated sleeves, less - a cut of the gate and hem.
Kuban shirt
A modest towel was intended for the Cossack on the road. A necessary accessory was a shoe, symbolizing a long, happy road, and two lilies of red and blue. For the harvest, a very long towel (up to three and a half meters) was planned, separated by a width of a number of woven strips, its ends were ornamented with a floral pattern: cornflowers, bells and spikelets.
Reviving centuries-old traditions, customs of the Kuban Cossacks, where there are unique conditions for the formation and study of national potential. Connect not only to the culture of your region, but also to the social culture and spiritual heritage of our country. They help and continue to shape the youth's moral-aesthetic attitude to life.
Traditional Kuban culture is associated with continuous everyday processes of human life. Like any system phenomenon, it is a multilevel, multidimensional and multifunctional education. Taking into account the specifics of the origin of the Kuban Cossacks, the ethnic aspect should come first. In traditional culture, a specific layer with features of the Cossack way of life and Cossack psychology accumulates. This layer
is largely innovative. Magic, aesthetic and entertaining functions of culture are quite obvious.
Folk art is a product of the centuries-old experience of a large number of masters of different generations and it clearly embodies the basic principles of this type of artistic creation: stylization, transformation, flatness, decorativeness, ornamentality of the whole and its parts, rejection of all chance, insignificant, accentuation of the most expressive.
References
1. History of the Kuban / Pod. Ed. The cube. GU Shchetneva, V.E. - Krasnodar: The Kuban Book Publishers, 2004.
2. Maltseva L.V. Cuban studies in the classroom of fine arts in the secondary school. - Krasnodar: Tradition, 2010.
3. Maltseva L.V. Development of artistic and creative abilities of schoolchildren through the means of fine arts (based on the ethno-cultural culture of the Krasnodar Territory). - Krasnodar: Ekoinvest, 2009.
4. Turanina N., Shaternikova N., Mythological semantics of folk life, Belgorod, 2002.
НАЦЮНАЛЬНО-МОВНЕ ВИХОВАННЯ - НЕВЩ'СМНИЙ КОМПОНЕНТ ПРОЦЕСУ ФОРМУВАННЯ МАЙБУТНЬОГО МЕДИКА
Навчук Г.В.,
кандидат фiлологiчних наук, доцент кафедри сустльних наук та укра'шознавства «Буковинський державний медичний ^верситет»
Навчук 1.В.,
доцент кафедри соцiальноi медицини та органiзацii охорони здоров'я «Буковинський державний медичний ^верситет»
Шутак Л.Б.
кандидат фiлологiчних наук, доцент кафедри сустльних наук та укра'шознавства «Буковинський державний медичний ^верситет»
