Khanty ornaments and their meaning. Semantics of Khanty and Mansi Ornamental Patterns

In the culture of any nation there are features that determine its originality, which are, as it were, calling card original culture, its historical path, intercultural and interethnic relations. The traditional folk ornament, to a greater extent than any other component of spiritual and material culture, is saturated with information encoded in the signs and motifs of patterns about the origins of the culture of the people, its development over time.

The ornament enlivens things, makes them more visible, beautiful and original. In the ornament in a bright form are revealed artistic features people, their aesthetic tastes, richness and national originality of art, sense of rhythm, understanding of color and form.

As far as the concepts of measure and beauty differ among different peoples, so, as a rule, their most characteristic ornaments, which are a kind of symbolic “formula” of these ideas, also differ.

Russian folk ornament

Russian folk ornament is an exceptionally fertile material for this. A huge variety of techniques, motifs, various local variants of Russian folk ornament is a huge layer of culture in which you can find many interesting details for yourself, explaining a lot in the internal logic and principles of the development of the culture of our people.

Today, the richest ornamental culture of the Russian North and Central Russia has been studied quite well, many samples of woven and embroidered patterns collected as a result of more than a hundred years of collecting work have been published.

The ornament of traditional war belts is similar to the patterns of ancient towels; in most cases, these are the same compositions of comb-shaped rhombuses and oblique crosses; in later things - combinations of triangles, squares, "checkered" rhombuses.

It's hard to imagine now what it would be like further fate traditional peasant art and ornament, including, if this process had not been interrupted by artificially known historical events- collectivization, "enlargement" of villages, the destruction of the age-old way of life of the village.

Towels

The attitude to the ornament as a protective, healing force has survived in some places to this day - in some Russian villages of Altai, it is customary to wipe children with skin problems with patterned broken ends of towels. It is unlikely that in the past any significant event in a person's life from birth to death took place without the participation of towels. For our ancestors, a towel was not just a utilitarian, household item, it was a ritual thing, an indispensable attribute of family and social rituals. Such an attitude towards the towel was not accidental: since ancient times, the meaning of a talisman has been attached to it, the towel has become a symbol of good forces, a bright beginning. The towel was put on the main participants of the wedding - the boyfriend, the "big boyars"; the bride gave a towel of her own work to the new relatives - this was a kind of rite denoting her entry into new house.

Wool Pattern Knitting

Wool pattern knitting is one of the few female occupations that has survived and is quite widespread to this day. Of the traditional types of wool knitting, only mittens have survived. Craftswomen of the Russian North have kept their original knitting patterns for many years. Every craftswoman knows from childhood big number drawings, which she herself still varies in every thing. The patterns on mittens are as significant as all ornaments in folk art. In the knitting of Mordva, the most interesting patterned socks have also been preserved.

Stylized birds, flowers, rhombuses, crosses, triangles, stripes in complex combinations, pleasing to the eye - these are amulets that passed from mother to daughter and are still preserved on warm woolen "knittings" of Pskov and Arkhangelsk craftswomen.

According to tradition, the patterns of Arkhangelsk knitting should not be broken, they should not be knitted unfinished, cut off and loops added to them. In finished mittens, if you put the right and left side by side, the pattern of the ornament of one mitten should continue in the pattern of the other. The pattern is knitted the same way both on the back of the mitten and on the palm.

Arkhangelsk patterned knitting has not undergone almost any changes over the centuries. Only the composition of the yarn and the color scheme has changed. Initially, only combinations of black, white and gray were used in the pattern - the colors of undyed goat hair. Then they learned to dye wool with the help of roots, flowers, fruits, cones - it was a very laborious process.

Khanty and Mansi ornaments

Until now, Mansi and Khanty ornaments have not been published in our country in such a volume and scientific systematization, only individual units of ornaments were mentioned in the works of scientists and researchers of Mansi culture.

Ornamental art is an important part of modern Mansi culture. The ornament can be found in products made of fur, leather, birch bark, beads, fabric, wood, bone and metal. Even today, the Mansi decorate their clothes, shoes, scarves, belts, bags and other household items with an ornament.

The ornamental art of the Mansi was usually considered in combination with the ornamental art of the Khanty as the decorative art of the Ob Ugrians, since the differences between the Khanty and Mansi ornaments are insignificant.

Availability common features in the ornament of the Khanty and Mansi was the result of the common territory inhabited by these peoples, and close economic ties that existed between them. So, the Upper Sosva, Sygvin, Upper Lozvinsky Mansi have long exchanged with the Ob Khanty, with the Nenets, they exchanged fur products for birch bark, which led to the exchange of motifs of ornaments, their comprehension by these peoples.

In the recent past, Mansi farming was subsistence. They made everything necessary for everyday life and crafts themselves. Since ancient times, there has been a division of labor in the production and decoration of clothing, shoes, utensils and other household items. Men were usually engaged in the manufacture and finishing of products made of bone, wood and metal, women processed skins and birch bark, made rovduga, sewed things from these materials, beautifully ornamented them.

Craftswomen are very proud of their ability to make beautiful things, because not every Mansi woman can carve an ornament, sew narrow strips of fur or leather beautifully and neatly. Craftswomen S. V. Pelikova (Nyaksimvol), A. M. Khromova (Sosva) proudly showed their products, lovingly smoothed the fur with their hands, trying to show this or that ornament more expressively. The feeling of dignity and worship of the craftsmanship of ancestors sounded with particular force when they showed things made by mother, grandmother or father.

The craftswoman spent a lot of time on making things. For example, it took one or two years to embroider a shirt or a dress. On sakhi, the craftswoman performed the ornament for 5-6 or more years. The work was usually done in winter time, in low light.

Materials for the manufacture of ornaments are used very different. The choice of ornamental motifs and their composition also depend on the choice of material. Men's shirts and women's dresses were often decorated with embroidery in addition to appliqué. Embroidery was applied to the yoke, collar, placket, hem. The finest finest wool embroidery is a thing of the past.

A variety of embroidery is beaded sewing on fabrics and leather. Colored beads (palsak) were used to decorate wedding headbands, chest and neck ornaments, clothing details, collars, cut edges, part of the shoulder, and cuffs. Two methods of weaving with beads are known: openwork mesh and sewing beads on fabric. The top of women's short leather shoes was embroidered with beads. They preferred bright, juicy colors of beads (black, blue, red). White color was more often used for the background. At present, small napkins, purses, and jewelry are woven from beads.

The origin of the ornament. motives

Regarding the origin of the ornament, its connections, there are various statements and theories. So S. K. Patkanov in 1897, in a study on the oral art of the Irtysh Khanty, highly appreciated products made of birch bark and embroidery, pointing out the similarity of the latter with the embroideries of Russians, Mordovians, Zyryans, Permians and Tatars.

Ornamentation traditions include symbolic images of representatives of the flora and fauna of the local region. The compositions of these images, as well as the images themselves, have not changed over the past few centuries and have been rigidly fixed by tradition. Color palette products belongs to the Central Asian Institute of Decor, which is characterized by brightness and contrast of colors. The first publications of Ob-Ugrian ornament motifs were noted in 1872 in the album of V.V. Stasov and in 1879 by the Hungarian scientist A. Reguli. These were colored samples of Khanty embroidered patterns, where three categories of motifs were developed: images of birds: images of trees, geometric motifs. Birds and trees, due to the processes of stylization, have different combinations, conditional forms. There are paired birds, with various elements between them.

The question of the origin of the motif of paired birds attracted researchers. It is believed that images of this kind penetrated to the Chuvash, and then to the Ugrians from the countries of the East, but there is reason to believe that the relationship between the East and the peoples of the Volga and Ural regions developed both in the Bulgar time and in an earlier period, when the role of intermediaries was played by the Sarmatian and Alanian tribes.

Symbols of Ugra

Blue - rivers and lakes of the region

White is the color of snow

Green is the color of the taiga

National ornament of the Khanty and Mansi - deer antlers, amulets

Careful attitude to centuries-old traditions is typical for the peoples of the Khanty and Mansi. folk craftsmen and craftswomen who created beautiful exquisite ornaments on leather, furs, nettles and linen canvas, cotton fabrics, wood, bones, invested in their works the experience of many generations living in the harsh northern region.

Complex climatic conditions left their mark on many traditional types of creativity, including the complex art of ornaments, for their creation, beads of bright saturated tones, color applications are used. The beauty and uniqueness of national ornaments can be fully appreciated at the traditional holidays of the Khanty and Mansi - at this time, each cozy roadside hotel receives a huge number of competitors and spectators who come to see exciting colorful events.

Functional features of ornaments

History of ornaments Ugric peoples Khanty and Mansi has ancient roots. Researchers have identified its origins, which date back to the Bronze Age. Already in those days, the ornament was characterized by special functions, including:

• communicative (the function of transmitting information that was invested by the creators in their products);
• aesthetic;
• magical.

Communicative function of Khanty and Mansi ornaments

The information embedded in traditional ornaments is of particular importance: with its help, the master conveyed his own wishes to the people for whom his creations were intended.

The art of ornamentation is an important part of the Khanty and Mansi culture. The ornaments, unsurpassed in beauty, contain knowledge, peculiarities of thinking, traditions and experience of many previous generations. Thanks to the rich design, things decorated with ornaments acquire special originality and value becoming a work of art. Fair pride in one's work and the special artistic merits of the created works are inherent in many masters of the ornamental genre. Their work and the ornaments they created were very accurately described by the poet Mikul Shulgin:

They didn't just come to life
From under the needle, and the brush, and the cutter:
After all, masters of wood and bone
They put their hearts and souls into them.

Each pattern of the Khanty and Mansi ornament has its own meaning. Here are some of the many symbols used in the art of the Khanty and Mansi peoples:

• the cruciform star symbolizes the sun, especially revered in the north, the harmony and harmony of life;
• long parallel lines represent long way life;
• men with strong muscles - health and beauty;
• triangles in the form of a yurt - the shelter of a native home;
• branched patterns, bundles of several patterns into one whole denote the strength of the family, the unity of the family, the family hearth and life as a continuation of the family.

A special place in the ornaments is given to the gods revered by the Khanty and Mansi - these are patterns depicting:

• eyes of God, also meaning insight, peace;
• connections between heaven and earth;
• protect from evil (black and white cubes and stars).

Each such sign means that a person whose dwelling or clothes are decorated with a similar ornament, is under divine protection, and from now on he is not afraid of evil forces and natural disasters.

Aesthetic function of ornaments

Everyone who has visited the traditional holidays of the Khanty and Mansi - Crow's Day, Bear's Day, Reindeer Breeder's Day, etc. - knows how bright and beautiful the traditional festive clothes and handicrafts of these peoples look. Bright life-affirming ornaments look especially attractive against the background of the snow-white expanses of the tundra in the bright sun. Ornaments and amulets accompany the northern peoples both on weekdays and on holidays - these traditions are sacredly kept and continue from generation to generation.

Magic principles for creating ornaments

Some ancient customs, along with modernity, are still present in the life of the Khanty and Mansi today, and this is due to a deep respect for the traditions of antiquity left by previous generations. The rules of survival in the harsh northern region, established by the ancestors, are sacredly honored and observed. magical properties laid down in traditional ornaments - these are amulets from evil and anger, patterns that attract goodness, prosperity and happiness to the house.

Colorful ornamental symbols based on the belief in goodness and family happiness accompany the inhabitants of the northern region throughout their lives, giving people strength and confidence in the future.

Each nation has its own peculiar features, which are considered the hallmark of its original culture. From the history of the northern indigenous peoples (Khanty and Mansi), it is known about Khanty patterns and ornaments. The pictures of our article will give you some idea about the features and symbolism of such motifs. After all, these are not just drawings, they encode information about the culture of the people, its development. The northern people used these patterns for embroidery, wood and bone carving, and beading. Pictures of Khanty ornaments and patterns enliven any thing, make it noticeable, beautiful and original. The Siberian land is rich in hardworking craftsmen who, with the help of patterns, were able to convey the beauty of the nature of their land, rich spiritual world its inhabitants. We invite you to get acquainted with the Khanty ornaments and their meanings.

A bit from the history of the indigenous peoples of the North

Created long before the annexation of the Siberian lands to Russia, they tell about the tribes of northern Asia, who were the ancestors of the current peoples of Siberia - the Khanty, Mansi, Nenets. The Khanty became an ethnic community in 1,000 AD. e., when the southern Ugric tribes and tribes of fishermen and hunters of the taiga Trans-Urals. Literature speaks about some features of the culture and language of different Khanty groups. Southern and northern Khanty - this is how their experts divided them.

In the north, the main occupation of the Khanty people is fishing, reindeer herding, and hunting. They build wooden houses and tents. Fishermen and hunters can have several dwellings in different places. Reindeer herders have a habit of placing a tent where they stop. Any building they have is called hot. They are birch bark, earthen, plank.

Khanty men and women share a way of life. Men are engaged in products made of wood, bone and leather, and women make fur clothes, weave cloth, and decorate outfits with beads. Peculiar elements of pagan culture have survived to this day - patterns and Khanty ornaments. Pictures of these motifs prove a peculiar vision of the world of the northern peoples. These ornamental compositions have their own artistic principles. The Khanty people expressed their moral and aesthetic ideals with them. After all, you need to be courageous in order to live on this earth, you need to have a generous heart in order to love the harsh north. Indigenous people like its soft colors, stingy spring and white summer.

What was the ornament for the peoples of the Khanty and Mansi?

Artistic language The Khanty people are diverse. The very word "ornament" has the meaning - "decoration". The ornament was an element artistic style for architecture, sculpture, painting, graphics. Patterns for were not an end in themselves, they created them to decorate something. They used them quite widely - from drawings on the outer and inner walls of buildings - to dishes. They were used to decorate fabrics, embroideries, lace, metal products, and trim clothes. Ornaments gave new life to everyday objects, expressed attitude to everything around, created a special artistic world.

Khanty patterns and their names confirm that they were used in applique, edging things. With their help, parallel rows, vertical and inclined stripes were made. Contour motifs give weight and completeness to these drawings. It is important to note that, like all ornaments, Khanty motifs also consist of rapports, constantly repeating parts.

The basis of the Khanty ornamental system

The main elements of the ornament of the indigenous peoples of the North were a triangle, a square, a rhombus, a zigzag, a cross. All these elements were connected as a result of a long observation of the surrounding world. Many people are interested in Khanty ornaments with names that were given by similarity and likeness to objects, plants, animals, natural phenomena. Such patterns enlivened things, made them more visible, added beauty and originality.

Most often, ornamentation included a symbolic image of representatives of fauna and flora. Shades were characterized by brightness and contrast of colors.

The main theme of the patterns is the sun, because in those parts every ray of it is worth its weight in gold. The second most important is the image of a deer or its horns. Indeed, for the northern peoples, the deer is considered the best friend, breadwinner, cab driver, savior. Bone is taken from it for making weapons and veins for sewing.

The most common Khanty patterns

Strict order is inherent in the geometric Khanty ornament. It is based on a strict geometric alternation. After the geometric pattern, a floral motif follows. It is most often used in woodcarving.

And now in more detail about geometric pattern. Very often, the Khanty used a cross. With it, they tried to protect themselves from pain and hide from illness. The cross has a protective function, it is the border between the worlds. There is an oblique cross called "dog's paw", which limits people from hostile creatures in this world.

The Khanty gave a special place to the rhombus, it was called "heart deepening". It is no longer possible to apply a pattern on top of it, so as not to spoil the fate of a person. There is a rhombus with a void inside or in the form of a frog, which was revered by the northern people. She was associated with a "jumping woman" capable of giving happiness.

Often in stripes of ornaments there are straight lines and zigzags. A straight line is considered the simplest geometric ornament, but a fairly common element of decoration among the Khanty. Zigzags were used for birch bark products, as well as appliqués with fabric on fabric. The sinuous line in the center of the ornament was considered the personification of life and a living being. Everything alive and animated is connected with the zigzag. Often, birch bark cradles for children or the backs and sides of cradles were decorated with them.

Some pattern motifs are associated with the triangle. It is he who looks like an ax, with which the Khanty have a lot to do. The ax was used in many wedding, funeral rites, bear games. The ax has a cleansing function. To be cleansed, every woman had to step over the ax. Also, the triangle was used for ornaments "duck brood", "pike teeth", "cedar cone".

Khanty ornaments and their meaning

Patterns for the Khanty people is a whole system that replaced writing and accompanied a person from his first steps to death. The Khanty patterns and their names, which have all the motives, are also interesting. These names say where the owner came from, whether he has wealth, about the color of his deer, about the needlewoman-wife. Craftswomen using a birch bark stencil cut out patterns from kamus (skin that was removed from a deer's leg). Camus was selected according to the shade and length of the pile. Then, with the help of deer tendons, the details were sewn together, and the seams were trimmed with inserts of colored cloth. We invite you to take a closer look at some of the patterns:

1. "Hare ears". It is used to decorate children's things and is associated with fertility.
2. "Capercaillie". This bird is considered the guardian of the child's sleep and his health.
3. "A brood of ducklings".
4. "Fox paw".
5. "Small ripples of water".
6. "Goose Wing".
7. "Hare ears".
8. "Squirrel Trail".
9. "Otter".
10. "The Man on the Horse"
11. "Cedar cone".
12. "Frog".
13. "Bug".
14. "Antler".
15. "Birch branch".
16. "Bear trail".
17. "Flowering bush".
18. "Rushing Waves".

With the rhombus, the Khanty are associated with the patterns "beetle", "half of a man", woodpile", "spruce", "mouse". The peoples of the North have a special relationship with beetles, they see their grandparents in them. They believe that after death souls turn into small bugs. Spruce is considered a sacred tree. In the spruce itself and its roots, the Khanty saw a combination of the upper and lower worlds. The destruction of all hostile creatures of the lower world is associated with the mouse. As you have already noticed, the names of the patterns were given according to the similarity and similarity with the object.

In addition to the above symbols, one could see the mythical mammoth, sable, and cedar on the ornaments. The deer is associated with the victory of good over evil, with the bee - diligence, with wings - movement.

Of the animals in the patterns, there is a snake, a creeping snake, a sable. On the theme of birds, you can see the tail of a black grouse, the wings of a seagull, the neck of a duck. The theme of plants is presented by cones, tops of spruce twigs, broken birch branches. The phenomena of nature are reminiscent of the rolls of waves, ripples of water. All of these patterns are either linear or rosette type.

And now we will present you the names of ornaments in the language of the northern people:

Applying embroidery patterns

There are three ways of Khanty embroidery: "kerem-khanch", "ektem-khanch", "sevem-khanch". The first two are similar to Russian double-sided embroidery. And the last one, borrowed by the indigenous population from the settlers, is made with a cross and is considered one of the last techniques of the southern With the help of restored patterns and embroidery techniques, craftswomen still create national costumes decorated with colorful ornaments.Modern craftswomen decorate bags, purses, hats, belts with such embroidery.

The main feature of embroidery of such patterns is that they are strictly geometric and consist of rectangles, corners, rhombuses, zigzags. These embroidered strips encoded the information of the Khanty peoples.

Beaded works

The decorative art of the Khanty peoples is permeated with the great role of women in it. One of the most interesting views female creativity is considered to be the manufacture of jewelry from beads according to local patterns. Once upon a time, beads were brought north by the British in exchange for furs. Merchants bought beads and sold them Khanty. In Tobolsk there was a whole warehouse of beads. Among the northern Khanty, the beads had the name "sak" and "sek", which meant "stone". In the 20th century, porcelain beads were popular.

Women decorate sleeves, skirts, floors and breasts of summer outfits with bead ornaments. For young girls and girls, orange, green, blue, red colors are used in products. Not only embroidery with beads is practiced, but also weaving of openwork chains, mosaic products. Very often, beaded works with Khanty ornaments are presented at various exhibitions of arts and crafts. Beaded pendants for headwear, napkins, belts, bracelets and purses look very impressive.

Woolen products with patterns

One of the few women's occupations of the Khanty that have survived to this day is patterned knitting on wool. Basically, only warm mittens are knitted. Khanty ornaments are very suitable for them. Since childhood, every craftswoman knows the main patterns that she herself corrects while knitting. Motifs on mittens have as many meanings as in other types of needlework.

Sometimes patterns are also used to knit socks. Craftswomen know that it is important when knitting not to leave the ornament unfinished. Sometimes the pattern of one mitten continues on the second or on the palm. Over the years, Khanty patterned knitting has not changed much, only the composition of the yarn and the palette of shades have changed. Once, only black, white and gray colors were used for knitting, then blue and green color. The Khanty bought wool, but then dyed it themselves.

Decoration with ornaments of clothes

Northern peoples represented beauty in their own way. For real beautiful woman should be a needlewoman, because it is she who is considered the bearer of ornamental traditions. With the help of patterns on clothes, the Khanty reflected tribal features. On women's fur coats, ornaments are placed along the edges of the products. A bear's footprint was often depicted on the mittens, which predicted success for the future hunter.

Patterned applique was often made on demi-season women's clothing. Fur mosaic was made on children's fur coats. Khanty patterns adorn various sakhis, cloaks, and dresses.

Reindeer skins served as the main material for the warm clothes of the Khanty. Such a women's fur coat is called "sah". She has ties in front, the inner lining is also fur. Sometimes the top can be made of bright durable cloth. In those areas where there were few deer, craftswomen sewed many small paws and skins into one large cloth. Such a sakh was embroidered with various ornaments along the edges.

Khanty women had a special device - Tutchan, which was passed from mother to daughter. This is a special birch bark box for storing needlework accessories. The needles were stored in special needle cases. The women worked all day, sparing neither their eyes nor their hands. Some of the complex work took years to complete. Scarves, scarves, trousers, mittens were decorated with northern patterns. Patterns were also used for appliqués on men's shirts, robes, pillows, deer blankets, and bags.

Today curly motifs can be made of wood, plastic, cardboard, leather. The highest precision is needed for cutting down the Khanty ornament from plywood. This can be used to make photo frames. IN educational institutions today, at labor lessons, crafts for younger schoolchildren with Khanty ornaments are thought out.

Sacred properties of patterns, protective and totem functions

Khanty patterns were not only an adornment of clothing, but were also considered sacred symbols. Such sacred ornaments were used to make ritual belts, mittens, and hats. Items with their image were intended for guardian spirits. In the sacred patterns, there is a certain power, a charge of energy to purify the object on which they are depicted. Among the sacred patterns, the bear theme is considered a favorite. The Khanty attributed a heavenly origin to the bear and considered him the son of Torum. There is a belief that a bear has several souls capable of seeing, understanding and feeling everything. The pattern was used to become a successful hunter.

Often there are patterns associated with a deer. They are also sacred, symbolizing the land where the herds of these animals live. The Khanty ornament "sun" is associated with the giver of strength, energy to maintain earthly life, which was called "hire-mother" (sun). The strokes near the sun symbolize the seeds of life, from which not only people, but also animals and plants will be born.

It is important to note that the blue color in the Khanty ornaments symbolizes the rivers and lakes of the region, the white color is associated with snow, green - with the taiga. But they are considered national ornaments northern people, a kind of amulet. Often these patterns are emblazoned on medallion pendants.

The material reflects the Khanty folk art of ornamentation. The material can also be used as an album for older children. preschool age, is the regional component.

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Khanty ornament and its symbolism.

Khanty folk art of ornament

The clothing of the Khanty people is rich in ornamental patterns. Fur coats, cloth clothes, shoes are decorated with pima (cloaks). These are winter boots made of deer skins, which are removed from the legs of a deer. The work is long and painstaking, but such boots are very warm, light, durable and comfortable (they are not sewn with ordinary threads, but with the fiber of dried, crushed deer tendons).

Khanty ornaments are beautiful -
They have all the signs of my homeland.
You will no longer find all over Russia
Such flowers and fabulous animals.
Patterns on clothes and dishes
Red as the sun and white as snow
Looking at them since childhood, our people
The beautiful will not be parted forever.
They didn't just come to life
From under the needle, and the brush, and the cutter:
After all, masters of wood and bone
They put their hearts and souls into them.(M. Shulgin)

The ornamental system of the Khanty is based on two basic concepts: “trace” and “image”. Both concepts go back to the hunting worldview. Finding the trail of the beast is almost a prey, so the trail is sacred. "Trace" sets the border organization of the ornament. If the trace is sacred, then the parts of the animal's body that leave it are also sacred. Among the Khanty, who live a traditional life, you can find garlands of dried "paws" of various animals: the more of them, the more successful the hunter. Therefore, the names of ornament motifs often include the words “paws”, “claws”, “foot”. In continuous borders, the principle of synonymy between background and pattern was strictly observed. Another idea for continuous borders is the "head", the multiplicity of heads creates abundance. The "images" of an animal are the "traces" (imprints) of its soul.

Khanty motifs

Craftswomen are very proud of their ability to make beautiful things, because not every Khanty woman can carve an ornament, sew narrow strips of fur or leather beautifully and neatly. In the ornament the most abstract geometric shapes the craftswoman fills with quite definite content, reflecting ideas about the surrounding reality. These are animals: navarne “frog”, shovyr fell “hare ears”, sniffing “sable”; birds: vasyolyn "brood of ducklings", pita onion "grouse", holhtykhl "black crow's nest"; plants: ai sumatnuv "birch branch"; natural phenomena: serhaynyuh "flowering bush", here humpi "rolling waves"; and the man himself: hashop "the torso of a man." The names of the patterns were given according to the similarity and likeness of the subject.

Some ornaments were carried out at a strictly defined time, on the occasion of an event, for example, the embroidery of a bear's footprint ornament on a mitten. Such a mitten was given to a hunter who caught a bear.

The pattern always has an applied side, it is rigidly connected with the function of the object on which it is applied, with its shape, material. And, finally, any ornament has one or another meaning. It can have the direct meaning of a letter, reflect the real rhythms of life, carry symbolic meanings fixed by tradition. The ornament performs three functions: communicative (the intention to convey information), magical and aesthetic.

It is traditionally believed that a thing is ready and can only be used when it is ornamented. It is for this reason that the ornament in the culture of the Khanty peoples is extremely stable and “dies” along with things. In a number of cases, the ornament survives them, turns out to be more stable, more viable, since it is transferred to non-traditional things, included in new culture.
Of interest is the geometric ornament and its symbolism in the arts and crafts of the Lower Ob peoples of the Khanty. One of the most characteristic is the ornament of pieces of light and dark reindeer fur.

His motifs are distinguished by rectilinear or stepped outlines and are quite large in size. On fur clothes, the patterns are made up of wide strips bent at a right or obtuse angle. Approximately the same ornaments adorn the spring-autumn clothes of Nuysakh. In everyday life, women rarely use the sacred ornament. His motives are associated with the animal or plant world, as well as with parts of the human body.

A variety of ornamented items were almost exclusively the work of women's hands. They sewed with purchased metal needles, but before they used home-made ones from the bones of the legs of a deer or squirrel, fish bone. When sewing put on forefinger a thimble without a bottom - homemade bone or purchased metal. The needles were stored in special needle cases made of reindeer skins or cloth, cotton fabrics. They were made in different shapes, decorated with applique, beads, embroidery, and provided with a device for storing a thimble. In fairy tales, needle beds were attributed Magic power: they flew or swam across the seas. Our search for the roots of this seemingly inconspicuous object led to felt carpets. southern peoples who had the idea of ​​a flying carpet. The woman kept needlework in a patterned birch bark box yinil or in a Tutchan bag made of skins and cloth, decorated with appliqués and pendants. There were so many pendants that they almost hid the ornament. Tutchan is a very expensive item for women, he passed from mother to daughter, or her mother sewed a new one for her for the wedding.

“We women have a hundred knots, a thousand knots: you tie one knot, you untie another.”

The wonderful art of embroidering on canvas with colored threads - woolen, paper, silk and garus - is now, unfortunately, lost. The last samples at the beginning of the 20th century. were collected for museums, some of them ended up in Hungary. This type of arts and crafts was developed only in the southern regions - on the Konda, Irtysh, Demyanka, Salym. Four techniques were known, and each had a special name: oblique stitch - keremkhanch, one-sided smoothness inside the contoured figure - khanty khanch (Khanty pattern), cross stitch - sevemkhanch, square embroidery - rutkhanch (Russian pattern). Women spared no time, their own hands and eyes, filling with patterns almost entirely a shirt or dress. The work could last up to two years. They also embroidered kerchiefs and scarves, men's trousers, and mittens. Ornamented stockings and mittens were also knitted on knitting needles. The wool was purchased, but the Khanty themselves dyed it. In fairy tales, one can also find such a description: “The mittens gleam in the sun, their top is knitted from pure silver.”

Khanty patterns

Mosaic patterns were applied not only on rovduga and fur, but also on purchased colored cloth. When working with fabrics, especially paper ones, another method was used artistic processing- appliqué, i.e. sewing on an overhead patterned strip on some part of the product. Purchased fabrics were used for sewing men's shirts, women's dresses and sakha robes, pillows, blankets for reindeer - riding and sacrificial, bags, mittens, etc.

If rovduga and fur direct the fantasy of craftswomen to search for new lines and shapes, then fabrics provide another opportunity - to express the color perception of the world more fully. In the first case, the pattern consists only of dark and light parts, that is, it is diachrome. In fabrics, the pattern can be not only black and white, but, for example, black and yellow, which is already an extension of the color spectrum. Fabrics make it possible to combine several colors, make the pattern polychrome. Interestingly, some color combinations achieve an even greater contrast effect than in black and white.

For example, the blue-red image of one of the deities - the heavenly rider Urt - is even difficult to look at, it blinds the eyes. And the craftswomen knew what they were doing, because, according to their ideas, you can look at the sun, but you can’t look at Urta.

In one Khanty song it is sung: The House of Urta hangs on chains between heaven and earth and sways from the wind along the south-north line. Urt rides a motley horse and sees who needs what. He helps only those who remember him from time to time and make gifts. But Urt will not help the one who remembers him only when he is already in trouble. Thus ended the long song.

According to observations recent years the farther north, the more game colors in Khanty cloth products. You try to comprehend why certain color combinations arise, and you find some explanation in nature. You will be amazed by the violet-blue spectrum in women's clothes, and then you see it in a bush of autumn blueberries with purple leaves.

Khanty ornaments

Ornamental systems of the Khanty people have been developed and polished in the process of long-term creative practice. Therefore, fur products with mosaic decor, as a rule, are characterized high level artistic design and pronounced originality

Polychromy replaced diachromism thanks to another imported material - multi-colored beads. Khanty knew two techniques for making beaded jewelry: openwork mesh and sewing beads on fabric or leather. Women's gowns, dresses, collars, belts, shoes and garters for them, mittens, hats, handbags and pouches were decorated in this way. Pectoral ornaments were created from beads. At the end of the XIX century. beads seem to have gone out of fashion, and now they are flourishing again. Most of all, the Khanty valued opaque porcelain beads. Now he is rare. If there is a shortage of purchased beads, a substitute is found for him: they cut the wire insulation into small pieces. Some items gradually ceased to decorate, but beaded purses and bracelets appear. On clothes, stripes of strung beads replace ancient pewter castings that were once made by women themselves.

The Khanty decorated with ornaments not only clothes, but also household items. The cradles were especially lovingly decorated, not without reason in the Khanty tale it says: “Mother sewed for him a cradle of birch bark, decorated with legged animals, sewed for him a cradle decorated with winged animals.” The main figure here was a capercaillie guarding the soul of a child while he was sleeping. Other images were also applied - sable, deer horns, bear, cross.

Creating certain elements of the ornament, individual motifs dating back to ancient times - to the cult of water, fire, various natural phenomena, the man of the North deified many objects, worshiped them, felt like a particle of this big world. http://rudocs.exdat.com/docs2/index-586826.html

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Research work “Semantics of ornamental patterns of the Khanty and Mansi” Completed by: Abrahamyan Anaid, student of grade 5B, secondary school No. 8 named after Sibirtsev A. N. Project leader: Teterina A. M., technology teacher Surgut 2011

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Object of study: folk clothes of the natives of Yugra. Subject of study: symbolic meaning ornamental patterns in the clothes of the Khanty (Mansi). Purpose of the work: to analyze the ornamental patterns that are often found in the clothes of the indigenous people of Yugra - Khanty and Mansi; explore their symbolic significance. Hypothesis: the ornamental patterns on the clothes of the aborigines are of a protective nature and are closely connected with their surrounding world.

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Tasks of the work: to study the literature on the topic of the project; analyze the national costume of the Khanty and Mansi, its components; study ornamental patterns often found on clothes, household items, find their graphic representation; draw conclusions on the work done; compile a glossary on the topic of the project.

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Ornamental patterns often found on clothes, household items Ornament ( dictionary word) is a picturesque graphic decoration from a combination of geometric elements. The ornament enlivens things, makes them more visible, beautiful and original. In the clothes of the Khanty and Mansi there are ornaments of a linear and rosette (medallion) type.

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Semantics of ornament Graphic image ornament Semantics of the ornament "Stripes" - salum A straight line - "straight path" or "straight track", exists as a very common element of clothing decoration. The word "pant" is considered an Iranian borrowing of the Ob Ugrians (road, path, path).

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Semantics of the ornament Graphic image of the ornament Semantics of the ornament "Birch branch" The zigzag is considered the simplest and most ancient ornament, characteristic of many peoples of the globe. The function of reviving the inanimate, protecting life is assigned to it, therefore this pattern is most often found on birch bark cradles, both on the back of the cradle and on its sides, the edges of the sleeves have a protective function, it is here that appliqué stripes are sewn into ritual robes. Zigzag - a tree, is a symbol of fencing off the living from the inanimate.

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Semantics of the ornament Graphic image of the ornament Semantics of the ornament “A brood of ducklings” “Pike jaw” “A small ax blade” Triangle - “punk - “tooth” or “punk variety” - “pike teeth”. The semantic load of the motifs that have arisen on the basis of triangles is not much. These are the so-called: "duck broods", "duck feet", "pike teeth", "axe patterns". duck playing essential role in the mythology of the Ob Ugrians: in some territories she acts as the creator of the world, she gets the earth from the depths of the primary World Ocean; in other Khanty groups, the concept of abundance is associated with the duck, and the duck foot serves as a toy for the child, at the same time, being his amulet.

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Semantics of the ornament Graphic representation of the ornament Semantics of the ornament "Rare head" "Triple head" The square placed at the corner has a fixed name "head", "head". The understanding of the square, placed on the corner, as the "heart of the deepening", is often identified with the concept of "internal" - inside: the abdominal cavity (another meaning is the soul), closed space, and just like a zigzag, it brings the image to life. The rhombus, as a universal symbol of fertility and childbearing, is associated with the idea of ​​the Mother Ancestor, who was thought of both as Mother Nature and as the Great Woman Mother.

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Semantics of the ornament Graphic image of the ornament Semantics of the ornament "Hare ears" Corners are referred to those simple geometric elements that underlie even the most complex motifs in terms of configuration. Often these ornaments are referred to as "hare ears". “Wild deer horn” Considering the symbolic meaning of the “deer antlers” pattern, we note that there is an expression about a sacrificial animal - a deer: “horned deer” (bull). If a person has a large number of “horned deer”, then he is protected twice: firstly, this is material well-being (warm clothes, food), and secondly, he always has the opportunity to make a sacrifice and thereby win the favor of the deities.

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Semantics of the ornament Graphic representation of the ornament Semantics of the ornament Motifs with an internal cavity and "hook-shaped" elements extending from the tops are distinguished by a fairly stable semantics. These variants of the ornament are called “frogs”, “hind legs of a frog”. The Ob Ugrians have a special relationship with the frog. In folklore, the concept of happiness and abundance is associated with a frog.

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Semantics of the ornament Graphic representation of the ornament Semantics of the ornament The ornament of the pern "cross" is currently very widespread, it is mainly performed in an oblique position. The cross is found both in a simple version and in a complex one. Sometimes it is also called "dog's paw". The cross today has a double load. The first meaning of this sign (only an oblique cross) is the restriction of the world of people from hostile entities of another world. The second meaning of the cross is christian symbol it is usually applied in direct execution: there is the concept of pern pos "cross sign".

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Semantics of the ornament Graphic representation of the ornament Semantics of the ornament "Sable" "Head of a small sable" Motifs of the "sable" ornament have a stable name and are associated with a pattern of a certain configuration. Sable was revered as a sacred animal, it is most associated with " forest people"mis (mish), because this animal with special signs (for example, with a silk cord, a yellow ring around its neck) serves as their dog. The Yugansk Khanty revere Kasum-imi (the patron spirit of the Khanty) in the form of a sable (in her essence, she is a woman in the form of a mish). According to the Khanty, mish (mis) gives hunting luck, abundance.

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Conclusion I studied the literature on the topic research work, in which I tried to highlight the following aspects: Elements folk costume Khanty and Mansi; From the literature read, highlight the frequently found ornaments in the clothes of the Ob Ugrians; Considered the semantic orientation of ornamental patterns in national costume aborigines of Yugra. She confirmed the hypothesis that ornaments are closely connected with the surrounding world of the people, served not only as a decorating element of clothing, but also had a syncretic character - the product was both a source of aesthetic pleasure and a cult object. As a rule, a talisman.