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Semakova Anastasia

LEARNING STUDY:

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Municipal educational institution

"Average comprehensive school No. 10"

Semakova Anastasia Olegovna,

student 4 "b" class MOU secondary school No. 10

LEARNING STUDY:

"Varieties of the Komi-national costume depending on the territory of the settlement"

Head: Isupova Nadezhda Nikolaevna,

primary school teacher,

"Honored worker general education Russian Federation

Pechora

year 2012

Introduction

1. The problem and its relevance

2. Goals and objectives of the project

3. Theoretical study

3.1. The Komi people and their main groups

3.2. Questionnaire

3.3. Studying the history of the Komi costume

3.4. The study of certain types of female Komi

national costume

4. Features various complexes

Komi costume

5. Komi clothing in modern times

Conclusion

6. List of sources used

7. Applications

INTRODUCTION

This northern edge and harsh and rich,

Was completely unfamiliar to many

And today in the country from the Kuriles to the Carpathians

Everyone knows about the Komi Republic.

Like guardians in the night, near the polar latitudes

Everywhere there are drilling rigs,

Oil and coal, and gas the land gives us,

And without them, Russia cannot rise.

We are with you, the earth, we will master everything together,

We will have happiness in every home.

And for your generosity we give our hearts

And we bow down in obeisance.

I was born and live in one of the most extraordinary corners of our great country - the Komi Republic.

It begins on the banks of the Luza and, through nine parallels, goes north, to the Bolshezemelskaya tundra, to the kingdom of deer and white nights. Thousand-miles of space is almost entirely covered with forests, only in some places giving way to meadows and arable lands. And only outside the Arctic Circle, the forests turn into a stunted shrub, and then it disappears: the tundra begins, the horizon moves apart, goes into the distance, becomes even, as if drawn along a ruler.

The nature of this region is peculiar and unique. There are many large and small rivers and lakes. The forests are rich in game animals and birds, mushrooms and berries, and the reservoirs are rich in various fish. In long winter months in the northern regions, wild winds are in charge and forty-degree frosts are fierce. But in summer, the unset sun shines over the tundra, and the earth puts on its best outfit, colored with surprisingly bright colors.

1. PROBLEM AND ITS RELEVANCE

Along the picturesque slopes of the North and Polar Urals in the vast expanses of the northern taiga lives the industrious Komi people. Its bright page national culture is an original folk art. It reflects the rich spiritual world of the Komi people, its close connection with the surrounding nature.

My ancestors are the indigenous inhabitants of the Komi Republic, which is why from an early age I have been studying the customs and traditions of this people, arts and even National language. And my grandmother helps me with this.

Two years ago, in 2009, the village of Byzovaya, Pechora District, celebrated its 110th anniversary. My great-grandfather and great-grandmother lived here. My family and I often come here to visit relatives. And, of course, we try not to miss the traditional holidays of the Komi people. That day I saw women in national costumes. They shocked me with their extraordinary beauty, richness and brightness of fabrics and finishes. I became very interested in the history of the Komi costume and decided to conduct a study on the topic: "Varieties of the female Komi national costume depending on the territory of the settlement."

(Appendix No. 1)

1. TARGETS AND GOALS

Purpose of the study:determine by what features the Komi differs

Costume depending on the territory of the settlement

Tasks: - Collect material about the main groups of the Komi population

Learn the history of the Komi costume

To identify the differences between the Komi costume of individual regions

Republic of Komi

Before my research, I put forward a hypothesis: in all regions, women's Komi costumes are the same.

3. THEORETICAL STUDY

3.1. THE KOMI PEOPLE AND ITS MAIN GROUPS

Komi - ancient people living in the bulk in the modern Komi Republic, as well as in North-Western Siberia and the Kola Peninsula. The settlement of the Vychegodsk basin by the ancestors of the Komi began in ancient times. Archaeological sites (fortifications and burial grounds) of the Vychegda and Vym river basins in the 11th - 12th centuries. close to the Kama and Chepetsk settlements (belonging to the ancestors of the Permians and Udmurts). At the same time, a number of peculiar features of the culture that existed in the basin of the river. Vychegda, allows us to consider it primordially local, formed as a result of the development of more ancient cultures, complexes that emerged in the first centuries AD. e. Already in the 1st thousand Komi people communicated with the Slavic tribes. These connections were reflected in the general type of jewelry, tools, and ceramics.

The entire Komi population is divided into how many main groups:

Visersa is the self-name of the Vishera people (Komi of the Vishera river basin).

Emvatas is the self-name of the Vymichs (Komi of the Vymi River basin (Emva).

Izvatas is the self-name of the Komi-Izhemtsy.

Permyaks, Luzsa - the self-name of the Komi upper reaches of the Luza River.

Pecheras - the self-name of the Pechora people (Komi of the upper reaches of the Pechora River).

Syktylsa is the self-name of the Sysoltsy (Komi of the Sysola River basin).

Udorasa is the self-name of the Udorians (Komi of the upper reaches of the Mezen and Vashka rivers).

Ezhvatas is the self-name of the Nizhnevychegodsk Komi.

According to the population census conducted in 2002, 256,000 indigenous people live on the territory of the Komi Republic. This is 25.2% of the total. As of January 1, 2006, the entire population of the city of Pechora was 63.8 thousand people (15.4% - the indigenous population). The traditional clothes of the Komi are basically similar to the clothes of the northern Russian population. The Northern Komi widely used clothes borrowed from the Nenets: malitsa (deaf outerwear with fur on the inside), sovik (deaf outerwear made of reindeer skins with fur on the outside), pima (fur boots) and more. Komi folk clothes are quite diverse and have a number of local variants or complexes. At the same time, if the complex of the traditional men's costume is uniform throughout the territory, with the exception of the winter clothes of the Komi-Izhma people, then the women's costume has significant differences that relate to the cutting technique, fabrics used, and ornamentation. Based on these differences, several local complexes of traditional Komi clothing are distinguished: Izhma, Pechorsky, Udorsky, Vychegodsky, Sysolsky and Priluzsky. Traditional clothes (pasköm) and shoes (komkot) were made from canvas (döra), cloth (noi), wool (vurun), fur (ku) and leather (kuchik).

3.2. QUESTIONNAIRE

Before starting to study the Komi women's national costume, I decided to find out how enlightened the inhabitants of our republic are about the clothes of the indigenous population. To do this, I conducted a survey among my classmates on the topic: “What do you know about the Komi costume?” , which was attended by 25 people.

The survey showed that only 5 out of 25 people know what elements the Komi women's national costume consists of. Pupils of the 3rd "b" class do not know what materials the Komi clothes were made of: 12 people named deer skins, and only 3 people indicated wool, linen and leather. Difficulties were caused by the question of Komi ornaments: 20 people do not know them at all, and the remaining 5 drew “deer horns”, “sun” and “hut”. When asked about the common colors in the Komi costume, most of the guys named only red, three people each - blue, brown and white, and two people - black.

As a result of the survey, I came to the conclusion that the guys have very poor knowledge of the Komi national costume. I believe that every inhabitant of our republic must know everything about its indigenous population: about clothes, traditions and applied arts.

3.3. STUDYING THE HISTORY OF WOMEN'S KOMI COSTUME

Among the Komi women, there was a sarafan complex of the Northern Great Russian type with some peculiar details of the cut of the sarafan and shirt and specific headdresses. The main element of the women's costume is a shirt ("dorom"). Previously, it served simultaneously as underwear and upper and lower "myg" (bed, camp). The upper part of the shirt was sewn from a better quality canvas, and the lower part from a coarser one. Very often, chintz was bought for the upper part, and silk and satin were bought for rich izma. On the lower part of the shirt, which was closed with a sundress, they used old canvas or new fabric, but of poorer quality.

By the beginning of the 20th century, white shirts in the southern and central regions of the Komi habitat began to be replaced by shirts from motley. In the more northern Pechora regions and on Udora, where the population was almost not engaged in spinning and weaving, already at the end of the 19th century, shirts were sewn from factory fabrics. Prosperous Komi Zyryanka and Izhemkaat the beginning of the 20th century, they often wore two shirts each - a lower long one, which was called in Russian "underside" and an upper, short "sos", reaching to the waist.

Traditional women's shirts were of two types: in the assembly at the collar and on the yoke with a stand-up collar. The latter are especially characteristic of the Komi-Permyaks. Throughout Vychegda, the shirt was sewn without a collar. with a wide neck and more or less wide trim, which was decorated with ornaments, as well as inserts of fabric in a contrasting color: on the shoulders under the arms. On the chest, in the middle, a straight slit with a fastener at the collar with one button. The collar and the edge of the sleeves were embroidered with a pattern (in the region of the Upper and Middle Vychegda and in the Sysola basin, cross-stitch was widespread).

The sleeves were long and wide, for which wedges were inserted into them. The upper part of the sleeves and shoulders of ancient shirts were trimmed with a woven ornament in the form of transverse stripes of red cotton threads. The lower part of the shirt was sewn from three straight panels. The hem - “bojor”, was often decorated with a red stripe, the width of which reached 20-30 cm. The hem of women's shirts in the Udora villages was especially elegant. Such shirts were usually worn on holidays, during the harvest without a sundress. With the development of commodity-money relations in the village, the upper part of the shirt began to be sewn from factory fabrics. Changed the cut of the shirt and sleeves.

Over the shirt, girls and married women wore a sarafan "sarapan", which was girded with a patterned belt. According to the cut, sundresses were oblique, straight, with fees at the waist and with a corsage. They were sewn from various materials: from dyed canvas, heels, homespun motley, factory fabrics.

The most ancient was a sundress - shushun. Before it was straight, and the back with assemblies. The shushun had a seam in front, on both sides of which a braid was often sewn, and in the middle - buttons. In Udorsky, they wore sundresses made of blue heels - “kuntei”. Kuntei was long skirt on the straps. According to the cut, he belonged to the skew-wedge sundresses. This group also includes "Chinese". Sundress "Chinese" or "Chinese" was sewn from factory-made Chinese fabric in blue, red or yellow color. These sundresses were worn by girls and young women as festive attire. They were usually sewn on a harsh canvas lining, so they were very heavy. The front seam of the sundress from top to bottom was decorated with colored ribbons and buttons sewn in two rows.

Komi straight sundresses appeared later, with factory-made fabrics. They were of two types: on straps with a bodice, or with a corsage. In front, a sundress was often made on a hold, and folds were laid in the back or collected. On the hem of the sundress, inlays of colored fabric, lace and fringe were sewn. In front, the sundress did not have a longitudinal seam, and in this way it also differed from the wedge. The length of the sundress reached one meter. At the end of XIX - beginning of XX centuries. a straight sundress was widespread on Sysol and Izhma. For splendor, one or more skirts were worn under it, and on it was an apron decorated with embroidery, sewn on frills from multi-colored ribbons, satin stripes or lace.

Headdresses play a very important role in the Komi women's national costume. They are divided into two groups: the headdresses of girls and the headdresses of married women. Komi girls wore long hair, braiding them into one braid and weaving one or more ribbons into it. Almost all girls' headdresses are a hoop or a hard band that fits around the head, or a strip of fabric in the form of a ribbon tied around the head. Often the forehead part of the dress was decorated with small colored stones, beads, sparkles.

Of particular interest are wedding headdresses. The ancient headdress of the bride is called "yur noy" (yur - head, noy - cloth) was a headdress (without a bottom) on a solid base, covered with red cloth, with a slightly protruding front. The headpiece was completely embroidered with multi-colored beads, buttons and sequins. According to ancient folk customs, yurnoy was put on loose hair on the eve of the wedding after a ritual visit to the bath. At the same time, the headdress was covered with fur in order to protect the girlish beauty from the evil eye. After the wedding, women wore a kokoshnik, a magpie, a collection, and in old age they tied their heads with a dark scarf.

The headdresses of married women are more varied. They braided their hair into two braids and put them around their heads. In order for the front part of the dress to stand better and the hairstyle to be higher, a roll of paper, linen tow or fabric was put directly on the hair or in the headdress. This roller in most regions bore Russian names: “kichka” on Pechora, “rogulya” on Izhma, “hood” on Vashka.

A larger group is made up of soft headdresses and headbands such as volosnik, povoynik, as well as various scarves. The volosnik was a kind of cap made of colorful chintz, its bottom was oval. In the southern regions of the Komi Republic, magpie headdresses, “yur cortod”, were widespread. It consists of two parts: a soft cap, sewn from chintz or knitted from threads and worn directly on the hair, and a top dress reminiscent of a Russian shirt. In addition to soft headdresses, married women also wore hard ones: collections and kokoshniks (yurtyr, treyur, oshuvka). Although headdresses, an integral part of the folk costume, began to disappear from use in the early twentieth century throughout the Komi Republic, elderly Izhemkas still wear and retain their existence.

3.4. STUDY OF CERTAIN TYPES OF FEMALE

KOMI NATIONAL COSTUME

In order to understand what are the differences between the women's national costume depending on the territory of the settlement, I studied each of its types separately.

Izhma costume

"The Izhma women's costume is distinguished primarily by the fact that purchased fabrics were always used for its tailoring, since the northern nature did not allow flax to be grown on Izhma. Therefore, they bought mainly expensive imported fabrics - silk, satin, twill, alpaca, cashmere. Women's shirts, to For example, they were sewn from silk. For the Izhma type of women's shirt, a specific collar is characteristic: it is high; fastened with two buttons and cut out from a wide braid. Izhma sundresses are a type of round sundress. They were sewn, as a rule, from silk with vegetable predominantly cold shades: dark purple, dark green, for which 7-8 straight strips of fabric were usually used.The pleats were laid from the center of the back to the front of the sundress, one deep fold was made on the back. parts of the sarafan under the chest.From the bottom, rich lace was sewn to the sarafan, and along the hem - a fringe, which was made whether from cotton threads or garus, dyeing them black.

Izhma peasant women holidays looked like princesses from fairy tales. They sewed shirts and sundresses from shiny silk and brocade fabrics brought by merchants from far away. The sundress and apron were trimmed with stripes of black lace.

(Appendix No. 2)

On Izhma, embroidery with gold and silver threads was common. The rich Izhma costume, sewn from silk and satin fabrics, would hardly have been suitable for any other headdress, except for the shoes and kokoshniks embroidered with gold and silver. Embroidery was carried out according to a pre-cut stencil made of dense fabric, cardboard or birch bark. Convex, as if three-dimensional patterns shimmered with iridescence.

Komi-Izhemtsy live in the very north of our region and graze deer. In winter, over ordinary clothes, they put on a fur coat made of deer skins with the fur down, malitsa. The malitsa has no cut and fasteners, but only a hole for the head with a sewn-on hood, fur mittens are also sewn to the sleeves. The Izhemians put pima on their feet - knee-high boots from deer fur. In severe frosts, going on the road, the Izhma people put on a "sovik" - deaf clothes made of reindeer fur, the same cut as the malitsa, but sewn with fur on the outside. Sovik is worn over a malitsa. In such clothes, the most severe frost is not terrible, therefore the Izhma people still sew malitsa and pima.

Udor costume

In the old days, the women of Udora wore simple and comfortable clothes: a shirt, a sundress, an apron. If the basis of the Izhma costume is a round sundress, then in the Udor costume it is a kuntei, or the so-called Udor bruise. The festive sundress differed from the everyday one in that it was sewn from taffeta or brocade, and the straps on top were sheathed with a strip of brocade fabric. Everyday bruise was sewn from coarse, dark blue-dyed canvas. On a festive sundress, unlike the usual wide braid on the front panel, it is sewn not only along the central seam, but also along the hem. The cut of the Udora shirt was similar to that of the North Great Russian: with straight shoulder inserts - gussets. The top of the festive shirt was worn from calico and decorated with stripes of bright silk fabric and black lace. A belt with patterns was tied over the sundress. A festive headdress on Udora, the girls had a brocade bandage, which was fastened at the back with a button. On her head she looked like a cylinder without a bottom. Ribbons and silk tassels were attached to it at the back.

Sysolsky suit

The Sysolsky costume differed from other areas in the cut of the sundress and the trim of the shirt. For sewing shirts in the Sysolsky district, they used thin, well-bleached canvas with a scruffy pattern. Braided stripes were woven from red threads with beautiful geometric patterns. At the beginning of the 20th century, when embroidery became widespread, shirts were richly decorated with it. Staple floss or cotton threads in black and red were used for embroidery. Embroidered with a cross or chain stitch. The girls decorated the collars of their shirts with ribbons, threading them through the lace sewn to the gate post.

Sysol women, for the splendor of the dress under the sundress, wore petticoats with lace, which they wove themselves. Lace was of different widths: from 5 to 16 cm. In the first half of the 19th century, when the trade in factory fabrics expanded, women began to sew sundresses for all holidays, and each sundress was of a certain color. In the Sysolsky and Priluzsky districts, during the wedding, the peasant bride put on a pink satin sundress, and the bride from rich family could afford a luxurious outfit made of white corset fabric or satin. On holidays, women and girls on Sysol wore white shirts, but decorated them with a pattern of embroidered red flowers and black leaves. The white apron was embroidered with a pattern and trimmed with lace.

(Appendix No. 3)

Vychegda costume

The complex of the Upper Vychegodsky costume is similar in many respects to the Sysolsky costume. The cut of the shirt, its decoration and the fabrics used are the same. But the sundress was a kind of ensemble: a trapezoidal skirt and a corset 14-16 cm high. For a sundress, 8 strips of canvas were taken - two wide ones are located in front, six stripes - from the sides and back. These six bands are narrowed upwards in the form of a trapezoid. For convenience, the corset had a slit on the side, which was fastened with hooks, which could sometimes be located in front. The Nizhnevychegodsk complex differed from the Upper Vychegodsk complex in that the sundress did not consist of a skirt with a corset, but was straight with folds, as in the Sysolsky district. The shirt was no different. The difference was only in its decoration with embroidery and stylization of ornaments.

Priluz costume

The Priluz women's costume differed from all other complexes in the richness and variety of embroidery on the shirt and apron. Embroidery, which existed in the Letka River basin and in the upper Luza, is very interesting for its original technique, compositional and color solutions. The main embroidered items are women's shirts and women's headdress - magpie. in shirts geometric elements embroideries, organized into narrow borders, were located along the stand-up collar, along the chest neckline, along the cuffs of the sleeves and along the shoulder. The embroidery was done with red cotton threads on a white canvas. Craftswomen used combinations of three stitches: set, tambour and double-sided stitch. In the magpie, wide patterned stripes of very dense, masterfully executed embroidery adorned each part of the magpie: the forehead, two side "wings" and a "tail". Geometrical and geometrized elements of the ornament were embroidered with silk, cotton and woolen threads of red, cherry, terracotta, white, black colors using the technique of counted smoothness, set, cross, oblique stitch.

The main headdress of the girls of the Luz region was a rim - a hoop on a birch bark base, embroidered with beads and decorated with colored ribbons.

(Appendix No. 4)

4. DIFFERENT FEATURES OF DIFFERENT

COMPLEXES OF KOMI COSTUME

Having studied the history of the Komi costume, I learned that in each region of the republic it has its own characteristics. Thus, my hypothesis was not confirmed. After doing the research, I found out by what features one can distinguish the costume of a particular region.

1. Various options traditional decoration of fabrics (patterned knitting, embroidery, weaving), characteristic of certain ethnographic groups of the Komi

For the southern groups of Komi - Priluzsky, Letsky, Sysolsky, embroidery is characteristic, in which almost the entire background is covered, and the gaps in the fabric form a pattern. In northern groups, on the contrary, the background remains unembroidered. Knitted products differ in the nature of ornamentation. Each region has its own ornament. Among the Izhemtsy, the following motifs are most common: chum, deer antlers, fish, horse heads, tussock with berries, reindeer moss; Southern Komi have scallops, sun, pie

1. Cut of the elements of the costume

The Izhma sarafan is cut out of several straight stripes and has a round shape, the Vychegda one consists of a trapeze-shaped skirt and a corset, and the Udor one has the shape of a wedge-shaped sarafan.

1. Ornamentation and choice of materials for manufacturing

In the northern regions, women could afford to sew clothes from more expensive fabrics - silk, satin, cashmere, brocade. And in the south - from an ordinary canvas or satin. In the Vychegda basin, a red-blue small checkered variegation was used, on the Sysol the checker was larger, and there is a yellow color in the coloring.

1. Ways of dressing various components of the costume

Sysol women wore several skirts under a sundress, unlike other groups. In the northern regions, over a sundress, women put on an apron without a bib, and in the southern complexes they also tied it with a belt.

The data I received was reflected in the table.

5. KOMI CLOTHES IN THE MODERN TIME

The folk costume fell out of use in almost all groups. Currently, it can be found at traditional Komi holidays or in amateur art groups. In the city of Pechora, these are the Komi song ensemble "Pelys" (Ryabina) of the city association "Leisure" and the children's Komi ensemble "Zarni Tus" (golden seed), formed in kindergarten"Sparkle" in 1995. They are the link between Komi culture and modernity.

AT Everyday life the Komi-Izhemtsy preserved traditional clothes made of deer skins. The urban population in the 1980s the so-called “pims” made of reindeer kamus (kys) came into fashion. Usually pimas, both male and female, are long, up to the groin. They are tied to the belt with special cords. Pimas are sewn only from the skins of deer legs - “kamus”, i.e. from the fur of the smallest, densest and most durable. It takes four deer kamus to produce just one pair of long pima. In addition to the pima of the traditional form, the Komi sew fur cloaks with felt soles, which are also called pima. Fur coats are decorated with a rich finish: an ornamented square or triangle made of bright multi-colored cloth cut with teeth is sewn into the front strip. There are also intricate figures, including: the figure of a deer, the head of a deer, the horns of a deer. Izhemtsy also make homemade fur slippers from kamus on a fur lining, with soles made of reindeer brushes.

My family and I live in the northern region of the Komi Republic. And in our city of Pechora in last years pims are very widespread. They are worn by both adults and children, men and women of the older and younger generations. And I am no exception. In winter, especially in frosty weather, there is nothing warmer and more comfortable than pim. For many years now, a workshop for the repair and tailoring of pim has been operating in our city. And my mother and grandmother are happy to use her services.

Despite the fact that the Komi national costume is completely out of use these days, some of its elements can be found in modern clothes and accessories. Basically, this is the decoration of products with elements of Komi ornament or embroidery.

CONCLUSION

As a result of the work done, I learned what types of women's Komi costume are, how the clothes of the northern and southern Komi differ, and how modern clothing designers use folk costume motifs.

Now, going to Komi traditional holidays, concerts and other events related to the culture of this people, I can confidently determine which region this or that costume belongs to.

Perspectives: I will learn how to sew a Komi costume for dolls, learn how to wear it, keep my great-grandmother's costume and tell my classmates and friends.

In the future, I plan to continue my research, in which the decorative and applied art of the Komi people will play a special role.

BIBLIOGRAPHY

1. Komi folk clothes in the 17th - 18th centuries. Zherebtsov L.N.
2. Formation of the Komi Nation Lashuk L.P., Moscow 1972
3. The peoples and culture of the Urals in the XIX - XX centuries. Yekaterinburg 2002
4. Komi folk art Gribova L.S., Savelyeva E.A. and etc.

Moscow 1992

1. Textile ornament of the Komi Klimova G.N. Syktyvkar. Komi book

Publisher 1984

1. Children about the culture of the Komi people Syktyvkar 1995
2. Magazine "Northern expanses"

SOURCES

1. Materials provided by the Pechora Museum of Local Lore
2. Materials provided by MOU DOD "Iskorka"
3. Materials provided by the house of culture of the village of Byzovaya

Application No. 1

[email protected]

Komi clothing.

Discussing the problem of the genesis of the traditional clothing of the Finno-Ugric peoples, the famous Russian ethnographer V.N. Belitzer emphasizes that the origin of certain Common elements in traditional dress among northern Russians, Komi, Komi-Permyaks and other Finno-Ugric peoples of the European North-East of Russia should not always be considered as the result of direct borrowing. The presence of some universals in the complex of traditional clothing could be due to similar natural and climatic conditions and, accordingly, common types of housekeeping. The results of a comparative ethnographic study of the folk clothes of Komi, Komi-Permyaks and northern Russians, carried out quite systematically since the second half of the 20th century, show that in the features of the cut of everyday and ritual clothing, in the nature of decorating various elements of clothing, in some specific attributes of folk costume and various local ways of wearing and storing it, as well as in beliefs about clothes, more than clearly manifests not only the history of the formation of various ethnographic groups,
but also
some features of the traditional Komi worldview.

Until the beginning of the 20th century, everywhere among the Komi and Komi-Permyaks, clothes were sewn mainly from home-made fabrics: canvas (white and colored - ‘variegated’) and cloth. Canvas (linen and linen) was much more widespread among the Komi-Permyaks and among the Komi living in the southern regions (Letsky and Vychegda Komi). In the manufacture of outerwear, in addition to cloth, wool blend fabrics were also used. Dressed skins (cow, sheep, deer), raw and tanned, as well as rovduga and fur of domestic and wild animals were used in the manufacture of shoes, belts, hats, fur coats and trade clothing. Outerwear and shoes made of deer fur were sewn mainly by residents of the northern regions located along the Pechora and Izhma, on the Udora, in the upper reaches of the Mezen and Vym. In these places, along with fur clothing, clothing made from imported fabrics, which were delivered from the central regions of Russia, was widespread. So, for example, large quantities of canvas, cloth and brocade and ready-made clothes were brought to Cherdynsk by merchants from the Perm and Vyatka provinces, and to the upper reaches of the Mezen, to Izhma and Udora, fabrics (striped, homespun cloth, kumach, colored silks) were delivered from Arkhangelsk , Pinega and Veliky Ustyug. Mostly among the Letsky Komi and Komi-Permyaks, the tradition of weaving bast shoes (ninktsm) from birch bark and lime bast was widespread. Interestingly, among the Letsky Komi, festive bast shoes, usually worn on Maslenitsa, were necessarily woven from a thinner bast of different tree species and decorated on the toe with inserts of colored material. The Komi birch bark was also used to make headdresses for girls and women. Among the Udora and Vychegda Komi, there are known cases of making medical corsets for young children and sick people from whole layers of birch bark. The Letsky Komi have a tradition of weaving ritual outerwear (headdresses, caftan and trousers) from birch bark, which was used to treat sick and infirm elderly people. Such clothes were made using the technique of weaving pester (a traditional knapsack made of thin strips of birch bark). Modern letsky Komi craftsmen preserve the tradition of weaving miniature models of various elements of traditional outerwear from birch bark as souvenirs.

Unfortunately, the experience of a special ethnographic study of the complex of traditional Komi children's clothing has not been undertaken so far. Known field materials, as well as museum collections of traditional Komi clothing, collected in the period of 60-80 years. 20th century testify to the fact that everywhere among the Komi everyday lower and upper shoulder children's clothing, basically, repeated the cut of adults' clothes. Before gaining the ability to walk independently, small children, regardless of gender, wore white linen shirts with a hem to the knees or ankles. Among the Pechora and Izhma Komi, after the baptism of a child, a braided narrow belt was tied to his body (in terms of weaving structure it resembles a gaitan made of linen threads for a pectoral cross), which was worn under clothes and never removed, even in a bath. At the age of two or three years, to go out into the street, outside the residential estate, boys wore white or striped canvas pants, and girdled over the shirt with a woven or woven belt. According to individual testimonies of modern informants, this could happen even after six or seven years - it is known that it was from this age that children in Komi families began to be involved in some household work. The boy's teenage costume consisted of an unpainted canvas shirt and white or blue-and-white striped trousers (gach), long woolen stockings, decorated with a strip of geometric ornament only along the upper edge of the pagolenka (kuz sera chuvki). Adolescents girded themselves over their shirts with a narrow woven or knitted belt, and on Udora and Izhma with a rawhide belt. In the cold season, the boys wore cloth hats. The traditional everyday outfit of the girl consisted of a white linen shirt, belted with a woolen colored belt (vtsn, ii), a plain scarf (chishyan) or bandage (golovedech) on the head, patterned woolen or canvas stockings, decorated with a swearing pattern along the pagolenka (sera dtsra chuvki), and low (without pagolenka) light shoes made of rawhide (koty, charki or ulyadi) on the feet. At the age of 7-8 years, girls began to wear linen sundresses, often dark blue. In the spring-summer period, teenagers more often wore linen stockings without a heel, as a rule, without a pattern along the leg. (Note that adults wore such stockings during the haymaking period, and up until the 60s of the 20th century, stockings without heels were an indispensable element of male and female funeral attire.) It is widely believed among the Komi that young children are more suited to the white color of clothing , in no case are motley and not red colors, which attract unwanted third-party looks to the child and expose him to the danger of the evil eye. According to the tradition of the Izhma and Udora Komi, girls who reached the age of 13-15 could wear canvas pants as warm clothes. However, almost everywhere among the Komi, the wearing of men's pants as everyday wear by girls, girls and women was considered a sin, and only in severe winter frosts were girls and girls allowed to wear a warm women's sweater or men's shirt instead of pants, putting their legs into the sleeves and fastening it on the belt . There are cases when women put on men's pants as a talisman. According to V.P. Nalimov, married women of the Vychegda and Sysolsky Komi were allowed to wear only men's underwear made of linen (dtsrtsm gach, ytsrdss gach) and only during menstruation (Nalimov 1907).

Modern informants emphasize only some specific features in the cut and ways of dressing traditional everyday clothes for young children and adolescents. Up to 3-5 years of age in children on shirts, underarms, a wedge of fabric of a contrasting color was not sewn - kumltss - distinguishing feature in the clothing of an adult. The motivation of the noted tradition is interesting: “kumltss will rub the armpits of the child”, although, in fact, such inserts under the armpits make the shirt more comfortable. Accordingly, until recently, in traditional children's shirts, as well as in Komi funeral clothes, samples of chronologically earlier cuts dating back to the 17th-18th centuries were preserved. (a white canvas shirt, tunic-shaped in cut, without wedges on the sides, wide straight sleeves, without a collar, with a straight slit in the center of the chest and tie-ribbons). The children's belts of the Letsky, Vychegodsky and Sysolsky Komi differed in decor from the belts of adults in a solid color scheme, were 2-3 times shorter in length and were never decorated at the ends with lush colored tassels (kollya vtsn) - characteristic attributes of the clothes of young people who had reached marriageable age. Among the Izhma and Pechora Komi, fur outerwear for children under the age of 1.5-2 years was necessarily sewn from the whole skin of a young deer - fawn (pezhgu), while the sleeves were made without through holes for the hands; among the Izhma Komi, fur mittens without a thumb were sewn tightly to the “two-sided” malitsa (with fur in and out) for children under the age of 3 (it is believed that in such “fingerless mittens the child will be warmer”). The thumb stood out on fur mittens, as a rule, after the child took the first independent steps and began to speak. In more detail, modern informants describe some variants of ritual children's clothing, symbolically marking certain age milestones in a child's development: in particular, pin dtsrtsm - a gift to a child during the eruption of the first teeth and pernyan djrjm - a shirt that was given by a godmother during the rite of baptism. According to the descriptions of modern informants, both types of the mentioned shirts were necessarily sewn from white homespun canvas, with skirts to the knees, with sleeves wide to the elbow, without patterns, without a collar, with a cutout on the chest, with two ribbons-strings, without buttons. Ritual children's clothes were preserved by parents along with the afterbirth (rtsdichchan pasktsm) until the children came of age and in some cases were considered as a talisman of the child. According to tradition, in Komi families, everyday new clothes for children were always prepared on the eve of Easter. Dilapidated children's clothes were in no case thrown away and given to strangers, but hung out in the shed at home until they completely decayed, or lay on the floor in the house as bed linen. It is noteworthy that the material of dilapidated children's clothing was never used for the manufacture of patchwork bedspreads, woven and knitted rugs. Adults were very strict to ensure that girls did not make clothes for dolls from scraps of old children's clothes. It was believed that through clothes, or a fragment of it, it is easy to jinx a child who has ever worn these clothes.

The traditional male attire of Komi and Komi-Permyaks consisted of a shirt (dtsrtsm, ytsrntss), overpants (gach), a caftan (duktss) or a fur coat (pas). A tunic-shaped shirt was usually sewn from white homespun canvas (dtsra) or motley. The festive shirt was sewn from thinner canvas or from factory fabrics and was decorated with black and red embroidery, stripes of patterned weaving or narrow inserts of calico on the chest, collar and sleeve frills. V.N. Belitzer notes that in terms of cut, the Komi men's shirt had some differences from the traditional Russian kosovorotka: a longer hem (almost to the knees), a slit on the right side of the chest, or in the center (for Russians - on the left), wider sleeves. On the shirts of the old cut among the Komi-Permyaks, the width of the panel reached 40-45 cm, and the length of the shirt was at least 80-85 cm. The side panels, straight or slightly beveled, were sewn to the central one. Occasionally, for convenience, wedges were inserted in the hem. The sleeves were sewn from one piece of cloth folded lengthwise (50-55 cm long). Square gussets were sewn under the sleeves, often made of calico. The shirt was sewn with a standing collar and no collar at all. They always wore such shirts out, girdling with a woven or woven belt (vtsn, yi), tying a knot on the left side. The lower trousers (ports, veshyan), wider than the upper ones, were sewn from a harsh canvas, deaf, two wedges were inserted between the legs. Such trousers were fastened on the belt with a cord on the back - gashnik. According to V.N. Belitzer, in the 19th and early 20th centuries. in some places among the Komi, older men wore white ports in the summer as overhead pants. More often, the upper trousers for summer were sewn from motley, blue with white stripes, and for winter - from homespun and factory-made cheap cloth. In terms of cut, the upper men's pants of the Komi are close to the old samples of men's clothing of the Russian population of the Vyatka, Perm and Vologda provinces. Festive pants were sewn from black paper tights. Trousers were tucked into linen or knitted woolen stockings, usually decorated with geometric patterns all over the leg.

In the traditional complex of upper shoulder men's clothing, Komi V.N. Belitser distinguishes three main types associated with the production activities of the population of the region under consideration. The first type is characteristic of agricultural regions (Vychegda, Sysola, Luza). Shabur, sewn from blue or harsh coarse canvas. In its appearance, this summer outerwear was a long deaf shirt with sleeves, the sides of which consisted of four panels beveled and sewn together; such a cut made it wider at the hem. A hole was cut for the head, on the edge of which a hood made of canvas (yur kyshtsd) was sometimes sewn. Such clothes were usually worn as work clothes and girded with a belt or twine. With the onset of autumn cold weather, Komi men dressed duktss - a caftan, made of blue or blue homespun cloth. white color knee-length, fastened left side and long sleeves. In some places he was called a sukman. They sewed duktss or sukman with a cut-off back and gatherings at the waist, like a shabur, in other cases diverging tails went from the waist. This type of clothing was usually worn by hunters during the winter and autumn trades. The Komi-Permyaks, who lived along the Upper Kama and along the Yazva, called such outerwear the term “gunya”. As a working outerwear, a bagman of a similar cut was used, but gray color. The Komi-Permyaks more often as working clothes wore a deaf apron (zapon) with sleeves, which in front was a knee-length tunic-shaped shirt. At the back, the central panel only reached the waist, and sometimes had a slit. The cutout for the head was round or triangular. The zapon did not have any buttons, ties or hooks. V.N. Belitzer notes that the terms used by the Komi to designate certain types of outer shoulder clothing did not differ in stability, often the same term in different regions was used to designate different types clothes. So, for example, the term shabur was used by the Vychegodsk Komi to call a deaf work blouse, and the Komi-Permyaks who lived in the basin of the river. Invy - a caftan sewn from canvas, usually blue. The back of this shabur was cut off, and from the waist there were numerous gatherings, as in a Russian undershirt. The right half of the shabur was wrapped on the left side and fastened with two hooks. The collar was made turn-down, a shawl. They sewed a shabur on a white canvas lining. In winter, men wore a sheepskin coat (pas), naked or covered with cloth. On Vychegda, often, men wore straight-cut sheepskin coats on the fur of a non-blowing (young deer) in winter, also covered with cloth. The second type is the hunting suit of Komi hunters and fishermen. The main distinguishing detail of fishing clothing is a short rectangular cape with a hole for the head - luzan (k.-z.), manhole (k.-p.). Among the Pechora and Udora Komi, as well as on the Yazva among the Komi-Permyaks, such capes were made from homespun canvas or cloth measuring 40x60 cm. For strength, the luzan was sheathed with narrow rawhide straps along the edges for strength. For greater strength, the luzan was also sheathed in leather on the shoulders, chest and back, where a loop for an ax was sewn (laz kozyan). On teenage fishing capes, as a rule, an ax loop was not sewn on. Some hunters on the left shoulder of the luzan sewed a shoulder strap for a gun belt, and on the right chest - a pocket for bullets. Sometimes luzan was completely made of leather and only pockets were sewn from canvas. For winter hunting, a luzan with a hood was used, which was made separately and sewn to the edges of the head hole. According to N.D. Konakov, in the Pechora, luzan was woven from wool using a shuttle-needle on a transverse loom. Under the back and front of the luzan cloth, due to the hemmed canvas, bags were formed - pockets that were used during transitions to store the game, animal skins, as well as the accessories necessary for the hunter. The height of the chest pocket was 15-20 cm, the back pocket (laznop) was made somewhat larger and had a height of 30 to 50 cm. - a stick sewn a little above the edge of the pocket. A rawhide belt with a buckle on the right side or two ties, one on each side, about 1 meter long, was sewn to the lower end of the chest part (laz mortss). Many Luzans had false leather or cloth "wings" covering the shoulders. Luzan was often girded with a leather belt (tasma) with an iron or copper buckle. N.D. Konakov and V.N. Belitser noted that a similar type of outer hunting clothing is typical not only for the Komi, but is widely known to date among the Karelians and Russians of the Arkhangelsk region, as well as among the Khanty and Mansi of Western Siberia. The third type is the reindeer breeder's clothing, which in the past was characteristic mainly of the Komi-Izhma people, and in the first half of the 20th century. gained popularity among the Pechora, Udora and Vychegda Komi. V.N. Belitser emphasizes that the complex of clothes made of reindeer fur (malitsa, sovik, töböki, pima) has a very ancient origin. However, among the Komi, these forms of clothing became widespread only from the 16th - 17th centuries, which was associated with the development of reindeer breeding and the settlement of the Komi in the forest-tundra areas along the Middle and Lower Pechora, Use and Izhma. The main names of these clothes were borrowed by the Komi from the indigenous reindeer herding population of the tundra - the Nenets (compare: Nenets 'mylets', 'pandas' and K.-Z. 'malicha', 'pandas'). The Komi reindeer herders improved some details in the cut and decoration of clothing: the Izhemtsy, unlike the Nenets, did not always sew mittens (which were sewn from the kamus with the fur outward) to the malitsa, but rather often wore them separately; the hem of the malitsa was decorated and at the same time significantly strengthened with a fur edge (panda) 15-20 cm wide from a summer deer skin with lower and denser hair; an obligatory element of the malitsa was a tightly sewn-on hood (yura malicha) with a fur trim along the edge and sewn-in suede ribbons that allow you to adjust the degree of openness of the face. It is known that among the Nenets the hood on the malitsa became widespread only at the end of the 19th - beginning of the 20th century, and even then not in all areas where the Nenets settled. For the manufacture of malitsa, the Komi use the skin of a non-vomiting, slaughtered after the first molt. The hood for malitsa is made from a thinner, shiny skin of a fawn (pezhgu) - a newborn deer slaughtered in May. Moreover, the hood is sewn in two layers - with wool inside and out, just like a children's coat. The Komi are characterized by malitsa, the camp of which is cut from two rectangular skins, between which two smaller skins are sewn on the sides, bent vertically, so that the malitsa conveniently expands downwards. On top of the everyday malitsa, men still wear a satin or cotton cover-cape (malicha kyshed or kyshan), which generally repeats the cut of the malitsa. Many Izhma men wore cloth coats, similar in cut to fur coats, and as autumn clothing. In severe frosts, a parka is put on the malitsa, sewn with fur outward from the thin skins of young calves. Open it the same as that of the Izhma malitsa, only the back of the parka was cut together with the back of the head of the hood from one skin. A festive men's parka, as a rule, was sewn from white neblyuy (nyarovei, don nyarovei) and was decorated along the hem, on the sleeves and on the hood with fur appliqué, as well as colored cloth stripes. In autumn and spring days Izhemtsy wore a parka made of coarse cloth (noy parka). In very severe frosts, reindeer herders put on a sovik, which was sewn like a parka - with the fur outside, but from the skins of adult deer.

Traditional headdresses of Komi men until the first quarter of the 20th century. there were felted, cloth and fur hats various shapes- some with a low crown and wide brim, others with a high crown and raised, curved edges. The color of these headdresses varied between shades of black, grey, brown and white. The hunters wore cloth hats of two types: “zyryanki” in the form of a helmet with a small strip of cloth falling behind the neck, reminiscent of sailors; with a bottom of five wedges, trimmed with green cloth. Komi-Izhemtsy wore fur hats made of fawn and neblyuy in winter, and the population of the southern regions - Vychegodsky, Letsky Komi and Komi-Permyaks - sheepskin earflaps. As summer hats in the XIX - early. XX centuries wore caps and caps. Going to work in the forest in the summer, the men put on the “nomdöra” mosquito net - a special deaf hood made of canvas covering the head and neck, with an open face. The same hood with a mesh of horsehair on the front was called "sitka". Fishermen in the field and mowers in the hayfield tied a scarf around their heads and necks to protect themselves from insects.

V.N. Belitzer notes that for the traditional women's clothing Komi and Komi-Permyaks are characterized by a sarafan complex of the North Russian type: a shirt with straight poliks, oblique and straight sarafans. The most ancient forms of folk women's clothing - a long canvas shirt and a skew-wedge sundress (basically has three straight panels - two in front and one in the back, and four wedges inserted two at a time into the sides) - are still preserved in the everyday life of the Komi Old Believers Vychegde , Upper Pechora and Udora. Among the Komi-Permyaks, Izhma and Sysolsky Komi already at the end of the 19th century. the direct sundress becomes predominant. According to V.N. Belitzer, the appearance of a direct sundress among the Komi is associated with the spread of factory fabrics, originally on Sysol, which has long been a seasonal work area. A straight sundress was a skirt with narrow sewn-on straps, sewn from five or six panels of fabric. The width of the sundress in the hem reached 4-5 meters. They wore a straight sundress in a belt much lower than a slanting one, but they also always girded it with a woven or woven belt, wrapped twice around the waist and tied, as a rule, on the right side so that the brushes hung down to the knees or behind the back (among the Letsky Komi). Throughout the Komi, women and girls on holidays wore one or more skirts under a sundress for splendor, and, often, an old sundress. Among modern Pechora Komi Old Believers, the second type of sarafan is defined as “worldly tuvya sarapan”, while emphasizing that “it is a sin to walk in it, and even more so to pray”. In the fishing and reindeer breeding areas - Pechora, Izhma and partly Udora - sundresses were sewn mainly from factory fabrics, and in the agricultural areas of the Vychegda, Sysola and mainly in the Kama region they wore dubas, sewn from homespun dyed canvas or heels with collections.

According to the differences in the choice of cut and material, according to the nature of the decoration and the corresponding areas of existence, modern researchers conditionally distinguish several types of traditional Komi women's costume: Luz-Letsky, Komi-Permyak, Upper Vychegodsk and Lower Vychegodsk, Vymsky, Izhma and Pechora, Udora (Vashkinsky and Mezensky) and sysolsky. The correctness of the proposed typology is indirectly confirmed by the fact that the areas of existence of the selected types of women's costume geographically coincide not only with the distribution of various dialects of the Komi language, but also with the existence of various variants of traditional decoration of fabrics (patterned knitting, embroidery, weaving), characteristic of certain ethnographic groups of the Komi. So, for example, G.N. Klimova distinguishes the following groups according to the nature of textile ornamentation: Izhma, Pechora, Upper Vychegodsk, Middle Sysolsk, North Komi-Permian, Luz-Letsk, Lower Vychegodsk, Upper Sysolsk, Mezen and Vashkinsk (Klimova 1984, P.28-54). However, modern field studies show that even within the conventionally identified local types, Komi women's costumes vary significantly, if not in cut, ornamentation and the choice of materials for manufacturing, then in the ways of dressing its various components.

The main element of the women's costume is a shirt (döröm), the upper part of which (sös) was sewn from motley, calico, or embroidered canvas, and the lower part (myg) was made from coarser white canvas. The shirt was decorated with inserts of fabric in a contrasting color: lastovich - on the shoulders and kunlos - under the armpits. On the chest, in the middle, they made a straight cut with a fastener at the collar for one button. The collar, hem and cuffs of the sleeves were embroidered with a geometric or floral ornament from red, less often - red and black threads. Luza and Letka are characterized by shirts with trapezoidal poliks, cut out of canvas or calico. The main array of embroidered patterns on summer women's shirts is concentrated on the shoulders, hence the local name of the shirt - pelpoma körtsöma (i.e. with shoulders, shirred). G.N. Klimova notes that the women's shirt of the Letsky Komi in a number of ways differs greatly from this type of clothing in other ethnographic groups of the Komi. At the end of the XIX-beginning of the XX century. The Komi are characterized by women's shirts of a tunic cut with one central panel and a shirt of the North Great Russian type with straight skirts and a wide gathered collar. In the Priluziye and Nizhnyaya Vychegda, shirts were decorated with two-day weaving, with patterns located across the shoulder, along the cuff of the sleeve and sometimes along the hem. The Letskaya shirt, in terms of cut, belongs to the type of shirts with slanting poliks and is close to the shirts with slanting poliks known from the Russian Ryazan and Tula provinces. On Udora and Izhma, they often wore two shirts each - a lower one, long, made of white fabric, and an upper one, reaching to the waist, made of brocade, lined with cloth. The collar, cuffs of the sleeves and the hem of the shirt were trimmed with an abusive red pattern or narrow stripes of calico.

Udora sundress.

Over their shirts, Udora women wore slanted sarafans of two types: kuntei - made of blue linen fabric with a printed floral ornament, and damask - made of purchased satin, silk or brocade on a harsh canvas lining. On the front seam of the slanting sarafans, metal buttons, silver and gold braid were sewn from top to bottom. Along the hem, the sundress was decorated with two or three rows of lace stripes (pröshva). A sundress was supported with the help of a bodice, which was cut out at the back and sewn on at the front. Udor women, often, over a sundress wore a strongly fitted jacket with wide folds (gyrka jacket) made of silk or satin. On the upper Vychegda, women wore a shushun - a slanting sarafan made of motley (holiday), blue home-woven canvas or heels (everyday). The shushun had a seam in front, on both sides of which a braid was sewn, and in the middle - buttons. From factory fabrics (chintz, satin, cashmere), the Vychegda Komi sewed ktsrtsma shushun - pleated on the chest and back.

Vychegodsky sundress.

In the villages on the middle Vychegda and along the upper Pechora, they wore wedge-shaped sundresses made of factory-made fabric - Chinese. Such sundresses were usually sewn without folds, on a harsh canvas lining, so they were very heavy. Over the sundress, the Vychegda women put on a “narkovnik” - a short blouse made of silk or colored cashmere on a cotton lining, without fasteners and a collar, with wide sleeves gathered at the wrist. A white apron was tied at the waist - vodzdzra - made of cotton fabric, embroidered with a floral or geometric ornament along the hem.

Loginova Nadezhda Andreevna
Features of the traditional costume of the Komi people. Materials for the project "My small Motherland - the Republic of Komi"

The rejection of the younger generation from the national culture, from the socio-historical experience of generations is one of serious problems our time. It is necessary to develop in children an understanding of cultural heritage and to cultivate a careful attitude towards it. preschool age. "No one can become the son of his own people if he is not imbued with those basic feelings that he lives folk soul. No matter how complex or dark the psychology of national ties, we can, however, argue that we cannot mature outside the national culture, which we must be imbued with so that the forces inherent in our soul can be developed, ”wrote the famous Russian philosopher V.V. Zenkovsky.

The actual pedagogical task of the present time is the revival, preservation and development folk traditions in conditions negative impact mass culture, increased interest in history and traditions culture of your region. Familiarization of children with national culture is important integral part formation of the child's personality. Mastering the elements of national culture, the child learns ideas about native land, traditions of the people, acquires the ability to reflect the elements of national culture that are accessible to him in his activities and receives rich soil for the development of feelings. This promotes high emotionality of the child, his active interest in the environment, the desire for activity. The studies of psychologists (S. L. Rubinshtein, L. S. Vygotsky, A. N. Leontiev, B. G. Ananiev and others) convincingly showed that the process of forming the personality of a preschooler unfolds as a process of appropriating the socially valuable experience of humanity accessible to the child.

One of the main problems of upbringing was the upbringing of the national culture of children. General Tasks aesthetic education cannot be resolved outside the content of that national culture, folk traditions that have been created over the centuries people whose mentality in the given territory is a priority.

Komi traditional clothes

Fundamental changes in life Republic of Komi, sovereignty, increased responsibility to future generations for the preservation of the original national culture Komi edge aroused interest in the historical past Komi region, Komi language, spiritual and material culture of the people. Traditions are alive, constantly evolving. This is not only strict continuity, it is an inexhaustible source for creativity. They need to be preserved and passed on to the next generation.

AT folk costume how the features are in focus and features of the people's consciousness, his social, moral, religious ideas, ethnic ideals, for the expression of which artistic means are used. These are composition and color, a rhythmic system of construction, volumetric-plastic forms, realized in the cut of clothes, ornament. Komi folk costume indirectly expressed ethical Komi-Zyryan traditions. It is through costume ethnic identity emerged. Virtually any household costume had a certain symbolism. The very ornamentation, the manner of wearing testified to this.

For decoration Komi folk costume characterized by a combination of different materials and invoices(homespun natural linen, woolen fabrics, fur, leather, lace, silk, velvet, cloth, etc., which created a surprisingly holistic image. In folk costume the image assumed the harmony of all the constituent parts. The basis of the ensemble was connected in folk costume with a problem of synthesis, the unity of the living environment of the ethnos Komi - Zyryan with nature. For a long time folk clothes were characterized by invariability of cut and traditional decor, which was explained by the conservatism of the way of life Komi: hunting, fishing, and later farming; the persistence of customs passed down from generation to generation.

Characteristic for Komi traditional worldview perception of clothing "cover, sheath" and, at the same time, "traces, shadows" of a person is quite clearly presented in a generalized Komi name of clothes -"paskm". From the point of view of linguists V. I. Lytkin and E. S. Gulyaev in the complex Komi word"paskm" the concept of a complex of clothes is reflected (pas - "fur coat") and footwear (km – "hunting leather shoes"). It is interesting that Komi clothes"paskm" also called the afterbirth of a newborn. About the child born without"shirts" at Komi will say"pastm kaga" (lit. without clothes, naked child). The afterbirth of a newborn, as well as all the clothes worn by a person throughout life, was considered inextricably linked with him and his fate.

At Komi say that the clothes are like wujra (shadow - amulet) person. Traditionally the expression pastm mort (lit. "man without clothes") characterize not only a naked, but also an exhausted, sick person, about whom they can also say - vujrys abu, that is "he has no shadow - a talisman".

Traditional the perception of clothing as a shadow - a talisman of a person largely determined the strict observance of the prohibitions associated with the order of its everyday dressing, wearing and storage. It is believed that the violation of this order is fraught with various troubles for a person throughout the day. Any dressing up during the day was condemned, because it was perceived by others as tunavny "witchcraft, divination". Women, putting on a sundress in the morning, tried not to take it off during the day, and, if necessary, put on other clothes over it. If a hunter, going to hunt, forgot to put on something right away, then he didn’t change clothes a second time at home, but took the forgotten clothes with him and put them on only when he reached the forest hut - otherwise there will be no luck in fishing. It was only during the holidays that multiple dressing during the day in different clothes was not forbidden, although many women in this case wore 2-3 sundresses at once, one under the other, and in the same way several skirts for the splendor of the outfit. In fairy folklore and beliefs Komi magical power is endowed not only with clothing as a whole, but also with its individual elements. There is an opinion that with the help of mittens you can easily determine if there is a stolen item or No: if the thrown mitten falls to the ground with the thumb up, then the loss will soon be discovered. A patterned glove tucked into the waist summer time, is considered the best amulet against midges and mosquitoes. According to folklore texts Komi all the power of the legendary miracle was in a wonderful hat, and the power of the evil sorcerer was in his black scarf.

AT Komi traditional worldview clothing is clearly associated with ideas about the soul and the shadow - the guardian of man. At the same time, clothing is interpreted not only as a cover of a person from physical impact, but also as a protection of the body, mind and will of its owner from possible malicious intent on the part of an outsider, a sorcerer or evil spirits.

In the 19th century, the production of clothes took place mainly at home. way, fabrics were made on a loom, rich Izhemtsy bought at fairs, in exchange for furs, factory fabrics: velvet, silk, cloth, brocade.

Komi folk clothes has much in common with the clothes of the population of the Russian north and some Finno-Ugric peoples(for example, Karelians and Udmurts). However, within the complex Komi traditional clothes, in cut features, in the nature of jewelry, in some specific attributes folk costume ethnic specificity is clearly manifested. It should be noted that not always the presence of different peoples common types of clothing should be seen as direct borrowing. The origin of certain common elements in traditional clothes of different peoples could also be due to close natural and climatic conditions and, accordingly, general types of farming.

Before the beginning of the twentieth century Komi sewed clothes mainly from home-made fabrics production: canvas (white and color) and cloth. In the manufacture of outerwear, in addition to cloth, wool blend fabrics were also used. Fur clothes were sewn mainly in the northern regions - on Udora and Pechora.

Male the costume consisted of a shirt(drm, pants (gach, caftan (dux) or fur coats (graze). A tunic-shaped shirt was usually sewn from white canvas or motley. The festive shirt was decorated with embroidery or stripes of patterned fabric on the chest, on the collar and on the cuffs of the sleeves. According to the cut of the shirt Komi had some differences from the Russian blouses: a longer hem (almost to the knees, a slit on the right side of the chest or in the center (for Russians - on the left, wider sleeves. They wore such shirts loose, girded with a belt (out).

The bottom pants (ports, wider than the top ones, were sewn from a harsh canvas, deaf. Such pants were fastened to the waist with a cord on the waist. The top pants were sewn in motley in blue or white stripe or from homespun cloth (for winter). Festive pants were sewn from black paper tights. Trousers were tucked in made of canvas or knitted (woolen) stockings, usually decorated with patterns (sulfur stockings).

There are three main types of outerwear for men.

The first type is typical for agricultural areas (Vychegda, Sysola, Luza).

Shabur, sewn from blue or harsh coarse canvas. In its appearance, this summer outerwear was a long deaf shirt with sleeves, the sides of which consisted of four panels beveled and sewn together; such a cut made it wider at the hem. A hole was cut for the head, on the edge of which a canvas hood was sometimes sewn. Such clothes were usually worn as work clothes and girded with a belt or twine. Sukman or duks - armyak or caftan, made of gray or white homespun cloth knee-length - Komi worn in autumn. In winter, they wore a sheepskin coat, naked or covered with cloth. In some areas, in particular on the Mezen, men wore straight-cut sheepskin coats with non-blowing fur, also covered with cloth.

The second type is commercial hunter and fisherman suit.

Its main detail is a short rectangular cape with a hole for the head - luzan. Such capes were made from homespun canvas or cloth. For strength, the luzan was sheathed along the edges with narrow rawhide straps. For greater strength, the luzan was sheathed in leather on the shoulders, chest and back, where an ax loop was sewn. Under the back and front of the luzan, due to the hemmed canvas, bags were formed - pockets that were used during transitions to store the game, animal skins, as well as the accessories necessary for the hunter. Luzan girded himself with a leather belt (tasma).

The third type is the reindeer breeder's clothing, which is typical mainly for Komi - Izhemtsev. This type of clothing is popular with Komi simultaneously with the development of reindeer husbandry in the 16th-17th centuries. and largely borrowed from reindeer herders - the Nenets. Malitsa (malicha)- deaf clothes of a straight cut made of deer skins with fur inside, with a hood, long sleeves and fur mittens sewn to them. A special cover was worn over the malitsa (malicha kyman), made of satin or cotton fabric. similar in fur cut.

Komi traditional headwear men until the first quarter of the 20th century had dried, cloth and fur hats of various shapes - some with a low crown and wide brim, others with a high crown and raised edges turned up. The color of these headdresses varied between shades of black, gray and white. The hunters wore cloth hats of two species: "zyryanki" in the form of a helmet with a small strip of cloth falling behind the neck, reminiscent of sailors, with a bottom of five wedges, trimmed with green cloth. Komi- Izhemtsy wore fur hats in winter - long-haired fawn and non-blowing, and the population of the southern regions - Vychegodsky, Letsky Komi and Komi- Permyaks - sheepskin earflaps.

For women's clothing Komi a sarafan complex of the northern Russian type with some specific details is characteristic. By differences in the choice of cut and material, according to the nature of the decoration, researchers distinguish five main types of female Komi costume: Priluzsky, Upper Vychegodsky, Izhma, Udorsky and Sysolsky.

Complex traditional women's costume consisted of two main elements: shirts and sundresses. Leather cats served as shoes almost everywhere, in winter - felt boots (among the Izhemtsy - pima, and the upper shoulder clothing was a sukman, in winter - a sheepskin coat, among the Izhemtsy also a malitsa.

Izhma female costume differs primarily in that purchased fabrics were always used for its tailoring, since the northern nature did not allow flax and hemp to be grown on Izhmel for the production of fabrics. Izhemtsy preferred not the quality factor of fabrics, but their brightness and nobility. Therefore, they bought mainly expensive imported fabrics - silk, satin, twill, alpaca, cashmere. Women's shirts, for example, were made of silk. The Izhma type of women's shirt is characterized by a specific gate: he is tall; fastened with two buttons and cut out of a wide braid. Izhma sundresses are a type of round sundress. They were sewn, as a rule, from silk with floral ornaments, for which 7-8 straight strips of fabrics were usually used. Folds were laid from the center of the back to the front of the sundress, one double deep fold was made on the back. In the front upper part of the sundress, a lace was threaded between the straps - a hold to tighten the front of the sundress under the chest. Rich lace was sewn to the bottom of the sundress, and fringe along the hem.

On Udora, the population almost did not engage in spinning and weaving, and therefore here, as on Izhma, at the end of the 19th century, clothes, including shirts, were sewn from factory fabrics. The cut of the women's shirt was similar northern Russian: it was sewn with straight shoulder inserts - "lastovich" or polycoms. The shirt was sewn with a stand. Udora sundress, which had a name "kuntei", "bruise", "bruise", was sewn from a rough blue canvas. The bodice of the sundress was lined with canvas, the hem had no lining. The Udora sundress was sewn without folds. On the front panel of a festive sundress ( "Damask") along the central seam connecting the two halves of the fabric, a wide factory-made braid was sewn, and small metal buttons were sewn between the strips of the braid at a distance of 3-4 centimeters from each other. The Udora version of the festive sundress was sewn from brocade. Various shawls served as headdresses.

Shirts in the complex suit the upper Pechory was sewn with a standing collar and a blank button fastener in the middle of the chest. A bar was sewn under the incision. The shirts were with narrow cuffs and frills. This type of shirt appeared rather late and is similar to Russian. In the villages along the banks of the Pechora, straight sundresses were common, which appeared among Komi later than oblique. They were called "Moscow". The appearance of a straight sundress in Komi, like the Russians, in all likelihood, is associated with the wide distribution of factory fabrics. There were two straight sundresses varieties: on straps and with a bodice or corsage. The first type of straight sundress was a skirt with narrow straps, sewn from five to six strips of fabric. Stripes of colored fabric, lace and fringe were sewn on the hem. The skirt of a sundress with a corsage was sewn from one transverse piece of fabric, and the corsage was laid in a small fold. The skirt was made on a canvas lining. The bodice was fastened in front with two iron hooks. This sundress was also sewn with straps. The headdress of the Upper Pechora women was a collection.

On Sysol, women's outfits were sewn from motley, satin, and satin. The shirt of the Sysol women consisted of two parts: top - "SOS" and bottom- "mill". Shirts were sewn with a stand, which was of different lengths - the girls wore shirts with a more open collar and their stand was longer; shirts of married women had a more deaf collar. The bottom of the sleeves was gathered into a small fold, and the edges were sheathed with braid. The drain gates and sleeves were decorated with embroidery. Sysolsky sarafans belong to the type of skew-wedge. For sewing sundresses, various fabrics were used - a motley in a large cage, and from the end of the 19th century, with the penetration of factory fabrics - satin, corset fabric, satin. A sundress was usually sewn from eight strips of fabric, which were narrowed upwards in the form of a trapezoid. The upper part of the sundress was folded up to the size of the volume of the chest. The upper part of the sundress was a corset 14-16 cm high, which had a slit on the side, fastened with hooks. Three stripes of red satin were usually sewn along the hem of the sundress. Women's headdresses on Sysol were a collection and forty.

Vychegodsky complex suit similar in many respects to sysolsky. Women's shirts were sewn from bleached canvases. The shirt consisted of two main parts - the upper and camp. The main type of sarafan on Vychegda was a skew-wedge sarafan, it consisted of two straight stripes and four wedges, the hem was decorated with three strips of satin. The apron and back panels were straight, and the side stripes were cut out in the form of wedges reaching the top edge of the sundress. The sundress was relatively narrow and was worn with short straps. For a holiday, over a sundress, they put on a short swinging jacket with wide sleeves gathered at the wrist in an assembly. The headdress was a collection, which was completely devoid of embroidery and was sewn from brocade or colored bulk silk.

In women's Luz's costume especially the so-called letsky sarafan complex stood out. The shirt consisted of an upper and lower part. The collar stand was going into a small fold. The upper part of the shirt was decorated with embroidery, and the bottom of the sleeves was decorated with a lace pattern, and the very edge of the sleeves was trimmed with a hemstitch.

The Priluzsky sundress is skew-wedge, its bodice is closed, without straps. The back is cut entirely from a strip of canvas, the front is from two even strips, and wedges were attached to them on the side. The hem of the sundress was cut out in a semicircle so that the sides did not sag. The collar of the sundress and the armholes were sheathed with calico on the front side. If it was a festive sundress, then strips of brocade were sewn on top of the kumach. The festive sundress in front from the neckline to the hem was decorated with loops of home-made dyed yarn.

Women's headdress among the Priluzians Komi was forty, which was decorated with a colorful ornament with a predominance of red and its various shades: orange to burgundy.

Komi traditional shoes for both sexes it was almost not divided by cut. Summer and autumn wore: pistons (chuktm, charki, sewn from rawhide and tied at the ankle with a strap; cats (cat)- leather shoes with a low cloth top. Such shoes were worn over canvas footcloths or woolen stockings. On Luza and Vychegda they wore birch bark and bast bast shoes (nincm). In winter, they wore felted shoes (tunes, wire rods, ishim)- felted heads with sewn-on cloth or canvas tops. In the northern regions (on the Pechora) winter wore: "toboki"- 40 cm high boots made of reindeer fur with nap on the outside; "pimas"- boots with tops above the knees, also made of reindeer fur with pile outward. As spring and autumn shoes, reindeer herders wore "pussy"- the head is made of reindeer skin, and the tops up to 20 cm high are made of cloth or leather.

Low leather shoes were worn with long woolen patterned stockings, which were tied under the knee with special bandages. Fur shoes were worn with fur stockings - lipts. Until the beginning of the twentieth century, Komi home-made linen and cloth stockings were widely distributed (HR) without a heel.