The ancient clothing of the Russian nobility in its cut was generally similar to the clothing of people of the lower class, although it differed greatly in the quality of material and decoration. The body was fitted with a wide shirt that did not reach the knees, made of simple canvas or silk, depending on the wealth of the owner. An elegant shirt, usually red, had the edges and chest embroidered with gold and silk, and a richly decorated collar was fastened at the top with silver or gold buttons (it was called a “necklace”).

In simple, cheap shirts, the buttons were copper or replaced with cufflinks with loops. The shirt was worn over the underwear. Short ports or trousers were worn on the legs without a cut, but with a knot that made it possible to tighten or expand them in the belt at will, and with pockets (zep). Pants were made from taffeta, silk, cloth, as well as from coarse woolen fabric or canvas.

Zipun

Over the shirt and pants, a narrow sleeveless zipun made of silk, taffeta or dyed cloth was worn, with a narrow small collar fastened at the bottom. The zipun reached to the knees and usually served as home clothing.

The usual and widespread type of outerwear worn over a zipun was a caftan with sleeves reaching to the toes, which were gathered into folds, so that the ends of the sleeves could replace gloves, and in winter time serve as a coupling. On the front of the caftan, along the slit on both sides, stripes were made with ties for fastening. The material for the caftan was velvet, satin, damask, taffeta, mukhoyar (Bukhara paper fabric) or simple dyeing. In elegant caftans, a pearl necklace was sometimes attached behind the standing collar, and a “wrist” decorated with gold embroidery and pearls was fastened to the edges of the sleeves; the floors were trimmed with braid and lace embroidered with silver or gold. “Turkish” caftans without a collar, which had fasteners only on the left side and at the neck, differed in their cut from “stanovoy” caftans with an interception in the middle and with button fastenings. Among the caftans, they were distinguished by their purpose: dining, riding, rain, “smirnaya” (mourning). Winter caftans made with fur were called “caftans”.

Sometimes a “feryaz” (ferez) was worn over the zipun, which was an outer garment without a collar, reaching to the ankles, with long sleeves tapering towards the wrist; it was fastened in front with buttons or ties. Winter feryazis were made with fur, and summer ones with a simple lining. In winter, sleeveless fairies were sometimes worn under the caftan. Elegant fairies were made of velvet, satin, taffeta, damask, cloth and decorated with silver lace.

Okhaben

Cover-up clothing that was worn when leaving the house included odnoryadka, okhaben, opashen, yapancha, fur coat, etc.

Single row

Opasheni

Odnoryadka - wide, long-skirted clothing without a collar, with long sleeves, with stripes and buttons or ties - was usually made from cloth and other woolen fabrics; in the fall and in bad weather it was worn both in sleeves and saddled. The okhaben was similar to the one-row shirt, but it had a turn-down collar that went down the back, and the long sleeves folded back and there were holes under them for the arms, just like in the one-row shirt. A simple okhaben was made of cloth, mukhoyar, and an elegant one was made of velvet, obyari, damask, brocade, decorated with stripes and fastened with buttons. The cut of the opashen was slightly longer at the back than at the front, and the sleeves tapered towards the wrist. Opashni were made of velvet, satin, obyari, damask, decorated with lace, stripes, and fastened with buttons and loops with tassels. Opashen was worn without a belt (“on opash”) and saddled. The sleeveless yapancha (epancha) was a cloak worn in bad weather. The traveling yapancha made of coarse cloth or camel hair differed from the elegant yapancha made of good fabric, lined with fur.

Feryaz

A fur coat was considered the most elegant clothing. Not only was it worn when going out into the cold, but the custom allowed the owners to sit in fur coats even while receiving guests. Simple fur coats were made from sheepskin or hare fur; martens and squirrels were higher in quality; noble and rich people had coats made of sable, fox, beaver or ermine. Fur coats were covered with cloth, taffeta, satin, velvet, obyarya or simple dyeing, decorated with pearls, stripes and fastened with buttons with loops or long laces with tassels at the end. “Russian” fur coats had a turn-down fur collar. “Polish” fur coats were made with a narrow collar, with fur cuffs and were fastened at the neck only with a cufflink (double metal button).

Terlik

Foreign imported fabrics were often used to sew men's clothing, and bright colors were preferred, especially “wormy” (crimson). Colored clothing, worn on special occasions, was considered the most elegant. Only boyars and duma people could wear clothes embroidered with gold. The stripes were always made from a material of a different color than the clothing itself, and for rich people they were decorated with pearls and precious stones. Simple clothes were usually fastened with tin or silk buttons. Walking without a belt was considered indecent; The nobility's belts were richly decorated and sometimes reached several arshins in length.

Boots and shoe

As for shoes, the cheapest were bast shoes made of birch bark or bast and shoes woven from wicker twigs; To wrap the legs, they used onuchi made from a piece of canvas or other fabric. In a wealthy environment, shoes were shoes, chobots and ichetigs (ichegi) made of yuft or morocco, most often in red and yellow.

Chobots looked like a deep shoe with a high heel and a pointed toe turned up. Elegant shoes and boots were made of satin and velvet of different colors, decorated with embroidery made of silk and gold and silver threads, and trimmed with pearls. Dressy boots were the footwear of the nobility, made from colored leather and morocco, and later from velvet and satin; the soles were padded with silver nails, and the high heels with silver horseshoes. Ichetygs were soft morocco boots.

When wearing elegant shoes, woolen or silk stockings were worn on the feet.

Kaftan with trump collar

Russian hats were varied, and their shape had its own meaning in everyday life. The top of the head was covered with tafya, a small cap made of morocco, satin, velvet or brocade, sometimes richly decorated. A common headdress was a cap with a longitudinal slit in the front and back. Less wealthy people wore cloth and felt caps; in winter they were lined with cheap fur. Decorative caps were usually made of white satin. Boyars, nobles and clerks on ordinary days wore low, quadrangular-shaped hats with a “rim” around the cap made of black-brown fox, sable or beaver fur; In winter, such hats were lined with fur. Only princes and boyars had the right to wear high “gorlat” hats made of expensive furs (taken from the throat of a fur-bearing animal) with a cloth top; in their shape they expanded somewhat upward. On ceremonial occasions, the boyars put on a tafya, a cap, and a gorlat hat. It was customary to keep a handkerchief in a hat, which was held in the hands while visiting.

In the winter cold, hands were warmed with fur mittens, which were covered with plain leather, morocco, cloth, satin, and velvet. “Cold” mittens were knitted from wool or silk. The wrists of the elegant mittens were embroidered with silk, gold, and trimmed with pearls and precious stones.

As decoration, noble and rich people wore an earring in their ear, a silver or gold chain with a cross on their neck, and rings with diamonds, yachts, and emeralds on their fingers; Personal seals were made on some rings.

Women's coats

Only nobles and military men were allowed to carry weapons; This was prohibited for townspeople and peasants. According to custom, all men, regardless of their social status, left the house with a staff in their hands.

Some women's clothing was similar to men's. Women wore a long shirt, white or red, with long sleeves, embroidered and decorated at the wrists. Over the shirt they put on a letnik - a light garment that reached to the toes with long and very wide sleeves (“caps”), which were decorated with embroidery and pearls. Letniki were sewn from damask, satin, obyari, taffeta of various colors, but worm-shaped ones were especially valued; a slit was made in the front, which was fastened all the way to the neck.

A necklace in the form of a braid, usually black, embroidered with gold and pearls, was fastened to the pilot's collar.

Women's outerwear was a long cloth opashen, which had a long row of buttons from top to bottom - tin, silver or gold. Under the long sleeves of the opashny, slits were made under the arms for the arms, and a wide round fur collar was fastened around the neck, covering the chest and shoulders. The hem and armholes of the opashnya were decorated with embroidered braid. A long sundress with sleeves or sleeveless, with armholes, was widespread; The front slit was fastened from top to bottom with buttons. A quilted jacket was worn over the sundress, with the sleeves tapering towards the wrist; These clothes were made from satin, taffeta, obyari, altabas (gold or silver fabric), baiberek (twisted silk). Warm quilted jackets were lined with marten or sable fur.

Fur coat

Various furs were used for women's fur coats: marten, sable, fox, ermine and cheaper ones - squirrel, hare. Fur coats were covered with cloth or silk fabrics of different colors. In the 16th century, it was customary to sew women's fur coats in white, but in the 17th century they began to be covered with colored fabrics. A slit made in the front, with stripes on the sides, was fastened with buttons and bordered with an embroidered pattern. The collar (necklace) lying around the neck was made from a different type of fur than the fur coat; for example, with a marten coat - from a black-brown fox. The decorations on the sleeves could be removed and were kept in the family as an inherited value.

On ceremonial occasions, noble women wore a privolok on their clothes, that is, a sleeveless worm-colored cape made of gold, silver woven or silk fabric, richly decorated with pearls and precious stones.

Married women wore “hair caps” on their heads in the form of a small cap, which for rich women was made of gold or silk material with decorations on it. To remove a hair lock and “unhair” a woman, according to the concepts of the 16th-17th centuries, meant causing great dishonor to a woman. Above the hairline, the head was covered with a white scarf (ubrus), the ends of which, decorated with pearls, were tied under the chin. When leaving home, married women put on a “kika”, which surrounded their head in the form of a wide ribbon, the ends of which were connected at the back of the head; the top was covered with colored fabric; the front part - the necklace - was richly decorated with pearls and precious stones; The headband could be separated or attached to another headdress, depending on need. At the front of the kick were pearl threads (lower) hanging down to the shoulders, four or six on each side. When leaving home, women put on a brimmed hat with falling red cords or a black velvet hat with a fur trim over the ubrus.

The kokoshnik served as a headdress for both women and girls. It looked like a fan or fan attached to a hairline. The headband of the kokoshnik was embroidered with gold, pearls or multi-colored silk and beads.

Hats

The girls wore crowns on their heads, to which pearl or bead pendants (robes) with precious stones were attached. The maiden crown always left the hair open, which was a symbol of girlhood. By winter, girls from wealthy families were sewn with tall sable or beaver hats (“columns”) with a silk top, from under which loose hair or a braid with red ribbons woven into it flowed down the back. Girls from poor families wore headbands that tapered at the back and fell down their backs with long ends.

Women and girls of all segments of the population decorated themselves with earrings, which were varied: copper, silver, gold, with yachts, emeralds, “sparks” (small stones). Earrings made from a single gemstone were rare. Bracelets with pearls and stones served as decoration for the hands, and rings and rings, gold and silver, with small pearls on the fingers.

The rich neck decoration of women and girls was a monisto, consisting of precious stones, gold and silver plaques, pearls, and garnets; In the old days, a row of small crosses was hung from the monist.

Moscow women loved jewelry and were famous for their pleasant appearance, but in order to be considered beautiful, in the opinion of Moscow people of the 16th-17th centuries, one had to be a portly, curvy woman, rouged and made up. The slender figure and grace of a young girl were of little value in the eyes of beauty lovers of that time.

According to Olearius’ description, Russian women were of average height, slender build, and had a gentle face; city ​​dwellers all blushed, tinted their eyebrows and eyelashes with black or brown paint. This custom was so ingrained that when the wife of the Moscow nobleman Prince, Ivan Borisovich Cherkasov, a beauty in her own right, did not want to blush, the wives of other boyars convinced her not to neglect the custom of her native land, not to disgrace other women, and they achieved that this naturally beautiful woman I was forced to give in and apply blush.

Although, compared to rich noble people, the clothes of the “black” townspeople and peasants were simpler and less elegant, nevertheless, in this environment there were rich outfits that accumulated from generation to generation. Clothes were usually made at home. And the very cut of ancient clothing - without a waist, in the form of a robe - made it suitable for many.

Men's peasant clothing

The most common peasant costume was the Russian KAFTAN. The difference between the Western European caftan and the Russian one was already discussed at the beginning of this chapter. It remains to add that the peasant caftan was distinguished by great diversity. What it had in common was a double-breasted cut, long skirts and sleeves, and a chest closed to the top. The short caftan was called HALF CAFTAN or HALF CAFTAN. The Ukrainian half-caftan was called SCROLL, this word can often be found in Gogol. Caftans were most often gray or blue in color and were made from cheap material NANKI - coarse cotton fabric or HOLSTINKA - handmade linen fabric. The caftan was usually belted with a SUSHAK - a long piece of fabric, usually of a different color; the caftan was fastened with hooks on the left side.
A whole wardrobe of Russian kaftans passes before us in classical literature. We see them on peasants, clerks, townsfolk, merchants, coachmen, janitors, and occasionally even on provincial landowners (“Notes of a Hunter” by Turgenev).

What was the first caftan that we met soon after we learned to read - the famous “Trishkin caftan” by Krylov? Trishka was clearly a poor, destitute man, otherwise he would hardly have needed to reshape his tattered caftan himself. So, we are talking about a simple Russian caftan? Not at all - Trishka’s caftan had coattails that a peasant caftan never had. Consequently, Trishka remakes the “German caftan” given to him by the master. And it is no coincidence that in this regard, Krylov compares the length of the caftan remade by Trishka with the length of the camisole - also typical clothing of the nobility.

It is curious that for poorly educated women, any clothing worn with sleeves by men was seen as a caftan. They didn't know any other words. Gogol's matchmaker calls Podkolesin's tailcoat ("Marriage") a caftan, Korobochka calls Chichikov's tailcoat (" Dead Souls»).

A type of caftan was a PODDEVKA. The best description of her was given by the brilliant expert on Russian life, playwright A.N. Ostrovsky in a letter to the artist Burdin: “If you call a caftan with ruching at the back, which is fastened on one side with hooks, then this is exactly how Vosmibratov and Peter should be dressed.” We are talking about the costumes of the characters in the comedy “The Forest” - a merchant and his son.
The underdress was considered a more beautiful garment than a simple caftan. Dapper sleeveless undershirts, over sheepskin coats, were worn by wealthy coachmen. Rich merchants also wore underwear, and, for the sake of “simplification,” some nobles, for example Konstantin Levin in his village (“Anna Karenina”). It is curious that, following fashion, like a certain Russian national suit, little Seryozha in the same novel was sewn with a “rubbed undershirt”.

A SIBERKA was a short caftan, usually blue, sewn at the waist, without a slit at the back and with a low stand-up collar. Siberian shirts were worn by shopkeepers and merchants and, as Dostoevsky testifies in “Notes from the House of the Dead,” some prisoners also wore them.

AZYAM is a type of caftan. It was made from thin fabric and was worn only in the summer.

The outerwear of the peasants (not only men, but also women) was ARMYAK - also a type of caftan, sewn from factory fabric - thick cloth or coarse wool. Rich Armenians were made from camel hair. It was a wide, long-length, loose-fitting robe, reminiscent of a robe. Turgenev’s “Kasyan with the Beautiful Sword” wore a dark overcoat. We often see Armenian jackets on Nekrasov men. Nekrasov’s poem “Vlas” begins like this: “In a coat with an open collar, / With his head naked, / Slowly passing through the city / Uncle Vlas is a gray-haired old man.” And here’s what Nekrasov’s peasants look like, waiting “at the front entrance”: “Tanned faces and arms, / A thin little Armenian on the shoulders, / A knapsack on their bent backs, / A cross on the neck and blood on the legs...” Turgenevsky Gerasim, fulfilling the will of the lady, “covered Mumu with his heavy overcoat.”

Armenians were often worn by coachmen, wearing them over sheepskin coats in winter. The hero of L. Tolstoy’s story “Polikushka” goes to the city for money “in an army coat and a fur coat.”
Much more primitive than the armyak was the ZIPUN, which was sewn from coarse, usually homespun cloth, without a collar, with slanted hems. If we saw a zipun today, we would say: “Some kind of hoodie.” “No stake, no yard, / Zipun - the whole subsistence,” we read in Koltsov’s poem about a poor man.

Zipun was a kind of peasant coat that protected against cold and bad weather. Women also wore it. Zipun was perceived as a symbol of poverty. It’s not for nothing that the drunken tailor Merkulov in Chekhov’s story “The Captain’s Uniform,” bragging about his former high-ranking customers, exclaims: “I’d rather die than sew zipuns!” "
In the last issue of his “Diary of a Writer,” Dostoevsky called: “Let’s listen to the gray zipuns, what they will say,” meaning the poor, working people.
A variation of the caftan was CHUYKA - a long cloth caftan of careless cut. Most often, the scent could be seen on merchants and townsfolk - innkeepers, artisans, traders. Gorky has a phrase: “Some red-haired man came, dressed as a tradesman, in a tunic and high boots.”

In Russian everyday life and in literature, the word “chuyka” was sometimes used as a synecdoche, that is, a designation of its bearer according to external sign- a narrow-minded, ignorant person. In Mayakovsky's poem "Good!" There are lines: “Salop says to the sense, sense to the salad.” Here chuyka and cloak are synonyms for hardened ordinary people.
A homespun caftan made of coarse undyed cloth was called SERMYAGA. In Chekhov's story "The Pipe" an old shepherd in a homespun is depicted. Hence the epithet homespun, referring to the backward and poor old Russia- homespun Rus'.

Historians of Russian costume note that there were no strictly defined, permanent names for peasant clothing. Much depended on local dialects. Some identical items of clothing were called differently in different dialects, in other cases different items were called by the same word in different places. This is confirmed by Russian classical literature, where the concepts of “kaftan”, “armyak”, “aziam”, “zipun” and others are often mixed, sometimes even by the same author. However, we considered it our duty to present the most general, common characteristics of these types of clothing.

The KARTUZ, which certainly had a band and a visor, most often of a dark color, has only recently disappeared from peasant headdresses, in other words, an unformed cap. The cap, which appeared in Russia at the beginning of the 19th century, was worn by men of all classes, first by landowners, then by burghers and peasants. Sometimes the caps were warm, with headphones. Manilov (“Dead Souls”) appears “in a warm cap with ears.” On Insarov (“On the Eve” of Turgenev) “a strange, big-eared cap.” Nikolai Kirsanov and Evgeny Bazarov (“Fathers and Sons” by Turgenev) wear caps. “Worn out cap” - on Evgenia, the hero of Pushkin’s “The Bronze Horseman”. Chichikov travels in a warm cap. Sometimes a uniform cap, even an officer’s one, was also called a cap: Bunin, for example, used “cap” instead of the word “cap.”
The nobles had a special uniform cap with a red band.

Here we must warn the reader: the word “cap” in the old days had another meaning. When Khlestakov orders Osip to look in his cap to see if there is any tobacco there, we are, of course, not talking about a headdress, but about a bag for tobacco, a tobacco pouch.

Simple working people, in particular coachmen, wore tall, rounded hats, nicknamed BUCKWHEATS - due to the similarity of the shape to the flat cake, popular at that time, baked from buckwheat flour. Every peasant's hat was disparagingly called “SHLYK”. In Nekrasov’s poem “Who Lives Well in Rus'” there are the lines: “Look where the peasant shlyks go.” At the fair, men left their hats to the innkeepers as collateral to be redeemed later.

There were no significant changes in the names of the shoes. Low shoes, both men's and women's, in the old days were called SHOES; boots appeared later, not significantly different from shoes, but made their debut in the feminine gender: the heroes of Turgenev, Goncharov, L. Tolstoy had a BOOTE on their feet, not a shoe, as we say today. By the way, boots, starting from the 1850s, actively replaced boots, which were almost indispensable for men. Particularly thin, expensive leather for boots and other footwear was called VYROSTKOVA (from the skin of a calf less than a year old) and OPOIKOVA - from the skin of a calf that had not yet switched to plant food.

Boots with SET (or gathers) - small folds on the tops - were considered especially smart.

Just forty years ago, many men wore boots on their feet - boots with hooks for winding laces. In this meaning we find this word in Gorky and Bunin. But already at the beginning of Dostoevsky’s novel “The Idiot” we learn about Prince Myshkin: “On his feet there were thick-soled shoes with boots - everything was not in Russian.” The modern reader will conclude: not only is it not Russian, but also not human at all: two pairs of shoes on one person? However, in the time of Dostoevsky, boots meant the same thing as leggings - warm covers worn over shoes. This Western novelty evokes poisonous remarks from Rogozhin and even a slanderous epigram on Myshkin in the press: “Returning in narrow boots, / He took a million inheritance.”

Women's peasant clothing

From time immemorial, the SARAFAN, a long sleeveless dress with shoulders and a belt, has served as rural women's clothing. Before the Pugachevites attack the Belogorsk fortress (“The Captain’s Daughter” by Pushkin), its commandant says to his wife: “If you have time, put a sundress on Masha.” A detail that is not noticed by the modern reader, but is significant: the commandant hopes that in village clothes, if the fortress is captured, the daughter will get lost in the crowd of peasant girls and will not be identified as a noblewoman - the captain's daughter.

Married women wore PANEVA or PONEVA - a homespun, usually striped or checkered woolen skirt, in winter - with a padded jacket. About the merchant's wife Big Clerk Podkhalyuzin in Ostrovsky's comedy "Our People - Let's Be Numbered!" he says with contempt that she is “almost a prude,” hinting at her common origin. In “Resurrection” by L. Tolstoy it is noted that the women in the rural church were in panevs. On weekdays they wore a POVOYNIK on their head - a scarf wrapped around the head, on holidays KOKOSHNIK - a rather complex structure in the form of a semicircular shield over the forehead and with a crown at the back, or KIKU (KICHKU) - a headdress with protrusions protruding forward - “horns”.

It was considered a great disgrace for a married peasant woman to appear in public with her head uncovered. Hence the “foolishness”, that is, disgrace, disgrace.
The word “SHUSHUN” is a kind of rustic padded jacket, short jacket or fur coat, remembered to us from the popular “Letter to a Mother” by S. A. Yesenin. But it is found in literature much earlier, even in Pushkin’s “Arap of Peter the Great.”

Fabrics

Their variety was great, and fashion and industry introduced more and more new ones, making the old ones forgotten. Let us explain in dictionary order only those names that are most often found in literary works, remaining incomprehensible to us.
ALEXANDREIKA, or KSANDREIKA, is red or pink cotton fabric with white, pink or blue stripes. It was readily used for peasant shirts, being considered very elegant.
BAREGE - light woolen or silk fabric with patterns. Dresses and blouses were most often made from it in the last century.
BARAKAN, or BARKAN, is a thick woolen fabric. Used for upholstery.
PAPER. Be careful with this word! Reading from the classics that someone put on a paper cap or that Gerasim in “Mumu” ​​gave Tanya a paper scarf, one should not understand this in the modern sense; “paper” in the old days meant “cotton”.
SET - spoiled “grodetur”, thick silk fabric.
GARUS - coarse woolen fabric or similar cotton fabric.
DEMIKOTON - thick cotton fabric.
DRADEDAM - thin cloth, literally “ladies' cloth”.
ZAMASHKA - the same as poskonina (see below). In Turgenev's story of the same name, Biryuk is wearing a fancy shirt.
ZATREPEZA - cheap cotton fabric made of multi-colored threads. It was produced at the factory of the merchant Zatrapeznov in Yaroslavl. The fabric disappeared, but the word “shabby” - everyday, second-rate - remained in the language.
KAZINET - smooth wool blend fabric.
KAMLOT - dense woolen or wool blend fabric with coarse stripes.
KANAUS - cheap silk fabric.
CANIFAS - striped cotton fabric.
CASTOR is a type of thin, dense cloth. Used for hats and gloves.
CASHMERE is an expensive soft and fine wool or wool mixture.
CHINESE - smooth cotton fabric, usually blue.
CALCINCOR - cheap cotton fabric, plain or white.
KOLOMYANKA - homemade variegated wool or linen fabric.
CRETONE is a dense colored fabric used for furniture upholstery and damask wallpaper.
LUSTRIN - woolen fabric with gloss.
MUKHOYAR - variegated cotton fabric mixed with silk or wool.
NANKA is a thick cotton fabric popular among peasants. By name Chinese city Nanking.
PESTRYAD - coarse linen or cotton fabric made of multi-colored threads.
PLIS is a dense cotton fabric with a pile, reminiscent of velvet. The word has the same origin as plush. Cheap outerwear and shoes were made from corduroy.
POSKONINA - homespun canvas made from hemp fiber, often used for peasant clothing.
PRUNEL - thick woolen or silk fabric from which women's shoes were made.
SARPINKA - thin cotton fabric with a check or stripe.
SERPYANKA is a coarse cotton fabric of rare weave.
TARLATAN - transparent, light fabric, similar to muslin.
TARMALAMA - dense silk or semi-silk fabric from which robes were sewn.
TRIP - fleecy woolen fabric like velvet.
FOLYAR - light silk, from which head scarves, neck scarves and handkerchiefs were most often made, sometimes the latter were therefore called foulards.
CANVAS - light linen or cotton fabric.
SHALON - thick wool from which outerwear was made.
And finally, about some COLORS.
ADELAIDE - dark blue color.
BLANGE - flesh-colored.
TWO-FACE - with an overflow, as if there were two colors on the front side.
WILD, WILD - light gray.
MASAKA - dark red.
PUKETOVY (from spoiled “bouquet”) - painted with flowers.
PUSE (from the French “puce” - flea) - dark brown.

Let me remind you of this version of what it was, as well as The original article is on the website InfoGlaz.rf Link to the article from which this copy was made -

Perhaps, of the entire color spectrum, red is the most powerful color; it seems to “clog” all other colors. There are many debates and discussions about the color red among psychologists, color therapists, as well as historians and scientists. It is called a symbol of aggression and passion, health and danger, sexuality and sudden embarrassment. It evokes a feeling of physical courage, warmth and at the same time creates tension.

The red color is noticeable always and everywhere, it constantly attracts the eyes of others, it’s not for nothing that almost all government institutions in the world have the presence of red color in the room, because when the color is red, people make more bets and play with more passion, so it is used in sectors where they play for high stakes . Red is the color of excitement, it excites, evokes passion, stimulates emotions and desire, and therefore many color therapists recommend it to those who have problems in the intimate sphere.

Since red is the color of stubborn, brave and powerful people, most likely it indicates that the person in front of you is decisive and quick-tempered, sometimes aggressive, full vital energy and optimism, willingly enter into arguments, but are not always patient with those who do not share their views. It should not be used on people with blood pressure or those who are overly sensitive. Too much red can make you anxious and even aggressive.

Have you hinted to your boss about your salary so that he could raise it for you, but he doesn’t pay any attention to you? Try wearing something red before your annual performance review. There is a chance that this eye-catching color will remind the boss of your request. Just don’t forget, you shouldn’t wear a red suit when going to speak at a conference or when talking with your boss: such a dress will not look impressive, since prolonged perception of the red color can cause tension and aggression in your opponent towards you.

Psychologists note that a lack of red shades in a woman’s wardrobe can cause distress, but an excess of them, on the contrary, can cause aggression. This is because red is a very energy-intensive color and is rightfully considered the color of passion and strength. You won’t believe it, but fashion designers believe that the color red suits all women without exception!

And it doesn’t matter what age they are, what eye color, skin color or hair color they have. And if a woman also understands why she wants to wear red clothes right now, she will certainly achieve her goal. What does it say, what does it encourage and what is the color red capable of if it is present in clothing?

Wearing red is a sign of leadership. Red is considered by psychologists to be very powerful and speaks of the presence of leadership qualities, power and passion in the personality of the person who wears it.

Red in clothes is the personification of love. When it comes to love, red is also the leader here. It symbolizes comfort, eroticism, passion and coziness. Red is also considered a guardian and protector for beautiful and lovely ladies.

Wearing red is a treatment for depression. When a woman is in a state of depression, red and all its shades can come to the rescue in the fight against a bad mood. Psychologists suggest that women should wear something red or scarlet, put on red lipstick, eat the famous strawberry, and then there will be no traces of depression.

Red in clothes is a call to action. It has also been proven that red and its shades encourage a person to perform deeds and take decisive action. Moreover, red encourages action not only of its owner, but also of the people around him.

Wearing red is a provocation of passion. The color red, when worn by a woman, will certainly attract attention. There are no men who would not pay attention to a representative of the fair sex dressed in red. The color itself and its owner will definitely catch the eyes of men, and will cause increased heartbeat, as well as increase blood pressure.

The spectrum of red includes cherry, raspberry, carmine, burgundy, pink and scarlet.

Do you want a man to pay attention to you? Forget the little black dress - men prefer women in red! This is exactly the conclusion that psychologists and scientists came to during a sociological study.

It turns out that a woman in a crimson, scarlet or red outfit seems more attractive, desirable and sweet to men. A man is more likely to invite a lady in a dress of these tones on a date.

In addition, in the company of a woman in red, any man becomes more generous.

Scientists explain this effect by the fact that the color red affects a man’s emotions and is subconsciously associated with sex.

Experts came to these conclusions during a scientific experiment. The men were shown photographs of the same women, but wearing blouses of different colors: red, blue, green, gray.

Women in red blouses seemed the most attractive to the stronger sex. With such ladies, the gentleman was ready to spend twice as much at dinner as with women in blue blouses.

Men prefer women in red

Red has long been considered the color to which men react with such obvious and rapid “curling” of their heads when the owner of scarlet clothing walks past them. Today, scientists can explain the reason why men actually prefer women who wear red. As it turned out, they consider representatives of the fairer sex in red sexually more accessible. Most men believe that such women easily enter into intimacy on the first date.

Psychologists interviewed 120 young people aged 18 to 21 years. Most of them said that when women choose red in their clothes, they are much more willing to have sexual adventures and are more inclined to such adventures than those who choose clothes in neutral tones. It has also been proven that the item of clothing does not play as huge a role as its color. For example, women in ordinary red T-shirts were perceived by men in the same way as ladies in dresses of the same tone.

Previous studies have shown that men will flirt more with women who wear red. They are also more relaxed in the presence of ladies in scarlet dresses.

Many people associate the color red with love, passion and a romantic mood, as well as the loving nature of a woman. However, the effect of red color can also be explained from a biological point of view: during the mating period, to attract individuals of the opposite sex in monkeys, macaques and chimpanzees, the perineums of females become bright red.

As the experiment showed, a woman dressed even in an ordinary T-shirt, but in a rich red color, seems very sexy and attractive to men. It is noteworthy that many of the respondents noted that the color red in clothing adds status to its owner. A woman in red clothes seems to be higher in position in society, which she actually has.

Women in red are more attractive to the opposite sex for associative reasons. Red is a symbol of passion. The effect of this color is inexplicable; it works at the subconscious level. A man views a woman in red as the most striking sexual object, and perceives her clothing as an invitation to sex and a signal of readiness.

The benefits of red

Red color is beneficial for all women, from birth to the end of their lives, red color is the power of Mars, which should protect them. It is said that the color red protects all women on earth from dangers. So red color is very favorable for women, so women can wear red clothes, red coral, etc., which will keep their body and mind collected. Red and vermilion is a color used by all married women to protect their husbands. The color red is a symbol of safety and protection. You must have seen that Indian women wear a red dot and sprinkle red kum-kum powder on their parting, this is exactly the meaning of these jewelry

What does the color red symbolize among different peoples of the world?

For residents of Russia, the color red symbolizes wealth, love, sex, passion, power, anxiety, strength, speed, danger. This color has always been “theirs” for the residents of Russia. Remember, for example, Red Square. Many beautiful and popular places (events, etc.) have always been associated with the color red. It is the color of love, activity and struggle. All this has always been present in our history.

In Rus', inventive young ladies cleverly combined European traditions with primordially Slavic traditions. For example, in the 18th century, traditionally white dress The bride was supposed to have red flowers decorating her veil. The bride's wreath was also red. (Various shades of red were called very poetically: “the color of the Navvrin flame with smoke”, “the Moscow fire” and even the “adeland” color).

In medieval Christian art, red symbolized love, including divine love and mercy. If the bride appears in a scarlet dress, no one will doubt that she is a passionate and confident person.

In China, the color red means good luck; Brides are dressed in it, and newborns are greeted with red eggs. Feng Shui proponents recommend using the color red to drive away bad energy from your home.

Whether we like it or not, color has a special influence on human behavior, and on an unconscious level. Red is one of the “strongest” colors – it’s not without reason that it’s called “caffeine for the eyes.” Will red clothes turn a gray mouse into the queen of the party? Will it add confidence to a person? Will it raise the owner's authority? Will it increase his chances of winning? Today we will try to give a comprehensive answer to these questions.

Red clothing and self-esteem

Psychology says only good things about the owners of red clothes. This color is preferred by energetic and risk-taking extroverts. They are not prone to isolation, callousness and orderliness; they are optimistic and active, quickly adapt to new things, easily perceive life and are always in search of adventure.

They say that wearing red gives you confidence, but with a caveat. If everything is in order with your self-esteem, then such things can lift your spirits, cheer you up, give you energy and get rid of doubts. But if you are a timid and shy person, then the sudden appearance of red clothes in your wardrobe will not solve the situation: you will begin to be afraid of your own closet or the bright thing you are wearing. In such situations, evolution is much more useful than revolution.

Scientists decided to test how the color red affects the perception of the personal qualities of men in neutral social situations. To do this, an experiment was conducted with the participation of 50 men and 50 women, during which participants were shown photographs of men wearing T-shirts of different colors, after which the volunteers had to rate how aggressive and dominant these men seemed to them.

As it turned out, the color of other men's T-shirts greatly influenced how confident and dominant the participants considered them to be. The men in red in the photographs seemed more respectable and successful to them. It is not for nothing that red or purple has been considered the royal color for thousands of years, symbolizing power and high status.

Red clothes and sports

Back in the middle of the last century, it was noticed that wearing red glasses by athletes can, in some cases, make it easier for them to achieve high results, increasing reaction and endurance. Today, scientists from Durham University are confident that wearing red sportswear significantly increases the chances of winning. Observations of wrestlers at the 2004 Athens Olympics showed that athletes wearing red jerseys were much more likely to win than their competitors wearing blue jerseys. Similar conclusions were made after analyzing the results of games in the British football Premier League.

According to scientists from the UK, part of the secret to the Reds' victory is hidden in psychology. The color red is a symbol of aggression for primates, dominance for many other creatures (think of the red comb of a rooster) and a “furious face” for humans. Thus, red jerseys seem to subconsciously set up opponents to lose or lack confidence in their abilities. This begs the question: can competition be considered fair under such conditions?

The second component of success apparently lies in the physiological effects of the color red on the body: according to the results of a new experimental study, it significantly increases physical strength and reaction speed. According to Andrew Elliott, a professor of psychology at the University of Rochester, red spurs us on because it is subconsciously perceived as a signal of danger. He clearly hints: “Come on, push it!”

Red clothing and attractiveness

Finding out whether a woman is currently searching is very simple. Just look at what she's wearing. Researchers from the University of British Columbia in Canada asked 124 women about their clothing color preferences in different days menstrual cycle. They found that women at greatest risk of becoming pregnant were more likely to wear red or pink color clothes. Those who wore this color were three times more likely to ovulate than those who wore other colors.

Even in ancient times, red ocher patterns were applied to the body to perform fertility rituals. In many Eastern countries, brides dress up in red dresses, and in Europe, a red heart is a symbol of romantic relationships. All these traditions, of course, did not arise out of nowhere, and are rooted in wild nature. An example that is evolutionarily close to us: the red color of some parts of the body indicates that the female baboon is ready to reproduce, and therefore becomes the most attractive to males...

One way or another, the male brain also reacts to this color on a primitive instinctive level - perhaps associating it with the blush on the cheeks after a night of love. Despite the obviousness of the effect, many men continue to insist that color does not have a strong influence on their choice. In practice, the poor fellows simply do not realize the full power of red magic, and therefore are only more susceptible to conscious and unconscious manipulation.

Psychologists from the University of Rochester in New York conducted an experiment in which they showed two groups of students photos of girls dressed in blue and red. Students from the “red” group would like to ask them more frivolous and flirtatious questions. In the second experiment, young people were asked to imagine that they were going to be alone with a stranger, and were asked to arrange chairs so that they would be comfortable to conduct a conversation. Those students who were supposed to meet the girl in red moved their chairs as close as possible.

The researchers came to the conclusion that the color red not only encourages men to flirt, making women more impressive, seductive and desirable in their eyes. Men are even willing to spend twice as much effort, time and finances on them than if those same ladies were dressed differently. It is also worth noting that the color red attracts not only the stronger sex: a man in red also looks more attractive in the eyes of a woman, since such clothing visually raises his status and creates the effect of dominance.

From the 6th century the term anty finally disappears from the arena of history. But in historical descriptions of the Slavs, foreigners actively use the name “ros” or “rus”.

In the VI century. In the Middle Dnieper region, a powerful union of Slavic tribes formed, part of which was the Ros tribe, whose name is associated with the Ros River, a tributary of the Middle Dnieper. The alliance included northerners, part of the ancient tribes - the Polyans, and possibly other tribes that territorially greatly expanded the boundaries of the primary tribe of the Ros.

"The Tale of Bygone Years" defines the circle of Slavic tribal unions in the 7th-8th centuries. became part of Rus': Polyans, Drevlyans, Polochans, Dregovichs, Northerners, Volynians, to whom in the 9th century. Novgorodians joined. Each of the chronicle tribes was formed on its own cultural basis. The ethnocultural basis of the Volynians was the Prague culture and the late Luka-Raikovetska culture; the basis of the Drevlyans is the culture of burial mounds and partly Luka-Raykovetskaya (the latter also ruled as the basis of the Ulichi and Tivertsy); northerners - Romny culture; Radimichi - culture of burial mounds. The most complex was the cultural basis of the glades of the Middle Dnieper region. In VI-VIII centuries. it included components of three cultures: Prague, Penkovo ​​and Kolomiyskaya, and later, in the 8th-10th centuries, Luka-Raykovets and Volyntsovskaya.

In fact, in a small territory of the Middle Dnieper region all the different cultures converged Eastern Slavs. And, therefore, it is no coincidence that it was the Kiev region that became not only the center of the formation of intertribal formations, but also the ethnogenetic center of the Ukrainian Slavs and their state - Kievan Rus. The unification of all tribes created the prerequisites for the formation of a single cultural basis (a single tradition of clothing culture), and the tribal structure predetermined the regionalism and diversity of traditional everyday culture. So, the epicenter of the Russian land was the Middle Dnieper region, which, according to natural conditions and fertile lands were a kind of ecumene for farmers since the Eneolithic, the later tribes of Scythian plowmen ─ Proto-Slavs, as well as the core of the Slavic forest-steppe zone of the Chernyakhov culture.

The common features of ritual symbolism in different manifestations of material culture were preserved by the tribes that alternated in this territory in different historical conditions. Solar and Lunar symbolism with the ritual magical center of the Great Foremother passed through centuries and millennia, embodied in the images of Trypillian ornaments and anthropomorphic plasticity, in elements of Bronze Age jewelry, in the system of placing jewelry of the Scythian time, in painting on a ritual vessel of the Chernyakhov culture, in enamel sets of jewelry culture of the Kiev tribes, in brooches and spiral temple pendants of the antes. These traditions were not violated by the new Slavic association of the Ros. All this tradition of figurative thinking, compiled over centuries, was reflected in clothing, which, at the stage of close relations with Byzantium, acquired new features, while preserving its agricultural traditions and original culture. Considering the main aspects of the attire of the Slavs of the VI-VIII centuries. According to written references, research by famous costume experts and archaeological materials, one can find characteristic features clothes of this period. Against the background of pan-Slavic integration starting from the 6th century. The ethnic expressiveness of individual East Slavic tribes - the Volynians, Drevlyans, Polyans, Ulichs, Tivertsi, Northerners, Radimichi, Dregovichi - becomes more noticeable, which in a unique way affects the formation of clothing. It also consisted of two ethnocultural coordinates: on the one hand, a common Slavic basis arose, being realized in the uniformity of clothing and systems of complexes, on the other, the ethnocultural originality of individual tribes was most clearly manifested in the decoration of clothing, in the system of jewelry and in the ways of wearing them. With the main traditional components of clothing complexes inherent in the East Slavic tribes in general, tribal decorations ─ the original characteristics of each individual tribe that was part of the Slavic “Russian” community added a bright aesthetic completeness to the image. According to their purpose, sets of tribal jewelry performed the same protective function among all Slavs, and their location was specifically designated. However, the difference lay in the way they were worn and in the shape of the pendants themselves.

In the VI-VII centuries. the majority of the Slavic population wore clothes made from home-produced fabrics as a product of a closed cycle of subsistence farming.

In every family, regardless of social status, women were engaged in spinning and weaving. Over time, wealthy townswomen and women of the feudal elite became passive participants in this process: they only controlled the work of subordinate weavers. In peasant families until the beginning of the 20th century. The process of making fabrics remained traditional and obligatory for all women. Fabrics were made from flax, hemp and wool on a horizontal loom "Krosna" different varieties plain, twill and patterned weave.

Linen cloth and soft, thin hemp cloth were used to make underwear, shirts, curtains (sleeves), toppers, towels, linings and bedspreads. Stiffer hemp fabric was used for sewing trousers, some types of outerwear, and bags.

Linen and hemp fabrics were used both in folk and feudal life: underwear was sewn from them and used as a lining for the outer garment.

In addition to the above-mentioned raw materials, the Slavs have long used wool to make fabrics, from which they sewed mainly upper shoulder and waist clothing.

From multi-colored yarn, which was dyed with vegetable dyes of local origin, striped reserves, checkered blankets, belts, fabrics for skirts, dresses, raincoats, etc. were woven.

From coarse homespun broadcloth and felt, peasants sewed warm outerwear of the retinue type. “Both the products of felt and coarse woolen fabric, and cloth production existed in old Kievan Rus even before the adoption of the cross” (F. Vovk).

Imported silk and fine woolen fabrics, from which rich clothing was made, became popular among the feudal elite.

If in the VI-VII centuries. imported silk fabrics predominated, then already at the beginning of the 8th century. The first Byzantine fabrics appear: gold and silver brocade, velvet (loop brocade, M. Fechner).

In the clothes of commoners, the color of unbleached and bleached linen predominated, with partial use of red, black and a range of brown-brown-gray shades.

The attire of townspeople and wealthy nobility was distinguished by a polychrome of contrasting colors. To achieve this, homespun linen and wool fabrics were dyed with locally sourced vegetable dyes in rich reds, blues, greens and yellows. Such fabrics were called "krashenina". They were used to make suits, caftans, dresses, tops, which were decorated with imported fabrics of different textures and ribbons.

The clothing of the Slavs was socially differentiated; it differed only in the number of components and the quality of the material. However, the cut of clothes among peasants, townspeople and feudal lords was the same. Peasants wore linen and hemp shirts, while the wealthy wore shirts made from imported silk or thin soft fabric.

Leather and fur were traditionally used for warm, winter clothing. The poor wore sheepskin coats, the feudal elite wore expensive outerwear made of beavers, foxes, and sables, which were covered with Byzantine pavoloks.

The general name for clothing - "ports" - has been known since the time of Prince Oleg (beginning of the 10th century, Oleg's Treaty with Byzantium). The pre-Slavic authenticity of this term must have deeper roots, like the types of clothing that matured independently of each other in the depths of the life and culture of farmers. It is possible that all types of primarily princely clothing (according to mentions in chronicles), sewn from high-quality, bleached homespun fabric, were called “ports” (portishche ─ a piece of fabric). With increased contacts with Byzantium and the appearance of silk and gold-woven woven fabrics, some forms of clothing were modified. The feudal-princely elite is gradually abandoning “unfashionable” homespun fabrics. Perhaps then, in the clothing of the Slavic nobility, the term “ports” itself, which has been used since the 10th-11th centuries, is being replaced. partially modified by the Byzantine word "robes". However, as an archaic name, “ports” survived much longer in peasant clothing. In addition, it was used to designate some elements of clothing (Russian “ports”, “footcloths”).

In written sources of the 12th century. simple, poor clothes “rub”, “rags” are often mentioned, which, according to A. Artsikhovsky, was also the common Slavic name for the complex of clothing of commoners - home-made shirts and trousers. The semantics of this word retained its essence in later definitions. Thus, in Ukraine the word “rags” means “rags” (F. Vovk). In Russia there is also an expression “dressed in rags,” i.e. the last poor man. According to the Old Slavic concept, the word “rub” meant a piece of fabric (I. Sreznevsky). So, clothes made from “rubs” could also have the identical name “rub”. The clothes of a poor man torn into rags in the 19th century. retained the name "rags". Confirmation of the archaic nature of this word is the name of the Ukrainian iron - the ruble, with which peasant women “ironed” finished linens and towels. The Slavic word “shirt” (from “rub”) to define the underwear of the poor has been preserved in Russia as the general name for this outfit. The word "shirt" (from the Latin "Sagsa", F. Vovk) was borrowed. It was used by the feudal nobility to stand out among the smerds. The shirt became the body wear of the class elite. It was this name that was subsequently finally established in folk clothing in Ukraine.

Shirts

The main type of clothing for all segments of the Slavic population was shirts (shirts). According to the research of ethnographers of the 19th-20th centuries, shirts varied in design. Long shirts consisted of straight, continuous panels from collar to hem. Such shirts were mainly ritual: wedding, holiday or posthumous. The shirt “to the point” had two parts: the upper one - “the waist, the machine, the shoulder” and the lower one, the actual “point”. There were also shorter shirts that were worn separately: the “shoulder” and the lower part - the “hem.” They were tunic-shaped in cut, sewn from one piece of cloth folded in half. Since it was not wide enough, straight or wedge-shaped sides were sewn on the sides below the armhole.

The sleeves were narrow, straight, and often significantly longer than the arms. They served as gloves: they protected their hands from the cold. To prevent the sleeves from interfering with work, they were picked up, “rolled up”, and then holidays- they picked it up to the elbow and held it at the wrist with a bracelet. This multifunctional sleeve shape was the result of life experience, an adaptation to harsh climate conditions.

The men's shirt was collarless and had a round or rectangular neckline. Sometimes it had a small slit in the front and was fastened at the neck with one button; it was called a “goloshka”. They were decorated with embroidery or midges along the neckline, slit, sleeves and hem. The men's shirt was shorter than the women's. It only reached to the knees. They wore it untucked, belted with a woven or leather belt with a metal buckle and decorations. The belt was not tightened, which created an overlap of the upper part of the shirt above the waist in the form of a transverse fold. Walking without a belt was considered indecent. Hence the expression “unbelted”—insolent.

Men's underwear was complemented by narrow trousers with a rectangular crotch insert. The glasses were pulled through the belt and tied in front at the waist. The trousers were tucked into high embroidered socks - leggings, shoes or boots, or they were wrapped with footcloths on top and secured to the leg with thick straps from pistons, bast shoes or stripes. A shirt and trousers were the main underwear.

Unlike the men's, the women's shirt was longer, reaching to the feet, had the same tunic-like cut, and long sleeves. Besides practical properties, women's sleeves, loose to the ground (image on silver bracelets of the 12th century), had a magical meaning in the ancient pagan rituals of “Rusalia”. The collar of a woman's shirt fit tightly around the neck or was tucked at the neck under a rurik hem. The front of the shirt had a small slit and was fastened with a button. Around the collar, as well as along the slit on the chest, the shirt was embroidered with predominantly red threads or trimmed with a narrow strip of colored fabric. The shirt was underwear. it was necessarily girded with a thin rope belt-amulet with an indispensable slouch.

Outerwear

Simple Slavic women wore ancient belt-type clothing over their shirts, such as plakhta, panova or wrapper, dergi, which was an unstitched rectangular shawl that was used to wrap the body at the back. Diverging from the front, the board formed a large slit. Panova consisted of two or three panels attached to a waist strap (a plakhta with wings; reconstruction by Ya. Prilipko of a female outfit based on materials from the Cherry Tomb of the Scythian period). Pan-plakhta outfits, universal in their simplicity and versatility of use, were worn only by women. The symbolic checkered decor of the scaffold corresponded to the ancient Eneolithic signs of fertility (a field plowed into squares and sown, the Trypillian “rhombus”). Girls who had reached puberty could symbolically put on a scaffold during initiation - initiation into virginity. Plakhta, as a symbol of fertility, was supposed to protect the sacred parts of a girl’s body, giving them the power of fertility future woman. Back in the 19th century. The ritual of putting on a panova when young has been preserved, sometimes just before the wedding (M. Rabinovich).

The presence of remains of red-violet organic matter near the lower part of the skeleton in one of the burials in the Zhytomyr region confirms the fact of a waist-length outfit such as a panova or skirt. Remains of tissue were preserved near the pelvic bones; these were spirally twisted threads, possibly silk (V. Antonovich).

Ancient, predominantly girlish clothing was a curtain (amice) - a type of unstitched clothing, a sheet of fabric thrown over the shoulder, with a round hole for the head. It was pinched on both sides or simply girdled at the waist with a belt, like a plakhta; the curtain was made shorter than the underwear to reveal the decorative lining of the shirt. Ancient outerwear was also a navershnik - a type of short shirt with wide short sleeves.

The clothes of city women differed from the clothes of peasant women in the variety of sets and quality of fabric. An outer shirt made of silk or woolen fabric was worn over the undershirt. The outer shirt is mentioned in chronicles as an integral part of a rich suit. In order not to be confused in the names of these two elements of clothing similar in cut (the name of the outer shirt of that time has not been preserved), let us turn to the ancient Slavic identifying terminology. “Plat” is a piece of fabric, “platno” is the name of the canvas. So, let’s conditionally call the outer shirt a “dress” according to the principle: “rub” - “rags”, “plat” - “dress”, that is, made from “plates”.

The presence of the outer dress is confirmed by the remnant of organic dust of black, brown or purple colors in the burials of the Slavs, as well as the location of buttons on the skeletons (based on materials from V. Antonovich’s excavations at the settlements of the Drevlyans).

Outerwear was made of wool or silk fabric, the collar was trimmed with silk ribbon woven with gold and silver threads, or ribbon from Byzantine brocade with a pattern of gold threads on a silk base. On the chest, the clothing had a slit (small bosom), also bordered with patterned fabric (L. Kud). The collar was fastened at the neck with one or three buttons with belt loops. Bead buttons could be silver, bronze, carnelian, glass, paste, mostly round and pear-shaped.

The outer warm shoulder clothing includes a casing or sheepskin coat, the remains of which were found by V. Antonovich in two mounds near Minyniv. The collar of this clothing was fastened at the neck with a special clasp, which consisted of a silver or bronze ring, a bead and a belt loop (Strizhavka).

In both cases, from the remains of the dress and sheepskin coat, the same type of outer outfit can be traced: a blind, unswinging, straight cut, which was put on over the head, fastened at the neck with one or three buttons and always belted (the remains of woven and belt belts were found by S. Gamchenko in the Zhytomyr burial ground near the villages of Golovko, Yesterday, Grubskoe).

If a sheepskin coat and a dress are types of winter and summer clothing, then a retinue, as intermediate seasonal clothing, logically fits into this series. This allows us to conditionally reduce outer shoulder clothing into one typological scheme, completing it according to fundamental design solutions.

Outerwear

up

Its most common form was the votola - a sleeveless cloak made of thick linen or cloth, which was draped over the shoulders and pinned near the neck. “This was the most popular type of raincoat clothing of the Slavs, which was worn by everyone - from the smerd to the prince” (M. Rabinovich). The only difference was in the quality of the fabric and the materials from which the brooches were made. Wealthy Slavs pinned the cloak with silver brooches, and ordinary people tied it with a knot. Other well-known types of raincoats are Myatl, Kisa (Kots), Luda. The retinues are mentioned in chronicles of the 11th century, but their ancient origin is beyond doubt. There is almost no information about the cut of this type of outerwear. Judging by archaeological excavations, later images and ethnographic studies, retinues in the VI-VIII centuries. They were not a swinging, but a closed type of outer garment, calf-length, tightly fitted to the body, sometimes had a turn-down collar and cuffs. They sewed retinues from woolen fabrics.

If the dress was worn only by women, then casings, sheepskin coats and retinues were worn by both women and men of all segments of the population, korzno (skut) ─ were popular mainly in the princely environment.

The presence of cloaks in burials is evidenced by the remains of painted earth and the location of the fasteners almost always in the same place: just below the shoulder or in the middle of the chest. The raincoats were knee-length (S. Gamchenko).

Hats and hairstyles

Men's headdresses were hoods and hats made of wool or fur. To maintain their shape, they were placed or laid on birch bark (birch bark).

The headdresses of Slavic women were very diverse, as evidenced by materials from archaeological excavations and ethnographic studies of Ukrainian, Russian and Belarusian folk costume. It was the set of jewelry, the shape and decor of headdresses and the color scheme of clothing that distinguished individual tribal groups of the 6th-8th centuries.

The problem of reconstruction of Slavic headdresses was dealt with by D. Zelenin, A. Artsikhovsky, Y. Saburova, M. Rabinovich, G. Maslova, B. Rybakov and others. Scientists have identified three types of headdresses: towels (ubrus, bastings), kikopodibni (horned ones) and hard “kokoshniks” (koruns). According to the complexity of the types of designs, there were combined headdresses, where korunas or kicks were combined with ubruses or ubruses with soft caps (L. Chizhikova).

Girls' headdresses had an open back of the head surrounded by a crown. The crowns were metal, made only of twisted wire (Gochivsky mounds), or covered with woolen fabric in the form of a roller, or it was a leather strap with rings strung on the head (Zhytomyr burial ground).

Due to the need to maintain loose hair, typically Slavic girlish headdresses arose: various headbands made of fabrics, silk ribbons, and ribbons. Remains of birch bark (burials in Volyn) in combination with woolen fabric confirm the presence of a solid headdress - a koruna (crown). On its outer side there are sewn silver rings, gilded glass beads, and in the middle there is one large carnelian bead.

Often the front part of the koruna was made high and especially lavishly decorated with Byzantine silk or gold-woven fabrics. Girls' hats were complemented with temple pendants. The hair was decorated with numerous beads, bells, silver and bronze rings different diameters and ribbons. Purely Slavic decoration were various temple rings and pendants, which were not only attached to the crown, but also woven into the hair at the temples. To do this, the hair was combed in the middle, and small braids were woven from the temples into which rings were inserted. These braids were woven into braids or pulled up from behind, hiding under the crown. In addition to the temple braids, interesting details of the hairstyle were recorded: the hair was worn in the form of a loop in front of the ear down from the temple, protecting the skin of the face when wearing large metal temple rings (M. Saburova). A similar hairstyle “in connection” at the beginning of the 19th century. on the Right Bank of the Dnieper was described by F. Vovk: another one was made perpendicular to the straight parting, on the crown. The front strands were combed along the sides of the head and laid out in the form of loops - backcombed, the ends of which were placed behind the ears under the braids.

This hairstyle preserves the tradition of wearing temple rings. There were also more complex combinations of weaving temple decorations on both sides of the head. Two, three or more rings of different diameters were strung on the hair or hooked onto hair loops so that the rings hung in shiny openwork tassels.

In addition to the temple rings, Slavic women they wore earrings, which they put in their ears or strung several on a leather strap and attached to the head (L. Kud).

For the same purpose, headphones were used in the form of small circles, made of thin colored leather; their purpose and symbolic content are associated with the Anta silver “ears” from the treasures of Maly Rzhavets and Martynovka. Along the edges of the soft ears there were holes for hanging earrings, called earrings or temples. The “ears” with temples were attached to the crown or crown.

Women's headdress was formed on the basis of ancient pagan beliefs and rituals, which obliged women to carefully hide their hair ─ the hidden, magical power of a woman. While hiding their hair, women had no right to braid it. The hair was twisted and placed under the “crown” - “crown” (this was observed in the 19th century in Ryazan province).

According to the traditional scheme, a married woman’s headdress consisted of the occipital part (ochelya), which covered the neck, and the parietal part, over which a veil was necessarily thrown or a soft figured “horned” cap or warrior was put on.

The remains of similar headdresses, called “occipital” caps, were found by V. Antonovich and S. Gamchenko during excavations in the territory of the settlement of the Drevlyans. The shapes and proportions of this type of headdress can be traced from clay images of women's heads found in the territories of Kyiv (Castle Hill) and Pereyaslav. Carefully styled hair did not need the jewelry that the girls used. All symbolic family amulet signs of a woman were attached externally only to the headdress. Temporal rings were attached to the ears or temples, as seen in clay images. This corresponds to the second type of M. Saburova’s classification - wearing jewelry by married women.

Headdresses of Slavic women can be divided into hard ones - koruns, crowns and soft ones - ubrus, nametki, povoinik, various “horned” hats, ochipka caps.

A soft cap-chip was put on the hair and tightly tied at the back of the head with ties. The warrior, made of light fabric and decorated with silk or gold “brow” and “butt cap,” could be worn at home without additional coverings. Noble women wore a warrior-hair in the form of a wicker frame made of gold or silver threads. On top of the hairline they wore an ubrus - a scarf-towel made of white or purple linen or silk, which was draped around the head, covering the chin. Sometimes “horned” hats were worn on the ubrus.

Decorations

The main feature of the Slavs of the 7th-8th centuries. There were tribal decorations that preserved the traditions of individual tribes, which at that time were part of the tribal association of the Russians - the great-power group.

Glade- the ancient definition of the Dnieper Slavs, the most numerous of all the tribes that occupied the Middle Dnieper region. In the chronicles, the Polans are called wise and “intelligent people,” who, obviously, could play a leading role among the East Slavic tribes.

Temporal decorations are mainly represented by ring-shaped and S-shaped pendants. There are single tribute rings (Kyiv, Pereyaslavl, Chernigov), an earring with a pendant in the form of a bunch of grapes (Kiev necropolis). They wore one or two temple rings. Up to five to seven rings were found in the burials, strung on a cloth headband or on leather straps. Neck decorations were made from necklaces. The most common were multi-colored (yellow, green, blue) glass beads, as well as gilded, carnelian, and small metal beads covered with grain. During excavations of the Polyansky mounds, small cast buttons of pear-shaped and biconical shapes occur. In both women's and men's clothing, they could be sewn onto a gusseted tape that covered the collars. Chest decorations include pendants in the shape of a moon, bells and crosses, which were strung on neck decorations. The decorations of the glades, like their outfits, were distinguished by simplicity and elegance.

Volynians, tribal groups of the forest zone of the Dnieper Right Bank, previously had a second name - Buzhans. Characteristic temple decorations for women were ring-shaped rings with a diameter of 1.5 to 3.5 cm, made of thin bronze or silver wire, the ends of which met or partially intersected. In quantity - from 1 to 8, and sometimes up to 16 - they are much superior to similar meadow decorations. Volynians sewed ring-shaped temple rings onto their headdress (V, Antonovich) or wove them into braids; sometimes there are S-like temple pendants, which were mainly common among the Western Slavs. In the burial mounds of the Volynians there are also temple rings with beads, characteristic of all Slavic tribes. They consist of a wire ring with one glass bead of different colors or a brown paste with white wavy lines.

In one of the mounds of the Surozh burial ground, a temple ring with a small silver grain-bead was found. There are also multi-beaded temple rings (from 3 to 5) - fine-grained silver or openwork, as well as earrings with cluster-shaped pendants.

There are few beads in the Volynian burial mounds. The threads usually consist of a small number of beads, from which metal round pendants or moons were rarely hung. Single metal, carnelian, amber or crystal beads were added to a multi-colored glass, paste or beaded necklace. There are gilded or silver-plated cylindrical beads, an oval-shaped silver necklace with convex sides, decorated with fine grain. Volynian women, obviously, almost never wore bracelets. only two were found.

However, simple wire rings ─ smooth, twisted or plate-like were quite common.

Bronze and iron buckles, belt rings for hanging personal belongings, horseshoe clasps, bronze, iron, bone and wooden buttons were found in women's and men's burials.

Drevlyans. The eastern neighbors of the Volynians were the Drevlyans, who also belonged to the Right Bank Slavs. They occupied a forest zone in the northwest direction from Kyiv. It was a fairly powerful tribal association with its own prince. Although the chronicler reports that the Drevlyans live like animals in the forests, this was not true. Having a developed tribal system of government, where elders ruled the land, the Drevlyan princes took care of the well-being of their land. The Drevlyans were worthy rivals of the glades.

The composition of the Drevlyan tribal jewelry included ring-shaped temple rings with closed ends or pito-werewolves, as well as rings with S-like ends. There are pendants with beads of the Volynian type. Neck jewelry consists of gilded glass cylindrical and barrel-shaped beads, which also have pendants. White, yellow, and red paste beads are more common, less common are blue and yellow glass and carnelian beads of various geometric shapes. In burial mounds near Zhitomir, silver lobed beads decorated with granulation and filigree, as well as beads in the form of rosettes, were found. Moonlights, bells, seashells, and possibly amulets were hung from the necklace. Women wore simple wire or twisted plate rings, similar to the Volynian ones.

So, common to the Polans, Drevlyans and Volynians - the tribes of Right Bank Ukraine - were ring- and S-terminal temple pendants, polychrome neck decorations. their simplicity and brevity harmoniously complemented the entire silhouette of the outfit.

Northerners- tribes that in the middle of the 1st millennium AD. e. occupied the northeastern territory of the Left Bank of the middle Dnieper. The most characteristic ethnic feature of these tribes was the spiral-shaped temporal rings. This archaic symbolism lasted for several centuries: from VI to IX. The women's headdress included from two to four pendants on each side. According to materials from the burial mounds of Brovarka (Poltava region), the woman’s head was decorated with a silver lamellar crown with small pendants above her forehead.

On both sides, above the temples, several spiral rings were suspended from the crown. In addition, at the left temple there was a long wire pendant with bells (National Museum of the History of Ukraine).

In addition, women decorated their headdresses and hair with ring-shaped closed temple rings - a common Slavic type of jewelry. Three bead temple rings were found in the Gochiv mounds. In addition to plate ones, northern women wore thin twisted crowns, which were also decorated with abundant temple compositions of spiral and ring-shaped pendants with a significant number of noise decorations - bells.

Neck decorations were made from glass beads of yellow, blue and greenish colors or from a gilded necklace.

Moonlights, bells, round openwork pendants, crosses, and coins were hung from the beads. Typical northern decorations include hryvnias with shields. In the Gochivsky and Golubovsky mounds, hryvnias with rosettes on the ends were found, which are very rare. Rare finds in the Severyansk burial mounds include bracelets, rings and belt buckles, Characteristic feature Northern women's clothing was decorated with bells, which were often sewn onto clothes instead of buttons or attached to necklaces and headdresses. They were made of bronze with an admixture of tin, so they had different colors - from silver to yellow. Cast bells were lump-shaped and pear-shaped with a slot at the bottom and ears at the top, with an iron or bronze ball inside. About 70 bells were found in one of the burials of the Saltovsky burial ground. Along with beads and bells, small mirrors (5 - 9 cm) were found. they were worn on straps or chains, threaded through a hole in the belt or simply on the chest. Mirrors without ears were stored in a leather case.

In the Saltovsky burial, many ornamented plates were found that were used to decorate clothes, as well as buckles from belts and shoes.

Shoes

The most common types of shoes of the Slavs were traditional postsols, lychak (bast shoes), pistons, shoes (chereviki), boots (cheboty).

Lychak or lychinnitsa were woven from tree bark - bast, bast. They have been common among the Eastern Slavs and their neighbors since the early Iron Age. On the territory of Ukraine, lychaks were worn mainly by peasants. The townspeople wore shoes woven from bast mixed with leather straps, and sometimes completely woven from leather straps. Such leather bast shoes could be decorated with small metal plates (Saltovsky burial ground). The plates were found mainly on the legs of skeletons and were possibly hung from the straps of sandals or shoes. The plates were secured with pins or sewn on, and very thickly. Findings of shoe fragments suggest that it was in the form of light sandals, sewn from a piece of soft leather, which were intertwined with straps with metal plates stuffed on them.

The simple leather shoes of the Slavs were pistons (morshny, morshchenitsy), made from a rectangular or oval piece of leather and assembled on a leather rope.

The pistons were decorated with embroidery (a sample of a piston with embroidery on the nose is kept in National Museum history of Ukraine), as did the Western Slavic Slavs.

In addition, at northern Slavs there were “openwork” pistons, decorated with Christmas tree-like slots in the nose. Shoes of this type were typical for the entire East Slavic population (depictions on a bone diptych of the 4th century).

Pistons and bast shoes were put on foot wraps or sewn trousers, and leather straps were wrapped around the legs several times or crosswise.

Shoes (Chereviki) were worn by townspeople and rich peasants. The remains of such shoes were found during excavations in Volyn. Chereviks were made from thin leather, composed of two layers. They looked like low, ankle-length ankle boots with wide cuffs. At the front, the boots ended with pointed or rounded toes (V. Antonovich) and were tied at the ankle with twine, for which vertical cuts were made.

The feudal elite wore boots (chebots). This name is found in chronicles from the 10th century. Old Russian chebots were knee-high, had a soft sole, sewn from several layers of leather, and a pointed or blunt nose.

Chereviks and chebots were decorated with embroidery with red or yellow threads (Zhitomir burial ground, S. Gamchenko).

conclusions

Summing up the characteristics of the clothing of the Slavs of the 6th-8th centuries, we have reason to talk about the final approval of the basic forms and components of clothing of the population of the territory of Ukraine on the eve of the adoption of Christianity. The consolidation of ancient Slavic tribes contributed to the cultural development of a multi-ethnic population and the formation of a common basis for spiritual and material culture. This was most clearly manifested in the field of cultural dress, in the creation of pan-Slavic clothing features that remained ethnographically diverse, with characteristic regional features. Such syncretism in the clothing of the ancient Russian population is a natural phenomenon. After all, it is primarily a component of traditional everyday culture and is based on a system of traditions. And they go back to the times of the Trypillian, Porubinets, Chernyakhov and Kiev cultures, the times of the East Slavic tribes. Naturally, the outfit embodies the best achievements of the material and spiritual culture of many generations, their aesthetic ideals, artistic tastes, ethical standards and national character.

Therefore, clothing has always been a real work of art, an indicator of artistic taste and high skill.

From the very beginning of time, clothing has expressed the characteristics of the person wearing it. Ethnic groups, entire nationalities were formed, and what they dressed in was directly related to culture, religion, living conditions, and way of life.

All these signs can be found in the design of clothing of the people who lived during the Ancient Rus'.

Names of clothing in Ancient Rus'

Old Russian clothing is distinguished by its bright originality, which, however, was not formed without the use of some elements from other cultures. The basis for the outfits of all classes of society were the shirt and trousers (ports).

At its core, a shirt can be considered as simple underwear. The nobility wore it as underwear under an expensive outfit, and among ordinary peasants it was used as their main clothing. Therefore, shirts for different classes had completely different external characteristics. Long shirts made of colored silk, decorated with rich embroidery and precious stones, were, of course, available only to princes and all sorts of nobles.

A commoner in Ancient Rus' could only afford to wear linen clothes. Small children were also dressed in the shirt. At the same time, in order to protect them from the evil eye and evil forces, until the age of three, clothes were altered from their parents’.

Another popular men's clothing accessory was ports. They were pants that tapered towards the bottom, and were hemmed from coarse homespun fabrics. The nobility wore more expensive trousers made from foreign fabrics over simple trousers.

Features of women's clothing in Ancient Rus'

Old Russian women's clothing did not have a wide variety of cuts, however, like men's, it determined the material condition and status of the housewife. The lighter and more pleasant the outfit was, the richer and more numerous the decorations on it, the higher class the wearer belonged to.

The women's wardrobe in Ancient Rus' consisted of the following elements:

1. First of all, of course, the shirt. In the female version it was also called a shirt. Girls of Ancient Rus' especially loved canvas clothes called “zapona”. Canvas the right size it was bent in half, and a cutout was made in the middle for the head. They put the cuff on over the shirt, then beautifully belted it.
2. For holidays or special occasions there was a topper. It was usually made from expensive fabric, which was decorated with bright embroidery and rich ornaments. Today the top would be called a tunic, with or without sleeves.
3. A married woman could be distinguished by a poneva - the name given to a wide strip of woolen fabric wrapped around the hips and secured with a belt at the waist. The color of the poneva varied among different tribes. For example, the Vyatichi had it in a blue checkered pattern, while the Radimichi preferred red.
4. Festive long-sleeved shirt - women wore it only on special days.
5. A woman's head was necessarily covered with a warrior.

Winter clothes of Ancient Rus'

Geographical areas of residence of ancient Russian peoples, as well as climatic conditions, consisting of frosty winters and rather cool summers, could not but affect clothing. To survive in the winter, the Russians wore a casing - outerwear made from fur-bearing animals with the fur inside.

A more affordable option, the sheepskin coat, was made using the same method from sheepskin and was worn mainly by peasants. Fur coats and sheepskin coats made of valuable fur, worn by the nobility, not only protected them from freezing, but were also used to emphasize their position in any season.

Despite the fact that the clothing of Ancient Rus' had clear differences in terms of belonging (for the upper classes it was made from foreign fabrics, and for the lower classes it was homespun), in general it had common features. The main ones are multi-layered, intricate embroidery, complex patterns. Moreover, the latter not only played the role of decorations, but were considered amulets that protected against grief and dark forces.