Protective suit for historical reconstruction crossword puzzle. Historical reconstruction of the belt as an element of the folk costume of the Tambov region. Features of tailoring historical clothing

graduate work

4. Reconstruction of folk costume

Folk clothes, shoes, created over many centuries, are an integral part of the material culture of the people. Forms of clothing, their constructive and decorative solution depended on climatic conditions and the level of development of productive forces, on the occupations of the people and the prevailing historical conditions. Folk costume in its classic, centuries-old forms has concentrated the centuries-old experience of the people. That is why for most artists the main meaning and value of the folk costume is the logic of forms and designs, rationality and expediency.

The study of samples of folk art in the museum collections of the country convinces us how organically utilitarian and aesthetic qualities are combined in the folk costume. It was thanks to this combination that extremely expedient, and therefore extremely important things were created. The vital basis of folk art, as well as costume, is that it has always been addressed to a person, to his daily life, which made him understandable. The art of the people was formed over a long history, retained all the most valuable and justified by life, removed everything accidental.

The costume of the peoples inhabiting our country is unusually original and original; it is characterized by the richness of forms, the originality of decorations, and the variety of manufacturing techniques. Folk national costume is not an unchanging category frozen in its forms. The people worked out and preserved the forms of costume that most corresponded to the nature of their occupations, life, geographic and climatic conditions, which corresponded to aesthetic ideas about beauty.

Samples of folk art inspire artists of industrial art - ceramists, textile workers, furniture makers, jewelers, garment workers. The emotionally figurative beginning of folk applied art, artistic folk fantasy are especially attractive for a fashion designer. Smooth lines of arches of architectural monuments, motifs and rhythms of ornamental patterns of wooden carvings, Pavlovsky scarves, structures of homespun materials resonate in the work of fashion designers as associative sources.

The modern costume turns out to be consonant with the folk costume in the use of similar patterns: checks, stripes of different rhythms and scales, in the play of textures of materials or in the general color scheme. The whole ensemble is often built on the use of elements characteristic of a folk costume. Shawls, fur hats, boots, belts appropriately emphasize national features in a modern costume. The folk costume combines the art of leather processing, weaving, weaving, appliqué and embroidery. The traditional costume of each nation is a monument of folk art, an artistic ensemble, the main one in which is the person himself.

Analysis of the technological process of production

Trading and manufacturing enterprise OOO "Eskulap" carries out the following activities: production of dressings; services for the production of products from customer-supplied raw materials; transport services; storage services; services...

Byzantine costume and the possibilities of using its motifs in modern clothing

Works of fine art have become the main source for the reconstruction of the secular costume of Byzantium. This is the rare case when pictorial sources are not only not inferior to written ones in terms of informativeness...

The study of historical costume plays an important role in human life. The more you study the history of costume, the more discoveries you make. Over the course of several centuries, a person skillfully gives a piece of fabric various forms ...

Design development of exposition models of women's clothing models

The land of Ryazan is beautiful. It is famous for its vast expanses and indescribable beauty fields with chintz flowers of cornflowers, daisies, buckwheat or colza. This beauty is also in the objects of applied art...

Design development of exposition models of women's clothing models

The artistic image of folk costume in this graduation project is considered as a specific way of reflecting reality inherent in art, generalizing it from the position of an aesthetic ideal in a concrete-sensual ...

Overhaul and reconstruction of a steel vertical tank for storing oil and oil products

Modernization of production of ceramic bricks

The Enem urban-type settlement is located at a distance of 15 km from the city of Krasnodar, where the majority of residents work at enterprises and organizations. Another part of the population is employed in the local service and trade ...

Organization of production of St. Petersburg JSC "Krasny Oktyabr"

For more than 25 years, the Krasny Oktyabr enterprise has been producing multifunctional garden equipment...

Design of a distribution gas pipeline of medium pressure in the area of the village of Urdoma, Lensky district, Arkhangelsk region

The main set of measures for the reconstruction of existing gas distribution systems consists of the following stages: - replacement of existing worn steel gas pipelines with polyethylene pipes of a smaller diameter inside worn steel pipes...

Past, present and future of the State Holding Company "Luganskteplovoz"

In 1926, a decision was made to expand and reorganize the locomotive plant. In 1928, the development of the project for a new plant proceeded at an accelerated pace, and at the end of the year preparatory work began ...

Development of technological processes in the manufacture of women's light clothing, made to order

Model No. 1 Classic women's suit for the middle age group made of gabardine (100% wool), consisting of a jacket and trousers. Jacket of a semi-adjacent silhouette, with embossed seams and darts, with a central fastener with 4 overcast loops and 4 buttons...

Reconstruction of a horizontal boring machine with increased rigidity

Reconstruction of compressor stations with the replacement of process equipment

Reconstruction is the process of changing obsolete objects in order to give properties to new ones in the future. Reconstruction, regardless of its content, is an integral part of planning...

Reconstruction of a section of the existing railway line with an analysis of the mastery of transportation and the choice of means of stage-by-stage strengthening of its capacity

See illustrations at the end of the article in the gallery

For the reconstruction of the ancient Russian costume as a whole, the method of superimposing archaeological finds on conditional silhouettes, corresponding to the images on the frescoes and miniatures of Ancient Rus', was chosen. For the reconstruction of the urban costume, whole forms found during excavations of cities (dress, details of clothing, shoes) were used, as well as ensembles of jewelry preserved in treasures.

The peasant costume is represented mainly by archaeological material from the burials of the Krivichi and Vyatichi. The correspondence of archaeological fabrics from the excavations to the peasant fabrics of the 19th - early 20th centuries, as well as their terminological correspondence, made it possible to attribute many types of peasant clothing of the 19th century. to an earlier period (Levinson-Nechaeva M.N., 1959. S. 20-34; Kuftin B.A.,) 1926. S. 48; Levashova V.P., 1966. S. 112-119).

On the table 71-73 are presented reconstructions of the princely-boyar attire. Archaeological material is placed on those clothes that are known from the frescoes of the 11th-13th centuries. and belong to ancient Russian princesses. As you know, the pictorial material gives two main types of cut for women's clothing (Kalashnikova N.M., 1972, pp. 29, 30). The first type includes straight-cut dresses, intercepted at the waist with a belt. The sleeves of the clothes could be both wide and narrow with a wader. Such dresses are more often sewn from a single-colored fabric and decorated along the hem with an ornamental strip, less often with a border and a mantle (Table 71, 1). Dresses of the second type were straight or slightly widening downwards, with narrow sleeves ending in a waist (Table 73, 1.2). They were sewn from richly ornamented fabric and decorated with a shoulder and a border running in the center and along the hem (Salno N.B., 1982. Ill. 29, 30, 102). Such dresses entered the traditional costume of the upper strata of the population. They are known in the princely-boyar and royal life of the XVI-XVII centuries. (Sizov E., 1969. Ill. 10, 24 - lower dresses, 15 - upper dress). The reconstruction of the princely-boyar attire shows leather boots. Their form is given according to finds in the layers of Novgorod.

These forms have become traditional. They are stacked in two rows and form a zigzag pattern. The remains of such a decoration on a rigid basis were found in the Nabutovsky burial ground of the former Kyiv province (Teze V., 1904. P. 86. Fig. 1) (Table 72, 2,3). Chains with rings were also found in the burial along the sides of the ochelie with plaques, similar to those known on the cassocks from the blocks - obviously, the latter could not have been preserved. The crown on the table is decorated with kolts suspended on cassocks made of stocks. Such a scheme for fastening the colts was proposed by B.A. Rybakov (Rybakov B.A., 1949. S. 55, 58. Fig. 23). Correctness of B.A. Rybakova is confirmed by the findings of recent years: chains of blocks were found on which kolts were hung, as well as three-bead temporal rings. They were worn on a ring attached to the last link of the blocks (Darkeshch V.P., Mongait AL., 1972, p. 208) (Table 72.1) or on a ring to the last link. The reconstruction shows colts found in Chernigov (Rybakov B.A., 1949, p. 56). They are wrapped in hollow balls.

On the black background of their shield, griffins are depicted on the sides of a vertically located braid (Plate 72, 4). The image of the braid on the kolts is similar to the ornament of the collar, also found in the Nabutovsky burial ground (Spitsyn A.A., 1905. P. 149. Fig. 101). The gold embroidery of the collar is complemented by images of crosses. On the collar, as well as on the headdress, silver gilded plaques of round and square shape were sewn on (the location of the latter is unknown). The collar clasp in the form of hollow buttons made of gilded silver, as well as the ornament in the form of a braid, forms a single whole with the decoration of the colts. Similar collars could be sewn on to underwear (Table 72, 5). The shoulder of the dress, the belt and the hem are decorated with embossed plaques and embroidery. The dress in the middle was decorated with ribbons similar to those found by V.V. Khvoyko in the burials of Shargorod of the former Kyiv province (Khvoyko V.V., 1905. P. 101; KIM. Inv. No. 67185-8). They are embroidered with gold thread in the form of heart-shaped figures with crenellations; their location indicates the vertical placement of the ribbon on the dress (Table 72, 8). The ornament on the given ribbons and kolts is close to the ornament on many silver hoop bracelets (Table 72.7). So, on a bracelet from the Kyiv treasure of 1939, the ornament consists of two belts (Korzukhina G.F., 1954. Table XI, 2). In its upper part, heart-shaped figures are depicted, similar to sewing on a border, and in the lower part, a braided pattern. The ensemble of silver jewelry with niello also included seal rings. A similar ornament can be seen on a ring from the hoard of 1869 (Gushchin A.S., 1936, p. 81, pl. XXX, 11) - pl. 72, 6.

Next to the reconstruction of the princess's clothes, a silhouette of the prince is given (Table 71.2). The prince is wearing the same clothes as on the fresco of St. Cyril's Church in Kyiv, which depicts Tsar Theodosius. According to the researchers of this monument, the costume of Theodosius conveys "the full outfit of a Russian prince of the 12th century." (Blinderova N.V., 1980, p. 59). The prince is wearing a pointed crown, reminiscent of an imperial crown with characteristic side pendants (Darkevich V.P., 1975, p. 133), a caftan with wide "sleeves, from under which the sleeves of the shirt can be seen. The mantle, breastplate and hem of the caftan are decorated with plaques and stones. The fabric of the caftan is dark red with an ornament in the form of heart-shaped figures, with krinami. On the prince - green ports and high soft red boots embroidered with beads or plaques.

Obviously, the chain located at one end of the cassock was fastened at the base of the dress and fixed at the temple with the help of a temporal ring located at the other end of the cassock. Interestingly, in peasant attire of the 11th-12th centuries. ribbons folded in half were also found, as if playing the role of a cassock for hanging rings. To select the material for the complex, the proximity of the decorative features of the decorations was taken into account. So, the headdress could consist of a diadem similar to that found in Kiev in 1889 (Kondakov N., 1896, p. 139, pl. VIII) and cassocks, similar to those found in 1900 in Sakhnovka (T.I. Makarova, 1975, p. 103). They are united not only by the proximity of the geometric ornament on the plaques of the cassocks and the hanging plaques of the diadem, but also by their quadrifolia shape. This dress could include kolts similar to those found in the 1827 hoard in Kyiv (Kondakov N., 1896. Pl. X, 2-4). The headdress of the princess is covered with a veil. The mantle, borders and necklace are decorated with embroidery, plaques and pearls, which are also known in the Mikhailovsky treasure of 1903 (GIM. Inv. No. 49876). The costume includes a breast decoration - barmas, found in Sakhnovka in the same hoard as the diadem (T.I. Makarova, 1975. Table 14). B.A. Rybakov assumed that bracelets were not worn in this attire, since gold bracelets with enamel and stones were not known to us - they were replaced by sewing on the sleeves (Rybakov B.A., 1970, p. 36). However, in addition to embroidered robes, they could wear gold bracelets similar to those found in the Ryazan treasure of 1822 (Kondakov N., 1896, p. 95, Table XVI, 3). This is also where the golden rings with garnets and pearls come from, which form a single whole with a bright enamel dress.

On the table 73, 2,3 shows a costume that includes decorations made of embossed plaques (both smooth and with inserts) and figured cutouts in metal. They were used to decorate headdresses (Tables 66:8-14), necklaces and necklaces, belts and borders of clothing (Tables 74:3-24). Pearls were widely used both in sewing and in metal jewelry. All these adornments are usually found in hoards together with enamel and niello headdresses and are considered as additions to two stylistically unified headdresses. Nevertheless, an independent dress can also be made from this set of jewelry. Thus, the reconstruction (Table 73, 2) depicts a female headdress found in Novgorod (Strokov A.A., 1945. P. 72, 73. Fig. 32) - Table. 66, 14. The rim of the headdress is decorated with embossed plaques and plaques made of grained filigree silver. Obviously, such a dress could be worn with cassocks, which are a conical pendant with eight chains extending from it. Its cap was decorated with filigree and granulation, and hollow plaques and end pendants of rhombic and tear-shaped shape were strung on the chains (Darkevich V.P., 1972. P. 206, 207. Fig. 1; Sedova M.V., 1963. P. 49. Fig. 12.9). The entire set of pendant plaques, as well as the filigree and granulation decorations included in the piece, bring the pendants closer to the found headpiece. Of the sewn-on plaques, large plaques with an 8-shaped slit from the Kyiv treasure of 1824 are of interest (Kondakov N., 1896, p. 104, Fig. 66). They are a variant of plaques on the neckline.

The entire set shown in Table. 74, and plaques from the Kyiv treasure of 1824 were used to decorate the dress (Table 73, 2).

On the table 73, 3 depicts the noblewoman's costume, including a diadem and a cassock in the form of a ribbon with three-bead temporal rings and colts. The possible number of these decorations in one dress is told by their finds in the Chernigov burial at the altar of the Borisoglebskaya church (Korzukhina G.F., 1954, p. 52).

On the table 75 shows the urban costume of the nobility and ordinary citizens based on materials from three cities. On fig. Figures 13 and 14 show silhouettes created based on materials from the Raiko-Vets settlement and ancient Izyaslavl. On fig. 13 you can see a diadem from the stocks, found on the skeleton of the deceased (Goncharov V.K., 1950. Pl. XX, 15). The diadem is fixed on the head over the board. On the neck is an Auger-relock made of logs, known from barrow inventory (Tables 74, 25). The jewelry includes the following finds from the layers of the Raykovets settlement: beads (Goncharov V.K., 1950. Pl. XVIII, 1), torcs (Ibid. Pl. XX, 4), glass bracelets (Id. Pl. XXII, 3) and metal (Ibid. Pl. XIX, 9; XX, 2.3), rings (Ibid. Pl. XIX, 9), plaques from the belt (?) (Ibid. Pl. XX, I) and a necklace (9) with embroidery (Ibid. Pl. XXIX, 3). In contrast to the Raykovets headdress, the headdress from Izyaslavl (Fig. 14) shows a cassock made of blocks with triangular links at the ends. Three-bead temple rings were hung on the lower side of the cassocks, and cricoid rings on the upper side, with the help of which the cassocks were attached to the headdress. Judging by the materials of the Raykovets settlement and Izyaslavl, the townspeople of these cities used decorations similar in shape, as well as a single set of fabrics. Clothes are characterized by the wide use of folds, shirring and pleating. A whole dress found in Izyaslavl is shown in fig. 14. It is close to the clothes on the Novgorod icon of the XIV century. "Nativity of the Mother of God" from the Tretyakov Gallery (table. 68, 7.2). These are top short clothes, from under which a long shirt is visible. The shoulders, hem, sleeves at the wrist, as well as the forearm are trimmed with ribbon.

A well-preserved rectangular pectoral was found in the Ivanovo region by K.I. Komarov in 1975. Silhouette 7 shows winter outerwear, restored by analogy with the Hutsul sheepskin coat (Rybakov B.A., 1949, pp. 37, 38, Fig. 12). Silhouette 8 shows left-side wrap outerwear, which, according to ethnographers, appeared at the same time as the blouse. This form of cut distinguished outerwear from the clothes of their neighbors (G.S. Maslova, 1956, p. 581, note 4). Long outerwear with a wrap on the left side is also known from miniatures, which show the brothers - the founders of Kyiv (Radziwill chronicle, 1902. L. 4). The male silhouettes depict princely hats (Plates 75.8, 9.15) and a diadem with an enamel icon (Plates 75, 4), similar to the one known from the burial mound in the village of Mutyshino, Smolensk Region (Savin N.I., 1930. P. 233. Pl. P, 19). The men's costume includes boots of the 12th century, the shape of which is known from excavations in Novgorod and Pskov.

Silhouettes in fig. 10-12, tab. 75 represent a complex of clothing and jewelry based on excavations in Suzdal (Saburova M.A., Sedova M.V., 1984, pp. 114-122). A headdress worn by a middle-aged woman (Fig. 12) covers her hair, in her ears - along a cricoid ring. The girl (Fig. 10) on her loose hair has a ribbon headdress with cassocks of cricoid rings, with three-bead rings suspended from them. The girl (Fig. 11) has braided pigtails, into which cricoid rings (up to 20 pieces) are threaded. The silhouettes show outerwear with a wrap on the left side, dresses and shirts, with ribbons and sewn collars with a fastener on the left side. Of the jewelry, you can see a lamellar fibula, lamellar and twisted rings and rings with inserts, bracelets, etc. Typical shoes for old Russian townswomen were leather shoes with embroidery. The material of the Suzdal necropolis belongs to an earlier time (XI - the middle of the XII century) than the materials of the Raykovets settlement and Izyaslavl (beginning of the XIII century). Nevertheless, a typical urban dress of the 12th century was created in Suzdal. Obviously, here, as in Kyiv, Novgorod, Chernigov, Smolensk, urban culture began to take shape very early on the basis of the squad culture.

Silhouette 2 reproduces the jewelry of a young woman. They were restored based on the materials of five burials from different kurgan groups (Saburova M.A., 1976, pp. 127-131). The fringed headdress shown in the silhouette is known among the southern Great Russians of the 19th century. They were worn by young women along with a set of clothes, including a paneva. Checkered woolen and semi-woolen fabrics, close to later "panevnye", are also known from archaeological materials (Table 77, 3). Silhouette 3 shows the costume of a young bride. A ribbon headdress with seven-lobed temporal rings on ribbons is put on over loose hair (Table 76.3; 77, 1). Clothing includes elements of an urban costume: a silk mantle with embroidery and plaques (tables 77, 8), stripes made of silk ribbons and plaques on a woolen ribbon of a headdress (tables 77, 7), a glass bracelet, etc. Footwear - soft shoes. On silhouette 3, shoes are represented by a form from mounds near Bityakovo, Domodedovo district (Rozenfeldt R.L., 1973. P. 65. Fig. 18).

On the table 78 gives reconstructions of clothes and jewelry based on materials from peasant burials. Silhouette 1 shows a costume based on materials from the Vologda mounds (Saburova M.A., 1974, p. 90, Fig. 3). Silhouette 2 shows the costume of a betrothed girl in a towel made of rare fabric, which was woven for the wedding and for death. Paneva was restored according to a well-preserved whole rapport of woolen fabric from Bityagovo (GIM). Decorations - from the same barrows. On the silhouette 3 - a women's costume based on the materials of the Krivichi (Shmidt E.A., 1957. P. 184-281). A high headdress, resembling a kokoshnik with plaques, hides the woman's hair. On the sides of the headdress there are bracelet-shaped temporal rings and rhombo-shield rings, fastened on birch bark mugs. There is an abundance of jewelry on the chest: beads of bright combinations, miniature metal pendants, chains, bells. Bracelets are worn over the shirt. Clothing is represented by a long shirt with embroidery, made with the help of "brane" technique. On the feet are soft leather shoes.

Further study of ancient Russian clothing will primarily depend on the improvement of field research methods and the fastest involvement of restorers in the work of restoring fabrics and other organic remains discovered by excavations. Only the joint efforts of archaeologists and restorers can give a new impetus to deepening our knowledge in this most interesting area.

Fashion changes every season, but in one thing it remains unchanged - in its inspiration from the images of the past, which are unambiguously visible in one or another designer collection. Looking back is not limited to the twentieth century, in which every decade there was something radically new, different from the previous one. Historical costume is increasingly becoming the object of close attention of couturiers, who involuntarily attract the views of the inhabitants of fashion to more distant eras.

The most indicative of historical costume as a category are women's dresses, which were worn from the Middle Ages to the end of the nineteenth century. During these years, the development of fashion was very slow, for a century or even more, the same trends in the cut of the costume and in its decoration were preserved. It was a time of a clear separation of men's and women's costume, which cannot be said today, when androgynous and unisex styles are common.

Historical costume of the Middle Ages

We can talk about the birth of a historical costume since the early Middle Ages, because before that, in the period of Antiquity, people wore very simple clothes that could not be called a costume as such. In the Middle Ages, a suit appeared as a multi-layered set - it provided for a lower long shirt (tunic) with long sleeves and completely covering the legs, it was worn with a contrasting color upper shirt or dress that had a shortened skirt and sleeve. At that time, clothing was the most utilitarian, even among noble people it did not differ in pomp and variety.

In the XIII century, the complication of the costume began, which became multi-layered. Over the bottom shirt, women wore a cotta, an upper dress made of linen, wool, silk. three main colors (red, green and blue). A surcoat was worn over the koty - an element of outerwear made of noble fabrics, cloaks with hoods and capes, with and without long sleeves, were very common. The women's sorkani dress, which laced up at the waist and lifted the chest, was considered an attribute of luxury, which was severely condemned in that era. Hats were an integral part of the costume of both women and men. The variety of their forms compensated for the modesty of the dresses.

The costume of the late Middle Ages is a story of violation of the prohibitions on chic in the image. In the period from the fourteenth to the sixteenth century, layering only increased, although it was still far from the volume of costumes of later eras. Worn underwear and outerwear, and each of the layers consisted of three to five mandatory elements - a real "onion".

Variety of fashion of four centuries

The Renaissance really revived fashion, which is especially noticeable in the change in women's costume. At the end of the 16th century, a rigid frame skirt appeared, which gave the figure splendor and volume, dresses began to be sewn from expensive materials, had no longer a limited set of colors, but shone with the magnificence of design.

In the 17th century men's costume had noticeably militarized features, while the feminine continued to be saturated with luxury, which is now richly manifested in numerous accessories that have become an integral part of the image. The 17th and 18th centuries have become the most in demand in terms of borrowing historical costume today. It is the era of baroque and rococo, with their tendency to breathtaking pomp of skirts, rich decoration with accessories, embroideries, that is often associated with historical costume in principle.

At the beginning of the 19th century, the desire for luxury in a suit gradually weakened, which was first noticeable in the ascetic Empire style, and then in a romantic dress with a lace-up corset with a marked waist and puffy sleeves. At the turn of the following centuries, the woman was freed from the tight corset; with its disappearance, the decline of the historical costume can be celebrated.

At the beginning of the 20th century, Her Majesty fashion was born - from now on, designers will dictate what to wear for men and women, clothes gradually began to lose touch with a particular era and its requirements for appearance. The era of Art Nouveau or Art Nouveau, with more natural lines and the rejection of pomp, was the "last swallow" that marked the transition from costume to individual style.

Historical costume today

Left far in the past, the historical costume continues its already passive life in the present. Where is it most in demand? First of all, this is a recreation of the reality of previous eras in historical theatrical productions and films. Of course, stylizations are used for them - tailoring of new costumes that completely copy the style of a particular period. Many people are fond of historical re-enactments and in their free time, they are happy to devote themselves to an exciting immersion in the world of the Middle Ages or the luxury of the rococo, dressing in newly tailored costumes.

Weddings, as well as carnival parties, including the famous Venetian carnival, are an excellent opportunity to recreate a historical costume to the best of your ability. The most demanded here is the period from the sixteenth to the nineteenth century. In some cases, which are rare exceptions to the rule, an authentic historical costume can be worn, left, for example, from the Art Nouveau era.

Basically, all the originals, which have remained a rich legacy of the distant Renaissance or Baroque, are kept like the apple of an eye in museums. You can’t wear them, but you can endlessly admire the beauty, chic or restraint of the historical costume, which gave birth to many modern clothing styles.

For the reconstruction of the ancient Russian costume as a whole, the method of superimposing archaeological finds on conditional silhouettes, corresponding to the images on the frescoes and miniatures of Ancient Rus', was chosen.

On the table 71-72 collected material, including a single stylistic headdress made of silver with niello. On the table 71, 1 presents a women's costume. There is a crown on the head of the princess. Its shape could have a different outline. In the visual material, crowns with a rounded and sharp top above the brow are known (a fresco on the wall of the Dmitrovsky Cathedral in Vladimir depicting righteous wives - Salko N.B., 1982. Ill. 102; a miniature of the Panteleimon Gospel of the 13th century - St. Catherine - Strekalov S., 1877. Issue 1. P. 19). These forms have become traditional. They are stacked in two rows and form a zigzag pattern. The remains of such a decoration on a rigid basis were found in the Nabutovsky burial ground of the former Kyiv province (Teze V., 1904. P. 86. Fig. 1) (Table 72, 2,3). Chains with rings were also found in the burial along the sides of the ochelie with plaques, similar to those known on the cassocks from the blocks - obviously, the latter could not have been preserved. The crown on the table is decorated with kolts suspended on cassocks made of stocks. Such a scheme for fastening the colts was proposed by B.A. Rybakov (Rybakov B.A., 1949. S. 55, 58. Fig. 23). Correctness of B.A. Rybakova is confirmed by the findings of recent years: chains of blocks were found on which kolts were hung, as well as three-bead temporal rings. They were worn on a ring attached to the last link of the blocks (Darkeshch V.P., Mongait AL., 1972, p. 208) (Table 72.1) or on a ring to the last link. The reconstruction shows colts found in Chernigov (Rybakov B.A., 1949, p. 56). They are wrapped in hollow balls. On the black background of their shield, griffins are depicted on the sides of a vertically located braid (Plate 72, 4). The image of the braid on the kolts is similar to the ornament of the collar, also found in the Nabutovsky burial ground (Spitsyn A.A., 1905. P. 149. Fig. 101). The gold embroidery of the collar is complemented by images of crosses. On the collar, as well as on the headdress, silver gilded plaques of round and square shape were sewn on (the location of the latter is unknown). The collar clasp in the form of hollow buttons made of gilded silver, as well as the ornament in the form of a braid, forms a single whole with the decoration of the colts. Similar collars could be sewn on to underwear (Table 72, 5). The shoulder of the dress, the belt and the hem are decorated with embossed plaques and embroidery. The dress in the middle was decorated with ribbons similar to those found by V.V. Khvoyko in the burials of Shargorod of the former Kyiv province (Khvoyko V.V., 1905. P. 101; KIM. Inv. No. 67185-8). They are embroidered with gold thread in the form of heart-shaped figures with crenellations; their location indicates the vertical placement of the ribbon on the dress (Table 1). 72, 8). The ornament on the given ribbons and kolts is close to the ornament on many silver hoop bracelets (Table 72.7). So, on a bracelet from the Kyiv treasure of 1939, the ornament consists of two belts (Korzukhina G.F., 1954. Table XI, 2). In its upper part, heart-shaped figures are depicted, similar to sewing on a border, and in the lower part, a braided pattern. The ensemble of silver jewelry with niello also included seal rings. A similar ornament can be seen on a ring from the hoard of 1869 (Gushchin A.S., 1936, p. 81, pl. XXX, 11) - pl. 72, 6.

On the table 73, 1 shows a reconstruction of the princess's formal dress with enamel decorations. On the head of the princess is a complex headdress, consisting of a diadem with an enamel image of Deesis on kiots, gold brackets and cassocks with kolts. The headdress is one of the possible ritual headdresses, the reconstruction of which is based on the mutual occurrence of these parts of the headdress in treasures and by analogy with wedding crowns and crowns known in the ethnography of the north of the 16th-20th centuries. (Saburova M.A., 1978. S. 408-412). The tiara was sewn onto a hard band or choker. Pendants with pearls hung down on the forehead, and the shackles of the headband adorned the bolster of the headdress in its upper part. On the sides of the headdress there are hanging cassocks with kolts decorated with enamel. T.I. Makarov, following the data of G.F. Korzukhina (who noticed the presence of a double hinge in the middle of the cassocks), explains this by the fact that the cassocks were bent at half their length, becoming two-sided, like the colts that were hung at the bend of the cassocks (Korzukhina G.F., 1954. P. 54; Makarova T.I., 1975. P. 40). Obviously, the chain located at one end of the cassock was fastened at the base of the dress and fixed at the temple with the help of a temporal ring located at the other end of the cassock. Interestingly, in peasant attire of the 11th-12th centuries. ribbons folded in half were also found, as if playing the role of a cassock for hanging rings. To select the material for the complex, the proximity of the decorative features of the decorations was taken into account. So, the headdress could consist of a diadem similar to that found in Kiev in 1889 (Kondakov N., 1896, p. 139, pl. VIII) and cassocks, similar to those found in 1900 in Sakhnovka (T.I. Makarova, 1975, p. 103). They are united not only by the proximity of the geometric ornament on the plaques of the cassocks and the hanging plaques of the diadem, but also by their quadrifolia shape. This dress could include kolts similar to those found in the 1827 hoard in Kyiv (Kondakov N., 1896. Pl. X, 2-4). The headdress of the princess is covered with a veil. The mantle, borders and necklace are decorated with embroidery, plaques and pearls, which are also known in the Mikhailovsky treasure of 1903 (GIM. Inv. No. 49876). The costume includes a breast decoration - barmas, found in Sakhnovka in the same hoard as the diadem (T.I. Makarova, 1975. Table 14). B.A. Rybakov assumed that bracelets were not worn in this attire, since gold bracelets with enamel and stones were not known to us - they were replaced by sewing on the sleeves (Rybakov B.A., 1970, p. 36). However, in addition to embroidered opies, they could wear gold bracelets similar to those found in the Ryazan treasure of 1822. (Kondakov N., 1896. S. 95. Table XVI, 3). This is also where the golden rings with garnets and pearls come from, which form a single whole with a bright enamel dress.

On the table 76 shows reconstructions of peasant clothing complexes based on materials from the Vyatichi people. Silhouette 1 shows a reconstruction of the headdress of a middle-aged woman. It was restored based on materials stored in the museum of the Department of Archeology of Moscow State University. The drawing of the preserved detail from the headdress is given in Table. 77, 2. Details of it, as well as a scarf, patterned sheathing ribbons, checkered fabric (Table 77, 3) and jewelry come from the excavations of A.V. Artsikhovsky 1940-1946 Silhouette 2 reproduces the jewelry of a young woman. They were restored based on the materials of five burials from different kurgan groups (Saburova M.A., 1976, pp. 127-131). The fringed headdress shown in the silhouette is known among the southern Great Russians of the 19th century. They were worn by young women along with a set of clothes, including a paneva. Checkered woolen and semi-woolen fabrics, close to later "panevnye", are also known from archaeological materials (Table 77, 3). Silhouette 3 shows the costume of a young bride. A ribbon headdress with seven-lobed temporal rings on ribbons is put on over loose hair (Table 76.3; 77, 1). Clothing includes elements of an urban costume: a silk mantle with embroidery and plaques (tables 77, 8), stripes made of silk ribbons and plaques on a woolen ribbon of a headdress (tables 77, 7), a glass bracelet, etc. Footwear - soft shoes. On silhouette 3, shoes are represented by a form from mounds near Bityakovo, Domodedovo district (Rozenfeldt R.L., 1973. P. 65. Fig. 18).

On the table 75 is a men's suit. So, according to the materials of the Suzdal necropolis, shirts with different collar cuts are restored (Table 75, 2.5). A silhouette is shown in a short shirt with a collar and a slit on the left (Table 75, 2). The stand-up collar of the shirt, the sleeves at the wrist and the belt are decorated with embroidery. Long men's shirts are also known from the pictorial material. On them you can see decorations in the form of rectangular pieces on the chest, decorated with waistbands and hem (Antonova V.I., Mneva N.E., 1963. Ill. 84) (Table 75, 4). Silhouette 4 depicts a long dress with laces decorated with embroidery, as on the laces found in the Vladimir mounds (Prokhorov V., 1881. Fig. 1. Table 8) (Table 67, 7). A well-preserved rectangular pectoral was found in the Ivanovo region by K.I. Komarov in 1975 (Table 67.5). Silhouette 7 shows outer winter clothing, restored by analogy with the Hutsul sheepskin coat (B.A. Rybakov, 1949, pp. 37, 38, fig. 12). Silhouette 8 shows left-side wrap outerwear, which, according to ethnographers, appeared at the same time as the blouse. This form of cut distinguished outerwear from the clothes of their neighbors (G.S. Maslova, 1956, p. 581, note 4). Long outerwear with a wrap on the left side is also known from miniatures, which show the brothers - the founders of Kyiv (Radziwill chronicle, 1902. L. 4). The male silhouettes depict princely hats (Plates 75.8, 9.15) and a diadem with an enamel icon (Plates 75, 4), similar to the one known from the burial mound in the village of Mutyshino, Smolensk Region (Savin N.I., 1930. P. 233. Pl. P, 19). The men's costume includes boots of the 12th century, the shape of which is known from excavations in Novgorod and Pskov.

Tab. 71. Reconstruction of the princely-boyar costume (compiled by M.A. Saburova)

1 - clothes of the princess; 2 - clothes of the prince

Tab. 72. Details of clothes and decorations of the prince-boyar costume (compiled by M.A. Saburova)

1 - a chain and a sewn-on dagger. Old Ryazan. Treasure 1868; 2 - a chain and a part of a birch-bark hood with embossed fragments. Nabutovsky burial ground. Kyiv province; 3 - gilded silver embossed fragments; 4 - silver colt. Engraving, black. Svyatozersky treasure of 1908, Chernihiv province; 5 - a fragment of a silk collar on a leather basis. Nabutovsky burial ground, Kyiv province; 6 - silver ring. Engraving, black. Treasure 1869 ca. Spassk, Kazan Province; 7 - silver hoop. Engraving, black. Kyiv, treasure 1939; 8 - silk ribbon with gold thread embroidery. Sharki, Kyiv Province.

Tab. 73. Ceremonial clothes of the princess and noblewoman (compiled by M.A. Saburova)

1 - ceremonial dress of the princess with cloisonné enamel; 2 - clothes of the princess with embossed fragments; 3 - costume of an unmarried noblewoman

Tab. 74. Details of ceremonial clothes of the 11th-13th centuries. (compiled by M.A. Saburova)

1 - "necklace" of Princess Anna (1054) - Tomb of St. Sophia Cathedral in Novgorod; 2 - a necklace of cornelian and gold beads, decorated with filigree and pearls. 12th century Treasure 1900 p. Sakhnovka, Kyiv province .; 3 - "necklace" on the skin of gilded silver fragments. Novelties of the Vologda region; 4-8 - sewn-on silver fragments for necklaces, headbands, belts. Burial mounds of the St. Petersburg region; 9 - sewn-on embossed silver fragment from an ochelya. Burial ground ca. Lugi, Pskov Province. The end of the XII - the beginning of the XIII century; 10-16 - sewn-on silver fragments trimmed with beads and pearls. Stone graves of the Vilna province.; 17-23 - gilded silver sewn-on shotguns. Treasure 1903 in Kyiv, Mikhailovsky Monastery; 24 - silk fabric with sewn-on gilded silver fragments trimmed with beads. Old Ryazan. Treasure trove of 1887: 25 - a "necklace" on fabric and leather made of gilded silver bars trimmed with beads. Lipinsky burial ground, Kursk region.

Tab. 75. Complexes of urban and princely clothing according to fine arts and archeology (compiled by M.A. Saburova)

1-3 - teenagers' clothes; 4 - men's clothing ("for a fee"); 5.10 - children's clothing; 9, 11 - clothes of a girl and a woman; 12-13 - clothes of a townswoman

Tab. 76. Reconstruction of a complex of clothes with decorations of an Old Russian peasant woman (based on materials from Vyatich burials of the 12th - early 13th centuries). Compiled by M.A. Saburova

1 - festive clothes of a middle-aged woman; 2 - clothes of a young woman; 3 - girl's clothes

Tab. 77. Details of clothing and jewelry of an Old Russian peasant woman (Vyatichi, early 13th century). Compiled by ML. Saburova

1 - a ribbon of plain weave woolen fabric with seven lobed temporal rings threaded into it. Maryino, Moscow region; 2 - a fragment of a headdress on a rigid base. Woolen patterned ribbon, twisted threads, temporal rings seven lobed; 3 - a fragment of a semi-woolen checkered fabric. Conversations, Moscow region; 4 - twisted silver ring; 5 - a lattice double-zigzag ring made of bronze, 6 - a twisted bracelet made of bronze; 7- cholie on a woolen ribbon with decorations. Late 11th - 12th century Pokrov, Moscow region; 8 - fragment of a mantle made of silk ribbon with gold thread embroidery, early 12th century. Novlenskoe, Moscow region

Tab. 78. Reconstruction of a complex of clothes with decorations of an ancient Russian peasant woman of the 11th - early 13th centuries, (based on burial materials). Compiled by M.A. Saburova

1 - women's clothing of the 11th century. based on the materials of the Vologda burial mounds. Novinki I, Vologda region; 2 - a girl in a wedding dress of the XII century. (based on the materials of the Vyatichi); 3 - women's clothing of the XII century. based on the materials of the Krivichi

According to the book "Ancient Rus'. Life and culture» edited by B.A. Rybakova

Russian Civilization

Hello everyone! Based on the eternal holivars - gobuls / correct and passportists / participants - I want to publish a small sketch, about how we relate to the reconstruction of the costume, and about several existing approaches to the reconstruction of the early medieval costume.
I have identified four main approaches for myself, with subdivisions.

First. You can call it scientific and archaeological, the code name is "a suit in a museum showcase."
There are more and more of these characters at festivals every year, due to the massive Internet availability of special information. These reenactors set a condition for themselves to make the most correct reconstruction of the complex from a particular burial, or, possibly, some archaeological site. Perhaps, in a human costume, reconstructions of finds from several burials and different finds will be combined. But always the costume will not only be well and accurately made, correspond to the most modern scientific data, be like a “walking museum showcase”. To create this costume, the author usually turns over a lot of sources, often historians are the author of the reconstruction. As a rule, very large material and labor costs are invested in such costumes. Reconstruction hosts are usually experienced "named" reenactors. Such a reenactor is a decoration of the festival. Although among a wide range of reenactors there is no desire to imitate them, and this is not possible for many. The ultra-negative buhurt majority laugh at them. The authors of the “museum reconstructions” themselves spit on the Buhurt majority from above (deservedly) and call them “gobuls” and “infantry cattle”. As a rule, if you do not have a costume of this level, you have no voice in a high reconstruction. However, in such a suit, as a rule, you won’t walk, you won’t lie around, you won’t work, you won’t fight. These costumes are for a costume contest, thematic lectures, pathos photography, a feast for commanders and dissection in the evenings. Usually they are not only expensive, but also hot.

The second "legitimate" approach to costume reconstruction is "good reconstruction". That is, just the right standard reconstruction, passing all the slingshots of passport control and admission.
This is a reconstruction of a costume, linked to a specific ethnic group, period and status, based on specific finds and serious works on the history and archeology of the costume. The costume may not be a reconstruction of a specific burial, but a collective costume of one ethnic group. But it will always be based on archeological data, from the fabrics used to the seams. In the minds of most reenactors, such a suit is called a “good reconstruction”. Of course, in order to meet the criteria of the second group, the suit must be well tailored for a specific person, look neat and tidy, even beautiful. All accessories and decorations, hats and shoes must not only be, but also correspond to specific museum samples. Castings and accessories must be copies and models of archaeological specimens. The number of borrowings should be small, and borrowings should be historically justified.
This second approach has several common variations. They are designed for specific conditions of festival life.
1 - "ordinary work suit". A suit for work, usually a reconstruction of the suit of poor townspeople and peasants, ordinary soldiers. Often this costume is made by simplifying the first two options, simply by removing the "extra". Sometimes reenactors make only such a costume, defiantly despising more and more complex ceremonial options.
2 - "camping" suit. A suit for sea, hiking and winter crossings. They are made mainly for specific hiking purposes, based on basic suits, adding some special elements, such as oiled shirts or fur caftans.
3 - "summer" option, light. For those who do not tolerate heat well, for those who do not want to wear woolen clothes or walk in one shirt in the heat, for those who consider it indecent to walk around the fest naked. And also for girls who are not going to walk the whole fest in one thin linen dress. Russian weather realities introduce their own adjustments. South of Russia, July, Scandinavian costume. Your determination to look right melts like ice cream, and you wind up with silk shirts and dresses, linen hangerocks, light hats... This option is a "necessary evil."

The third version of the reconstruction of the costume is "ceremonial and pretentious". This is a costume that is created initially for a pretentious existence. The goals of such a reconstruction may be different. For example, a person makes a living taking pictures with tourists. Or he really wants to make a reconstruction of a rich Scandinavian costume, guided by the preserved rich royal clothes. Very many reenactors are familiar with the conditions under which the presence of a pretentious, bright, beautiful costume is necessary. This is a "show-off" in front of distinguished guests, and a big citywide holiday, and a "museum day", and shooting in some kind of film. In such cases, a beautiful bright suit is necessary. I don't mean a bad sloppy reconstruction with a pretense of richness, clumsily sewn and crookedly sloppy embroidered huge stylized patterns. I mean reconstruction. When everything that is worn by a person is made based on materials from quite recognizable archaeological finds, in compliance with materials and proportions, is tied to a specific ethnic group and social. status. This costume can be very bright, and may have large embroidery, but everything looks very correct, beautiful and neat. Such a suit is usually accompanied by a famous and respected person in the reconstruction, a lot of precious metal and rather robust weapons. Such a costume and accessories for it, as a rule, have been assembled for years, it costs a lot and is an attraction in itself, just like the first option - “archaeological”. Not many people have such "pathos" costumes, as a rule, they do not pass a passport suit. They are simply brought in, and then they are put on for a feast of commanders or for an evening party. According to the rules of Rusborg, such costumes are often not allowed, it is customary to make fun of them among the true reenactors. But for tourists, civil servants and foreigners, such costumes are much more preferable than ordinary costume reconstructions. Many old reenactors have such a suit hidden in a chest just in case.
In no way am I judging the proud owners of such suits. I understand this approach, and it has the right to exist, as well as other approaches to costume reconstruction.

The fourth option is "underreconstruction", or reconstruction of the "fuck off, passportist" type.
Alas, some representatives of the "infantry majority" consider this reconstruction option the most correct. That is, you can put on whatever you think is necessary just to get to the fest. At the same time, the main criterion for creating such a costume is what kind of clothes fell out of your clothes and what fabrics are left? Most often, this reconstruction option is chosen by neophytes and guys from provincial clubs. Not enough accessories, shoes? It doesn't matter, we'll take it from someone for a photoset, or we'll write what we'll buy at the festival. Accessories and castings are generally pastiche, often collected "from Adam to Potsdam". There is no clear link to the region and ethnic group. The problem with hats, bag and shoes. Almost all "standard" Scandinavians or "Russians in the service of the Scandinavian Jarl" belong to this category. It is common for them, firstly, to speak contemptuously about the owners of suits from a different category, secondly, to argue with passport officers, and thirdly, to consider themselves the most intelligent and erudite. Costumes from this category are low-cost, often made of poor quality, sometimes from someone else's shoulder. This category is characterized by the use of any fabrics that do not correspond to the era. For example, the stubborn use of factory cloths and velvet. The steady love of this category for factory-made aniline-colored linens and factory-made fabrics in general is a striking difference between this category and costumes of the second category. They may be similar, costumes of the second and fourth categories, but there is a conceptual abyss between them. Many neophytes are not even aware of this abyss.
I don’t want to somehow speak negatively about this costume category, because, firstly, it is a necessary evil, secondly, we all once were like that, and thirdly, many “grow up” from this category and move to others. This costume diaspora at large festivals is from half to most of the participants. Only a few thematic fests weed out such participants. And at some small provincial fests, costumes of another category have never been seen.
This fourth option has several varieties.
1 - "old man", or "recon in law". Not always the old reenactor is the owner of a good competent costume. Sometimes, out of laziness, he simply does not carry something decent with him. But no one will make any remarks to him, they will let him in at the fest, the passport officers will close their eyes. Even if someone digs in, he will be sent ... far away.
2 - "young", or "please, uncle." How many times do passport officers have to read “we are a young club, we do not have enough information, time, money, let us through for now, huh?” Maybe this young club will improve. Or maybe not....
3 - "militants". These are not interested in reconstruction in principle. They go to eat shish kebabs, drink and pizzo. For the entourage, simple ports, a shirt and a raincoat will suffice.
4 - "tourists from the reconstruction", or "scouts from other eras". These are people who are interested in watching festivals on a different topic. Some of them make themselves a basic costume for the era, and some simply rent a friend's costume, often already outdated.
5 - real tourists, or "useful extra people." These are drivers dressed in entourage, someone's wives, husbands and mothers, who want to show what their relative is doing, scientists-guests of the fest, and finally, real tourists who buy or rent a suit. Such people are often dressed I don’t know how, sometimes they get into the frame and then everyone asks “what kind of gobul is this?”
6 - Merchants, musicians, artisans, equestrians and other "professional reenactors". They often attend all the festivals in the same place, from the early ones to the seventeenth ones. Sometimes they don't bother with the costume at all. Some of them, on the contrary, may have a good class suit. Tourists mostly take pictures of them. Therefore, it is not always possible to track the real level of reconstruction at this festival from the photo from the festival.
7 - "freaks", "punks from reconstruction". They take on the role of buffoons and clowns voluntarily. They are often dressed in God knows how, sometimes they walk in one loincloth, sometimes they are dressed in furs a la konan barbarian, sometimes they depict beggars in a tatter. It's boring without them.

Here are some costume sketches. Criticism and additions are accepted.
What can I say about my costume specifically and my costume approach to reconstruction? I happened to be in each of the four groups. I just have several suits, for different purposes. But I'm already trying not to get into the fourth :)
The post is duplicated on "Southern Rus'".