Features of Chuvash embroidery. Chuvash embroidery. Clothing and household items. Museum exhibits

Embroidery is one of the main types of Chuvash folk ornamental art. Modern Chuvash embroidery, its ornamentation, technique, colors are genetically linked with the artistic culture of the Chuvash people in the past.

For the analysis of ancient Chuvash embroidery, the researcher has at his disposal samples dating back to the 19th and early 20th centuries. Only a small number of ornamented items kept in museum collections date back to the 18th century. However, even these relatively late samples indicate their ancient origin and early acquaintance of the Chuvash with the art of ornamenting fabrics.

The processing of animal and vegetable fiber has been known to the Chuvash woman for a long time. Ancient clothes were homespun, richly decorated with embroidery. P.S. Pallas in the second half of the 18th century. he wrote about the clothes of Chuvash women in this way: “Their attire is the same as that of Mordvinians, made of thick canvas; embroidered with motley, especially blue, red and black wool, and made little more than excellently.

Embroidery was performed on homespun, often hemp canvas with woolen threads and threads from vegetable fiber of its own spinning. In addition, in the 18th and 19th centuries. silk embroidery was widely used. At the bazaars and wandering traders then sold raw silk, which was spun and then dyed by the Chuvash themselves. In the old days, only embroidery threads were dyed, while the canvas itself, from which clothes were sewn, remained white. The mottled clothing of the lower Chuvashs came into use much later, at the end of the 18th century, and became especially widespread starting from the middle of the 19th century.

Various vegetable dyes were used to dye yarn. In spring and summer, women dug up the roots and collected bunches of herbs needed for dyeing. P.S. Pallas writes that when dyeing to obtain yellow color, the Chuvash used hare poppy, simple wormwood, with an admixture of gorse, for green color - leaves of thistles of various leaves. The most common dye that gave the red color was madder. After drying, it was pounded in mortars or ground on millstones, then, adding water, they put it in a hot oven. The next day water was added and boiled for a long time. For the strength of the paint they put ash. In the decoction of madder, the wool was dyed up to four times, drying after each time. In addition to madder, they also used oregano and young leaves of the apple tree collected in spring; flower heads of oregano and apple leaves were crushed, then boiled malt was added and water was added, more yeast was added to the solution. Pallas notes that the resulting vegetable dyes gave good color and many did not shed after washing.

Skills in yarn dyeing were further developed and improved. With the advent of polychrome embroidery (19th and early 20th centuries), more dyes were needed. The old Chuvash embroidery is extremely diverse. Various types of it were used in the ornamentation of individual parts of clothing.

The main accessory of the old Chuvash clothing was (canvas shirt), chest, hem, sleeves, the back of which was richly ornamented. From the embroidery of a shirt, primarily a women's shirt, as the most colorful and richly decorated with ornaments, one should begin the description of the Chuvash national embroidery.

The most archaic examples of women's ornamented shirts, preserved in several copies, date back to the middle and end of the 18th century.

Praise to you, Chuvashia, my home!
Both your name and your language are sacred to the heart.
Oak forests and hops, and labor,
And rich in songs and embroidery.
Power is alive in the patterns of ancient threads,
Bound the peoples in their fate, -
You will live in me, my Russia,
While Chuvashia lives in you. (Lydia Kubashina)
My homeland is Chuvashia. It is figuratively called the land of a hundred thousand songs and a hundred thousand embroideries. I want to introduce you to the Chuvash national embroidery. I made a fragment of embroidery using the quilling technique.

I printed out a color photograph, put tracing paper on it and began to fill in the details of the drawing.

The work is almost ready, I had to wind about 300 parts. And how many stitches did an unknown embroiderer have to make to complete this pattern!

Here he is! This fragment of the ritual (wedding) veil is more than two centuries old! The threads faded, frayed, the fabric decayed from time to time, but nevertheless, the patterns amaze the eye with grace and beauty, jewelry workmanship.

Chuvash craftswomen knew a large number of seams and were excellent at technique. And they learned to embroider from the age of five or six. By the age of 12-14, girls, having mastered the secrets of craftsmanship, a variety of techniques, became excellent embroiderers. Each pattern was fraught with symbols that protected a person from illnesses and misfortunes. In these photographs, chest embroideries-amulets.

Clothes, especially wedding ones, were decorated with wonderful embroidery. These are hip ornaments, belts.

Here are some of the symbols.

On the Gulf - the most beautiful place in our city - there is a monument with Chuvash symbols. Guests of the capital look at them with curiosity, then rush to buy napkins with these patterns, trying to guess what the embroiderer encrypted in her product.

Artists and craftsmen carefully preserve, creatively use and develop the ancient art of Chuvash embroidery. The firm of art crafts "Pakha tere" (which in Russian means "wonderful, high-quality pattern"), produces products with hand and machine national embroidery: men's and women's national clothes (blouses, dresses, aprons, headbands, blouses, shupars etc.), planar products (paths, curtains, groom's scarves, tablecloths, tablecloths, towels).

"Borders" - The drawing of the border is obtained when we begin to geometrically move its element. Gzhel. The border can be found as cast iron used in park fences. Geometric woodcarving is one of the oldest types of wooden ornamental carving. A border is a periodically repeating pattern on a long ribbon.

"Education of the Chuvash Republic" - An indicator of learning. Learning Score and GPA. Employers. Media. Department of monitoring and statistics of education. Employees of executive authorities who are not directly related to the education system. Legislative representatives. Experts. Key databases for monitoring the quality of education in educational institutions (project).

“Chuvash embroidery patterns” - In the Chuvash family, a girl was taught needlework from the age of 5-6. The painting was a two-sided seam. Chuvashia has long been called the land of "one hundred thousand patterns". Seams of Chuvash embroidery. In terms of color, polychromy is observed. Cotton and linen threads were used for large and less valuable embroideries. Sh?rkeni - overcasting seam 19.

"President of the Chuvash Republic" - the President of the Republic participates not only in relations at the level of the corresponding subject of the Russian Federation, exercising powers within the limits of the joint jurisdiction of the Russian Federation and the subjects of the Russian Federation and within the exclusive jurisdiction of the subjects of the Russian Federation, but also in relations of federal significance. Presentation on the topic "THE INSTITUTE OF PRESIDENCE IN THE CHUVASH REPUBLIC".

"Chuvash Sport" - Champion of the USSR (1996); world record holder in the heavy weight category (1965). (1949) International class master of sports of the USSR in track and field athletics. Elena Nikolaevna Nikolaeva. Viktor Semyonovich Semyonov. Elena Nikolaevna Gruzinova. Giana Alexandrovna Romanova. (1970) Master of Sports of Russia of international class in athletics (marathon).

"Chuvash language" - K. V. Ivanov also translated the poem "The Bronze Horseman" by A. S. Pushkin. The translation of "Songs about the merchant Kalashnikov" was provided with a preface. Tasks: I. Ya. Yakovlev organized the translation of Russian textbooks containing the works of the classics of literature. For textbooks, Yakovlev wrote children's stories, many of which are adaptations of folk tales.

Chuvash embroidery from ancient times was not a simple decoration for clothes and interior items, but a special language consisting of various patterns. Of great importance are not only signs, but also the color scheme of the picture. Most often, a combination of white, red and black colors is used in embroidery. The white color of the threads was absent in the old Chuvash patterns, but it was replaced by a background that denoted purity and wisdom. Black color contains a dual interpretation: it can symbolize agriculture or the relationship of life and death. Various shades of red, from burgundy to pink, represent feelings, including love and courage.

Sometimes there are yellow and green threads in the pattern. They are associated with sunlight and plant motifs. The most ancient is considered to be a red pattern on a background of white cloth and a multi-colored pattern on a red cloth. Each drawing was three-level and included a near, far and deep layer. It was read from bottom to top.

Symbolism of Chuvash ornaments

Each thread drawing in a folk costume carries an encrypted message. To understand it, you need to be able to interpret individual signs and understand their meaning. The symbolism of the Chuvash ornament could tell a lot about the status of a person, tell about his tribal affiliation. It differed depending on gender, age and carried protective properties. Each stitch and sign had a specific place and meaning in embroidery. For example, a straight line symbolized the path of life, a triangle - a dwelling, a spiral - thoughts. Special signs existed for the concepts of "care for one's neighbor", "brotherhood", "honor and courage", "equality".

Deifying the phenomena of nature, the ancestors of the Chuvash reflected their ideas about the world order in various ornaments. People were surrounded by everyday and cult objects, decorated with images of the great goddess, the sun, the tree of life and the universe. The national identity of the Chuvash ornament was the use of a geometric pattern, which was endowed with the properties of a talisman. Special decorative seams and patterns were intended to ward off evil spirits. Then the traditional patterns - rhombuses, circles and rosettes lost their original purpose and began to be used only for decoration.

Embroidery Features

The Chuvash have been engaged in embroidery since ancient times, the technique was constantly improved, and the experience of needlewomen was passed down from generation to generation. In their work, craftswomen in creating Chuvash ornaments use about 30 types of seams, which are made on white and dyed cloth or on homespun canvas. For special occasions, most often in the decoration of headdresses, silver and gold threads were used. Embroidery motifs are similar to patterns of other peoples of the Volga region, but the Chuvash are distinguished by their filigree workmanship, a combination of "dense" and "sparse" seams.

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Lesson Objectives:

• To introduce students to one of the main types of Chuvash applied art - embroidery, simple patterns - ornamental seams.
• To develop interest in the language, folk traditions, to expand the vocabulary of students.
• To cultivate interest, respect for the history and culture of the native (Chuvash) people, independence and a desire to work.

Lesson type: learning new material

Equipment: crossword "Chuvash embroidery" ("Chavash terri"). Video clips of the annual Chuvash song festival "Uyav". The book "Chuvash folk art". Textbooks "Native literature", grade 3. Embroidered scarves, towels, dresses, aprons . Tables "Pattern with letters", pieces of raw potatoes for each student; gouache.

During the classes

I. Communication of the topic, goals, objectives of the lesson and motivation for learning activities

Guys, if you correctly solve the crossword puzzle, then read the topic of our lesson [Slide 3]

1. The eldest son in the family ( picche)

2. An excerpt from the work of P. Khusankaya.

Kam ha, kam sak halakha pellet
Val ser pin samahpa puplet
Ser-pin Jura-seme kevelet.
Ser-pin tesle tere shaft terlet (chavash)

3. Riddle about the sun (hevel)

4. Father's mother ( asanna)

5. The youngest son in the family (shallam)

6. Chuvash old shoes (capata)

7. A riddle from the poem by K. V. Ivanov "Narspi"

FROM y with x y relle hurc a yyt a per keret those per go out (th e P)

8. Sewing attachment (purneske)

9. The teacher shows antique beads, the children call (shara)

10. The holiday of seeing off winter among the Chuvash (cavarni)

Children read the words vertically "Chavash terri" ("Chuvash embroidery") [Slide 4]

Guys, today we will take a closer look at one of the most common and most accessible types of decorative art - embroidery. The topic of the lesson is called "Amazing Chuvash embroidery". [Slide 5]

Even in ancient times during paganism, a person created simple patterns from conventional signs-symbols: the universe was depicted as a quadrangle, wavy - water, circles, squares or rhombuses depicted the sun.

In the course of the story, the children find these patterns in the table "Pattern with letters" [Slide 6]

II. Preparation for the study of new material through repetition and updating of basic knowledge

1. Viewing a video fragment of the annual Chuvash song festival "Uyav" (not posted due to exceeding the allowable size of the application)

Teacher: Guys, a fragment of what holiday did you watch, which took place this year on the fifth of July on the territory of our school?

2. Conversation after viewing.

In traditional folk culture, rest from physical labor, fun was never understood as idleness, as completely free, unoccupied time. The holiday performed important social functions, had a deep meaning. In it, a person most acutely felt himself both a person and a member of the team, inside the holiday contact and free communication were made, without which normal human life is impossible. A holiday is a manifestation of all forms and types of culture of a given group, from the accepted norms of behavior to the demonstration of outfits and the performance of traditional songs.

Children's stories about their impressions of the holiday.

III. Introduction to new material

1. The teacher shows national costumes from the book "Chuvash Folk Art" p. 14-15, 34-35.

Our ancestors left us a rich heritage. A prominent representative of decorative and applied arts is the folk costume, which reflects a variety of embroidery, weaving elements, and jewelry art. After all, before the advent of factory fabrics, people had to weave themselves. Almost every village family had a loom. [slide 7]

This work required a lot of time and effort. First it was necessary to grow flax or hemp. Softer and better quality fabrics were obtained from the male hemp stalks. To separate the fibers from the wood, it was necessary to soak in water or hold under snow. After drying properly, the stems were crushed, then combed, and threads were spun from the resulting fibers. If necessary, the threads were dyed and fabrics, towels, rugs were woven on weaving mills. With such zeal and warmth, the products created were unusually dear to our ancestors.

Children find handkerchiefs, handmade towels, and carefully examine the embroidery on them.

In Chuvash embroidery, there are many small figures that can be combined into one group - a pattern with letters ( syrulla tere) or ornamental stitches. Almost all of them are performed with a contour seam. They were interpreted by craftswomen as realistic patterns, saturated with concrete content. The motifs of the geometric ornament indicate a connection with reality, which is confirmed by the names of the patterns: kavakal [duck], lepesh [butterfly], syrla [strawberry], nukhrat [money], sula [bracelet], etc. [Slide 8]

Children using the table "Pattern with letters" find patterns, name them, draw in notebooks.

Physical education minute

2. Primary colors of Chuvash embroidery [Slide 9]

Chuvash embroidery is characterized by a combination of "warm" and "cold" tones. The main colors of embroidery are all shades of red - from maroon to rose red and black. As an addition, various shades of green, blue, yellow were used.

Only black color, the color of goodness, bordered the embroidery pattern.

The patterns were filled with red, the source of triumph, happiness.

Yellow means the color of the sun, joy, happiness.

White color - the white background of the canvas - the color of purity, health.

Green is the color of nature, life.

Blue is the color of magic.

Chuvash clothing has preserved very ancient traditions in its individual elements. Many patterns and objects decorated with them were associated with the purpose of protecting the owner from evil spirits, and then began to decorate his clothes.

Each seam in embroidery had its established place and decorative purpose, and specific seams were used for each type of product. For example, the Chuvash shirt, masmak, wedding pillow case, visible only from the front side, were made with one-sided seams [khura car terri], top stitch [per pitle tere], oblique fine stitch [khantas], cross [heresle tere].

3. National ornament "Keske".

Women with great love were engaged in needlework. Gathering in a circle, they competed with each other, inventing new patterns, reworking old ones. They sewed clothes for themselves and their loved ones, putting all their skill and aesthetic taste into work. But this was not a collective work, because each craftswoman, creating her own composition from known ornamental motifs or inventing new details, remained an original artist.

Women's shirts were embroidered with keske and suntakh patterns. Keske rosettes were embroidered in pairs on both sides of the chest section of a women's shirt. According to the style of execution, the keske is light, openwork in nature. [Slide 10]

The girl's costume did not have keske breast rosettes, shoulder pads, sleeve patterns. Young girls embroidered their outfits intended for holidays or spring round dances modestly. All the skill and skill they put into the embroidery of wedding clothes. (Chuvash folk art, pp. 34-35)

The ancient semantic meaning is associated with the symbol of the sun.

A pre-prepared student tells the legend of the three suns. [Slide 11]

Once upon a time, there were three suns in the world and they were close to the earth. People did not know what winter, snow, ice are. Surprising plants grew around, which gave people everything they needed for life. But there were people who didn't understand it. We don’t want to live like this anymore, it’s impossible to breathe! - often complained, they shouted.

Wise old shursuhals warned that not a single sun should be killed, otherwise there would be a big disaster. But no one even listened to them. They invited a famous hunter and asked him to kill one sun with one shot. The hunter, terrified of death, pulled the string, aimed for a long time and fired. The arrow flew with a whistle and hit right in the heart of the heavenly body. It went out. But the heat didn't subside. "Kill another one!" they ordered. He also killed another sun. The remaining sun was frightened and fled high, high, where the deadly arrow could not reach.

And then people noticed with horror that it became cold. Very cold!

Then people with a bow went to the old shursuhals to ask for wise advice. “You need to start drawing three suns everywhere. Then the sun will understand that people have changed their minds, regret what they have done, and will return to us!” they advised. Since then, people have been drawing three suns everywhere: on the ground, on the walls of houses, windows. Therefore, women embroidered patterns of the sun on the chest of women's shirts.

At present, we can see three suns in the symbols of the Chuvash Republic. (Textbooks "Native literature, grade 3, p. 20) [Slide 12]

IV. Primary comprehension and consolidation of the material

1. The game "Who will find it right?"

The teacher shows the products embroidered with patterns. Children try to name them correctly.

2. "Skillful hands". Independent work of students.

Children decorate towels that are cut out of white paper with their favorite patterns.

Patterns are printed using gouache and pieces of raw potatoes in a rectangular (square) shape.

Those guys who finish first talk about their work: what patterns and colors they chose, what they mean. (1-4 students) [Slide 13]

V. Summing up the lesson.

What interesting and new things did you learn today?

What patterns do you particularly like and remember? Why?

Where can you apply them?

VI. Homework assignment.

Watching a video fragment of the annual Chuvash song festival "Uyav" [Appendix](not posted due to exceeding the allowed size of the application)

White dresses that are cut out of paper need to be decorated with Chuvash patterns.