Women's headdress. Magpie.
Magpie/ kitty, horns/ - a headdress for married women, consisting of several parts not sewn together, which were put on the head independently. The main items that together formed this headdress were the kichka, the magpie itself, the back of the head, the forehead, and the scarf. Additional - various decorations made of beads, feathers, ribbons, artificial flowers.
The kitchka was a soft canvas cap, on the front of which was fixed a solid elevation made of bast, wooden planks, birch bark, canvas glued or quilted several times, canvas rollers stuffed with straw, tow. At the back, the kitty was pulled tight, tightly fitting the head.The magpie, also called the crown, the binding, is the upper part of the headdress, a cover worn over the kichka. It was usually made of calico, silk, velvet on a canvas or chintz lining. Magpies were usually sewn from two to three pieces of fabric. Its front part was called brow, ochele, chelishko; the side parts are the wings, the back part is the tail. They were connected in such a way that the headdress took the form of a cap with a rectangular, oval top, or a top carved in the shape of horns. The wings, sewn with a headband and partly with a tail, had ties with which the magpie was attached to the head over the kitty. If the magpie's tail was short, then it was almost completely sewn together with the wings; if it was long, then a significant part of it went down to the shoulders. Along with magpies in the form of caps, magpies that were not completely sewn together were also common: only the headbands with the tail and the wings with the headband were connected. Such magpies, when spread out, resembled a bird with a long tail and triangular wings spread out on the sides.
Rice. 3. Development of the image and symbolism of the kichka, from left to right: 1 - Veles in a horned and circle-shaped headdress with the duck star Makosha in the center; 2 - Egyptian god in a horned headdress and with a circle; 3, 4 - on the Egyptian fresco the horns turned into two feathers of Maat (Makoshi) with the sun inside; 5 - Russian kichka, Tambov province (19th century); 6 - fragment of the pattern; 7 - Scythian-Koban figurine from Dagestan (6th century BC); 8 - horned kichka - wedding headdress of a Nekrasovka Cossack woman (early 19th century); 9 - horned Makosh, Russian embroidery; 10 - Russian kitty
The Russian national headdress - kichka - also drew its symbolism from the star Slavic religious cult of the duck-Makoshi (constellation Pleiades), located on the head (neck) of Veles (constellation Taurus). The back of the head, also called the back of the head, the back of the head, the block, was a rectangular piece fabric, glued or sewn onto a solid base made of cardboard, birch bark, or quilted canvas. It was placed on the back of the head, covering the hair at the back of the head and part of the neck, and tied with ribbons around the pussy under the magpie. The drawings clearly show the development of the image of the Slavic god Veles, holding a Makosh duck with a nest on his head. In fragments 3 and 4, the horns turn into feathers (ostrich), which symbolize the Egyptian Maat (Russian Makosh). On the kitty (5) there is a pattern, which is presented on an enlarged scale in fragment 6. It is completely similar to the Egyptian two feathers and the sun between them. The oldest sculptural image of Mokosh is dated to the 42nd millennium BC. and found in Rus', in the village of Kostenki, Voronezh region. Therefore, we have the right to attribute both the origin and development of the cult of Mokosh in Rus' to the Slavs, and consider the Egyptian use of this Slavic cult of Mokosh-Maat as its continuation, brought to the Nile Valley by proto-Russian settlers. The Proto-Russians also brought to Egypt the cult of the Slavic god Veles-Baal, whose horns turned into two feathers in Egypt.
It was precisely this content, corresponding to Slavic religious mythology, that the kitchka carried. This Russian headdress imitated the horns of a cow, which symbolized the fertility of its owner. Young married Russian women wore a horned kitty, exchanging it in old age for a hornless one. Slavic married women for a long time (and to this day!) retained the method of tying a scarf, when its corner ends stuck out on the forehead in the form of small horns. They also imitated the horns of a cow and symbolized a productive period in a woman's life.
A merchant's family in the 17th century. 1896. A. Ryabushkin
Soroka (kichka, horns) is one of the most ancient Russian headdresses for a married woman. According to archaeological excavations, the magpie was worn in the 12th century and even then it was widespread throughout Russia. Usually the magpie consisted of the following parts: a quilt, a magpie, a back of the head, a forehead, and a scarf. Kichka is a round canvas cap; on its front, frontal side, a hard part made of bast (linden or elm bark), wooden planks, birch bark or other materials was attached. The upper part, rising above the cap, was called kichka (or “horns”, “sderiha”). They came in a variety of shapes: spade-shaped, semicircular and horn-shaped. Horns have long been a symbol of fertility; perhaps they carry the same meaning in the magpie.
The magpie itself was a long woven fabric that was attached to the pussy and went down to the back and shoulders. The back of the head is a fabric with a hard base, laid at the back to cover the hair at the back of the head. Browband - an embroidered strip that covered the forehead, tips of the ears and temples. A scarf was also tied over the magpie.
Second half of the 19th century. Spassky district, Tambov province, Russia.
The magpie is found in most provinces of Russia as a widespread women's headdress, which has very ancient roots. The Kargopol magpie can be immediately distinguished from any other by the peculiar shape of its headband, which hangs over the forehead with a sharp protrusion. This protrusion is created by a pointed bottom. As a rule, most of the known species of magpies are soft, so under them they additionally wore a headdress of a rigid design, allowing them to maintain the shape of the headband. Under the Kargopol magpie, a kind of cap is put on with a hard “hoof” above the forehead, called “sderikha”. Sderiha plays the role of a warrior, collecting and pulling her hair, and her hoof serves as the basis for an elegant beaded headband
The “magpie” wedding headdress consisted of three parts: a kichka with small sharp horns, a back of the head and the “magpie” itself, which was heel-shaped. The magpie is an ancient headdress worn by Russian women. The basis of the wedding headdress of a Voronezh peasant woman is a kichka - a solid forehead part in the form of a horseshoe with large horns sticking up, lined with red. A piece of canvas is attached to it, the edges of which are gathered on a thin cord - a “hold”. The kichka is placed on the head at forehead level and the woman’s hair is carefully covered with canvas, then the fabric is secured to the head with a cord. The back of the head is covered with a backplate - a rectangular strip of velvet embroidered with gold threads, fixed on cardboard for rigidity, to the top and sides of which strips of silk fabric with ties at the edges are sewn. I cross them on the forehead and tie them around the horns several times, thus tightly fastening the kitty to the back of the head. And finally, on top of the horns they put a small magpie sparkling in gold, which crowns the entire structure. The main motifs of the gold embroidery ornament on the back of the head and along the top of the magpie are “trees”, similar to similar images on the sleeves of a wedding shirt.
The "magpie" pattern has 3 main parts - the headband, the back of the head and a special patch made from the main fabric, which lengthens the back of the head. The design has a rigid frame - a sewn-in cardboard strip 20 cm high. Ties, 5 cm wide, made of cotton fabric, are attached to the headband. The headdress is set on lining fabric. The sample is made of velvet fabric. The necklace is richly decorated with gold embroidery, colored rhinestones and sewn brocade braid. A braid of multi-colored beads is sewn on, and fringe is sewn along the edges of the headband. The back of the head is decorated with embroidery using the “gold embroidery” technique, the ornamentation is made in the form of plant motifs. Three lush tassels of red and green colors are sewn to the bottom of the sewn part of the back of the head. The decorative connection between the headband and the back of the head is two strips of gold braid.
Sometimes they write that “magpie” is part of the “kichka” headdress, and sometimes vice versa: “ Usually the magpie consisted of the following parts: quilt, magpie, back of the head, forehead, scarf.”.
koruna
The kika was worn over the warrior, and it consisted of a hoop, open at the back, covered with fabric on top. The hoop had the shape of a crescent or horseshoe. The height of the horns for kiki could reach 30 cm; they were made of wood or tightly rolled canvas. The back part made of expensive fabric or fur was called slap on the head, they decorated it especially elegantly, because it was he who replaced the braid that the woman had lost. Rich embroidery or a wide decorative pendant with long chains of plaques was placed here. A cover-cover called a blanket was attached to the top of the kick. magpie, he would later give the name to this composite headdress. In such vestments, a woman should walk with her head held high, with a beautiful and soft gait, which gave rise to the expression “to boast,” i.e. rise above other people.
A type of kiki for persons of the princely and royal families was koruna. It was distinguished by its shape - a richly decorated crown, under which a headdress was worn. Duckweeds, a pearl hem on the forehead, and kolta were added to the attire, inside of which they placed pieces of fabric soaked in “fragrances,” i.e. perfume.
An ancient women's headdress, like all clothing of those times, reflected the customs and worldview of the Russian people, as well as their attitude to nature and the whole world. In the old days, some elements of clothing were borrowed from other peoples, although to a greater extent Russian costumes had their own, special style.
How women dressed in Rus'
The main component of women's clothing was a shirt or chemise. The first was a kind of underwear and was made exclusively from thick and coarse fabric. The second one was always made from thin and light materials. Shirts were mostly worn by rich women, while the rest always wore shirts.
At the same time, the girls wore canvas clothes called “zapona”. In appearance, it resembled a piece of fabric folded in half with a small cutout for the head. The zapona was worn over a shirt and belted.
During the cold season, women in Rus' wore fur casings. In honor of various celebrations, they wore long sleeves - special shirts. Women wrapped wool fabric around their hips, tying it at the waist with a belt. This piece of clothing was called “poneva”. Most often it was made in a cage. The colors of the poneva differed in different tribes.
Ancient women's headdresses in Rus'
During the times of Ancient Rus', men always wore the same hats, but women's hats were classified into those for girls and those intended for married ladies. Each girl had to strictly observe the style and rules of wearing clothes. All types of ancient women's headdresses are listed and described below.
Headbands and ribbons
The traditional girl's headdress was not intended to cover the top of the wearer's head. He left quite a lot of hair exposed. From a very early age, girls in Rus' wore ordinary ribbons made of fabric.
At an older age, they had to wear another girl's headdress - a bandage (bandage). In some areas it was often called wilted. This element completely covered the forehead and was secured at the back of the head with a knot. As a rule, such headbands were created from birch bark, silk ribbons, and brocade. Their owners decorated their headdresses with glass beads, embroidery, precious stones and gold.
In the census of the property of the daughter of one of the Russian tsars, Alexei Mikhailovich, a “bandage strung with pearls” was mentioned. Often there were headbands, the forehead part of which was distinguished by a special decoration made in the form of some kind of figure or patterned knot.
whisk
Another type of ancient women's headdress is the crown (corolla). It came from a wreath, which was made up of different flowers. According to the beliefs of our ancestors, this dress protected against evil spirits.
The corollas were made from a thin metal strip, the width of which did not exceed 2.5 centimeters. Bronze and silver were also used for this. In appearance, such a headdress was similar to a headband, but the only difference was the hooks for a ribbon or cord to tightly tie the crown at the back of the head.
Often the crown was decorated with patterns with teeth at the top. On big holidays, girls wore headdresses decorated with strings of pearls hanging along their cheeks - the so-called cassocks. This is exactly the decoration that Tsarina Evdokia Lopukhina wore at her wedding.
Warm hat
In the cold season, you could see hats on the girls’ heads, which in those days were called stolbuntsy. Of these, a long girlish braid fell onto the back, decorated, in turn, with a red ribbon.
Cleaning up after marriage
Ancient women's headdresses performed not only an aesthetic function - they served as a kind of indicator of both the status and marital status of the beauty. As soon as the girl got married, this element of the outfit immediately changed. This happened for the reason that after marriage, all the beauty of the wife belonged only to her husband. Foreigners who visited Russian lands described the wedding custom as follows: during the celebration, the man threw a scarf over the head of his chosen one and thereby demonstrated that from now on he became her legal husband.
Scarf, or ubrus
This ancient women's headdress was especially popular with girls. It was called differently in different regions. Among the most common names: fly, towel, under-fly, basting, veil, and so on. This scarf consisted of a fairly thin rectangular cloth, the length of which reached a couple of meters and the width was about 50 centimeters.
One of the ends of the ubrus was always decorated with embroidery with silk threads, silver, and gold. It hung over the shoulder and was never hidden under clothing. The second end was intended for tying it around the head and pinching off the bottom of the chin. In the 10th-11th centuries, it was customary to place a beautiful set of jewelry items on top of such a scarf - hanging rings and all kinds of jewelry.
Some time later, the ubrus began to be made in a triangular shape. In this case, both ends were pinched off under the chin or tied on the top of the head with a curly knot, but this required a special skill that not every Russian woman possessed. Also, the ends could go down to the shoulders or back and were richly embroidered. This fashion of wearing scarves came to Russia only in the 18th and 19th centuries from Germany. Previously, the scarf simply clasped the girl’s neck, and the knot was located at the very top of the crown and was pulled quite tightly. This method was called "head". One of the 18th century contemporaries wrote that the expressiveness of the scarf was necessary in order to “elevate the beauty and give even greater color” to the faces of women.
How they hid their hair
When putting together their own headdress on ordinary days, women used podoubrusnik, or volosnik (povoinik). It was a small mesh cap made of thin material. This headdress consisted of a bottom, as well as a band, in which lacing was provided around the head - specifically so that the cap was tied as tightly as possible. The warrior, as a rule, was decorated with various stones and pearls, which women independently sewed onto the forehead area. Such a patch was unique and special, since each craftswoman took care of it and passed it on to her daughter, attaching it to her headdress.
The main purpose of the cowberry was to hide women's hair from prying eyes. There were also women who were too zealous, pulling down their clothes so that they practically could not blink. In winter, a hat or scarf was always worn on top of the warrior. Beginning in the 18th century, these headdresses began to change and eventually took the form of a cap. Sometimes it was worn together with the ubrus, put on over it. This depended mainly on the beauty and degree of decoration of this element. Each woman treated her clothes and hats with trepidation, because they were the ones who spoke of her as a mistress and a faithful wife.
What married women wore: what is a brocade kichka
After a woman got married, she had to wear a special headdress - a kiku (kichka) - along with a scarf and a warrior. Now few people know what a brocade kichka is, but in those days it was a real privilege of married ladies. It is for this reason that the historian Zabelin called this dress the “crown of marriage.”
Kiku could be easily recognized by its horns or shoulder blade, which protruded directly above the forehead and was directed clearly upward. Horns had some connection with beliefs in protective power, since through them a woman was likened to a cow, which, as you know, was a sacred animal for our ancestors. The main function of the horned cat was to protect the newly-made wife and her child, and it also promoted fertility and procreation.
The headdress was worn over the warrior and consisted of a hoop that did not close at the back and was covered with fabric. This hoop looked like a horseshoe or a crescent. The height of the horns attached to the headdress reached 30 centimeters, and they were made exclusively from tightly rolled canvas. In addition to the front, the rear was also of great importance. It was made from fur or expensive material and was called a slap on the head. This element was always decorated elegantly, because it replaced a long girl’s braid. This contained quite rich embroidery, as well as a wide decorative pendant, on which long chains of plaques were attached. A special cover-cover was attached to the top of the kitty, which in the old days was called a magpie.
This is exactly what a married woman was supposed to wear. At the same time, she should have kept her head held high and taken her steps beautifully and softly. Thanks to this, the expression “to boast” appeared, which meant “to elevate oneself above other people.”
The koruna was created based on the type of kiki. It was a headdress for persons of the royal and princely families. The main difference between the koruna was its shape. It was a richly decorated crown that had to be worn over the ubrus. As a rule, various decorations were added to the headdress in the form of duckweeds, collars, and pearl underwear, and special fabrics soaked in various odors were placed inside.
Kokoshnik
Many people are interested in the name of the ancient Russian women's headdress, which can also be seen on modern girls. Despite the fact that it is quite difficult to wear it due to its weight, our ancestors (women) found it only a joy to keep such a decoration on their heads every day.
The Russian folk kokoshnik got its name from the ancient Slavic word “kokosh”, which translated meant “hen”, “rooster”, “hen”. Its distinctive feature was the front part - the ridge. The entire Russian folk kokoshnik was made on a solid base, which allowed it to better stay on the head. The ridge rose high above the forehead and was visible from a fairly large distance. At the back, the Russian folk headdress was secured with ribbons and covered with fabric.
Despite the fact that initially the kokoshnik was the prerogative of only married women, after some time young girls began to wear it. But their top was already open.
This Russian folk headdress was covered with fabric or leather. It could be decorated with metal thread, beads, pearls, and bugles. A special blanket made of expensive patterned fabric was attached to the headdress. On top, as a rule, a veil or scarf was worn, always folded into a triangle.
Among ordinary people, the kokoshnik became widespread in the 16th and 17th centuries. He became an excellent replacement for the kitsch. Representatives of the clergy fought against the “Rogata” and categorically forbade visiting church there. They welcomed a more convenient, safer and beautiful option.
Hats
Starting from the end of the 16th century, during the transition from winter to spring, women, “going out in public,” wore a hat over the ubrus. It was made from felt of different colors and was quite similar to what Orthodox people wear when walking.
Fur hats
Vintage winter women's hats also include velvet hats trimmed with fur. On top they were made of fabric or glued paper. The hat itself was cone-shaped, round or cylindrical. It differed from men's hats by the presence of decorations - pearls, sewing, stones.
Since the hats were quite high, light fur or satin was placed inside them in order to retain heat. Women treated their attire very carefully. From some sources it is known that at the end of the season, the royal daughters were required to hand over their hats for storage to a special Workshop Chamber. There they were placed on blocks and covered with covers.
Winter hats were made from different furs - fox, beaver, sable. For young girls, the squirrel or hare version was considered the ideal option. One of the few similarities with men's clothing was the name. Women's hats were also called “gorlatny”, which is why they were worn in several layers at once.
Treukh
Another magnificent headdress that women were able to successfully adopt from men is the triukh. Its top was covered with fabric, and the part in the frontal area was covered, as a rule, with sable. Such hats were decorated with lace or pearls.
Kaptur
An equally interesting winter hat called “kaptur” was especially popular among widows. It protected its owner’s head from the cold, because it looked like a cylinder with fur that covered both the head and face on both sides. A beaver hat was made, but the poorest had to wear sheepskin headdresses. It was necessary to wear a bandage on top.
Married woman's headdress warrior. D. K. Zelenin considered it common to all East Slavic peoples, having the same cut, but different names: Russian - howl, warrior, warrior, hairdresser, collection, I'm chatting, cap, case, cover, cover, shlyk, snag, chupirnik, whip; Ukrainian — ochipok, chippets, cap; Belarusian — chap, cap, circuit; Old Russian - lingonberry, howl. The uniform cut of these women's headdresses indicates their early origin. One common function is to cover the hair of a married woman.
The ritual of putting on a warrior was one of the central moments of the wedding. The headdress associated with the hairstyle is its complement. Girls wore their hair open, braiding it in one braid. Y. F. Golovatsky, describing women's headdresses, noted that “ girls will never cover their hair, this carefully groomed beauty, except in bad weather or cold" On the contrary, a married woman had to walk with her head covered. Usually the hair was braided into two braids and tucked under a warrior's bun - this is the main difference between a married woman's hairstyle and a girl's hairstyle. V. I. Dal quotes a proverb describing a woman’s hairstyle: “ Became a two-tailed braid. She went under the warrior and hid».
The bride's wedding lament also speaks of this change:
« Avdotya Mikhailovna cries over her light brown braid:
“Is it my braid, my blond braid!
Evening the girls braided this braid:
The merciless matchmaker has arrived,
She began to tear and throw this braid,
And tear, and throw, braid into two».
« Flash"hair was considered the greatest sin. N. I. Lebedeva wrote that in the Bryansk and Kaluga provinces many stories have been preserved that the appearance of a woman with “ open"The hair was terrifying.
Sometimes the warrior was used before the wedding (during matchmaking). " The matchmakers always took with them a worn-out female warrior with pins stabbed into it to make it easier to fool the girl. If the outcome was successful, they would take care of it until the wedding, so that the matter would not fall apart».
The ritual of dressing a warrior was called differently: turn your head, twisting, encirclement, braiding, twist, amaze, still young. Sometimes the headdress was pre-blessed. " On the table on a platter lies either a magpie or a warrior covered with a scarf. The priest takes off the scarf and blesses the dress" Weaving took place in different ways. So, A. V. Tereshchenko gave several descriptions of this ritual. In the Nizhny Novgorod province, after the wedding, the godmother took the young woman to the vestibule of the church, and, crossing herself, braided her two braids, and then put on a warrior's coat. At a Little Russian wedding, this ritual was performed after dinner. The girls were unraveling the young woman’s braid, and the older matchmaker was already braiding it.” according to women's custom” and put on the ochipok, which the young woman took off three times and cried at the same time. In the Saratov province, two braids were woven by matchmakers: one by a matchmaker on the groom’s side, and the other by a matchmaker on the bride’s side.
Describing a contemporary wedding ceremony, this author pointed out that dressing the warrior took place at home after the wedding, two matchmakers braided the braids, and then put the warrior on the bride. N. I. Kostomarov described in detail " encirclement”, which took place during the festive feast, after the first course was served, the priest read the “Our Father”, and then the prayer to cover the head, the matchmaker asked for blessings from the mother and father of the bride, then a large piece of taffeta was stretched between the bride and groom. The matchmaker soaked the comb in a glass of honey and combed the bride, then curled or curled her hair and put a woman's headdress on her. In the Vladimir province " they turned their heads» at home at the moment when the guests sat down at the table. The bride was taken to a special room, where two braids were braided for her and a warrior and kokui were put on top. Several descriptions of this ritual among the Great Russians are given by P. V. Shane. In the Novgorod province " After the wedding ceremony, the newlyweds come to visit the priest. There the young woman's hair is combed like a woman's and she is put on a warrior's cap. Sometimes, for fun, wedding girls will twist the bride’s hair in knots so that she cannot untangle it, and only by giving the matchmaker money will they untangle the knots with her help" In the Smolensk province " at the end of the crown, they leave the church either to the sexton or to the lodge, where the young woman’s hair is combed: on one side the matchmaker braids the braid, on the other side the groom. Then these braids are wrapped around the head and the young woman is tied with a scarf, as women wear." Among Belarusians, the mother-in-law curled her daughter-in-law on the threshing floor; often these rituals were performed on a bowl or on a tub of rye. In the Kaluga and Bryansk provinces, the warrior was put on the bride immediately after the wedding in the church gatehouse.
In the village The girls' lover sang:
« Bind, matchmaker, bid,
So that your hands
Withered up to the elbows…»
In the village of Mestkovichi, when putting on a warrior, there were three stages. First - " carding» hair is young. At the same time they sang:
« Most pure mother,
Don't stand under the fence,
Come to our house
Help the matchmaker, scratch your head».
The second was associated with putting on the warrior, during which they sang:
« What we wanted
That's what we did
From the bowl - flat cakes,
Diapers made from flour,
From a girl to a young woman».
The third moment is the young man leaving the guardhouse, at which time they sang:
« Yesterday bunny, yesterday gray
I ran around the foothills,
Today is a bunny, today is gray,
It's on a platter.
Yesterday our Tanya
She was a girl
Today our Tanya
Young princess».
In the Irkutsk province, the bride, when they braided her hair and covered her head with a scarf, lamented:
« And now they split the Russian braid into two,
And three of them braided their hair,
And the heads wrapped around the circle,
The golden kick was created
And they called him a young wife,
Young wife and hostess».
Thus, this ritual could be performed in different places (in the church gatehouse, in the refectory, on the porch, in the church building, at the groom’s house, etc.), this could be done by different people (most often a matchmaker, godmother, mother-in-law, the groom himself).
After this, the girl began to be called differently. So, G. S. Maslova wrote that after the spell they brought a mirror to the girl and said: “ Well, now you, my dear, are already a woman». A. V. Gura indicated that after the wedding and change of hairstyle and headdress, the bride received a new name, for example, young, young lady, young woman, pullet etc. This is demonstrated by the songs that were sung during the putting on of the warrior in the Kaluga province, and the lamentation of the bride in the Irkutsk province.
The custom of covering one's hair is motivated by " from within tradition" The most common one is that the girl passes into the power of her husband. There are some others too. For example, " If a married woman goes out into the hallway without a scarf on her head, the brownie will pull her by the hair into the attic", in addition, this can cause loss of livestock or crop failure. A witch walks with bare hair. In the Russian north, a malicious character in a conspiracy was called a woman-empty-haired woman: “ Save and save from the alien-haired girl, from the empty-haired woman, from dashing water, from dashing misfortune..." In general, characters of evil spirits were often represented with flowing hair - Northern Russian Mokusha, mermaids, kikimoras, demons of disease (fever), death (White Woman), etc.
Researchers have explained this custom in different ways. So, D.K. Zelenin saw in this “ remnant of the previous face covering", a talisman against spells and, at the same time, an attempt by her husband " secure your property». N. I. Gagen-Thorn believed that covered hair is a symbol of the subordinate position into which a woman passes. Hair was hidden in order to protect the husband's clan from magical powers belonging to another clan (the wife's clan). A similar point of view was expressed by A. A. Potebney, who saw the covering of hair as a loss of girlish beauty and pride, as well as depriving the girl of some mysterious power. B. A. Uspensky wrote that the warrior is worn because “ The sun shouldn't shine on a woman's hair" Hair is associated with the cult of Hair. In this ban he saw a reflection of the opposition between Perun and Volos. " The uncovered hair of a married woman provokes the wrath of heaven, just as Volos in the original mythological scheme provokes the wrath of Perun». A. K. Bayburin believes that in covering the hair of a married woman one can see a manifestation of a general tendency towards a gradual increase in restrictions at each new stage of life. Outwardly, this trend is most clearly manifested in clothing: a person gets dressed, his appearance changes along the line “ openness» — « closedness" At the same time, the nature of hairstyles changes (they become more artificial). The functions of the individual and his social roles become more defined; this requires external manifestation and consolidation.
Word warrior, howl, according to the etymological dictionary M. Vasmera, « this is what it says", its connection (taking into account the alternation of root vowels) with " twist" He brings the meaning of this word closer to midwife (midwife). The symbolism of actions associated with *viti can be described as the origin, development, increase of some good, and more broadly - as the beginning of a new structure. Serbian - for-viti often associated with the symbolism of the beginning, the birth of something, in a viti way- with symbolism of shelter, protection, where the Serbian warrior — « gift for newborn», revoj — « diaper" These things take on an additional meaning: they protect the child from evil spirits. Among the Russians, povoem was a piece of cloth used to remove a child from the font after baptism. *viti is associated both with the idea of the birth of a person and with the creation of a new family. " Vitier (torsion)"is a folklore metaphor for the origin of life and multiplication. It is possible that the wedding of the bride was a symbol of her birth into a new social status. Marriage (at the mythological level) is interpreted as the death of a bride in one status and birth in another. It has already been noted that after changing the hairstyle and head covering, the bride begins to be called differently. Probably, this connection can explain the similar terminology denoting the birth of a child and the transition of a woman to a new social status ( midwifery, warrior- women's headdress and Serbian warrior- diaper, povije- swaddle). This can also include the following: midwife And midwife. Weave - " give birth" and twist - " put on a military uniform" can be considered as terms describing " specific female behavior, both actants of this action can only be adult women" Another name for the ritual of putting on a warrior is twisting, it is similar to the name of the Yuletide game of wrapping the dead man and with the name of the mummers at Yuletide - Okrutniks. This ritual takes on the meaning of turning around, transforming into a being of a different nature. " The symbols in question are updated at critical moments, when the main character of the rite changes his essential characteristics».
Bibliography:
Agapkina T. A. Mythopoetic foundations of the Slavic folk calendar. Spring-summer cycle. M., 2000.
. Bayburin A.K. Ritual in traditional culture. St. Petersburg, 1993.
. Life of Great Russian peasants and cultivators: Description of materials from the ethnographic bureau of Prince V.N. Tenishev (using the example of the Vladimir province) Author-comp. B. M. Firsov, I. G. Kiseleva. St. Petersburg, 1993.
. Gagen-Thorn N.I. The magical meaning of hair and headdress in wedding rites of Eastern Europe. Soviet ethnography. 1933, No. 5-6. pp. 76-88.
. Golovatsky Ya. F. On folk clothing and decoration of the Rusins or Russians in Galicia and northeastern Hungary. St. Petersburg, 1877.
. Gura A.V. Bride (From the dictionary “Slavic Antiquities”). Slavic studies. 2001, No. 6. P. 72-74.
. Dal V.I. Proverbs of the Russian people. M., 2000.
. Zelenin D.K. East Slavic ethnography. M., 1991.
. Zelenin D.K. Women's headdresses of the Eastern (Russian) Slavs. Slavia. 1926, No. 2. P. 303-338. 1927, no. 3. pp. 535-556.
. Kostomarov N.I. Home life and customs of the Great Russian people in the 16th and 17th centuries. Kostomarov N.I. Russian customs: Home life and customs of the Great Russian people. M., 1995. P. 5-181.
. Kuznetsova G.N. Women's headdress of Kozelsky villages. Living antiquity. 2002, No. 3. pp. 51-53.
. Lebedeva N.I. Folk life in the upper reaches of the Desna and in the upper reaches of the Oka (ethnological expedition in the Bryansk and Kaluga provinces in 1925 and 1926) Part 1: Folk costume, spinning and weaving. M., 1927.
. Levinton G. A. From Slavic comments to the Slavic ritual text. Slavic and Balkan linguistics: Kaparto-East Slavic parallels. Structure of the Balkan text. M., 1977. S. 325-348.
. Levinton G. A. Male and female text in the wedding ceremony (wedding as a dialogue). Kunstkamera (Museum of Anthropology and Ethnography named after Peter the Great RAS): Selected articles. Comp. A. K. Bayburin, N. M. Girenko, K. V. Chistov. St. Petersburg, 1995. pp. 260-282.
. Levkievskaya E. E. Demonology of the northern Russian village of Tikhmangi. East Slavic ethnolinguistic collection: Research and materials. Rep. ed. A. A. Plotnikova. M., 2001. pp. 432-476.
. Loginov K.K. Material culture and industrial and everyday magic of the Russians of Zaonezhie (late XIX - early XX centuries). St. Petersburg, 1993.
. Maslova G. S. Folk clothing in East Slavic traditional customs and rituals of the 19th and 20th centuries. M., 1984.
. Plotnikova A. A. Slav. *viti in an ethnocultural context. The concept of movement in language and culture. Rep. ed. T. A. Agapkina. M., 1996. pp. 104-113.
. Potebnya A. A. On the mythological significance of some rituals and beliefs. Potebnya A. A. Symbol and myth in folk culture. M., 2000. P. 96-269.
. Tereshchenko A.V. Life of the Russian people. Part II: Weddings. St. Petersburg, 1848.
. Uspensky B. A. Philological research in the field of Slavic antiquities (Relics of paganism in the East Slavic cult of Nicholas of Myra) M., 1982.
. Vasmer M. Etymological dictionary of the Russian language. T. 3. St. Petersburg, 1996.
. Shane P.V. Velikoruss in his songs, rituals, customs, beliefs, fairy tales, legends, etc. Vol. 1., no. 2. St. Petersburg, 1900.
. Zelenin D.K. Women's headdresses of the Eastern (Russian) Slavs. Slavia. 1927, no. 3. P. 545.
. Lebedeva N.I. Folk life in the upper reaches of the Desna and in the upper reaches of the Oka (ethnological expedition in the Bryansk and Kaluga provinces in 1925 and 1926) Part 1: Folk costume, spinning and weaving. M., 1927. P. 104.
. Lebedeva N.I. Folk life in the upper reaches of the Desna and in the upper reaches of the Oka (ethnological expedition in the Bryansk and Kaluga provinces in 1925 and 1926) Part 1: Folk costume, spinning and weaving. M., 1927. P. 104; in addition, there are descriptions of Zaonezh and Kozel warriors, see Loginov K.K. Material culture and industrial and everyday magic of the Russians of Zaonezhie (late 19th - early 20th centuries). St. Petersburg, 1993 P. 108; Kuznetsova G.N. Women's headdress of Kozelsky villages. Living antiquity. 2002, No. 3. P. 51.
. Zelenin D.K. Decree. op. 1926, No. 2. P. 305.
. Golovatsky Ya. F. On folk clothing and decoration of the Rusins or Russians in Galicia and northeastern Hungary. St. Petersburg, 1877. P. 26.
. Dal V.I. Proverbs of the Russian people. M., 2000. P. 479.
. Shane P.V. Velikoruss in his songs, rituals, customs, beliefs, fairy tales, legends, etc. Vol., no. 2. St. Petersburg, 1900. P. 589.
. Lebedeva N.I. Decree. op. P. 71.
. Loginov K.K. Decree. op. P. 108.
. Shane P.V. Decree. op. P. 667.
. Tereshchenko A.V. Life of the Russian people. Part II: Weddings. St. Petersburg, 1848. S. 39, 182, 527-528, 587.
. Kostomarov N.I. Home life and customs of the Great Russian people in the 16th and 17th centuries. Kostomarov N.I. Russian customs: Home life and customs of the Great Russian people. M., 1995. P. 139.
. Life of Great Russian peasants and cultivators: Description of materials from the ethnographic bureau of Prince V.N. Tenishev (using the example of the Vladimir province). Auto-stat. B. M. Firsov, I. G. Kiseleva. St. Petersburg, 1993. P. 254.
. Shane P.V. Decree. op. P. 504.
. Shane P.V. Decree. op. P. 601.
. Maslova G. S. Folk clothing in East Slavic traditional customs and rituals of the 19th and 20th centuries. M., 1984. P. 59.
. Lebedeva N.I. Decree. op. pp. 105-106.
. Shane P.V. Decree. op. P. 589.
. Maslova G.S. Decree. op. P. 56.
. Gura A.V. Bride (From the dictionary “Slavic Antiquities”). Slavic studies. 2001, No. 6. P. 72.
. Bayburin A.K. Ritual in traditional culture. St. Petersburg, 1993. P. 77.
. Zelenin D.K. Decree. op. 1926, No. 3. P. 315-316.
. Lebedeva N.I. Decree. op. S.S. 71.
. Levkievskaya E. E. Demonology of the northern Russian village of Tikhmangi. East Slavic ethnolinguistic collection: Research and materials. Rep. ed. A. A. Plotnikova. M., 2001. P. 432.
. Zelenin D.K. Decree. op. 1926, No. 3. P. 317.
. Gagen-Thorn N.I. The magical meaning of hair and headdress in wedding rites of Eastern Europe. Soviet ethnography. 1933, no. 5-6. pp. 79-80.
. Potebnya A. A. On the mythological significance of some rituals and beliefs. Potebnya A. A. Symbol and myth in folk culture. M., 2000. P. 151-152, approx. 55.
. Uspensky B. A. Philological research in the field of Slavic antiquities (Relics of paganism in the East Slavic cult of Nicholas of Myra) M., 1982. P. 169-170.
. Bayburin A.K. Decree. op. pp. 78-79.
. Vasmer M. Etymological dictionary of the Russian language. T. 3. St. Petersburg, 1996. P. 294.
. Plotnikova A. A. Slav. *viti in an ethnocultural context. The concept of movement in language and culture. Rep. Ed. T. A. Agapkina. M., 1996. pp. 106-107.
. Zelenin D.K. East Slavic ethnography. M., 1991. P. 325.
. Plotnikova A. A. Decree. op. P. 107.
. Agapkina T. A. Mythopoetic foundations of the Slavic folk calendar. Spring-summer cycle. M., 2000. P. 172.
. Levinton G. A. Male and female text in the wedding ceremony (wedding as a dialogue). Kunstkamera (Museum of Anthropology and Ethnography named after Peter the Great RAS): Selected articles. Comp. A. K. Bayburin, N. M. Girenko, K. V. Chistov. St. Petersburg, 1995. S. 265, 286.
. Levinton G. A. From Slavic comments to the Slavic ritual text. Slavic and Balkan linguistics: Kaparto-East Slavic parallels. Structure of the Balkan text. M., 1977. P. 394.
. Levinton G. A. From Slavic comments to the Slavic ritual text. Slavic and Balkan linguistics: Kaparto-East Slavic parallels. Structure of the Balkan text. M., 1977. P. 393.
. Bayburin A.K. Decree. op. P. 218.
We still have a hat on our head. Or a hat, or a beret, or a few other options, very few.
Even more often, in cities, even in winter - nothing. We walk around with our heads uncovered, bare-haired.But the headdress has always been extremely important. It's not even a matter of health, although in a cold climate you can't run around uncovered for long. It's also a matter of status. For men, social status also manifested itself (“not like Senka’s hat”), and for women, family status was also evident.
“A woman is not happy about howling, she would be happy about peace”
In villages, before marriage, girls braided their hair in one braid (this applied to the central regions of Russia; Ukrainian girls could braid two braids). As in the song: “The braid is long, three arshins long, the scarlet ribbon is two and a half long.” After the crown, most often two braids and a headdress were required. It was simply unacceptable to walk around bare-haired. And only mermaids and witches could afford to have loose hair...
Kika, kichka, kokoshnik, magpie, cap, volosnik, ubrus, fly– how to understand the headdresses of married women?
The oldest Slavic women's headdress - bastings, or namitki. It was distributed everywhere to the western borders. The methods of tying this scarf, however, were different everywhere. But often, and not only among the East Slavic peoples, “hornedness” occurs. Many researchers attribute this manner to the most ancient amulets or consider it a symbol of fertility. So two-horned and one-horned headdresses (or even “five horns”) have been the most common for centuries.
And the gypsy girl is dancing,
He's beating the drums,
The blue fly is waving,
He pours out and sings.
(A. Pushkin)
Fly(towel, or basting) was worn mainly in the center and west of Russia. From the name “towel” it is clear that this is a cloth with woven ends. A fly is a strip of canvas (cut to width - hence the name), a small scarf, often embroidered.
And say: “After all, for the capture
I need two pants, king,
gold embroidered tent,
yes, a dining set”...
(P. P. Ershov)
Flies were an integral part of a woman's wardrobe: “For housewarming parties and funerals, our girls have colorful flies” (N. Klyuev). Subsequently, the word “fly,” as we know, passed into the dictionary of men’s wardrobe.
Another ancient type of headwear is a hoop. Hoop (kibalka, horns)– made of tree bark (walnut, oak) in the form of a circle, covered with fabric on top and decorated with beads. The hoop was born from a sling. The dressing (bandage, ribbon, bandage, scrofula, forehead, wreath) - from a strip of fabric, brocade, braid with ties at the ends, was made with the goal of “not exposing the hair.”
Subsequently, the women's headdress became more complex. Povoinik, povoy – also known as shlyk, cap, volosnik, ochipok- This is only the basis for the headdresses of married women. A small quilted cap with a scarf (towel, headband, veil, scarf, fly) wrapped around it. “Sin is covered (with a scarf, kick, howl)” - there is a saying from Dahl.
Kika (or kichka)- an everyday, but elegant high headdress, consisted of a crown in the form of a hoop, expanding at the top. Below, pearls, beads, and fringe were hung from the front of the kicks. Near the ears there are cassocks or cassocks: long strings of pearls with gold figures. The back could be velvet or fur. On top of the kiki there was a magpie - a cover made of embroidered fabric, with precious stones or pearls. Widows wore white magpies. It is believed that the magpie was the predecessor of the kokoshnik. By the way, both words contain images of birds. And images of birds are also often found in embroidery motifs. The magpie on the kitsch was worn only in the central and southern regions of the Russian Empire.
A. Pushkin expressed himself very figuratively about kitschka (and shushuna):
In a venerable kitschka, in a shushun,
Moscow is a lovely old lady.
Diverse and lively
It captivates with its diversity.
(A. Pushkin. “Vsevolozhsky”)
The kitties were different in shape: horned (especially during the period of “early marriage”), hoof-shaped, bowler-shaped, shovel-shaped (after the birth of children). They are especially widespread in the southern regions of Russia. “Human kichka” was first mentioned in documents of the 14th century, but I quote from Wikipedia something very unexpected: “In the Voronezh region, kichka was preserved as a wedding attire until the 1950s.”
Another interesting fact. Many people remember the old expression that we inherited from the Volga robbers - “Saryn on the kichka!” Here saryn is a crowd, and kichka is an elevated part on the bow of the ship (that is, make way and give up!). Perhaps this is no coincidence - after all, it means elevation. It’s interesting that the word “ kokoshnik"is also in the dictionaries of architectural terms - this is an ancient decorative element in the crowning parts of buildings (including churches).
V. Vasnetsov. Portrait of V. S. Mamontova (in a one-horned kokoshnik)
The kokoshnik has become a symbol of the Russian national headdress. The incredible complexity of making a shield-comb-fan around the head. Both girls and married women wore kokoshniks.
Konstantin Makovsky. “The Hawthorn at the Window” (as we see, we are talking about a girl)
This opinion is sometimes disputed; as an argument, girlish conspiracies about marriage are cited: “Protection of the Most Holy Theotokos, cover my wild head with a pearl kokoshnik, a golden cuff!” You don’t need to think that girls dreamed of slaps on the head from their future husband, even “golden” ones. The back of the head (the back of the head) is a special decoration for the kokoshnik or for the magpie.
Ivan Petrovich Argunov, Portrait of an unknown woman in Russian costume, 1784.
Most likely, the rules for wearing kokoshniks were different in different areas. One way or another, the kokoshnik remained a traditional women's headdress, worn in most areas, in villages and towns, and even at court. Under Peter the Great, it was, however, banned, but later it returned as a headdress for the nobility - this is how they paid tribute to tradition.
Empress Alexandra Feodorovna in a kokoshnik. Kruger
Kokoshnik was an expensive pleasure. It was decorated on top (with braid, beads, pearls, precious stones) and embroidered with gold threads.
Kokoshniks also came in several types and shapes: one-horned, two-horned, cone-shaped, cylindrical, saddle-shaped. And over the kokoshniks they often wore a scarf called ubrus. It was pinned under the chin or loosely released onto the shoulders.
M. Nesterov, Girl in a kokoshnik. 1885
Shawls in the future they completely replace other women's headdresses. There were different scarves made of canvas and chintz. And they tied it everywhere in different ways: on the top of the head, in the back, in the front, under the chin. Shawls also appeared. Scarves are still in high esteem, however, today's fashionistas are showing greater interest in scarves.
In cities, women could wear hats in the cold season. According to the famous traveler Olearius: “On the heads (of rich women) are wide and spacious hats made of gold brocade, satin, damask, with gold braids, sometimes embroidered with gold and pearls and trimmed with beaver fur... Adult girls have large fox hats on their heads.” (Adam Olearius. “Description of the journey of the Holstein embassy to Muscovy and Persia”). The styles of these hats were different in different areas.
Scarves and hats are what have been preserved in our wardrobe from the past to this day. We can say that women's hats have changed. But with regard to men's hats, one cannot say so categorically...
Hats and their parts are usually listed as part of the dowry. In 1668, in the city of Shuya, three volosniks were described: “A volosnik with edging, edging with nizan grains (pearls - M.R.) in half with stones and with emeralds and with yakhonta and with grains; gold hairline with trim, trim sewn with bit gold trimmed; golden hairline, stitching embroidered with drawn gold from grain; double chain lining.” In the same city in 1684, apparently, the family of the feudal lord was given three dowries kokoshnik: “kokoshnik nissan on worm-shaped satin; kokoshnik embroidered with gold on taffeta; taffeta kokoshnik with silver braid.” In 1646, among the property of the townsman - Shuyanin, there were, by the way, “8 forty embroidered with gold... the kitch is expensive green, the headband is embroidered with gold.” In 1690, a Moscow will mentioned a “nizana kokoshnik with a yakhonta with an emerald.” In 1694, in the city of Murom, among the dowry of a girl from the Suvorov family - “a lowered kokoshnik, 5 sewn kokoshniks with braid, 5 satin and damask linings, lowered trim, chain trim.” In 1695, A.M. Kvashnin gave his daughter 11 kokoshniks - 3 ceremonial ones and 8 simpler ones. The daughter of A. Tverkova from the city of Kashin also received the kokoshnik as a dowry. In 1696, guest I.F. Nesterov gave his daughter a “pearl kokoshnik with a stone.” The differences here are more likely social than territorial: magpie and kika are among the townspeople, kokoshnik among the feudal lords and the upper class of merchants. If we remember that in the middle of the 17th century. Meyerberg depicted a Moscow peasant woman in a kitsch-shaped (widening upward) headdress, it can be assumed that in the central Russian lands - the former Moscow and Vladimir principalities - at least in the 17th century. was women's kitty headdress. Kokoshniks They were also part of the toilet of noble and rich women everywhere. We said earlier that in the northern Russian lands some kind of headdress on a rigid basis existed until the 13th century. But Kika and the parts of the headdress that accompanied it, which were mentioned above, were probably more widespread and therefore even in the 16th century. entered into such an all-Russian guide to the organization of family life, which was Domostroy. So, a traditional, very complex headdress, which was not removed even at home, was characteristic of the entire period we are considering and was retained by some social strata also much later, for almost another two centuries. When going out into the street, a woman put on a scarf or (for the wealthy) a cap or hat over this headdress. Sources know, in addition to the general name cap and hat, also special terms that denoted women's street hats of various styles: kaptur, triukh, stolbunets and even cap. Women hats They were round, with small brims, richly decorated with cords of pearl and gold threads, and sometimes with precious stones. Hats They were made of fur, mostly with a fabric top. The stolbunets hat was tall and resembled a man's gorlat hat, but it tapered towards the top and had an additional fur trim at the back of the head. The Kaptur was round, with blades that covered the back of the head and cheeks, the triukha resembled modern earflaps and had a top made of expensive fabrics. Sometimes a scarf - a veil - was tied over a fur hat, so that its corner hung down the back.
Men's hats also underwent in the XIII-XVII centuries. significant changes. The hairstyle itself has also changed. In the 13th century Loose hair cut just above the shoulders was in fashion. In the XIV-XV centuries. in the north of Rus', at least in the Novgorod land, men wore long hair, braiding it in braids. B XV-XVII centuries hair was cut “in a circle”, “in a bracket” or cut very short. The latter, apparently, was associated with wearing at home a small round cap that covered only the top of the head, like an eastern skullcap - tafya or skufya. The habit of wearing such a hat already dates back to the 16th century. was so strong that Ivan the Terrible, for example, refused to take off his taffe even in church, despite the demands of Metropolitan Philip himself. Tafya or skufya could be simple dark (for monks) or richly embroidered with silks and pearls. Perhaps the most common form of the cap itself was cap or kalpak- tall, tapering at the top (sometimes so that the top curled and sagged). At the bottom of the cap there were narrow flaps with one or two holes, to which decorations were attached - buttons, cufflinks, fur trim. Caps were extremely widespread. They were knitted and sewn from different materials (from linen and paper to expensive woolen fabrics) - bedroom, indoor, street and front. In the will of the early 16th century. An interesting story is revealed about how the Russian prince Ivan took various family jewels from his mother, the Volotsk princess, “for temporary use” - including earrings from his sister’s dowry - and sewed them onto his cap, but never gave them back. This cap must have been a very elegant headdress for a dandy. A century later, among the property of Boris Godunov, a “fat cap” was mentioned; it has 8 cuffs and 5 buttons in the hole.” Kolpak or, as it was called then, hood was widespread in Rus' in ancient times. A type of cap was in the 17th century. nauruz (the word itself is of Iranian origin), which, unlike the cap, had small brims and was also decorated with buttons and tassels. The margins of the nauruz were sometimes curved upward, forming sharp corners, which miniaturists of the 16th century liked to depict. G.G. Gromov believes that the Tatar cap also had a pointed top, while the Russian headdress was rounded at the top.
Men's hats had round brims (“brim”) and were sometimes felted, like later peasant hats. Such a hat with a rounded crown and small, curved brim, which apparently belonged to an ordinary citizen, was found in the city of Oreshka in the 14th century layer. Among the wealthy segments of the population in the 17th century. Murmolki were common - tall hats with a flat crown, tapering upward, like a truncated cone, and with fur flaps in the form of blades, fastened to the crown with two buttons. Murmolki were sewn from silk, velvet, brocade and additionally decorated with metal agraphs.
Warm men's hats were fur hats. Sources call three or malachai — hat with earflaps, the same as for women. The most ceremonial was the throated hat, which was made from the neck of the fur of rare animals. It was tall, widening at the top, with a flat crown. Along with gorlat hats, worm hats are also mentioned, that is, made from fur taken from the belly of the animal. Just as it was customary to put on one piece of clothing on top of another during formal exits (for example, a zipun - caftan - a single-row jacket or a fur coat), they also put on several hats: tafya, a cap on it, and a gorlat hat on top of it. Clerics of various ranks wore special headdresses (various types of hoods). The prince's hat remained an important regalia of the rulers.