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Have you ever wondered who were/are the last pagans in Europe? Baltic Gods were never forgotten. Lithuanians have so many however who from the main ones do you resemble the most - Perkūnas, Žemyna, Vėlinas, Ragutis, Milda or Laima?
Tezaurul de memorie bucovineană, încredinţat viitorimii, în 1912, după două decenii de documentare, de către cărturarul german Erich Kolbenheyer[1], va contraria, cu siguranţă, pe oricare bucovinean care va vedea cele 75 de planşe, cu cusături tipice pentru satele bucovinene ale vremii. Bucovineanul are în sânge sentimentul că lumea s-a născut şi sfârşeşte odată cu Read More
Have you ever wondered who were/are the last pagans in Europe? Baltic Gods were never forgotten. Lithuanians have so many however who from the main ones do you resemble the most - Perkūnas, Žemyna, Vėlinas, Ragutis, Milda or Laima?
Hello all, Today i am going to talk about the costume and woven ornament of the Vilnius region. Not all sources even recognise such a region, which had me wondering where it came from. After a bit of research, i found out that this is a historical region, being an administrative province which predated the establishment of the independant state of Lithuania in the 20th cent. Here is a good article on the history of this region. http://en.wikipedia.org/wiki/Vilnius_Region Here is a map showing the Vilnius region, which is sometimes divided between Dzukija and Aukštaitija. As i said before, some of my sources do not recognise this as a region, and Jurkoviene and Kulikauskiene in particular do not illustrate any costumes that resemble these at all. Tamošaitis writes that because of their proximity to the capitol, and the clothing of townspeople and aristocracy, "Their costumes therefore were characterized by a more ornate appearance in the cut, colors, and patterns than costumes found elsewhere in Lithuania" and "Those of the Vilnius region were easily distinguisable by the exceptionally beautiful patterns, colours, cut, and style of their clothes." In the south and east of the province especially were large numbers of Poles, Belorussians and others, the various nationalities tended to live each in their own local areas. Here are a few examples of the Vilnius costume as presented by V Palaimas. This costume is a favorite of those who took traditional Lithuanian hand weaving for clothes and other textiles and developed it as a national art form in the 20th cent. Here is a set of clothing woven by Anastasia Tamošaitiene and presented to princess Diana of The United Kingdom on the occasion of her wedding. You can clearly see the exceptional care, planning and artistry that went into the weaving of every single piece of this outfit. For the same reason, this costume is very popular among amateur dance groups and Lithuanian musem exhibits, especially in the Lithuanian Diaspora. Here are some examples. [These are images i found on the web, if anyone would like me to remove any of these images, or to include information about the origin of, or the people in, these images, please contact me and i will be glad to oblige] It would be very difficult not to be impressed by the elaborate pattens, tasteful compositions and striking colors of these outfits. The basic article of dress is the chemise, which has the usual cut for Lithuania, with narrow shoulder bars on top of a single piece, front and back. The bottom half was typically made of coarser material. The festive sleeve is fuller than the daily, and is gathered on top at the seam with the body. The festive chemise has woven ornament on the shoulder pieces, collar, cuff, front opening, and lower sleeve. Sometimes the ormament is made by hemstitching. On festive chemises, the collar and cuffs sometimes have triangular points or ruched woven ribbon sewn on for added interest. Here is a graph of the design on the sleeve in the photo immediately above. The skirt was full, and either woven in a small plaid, as in Dzukija, or with horzontal stripes, sometimes with cats paw or other designs woven in, sometimes over vertical ones, or with horizontal bands of patterned ornament, which are also foud in eastern Aukštaitija. For those of you who weave, i will quote a passage from Tamošaitis [I do not, myself weave, and only vaguely comprehend, lol. This author constantly refers to weaving techniques] "Twill or satin striped skirts woven from wool on linen were unlike the skirts of any other area. The linen warp was striped and threaded on four shafts in a straight draw. The background of the skirt was of a plain weave, while the stripes were woven in twill or satin with homespun wool. The stripes on the visible side of the cloth appeared raised and distinct; as a result, the skirt did not seem checked, but horizontally striped." The aprons were elaborately woven with bands of ornament, wider and denser at the bottom, and narrower and sparser towards the top.The same was true of those skirts which had horizontal patterned bands. The aprons were commonly woven from linen, or at least with a light colored background. Red and blue seem to be the commonest colors used overall. Peruse the various images to get an idea of the diversity of designs used. Note also the textures inserted between the ornamental bands. The sashes are typical for Lithuania, wide, patterned in pick up and other techniques, usually with supplemental weft fringes inserted near the ends. The bodice was made of handwoven cloth to complement the colors of the skirt and apron. The most common cut has a plaston in a solid color inserted behind the bands in the center front. Sometimes the bodice has a plain straight front closure. Usually it has pentagonally shaped lappets around the waist, but sometimes has a frill with pleats spaced about the same distance as the width of the lappets. See the various images. The most common headgear in this region for girls is the karuna, made of a hoop of birchbark, and later, cardboard, with pattened ribbon sewn on the inside and outside, one or more rows of trianges sewn on to the top, of the same material or different, and often edged with tatting or crochet. Pattened woven ribbons were attached to the back. The following three photos show a karuna in various stages of preperation by Vida Rimas. The headcloth, or wimple, nuometas, is worn in this region as it is in Aukštaitija, but it is smaller in this region, resembling the one worn in Latgalia. It is always heavily ornamented on the ends, and commonly has a frontpiece resembling the karuna sewn on, or a wreath resembling the karuna worn over it. Originally this would have been a seperate piece worn underneath. The nuometa with a frontpiece sewn on, front and back. The nuometas attached to a karuna. The difference is that the hair is covered. The nuometas worn with a seperate wreath over it A schematic showing how the wreath was made, again very similar to the karuna. Ornament on the ends of one nuometas. The linen wrap, panuometis was also worn in this region, and also highly ornamented The costume was completed with necklaces of amber or coral or glass. Footwear consisted of knitted socks, with shoes, moccasins, clogs, or shoes woven of birch or linden bark. Moccasins in this region were also highly ornamented.They also wear slippers looped, knitted or crocheted of linen strings, as in Dzukija. Thank you all for reading. I hope you have found this interesting and maybe have an inspiration on how to use some of these designs or concepts. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004
ZALKTIS ♦ ZALKTIS (ADDER)♦ “”ZALKTIS”” (RINGELNATTER)♦ УЖ Gudrības, asa prāta, zinātkāres un zintniecības simbols. Šo zīme zintnieki izmantoja, lai sazinātos ar dabas spēk…
Diszitőelemek, Nagykunság "A színritmus a bihari szűrőkön kevéssé fejlett, ami annál feltűnőbb, mert a közeli Nagykúnság cifraszűrein jut legtökéletesebben kifejezésre." cifraszűr a rátéttel, hímzéssel díszített → szűrnek a 19. sz.-ban kialakult elnevezése. Úgy látszik, hogy a múlt században kivirágzott szűrhímzésnek a 18. sz. végétől kezdve – anyagi okokból – tilalmazott, akkor már bizonyos fokú kedveltségnek örvendett, piros vagy kék szegéssel, → cigulával díszített szűrök az előzményei. A szűrruháknak ennél korábbi, az általunk ismert, a 19. sz.-ban kialakult cifraszűrrel nem egyező díszítettségét azonban jelzik halvány nyomok. Így 17–18. sz.-i limitációk posztózott ujjú és posztózott gallérú szűröket, darócokat sorolnak fel, s e posztózás más színű posztószegést, de mintás rátétcsíkokat is jelenthetett. Mintázott szegélyű szűrről van is bakonyi (18. sz.-i) adat, s az általunk ismert 19. sz.-i bakonyi szűrök mintás szegélyei igen régies jellegűek. E rátét megelőzni látszik a 19. sz.-i cifraszűrt. Ugyancsak a szűr 19. sz.-inál korábbi – varrással való – díszítettségére utal a Magy. Nyelvtörténeti Szótár egy 18. sz.-i erdélyi – sajnos, idő- és helymegjelölés nélküli – adata, amely „varrott szűr”-t említ. – Különös, hogy a szűrszabók nem a szűrruhák általános divatjakor – tehát a 17–18. sz.-ban, sőt korábbi századokban – szerveződtek céhbe, hanem csak a múlt század dereka, második fele körül, amikor a szűrruhák száma erősen fogyott, de e fogyást a cifraszűrök kivirágzása ellensúlyozta. A színes szegéssel, majd színes posztócsipkével, végül hímzéssel díszített szűröket először a Dunántúlon tiltották, tehát itt virágozhattak ki legkorábban. Veszprémben 1825–30 körül volt a cifraszűr fénykora, míg Debrecenben 1825-ben még csak a szegett szűrt tilalmazták, a hímzett szűrök tilalma ennél jóval későbben, még 1870-ben is érvényes volt Debrecenben. – A szűrhímzés eredetét Györffy István a szűcshímzésben látta. Mint ez, úgy a szűrhímzés is férfimunka volt. Bár néhol, pl. Debrecenben a múlt század második felében a rendeléseket nem győző szűrszabók betanított nőkkel hímeztettek. A cifraszűr – területenként nem mindig azonos időre eső – fénykorában a szűrnek a következő darabjait díszítették, hímezték: a színes szegések mentét, a gallért, a szűr elejét, az ujjak betoldása alatti oldal-aszaj-pálha-részt és a feleresztésnek nevezett felhasítások körét. Ezeken kívül a cifraszűrhöz még a következő díszítőelemek tartoztak: a → vóc, a belőle alakult posztó csipke, a csipkéket lefogó sodrás és a csipkék és feleresztések végén levő bojt, majd a bojt divatjának múltával a színes gyapjúhulladékból horgolt → galambkosarak vagy a vastag pamutzsinórból gombkötő kötötte komlórózsák. A szűr elöl nem ért össze. Díszes, szíjgyártó készítette csatos szíjjal – amely néha sallangos is volt – vagy gombkötő díszítette összeakasztóval fogták elöl össze. Ez utóbbihoz átvetőnek vagy → hátravetőnek hívott, cifra és több ágú zsinór tartozott. A szűrgallér két alsó sarkának a →csücskő nevű kis korong volt a dísze. – A díszítés-hímzés alapján a következő vidékek szerint különülnek el a cifraszűrök: → alföldi vagy kun cifraszűr; a →dunántúli cifraszűr – és ezen belül a → bakonyi cifraszűr, → somogyi cifraszűr, → bihari cifraszűr, → debreceni vagy → hajdúsági cifraszűr, → erdélyi cifraszűr, felföldi cifraszűr – ezen belül az egri, → matyó cifraszűr. Ezeken kívül átmeneti formák: a csökölyi szűr (→ csökölyi viselet), a dunántúli cifraszűr, a → felföldi szűr. Elej és gallérvirágok, Nagyszalonta = Blumen vom Vorderteil und von Kragen, Nagyszalonta "Ha a mai hímzéselemek ősiségét kétségbe vonjuk is, de a felfogás, fogalmazás és előadás módját a magyar etnikum ősi örökségének tartjuk. A kun és a palóc hímzéseken megnyilatkozó forma- és szinrithmus például minden valószínűség szerint keleti örökség, épp úgy, mint a nagy üres felületeknek aprólékosan kidolgozott tömör színes foltokkal való díszítése." Applikált disz és csücskök, Nagyszalonta = Applizierte Verzierungen und Zipfel, Nagyszalonta Aszajok, Bihar, Arad m. = Flankenfelder, Kom. Bihar, Arad Cifraszűr. Sarkad, Bihar m. Eredetije gróf Almássy Dénes birtokában. Bagossy Sándor műhelyéből "A mult század vége felé legkiválóbb mesterek Bagossy Sándor és Nagy József voltak. ... Ugyancsak Bagossy készített 1896-ban öt darab szép cifraszűrt gróf Almássy Dénes sarkadi uradalma számára, mely szűrök egyrésze az uradalomban ma is meg van és a pásztorok csak ünnepélyes alkalomkor használják." Fenekes ujjú palóc csuha. 1/2o-ad nagyság. Mátra vidék "... a palóc csuha, mely szabásában az alföldivel egyezik, de gallérja nagyobb mint az alföldi, ellenben kisebb, mint a dunántúli kanász-szűré. Hosszúsága, bősége is a kettő között áll. Ujja gyakran befenekelt. Szabásában, formájában majdnem teljesen megegyezik a Somogy megyében Csököly-Nagyatád-Csurgó vidékén használatos szűrrel. A palócság Heves-Gömör-Nógrád megyékben a szűrt csuhának nevezi. ... ezek átmenetnek tekinthetők az alföldi és dunántúli szűrök között. Ujjai gyakran fenekesek. Gallérja meglehetősen nagy." Nagykún férfiak, Kisujszállás, Kumanische Männer "A körülkoszorús szűrt Kisujszálláson, Túrkevén, Kenderesen, Tiszaszentimrén, Tiszaszőllősön, Nádudvaron, Tiszafüreden, Poroszlón, Tiszadobon továbbá Szemere, Szentistván felé viselték, egyszóval a Középtisza mentén Rátét diszitményű, újabb divatú cifraszűr. Szarvas, Krsnyák Sámuel műhelyéből. Róth B. felvétele. A szarvasi tótság is felkapta a cifraszűrt és viselte, sőt elvéivé még ma is hordja.
Hello all, Today i will talk about the costume of Lithuania Minor,Mažoji Lietuva in Lithuanian, the westenmost region of Lithuania, much of which remains outside the borders of the present state of Lithuania. The major city of this region in Lithuania is Klaipeda, and the region is sometimes named after this city. The history of this region is distinct from that of the rest of the territory inhabited by Lithuanians, in that it very early came under the control of the Teutonic Knights, and was an integral part of the Kingdom of Prussia for many centuries. The influence of Germanic culture and the Lutheran faith was very strong in this region. For more information about the history and development of this region, see this article. http://en.wikipedia.org/wiki/Lithuania_Minor Here is our map again, so you can orient yourself. There is a lot of variety in the costume of this region. Sometimes the clothing is as colorful as in other parts of Lithuania, but sometimes the clothing is quite dark and soberly colored, in keeping with protestant sensibilities. Some features of the costume of this region, while not always present, are diagnostic. 1. The main part of the chemise embroidery being on the uppper sleeve and shoulder inset. 2. pleated skirts, 3. aprons with vertical woven ornament completed with a piece with horizontal ornament attached to the lower edge. 4. a narrow sash supporting an ornamented seperate pocket, worn on the hip. 5. basket shaped headress braided from cord in netting. 6. rectangular white shoulder wrap with curvilinear floral embroidery in white or red down the center lengthwise. I will start by presenting some images from various sources. Keep an eye open for the above costume characteristics. The chemise in this region is often sewn with a different cut than in the rest of Lithuania, with a shoulder inset sewn to the top or side of the main body pieces. The shoulder inset has woven ornament or is embroidered, the ornament being displayed on the uppper arm. Sometimes embroidery is also added at the top of the sleeve. This is very similar to what is found in slavic costume. It is interesting to speculate where this came from, as this part of Lithuanian is furthest from Russian/Bielorussian influence. Other cuts are also used. Here is a schematic of the cut. Here are some examples of the embroidery used on the chemises. Here are some of the embroidery patterns used. One unfortunate recent development is that the embroidery is sometimes placed lower on the sleeve through a misunderstanding of the cut of the chemise, especially when the entire sleeve is made in one piece. This unfortunate tendency is also seen in modern Ukrainian blouses as well. Here is one example of embroidery hanging too low on the arm. Skirts are plaid or striped, or, unusually for Lithuania, of a solid color. The skirts are sometimes pleated, which one does not find in other parts of Lithuania, although it is common in Estonia. Skirts are also sometimes shorter than in other parts of Lithuania. Take a look at the skirts in the various images presented. Aprons, as in other parts of Lithuania vary quite a bit. Some have vertical ornament in red on a white background, copied perhaps from brocades of the 18th cent. They may be of a solid color, of linen or damask, and may have a flounce on the bottom. Take another look at the various images. The type of apron usually considered to be the most unique to the region has vertical woven ornament in the body of the apron, with a piece attached to the hem which has horizontally sewn ornament. Here is an example. Bodices are short in this region, often not extending past the waist, but bodices with short peplums are also known. Here is one cut given for a bodice from Lithuania minor. These bodices are sometimes ornamented with braid or ruched ribbon. The neckline can be cut more deeply than in other parts of Lithuania, showing moree of the chemise, and giving the effect of narrow straps over the shoulders. One type of bodice used in this region is cut straight across the top under the arms, and in fact does have straps, the result being a square 'neckline'. Here is an example. Sashes are worn here as in the other regions of Lithuania. Some are wide with showy patterns. But another kind of sash is also used here, which is narrow and has many different patterns woven into it, the so called 'hundred pattern sashes'. A pocket was often worn with the costume in Lithuania as in many other places. this was usually worn under the skirt or apron. In Lithuania Minor, there was also a very decorative pocket called delmonas, which was worn on the outside of the skirt. This garment, while very common in Scandinavia, is rare or unknown in the other parts of Lithuania. The most casual perusal of the images in this posting will show the incredible veriety of shapes and ornament used on these pockets. However they are usually flat with an open top, or a slit on the front, or a flap, and are threaded onto a length of the 'hundred pattern sashes'. Here are a few more examples. The festive attire was finished with a necklace of glass, coral, or especially amber, as this region lays on the shore of the Baltic Sea. Headgear is varied, consisting of a kerchief, karuna, cap, or bonnet. The most unique headgear consists of netted string placed over a frame, which was only worn by married women. This does not seem to have been worn in the city of Klaipeda. Unmarried girls did not cover their hair, but braided it into a crown, and sometimes added wreaths of flowers or leaves, especially of rue, which has a special significance for the Lithuanian people. See the following two photos. At the end of the 19th century, in some places, especially in the cities, short jackets were popular. Over these, and even over bodices were worn triangular folded shawls which were similar to those worn in central and western Europe. In other areas, the old rectangular shoulder wrap, the Drobule was retained. These were made of one panel of cloth, and often embroidered in a wide strip down the center. When they were worn, they were folded to be relatively narrow, and wrapped around the shoulders, perhaps in imitation of the empire style. The embroidery was either in white or in red. Here are two examples of the distinct embroidery done on the Drobules. Thank you for reading, i hope that you have found this to be interesting, informative, and perhaps inspiring. Let us continue to make beautiful things to fill our world. Here is one last image for this posting. For more information on the Klaipeda costume see this article by Jurkuviene. http://ausis.gf.vu.lt/eka/costume/cost_klaipedar.html Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: Albert Kretschmer, 'Das Grosse Buch der Volkstrachten', 1977, Basel, CH [Reprint of the 1890 original] AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004
At the centre of the cross, heaven and earth meet. At the heart of the cross, death is robbed of its finality and all fear is extinguished. At the midpoint, a new awareness dawns in the mind of humanity—that everything has its beginning and end not in this world but the next.
en.wikipedia.org/wiki/Florence_Baptistery
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