Costume is an important part of the culture of any nation. Everything is reflected in it. The conditions in which people lived, beliefs, even historical events leave their mark on the styles and elements of clothing. Preserving the traditions of national costume is preserving the memory of the nationality itself

A little history

The Komi are a group of Finno-Ugric peoples who have lived in the northeast of the European part of Russia since ancient times. Their history can be traced back to the 1st millennium BC. Perm the Great, the Komi principality, was first mentioned in the “Tale of Bygone Years” and has since been constantly present in Russian sources. 800 Komi warriors came to the aid of Dmitry Donskoy on the Kulikovo field; later this region was engaged in active fur trade with other principalities. In the 16th century, during the conquest of the principality by Ivan the Terrible, oil was discovered, and 300 years later, in 1930, rich reserves of coal were explored here. In 1993, the Komi Republic was formed. Nowadays, most of the population of these lands are ethnic Komi-Zyryans. This people preserves its cultural heritage: language, customs, folklore and, of course, costume.

Description of the outfit

The traditional costumes of this people are varied and very colorful. Festive clothing was made from fine linen, cloth of the best quality, and in later times from factory fabrics. The wealthiest people could even wear silk, brocade, satin and cashmere.

Men's Komi costume

The men of the Komi people were unpretentious in clothing. The peasant's everyday costume consisted of underwear, pants and a shirt, which were made from the coarsest and cheapest materials.

Hunters, fishermen and lumberjacks, in addition to trousers and a shirt, wore special shoes with curved toes and a solid sole (kym) when fishing, and on top they threw a sleeveless jacket (luzan) or a caftan if it happened in winter. Outerwear was made from homespun white or gray cloth, then trimmed with leather, the belt was sewn directly to the waist, and the shoulders were reinforced with triangular-shaped pieces of fabric. Sometimes such a sleeveless vest had a hood.

Festive clothing differed from everyday clothing in its colors and expensive fabrics. Men wore a shirt-shirt made of bright silk or satin, belted it with a leather or woven belt, and trousers made of good soft cloth tucked into high boots. And a jacket or caftan was thrown on top, depending on the time of year.

Women's Komi costume

A woman's everyday costume consisted of a long shirt and sundress.

The shirt usually reached almost to the floor and was sewn from two types of fabric. The upper part, visible to everyone, was made of high-quality thin fabric, and the bottom part was coarser, but wear-resistant. A sundress was worn over such a shirt. In ancient times, it was cut with wedges, later sundresses became straight, a bodice or corsage was added to them, and it was held in place with the help of straps. In contrast to the white and gray fabric of shirts, they tried to sew this item of clothing from bright fabric. Even the everyday outfit of a Komi woman was supposed to emphasize her beauty and skills as a housewife.

Outerwear was quite varied. In winter, women wore sheepskin coats. In the most severe frosts, a zipun could also be added on top. The wealthiest people wore velvet coats with fox or squirrel fur.

Festive clothing had the same cut as everyday clothing, but was much more richly decorated with embroidery and made from higher quality and more expensive fabrics. Rich Komi people wore brocade sleeveless vests over their sundresses.

Skirts, dresses and shirts appeared in the Komi wardrobe only in the middle of the 20th century. But even in them, women stuck to the usual colors and styles.

A special part of the outfit were headdresses. They indicated the social status of a woman. Young girls wore hoops, brocade ribbons or hard bands. They did not cover their hair until marriage. If they remained alone, they walked like this until old age. Along with marriage, the headdress changed. At the wedding, the girl wore a baba-yur, similar to a Russian kokoshnik, and until her old age she had no right to take it off. Showing your hair, having lost your baba-yura, was considered a huge disgrace. In old age they began to cover their heads with simple scarves.

Traditional Komi clothing is basically similar to the clothing of the North Russian population. The Northern Komi widely used clothing borrowed from the Nenets: malich (solid outerwear with fur on the inside), sovik (solid outerwear made of reindeer skins with fur on the outside), pima (fur boots), etc. Komi folk clothing is quite diverse and has a number of local variations or complexes. At the same time, if the complex of traditional men's costume is uniform throughout the territory, with the exception of the winter clothing of the Izhem Komi people, then the women's costume has significant differences that relate to the cutting technique, the fabrics used, and ornamentation. Based on these differences, several local complexes of traditional Komi clothing are distinguished: Izhemsky, Pechora, Udorsky, Vychegda, Sysolsky and Priluzsky. Traditional clothes (paskom) and shoes (komkot) were made from canvas (dora), cloth (noy), wool (vurun), fur (ku) and leather (kuchik).

Women's clothing varied greatly. Komi women had a sarafan set of clothing. It consisted of a shirt (dörom) and a slanted or straight sundress (sarapan) worn over it. The top of the shirt (sos) is made of motley, kumach, colored fabric, the bottom (myg) is made of white canvas. The shirt was decorated with inserts of fabric of a different color or an embroidered pattern (pelpona koroma) on the shoulders, a colored border around the collar and frills on the sleeves. An apron (vodzdöra) was always worn over the sundress. The sundress was girded with a woven and braided patterned belt (von). Women's outer work clothing was dubnik or shabur (homespun clothing made of canvas), and in winter - a sheepskin coat. On holidays, people wore outfits made from the best fabrics (thin canvas and cloth, purchased silk fabrics), and clothes made from coarser homespun canvas and a variety of dark colors were worn everywhere. Purchased fabrics began to spread in the second half of the 19th century. Women's headdresses are varied. Girls wore headbands (ribbons), hoops with ribbons (golovedets), scarves, shawls, married women wore soft headdresses (ruska, soroka) and hard collections (sbornik), kokoshniks (yurtyr, treyuk, oshuvka). The wedding headdress was a yurna (a headdress without a bottom on a solid base, covered with red cloth). After the wedding, women wore a kokoshnik, a magpie, a collection, and in old age they tied a dark scarf around their heads.

Men's clothing consisted of an untucked canvas shirt, belted with a belt, canvas pants tucked into boots or patterned stockings (sera chuvki). Outerwear was a caftan and zipuns (sukman, dukos). The outer work clothes were canvas robes (dubnik, shabur), in winter - sheepskin coats (pas, kuzpas), short fur coats (dzhenyd pas). The Izhem Komi borrowed the Nenets clothing complex. Komi hunters used a shoulder cape (luzan, laz) during hunting. Men's headwear - caps, hats and caps.

Men's and women's shoes differed little: cats (low shoes made of rawhide), shoe covers or boots were almost universally worn. Koty (koti, uledi) were worn over canvas footcloths or woolen stockings. In winter they wore felt boots or shoes in the form of felted heads with cloth tops (tyuni, upaki). In the north, fur pimas (pimi) and toboks (tobok), borrowed from the Nenets, became widespread. Hunters and fishermen had special shoes.

They were belted with woven or knitted belts. Clothing (especially knitwear) was decorated with traditional geometric patterns.

Modern Komi clothing of a pan-European standard. The folk costume has fallen out of use among almost all groups; only the Komi-Izhemtsy retain traditional clothing made from reindeer skins.

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Komi clothes.

Discussing the problem of the genesis of traditional clothing of the Finno-Ugric peoples, the famous Russian ethnographer V.N. Belitser emphasizes that the origin of certain common elements in traditional clothing among the northern Russians, Komi, Komi-Permyaks and other Finno-Ugric peoples of the European north-east of Russia should not always be considered as the result of direct borrowing. The presence of some universals in the complex of traditional clothing could be due to similar natural and climatic conditions and, accordingly, general types of farming. The results of a comparative ethnographic study of the folk clothing of the Komi, Komi-Permyaks and northern Russians, carried out quite systematically since the second half of the 20th century, show that in the features of the cut of everyday and ritual clothing, in the nature of the decoration of various elements of clothing, in some specific attributes of the folk costume and various local ways of wearing and storing it, as well as in beliefs about clothing, not only the history of the formation of various ethnographic groups,
but also
some features of the traditional Komi worldview.

Until the beginning of the 20th century, Komi and Komi-Permyaks everywhere sewed clothes mainly from home-made fabrics: canvas (white and colored - ‘pestryadi’) and cloth. Canvas (linen and hemline) was much more widespread among the Perm Komi and among the Komi living in the southern regions (Letskie and Vychegda Komi). In addition to cloth, half-woolen fabrics were also used to make outerwear. Tanned skins (cow, sheep, deer), raw and tanned, as well as rovduga and the fur of domestic and wild animals were used in the manufacture of shoes, belts, hats, fur coats and fishing clothing. Outerwear and shoes made of reindeer fur were sewn mainly by residents of the northern regions located along Pechora and Izhma, on Udor, in the upper reaches of the Mezen and Vym. In these places, along with fur clothing, clothing made from imported fabrics, which were delivered from the central regions of Russia, was widespread. So, for example, large quantities of canvas, cloth and brocade and ready-made clothing were brought to Cherdynsk by merchants from the Perm and Vyatka provinces, and to the upper reaches of the Mezen, Izhma and Udora, fabrics (motley cloth, homespun cloth, calico, colored silk) were delivered from Arkhangelsk , Pinega and Veliky Ustyug. The tradition of weaving bast shoes (ninktsm) from birch bark and linden bast was widespread among the Letsk Komi and Perm Komi. It is interesting that among the Letk Komi, the festive bast shoes, usually worn for Maslenitsa, were necessarily woven from thinner bast of different tree species and decorated on the toe with inserts of colored material. Among the Komi, birch bark was also used to make headdresses for girls and women. Among the Udora and Vychegda Komi there are known cases of making medical corsets for young children and sick people from solid layers of birch bark. The Letk Komi have a recorded tradition of weaving ritual outerwear (headdresses, caftans and pants) from birch bark, which was used to treat sick and infirm elderly people. Such clothes were made using the technique of weaving pestera (a traditional backpack made of thin strips of birch bark). Modern Letka Komi craftsmen preserve the tradition of weaving miniature models of various elements of traditional outerwear from birch bark as souvenirs.

Unfortunately, to date, no special ethnographic study of the complex of traditional Komi children's clothing has been undertaken. Known field materials, as well as museum collections of traditional Komi clothing, collected in the period 60-80. XX century indicate that everywhere among the Komi, everyday lower and upper shoulder children's clothing basically copied the cut of adult clothing. Before gaining the ability to walk independently, small children, regardless of gender, wore white linen shirts with hems that reached their knees or ankles. Among the Pechora and Izhma Komi, after the baptism of a child, a narrow braided belt was tied to his body (the structure of the weaving resembles a gaitan made of linen threads for a pectoral cross), which was worn under clothes and never removed, even in the bathhouse. At the age of two or three years, when going outside, outside the residential estate, boys wore white or striped canvas pants and a woven or wicker belt over their shirt. According to isolated evidence from contemporary informants, this could happen even after six or seven years - it is known that it was from this age that in Komi families children began to be involved in some household work. The boy's teenage costume consisted of an undyed canvas shirt and white or blue-and-white striped trousers (gach), long woolen stockings, decorated with a stripe of geometric patterns only along the upper edge of the leg (kuz sera chuvki). Teenagers girded themselves over their shirts with a narrow woven or knitted belt, and on Udor and Izhma with a rawhide belt. In the cold season, boys wore cloth hats. The traditional everyday outfit of a girl consisted of a white canvas shirt, belted with a colored woolen belt (vtsn, iy), a plain scarf (chishyan) or headband (golovedech) on the head, patterned woolen or canvas stockings, decorated along the leg with a swear pattern (sera dsra chuvki), and low (without pagolenka) light shoes made of rawhide (kotas, charki or ulyadi) on the feet. At the age of 7-8 years, girls began to wear canvas sundresses, often dark blue. In the spring-summer period, teenagers more often wore canvas stockings without a heel, usually without a pattern along the leg. (Note that adults wore such stockings during the haymaking period, and until the 60s of the 20th century, stockings without heels were a mandatory element of men's and women's funeral attire.) Everywhere among the Komi people it is believed that young children are more suited to white clothing. , in no case motley or red colors, which attract unwanted outside glances to the child and expose him to the danger of the evil eye. According to the tradition of the Izhem and Udor Komi, girls who reached the age of 13-15 could wear canvas pants as warm clothing. However, almost everywhere among the Komi, the wearing of men's pants as casual clothing by girls, young women and women was considered a sin, and only in severe winter frosts were girls and young women allowed to wear a warm women's jacket or a men's shirt instead of pants, with their legs inserted into the sleeves and secured to their belts . There are cases when women put on men's pants as a talisman. According to the testimony of V.P. Nalimov, married women of the Vychegda and Sysol Komi were allowed to wear only men’s underwear made of linen (drtsm gach, ytsrdts gach) and only during menstruation (Nalimov 1907).

Modern informants emphasize only a few specific features in the cut and methods of dressing traditional everyday clothing for young children and adolescents. Until the age of 3-5, children did not have a wedge of fabric of a contrasting color sewn into their shirts or armpits - kumlts - a distinctive feature in the cut of adult clothing. The motivation for the noted tradition is interesting: “the kumlts will rub the child’s armpits,” although, in reality, such armpit inserts make the shirt more comfortable. Accordingly, until recently, traditional children's shirts, as well as Komi funeral clothing, retained examples of chronologically earlier cut options dating back to the 17th-18th centuries. (white canvas shirt, tunic-like in cut, without inserted wedges on the sides, wide straight sleeves, without a collar, with a straight slit in the center of the chest and ribbon ties). Children's belts of the Letsk, Vychegda and Sysolsk Komi differed in decor from the belts of adults in a monochromatic color scheme, were 2-3 times shorter in length and were never decorated at the ends with lush colored tassels (kollya vtsn) - characteristic attributes of the clothing of young people who had reached marriageable age. Among the Izhemsky and Pechora Komi, outer fur clothing for children under the age of 1.5-2 years was necessarily sewn from the whole skin of a young fawn - fawn (pezhgu), while the sleeves were made without through holes for the hands; among the Izhemsky Komi, fur mittens without a thumb were tightly sewn to the “double-sided” malitsa (fur inside and out) for children under 3 years of age (it is believed that in such “fingerless mittens the child will be warmer”). The thumb stood out on the fur mittens, as a rule, after the child took his first independent steps and began to speak. In more detail, modern informants describe some variants of ritual children's clothing, symbolically marking certain age milestones in the development of a child: in particular, pin dzrtsm - a gift to the child when cutting his first teeth and pernyan djrjm - a shirt given by the godmother during the baptismal ceremony. According to the descriptions of contemporary informants, both types of shirts mentioned were necessarily made from white homespun canvas, with knee-length hems, wide elbow-length sleeves, without patterns, without a collar, with a cutout on the chest, with two ties, and without buttons. Ritual children's clothing was preserved by parents along with the afterbirth (rtsdichchan pasiktsm) until the children reached adulthood and in some cases was considered as a talisman for the child. According to tradition, in Komi families, everyday new clothes for children were always prepared on the eve of Easter. Worn out children's clothing was under no circumstances thrown away or given to strangers, but was hung on the barn at home until completely decayed, or laid on the floor in the house as bedding. It is noteworthy that the material from dilapidated children's clothing was never used to make patchwork bedspreads, woven and knitted rugs. Adults were very strict that girls did not make clothes for dolls from scraps of old children's clothes. It was believed that through clothing, or a fragment of it, one could easily jinx a child who had ever worn this clothing.

The traditional male attire of the Komi and Komi-Permyaks consisted of a shirt (drtsm, yitsrnts), outer pants (gach), caftan (duktss) or a fur coat (pas). The tunic-like shirt was usually sewn from white homespun canvas (dsra) or motley. The festive shirt was made from thinner canvas or from factory-made fabrics and was decorated with black and red embroidery, stripes of patterned fabric or narrow red inserts on the chest, along the collar and on the frills of the sleeves. V.N. Belitser notes that the cut of the Komi men's shirt had some differences from the traditional Russian kosovorotka: a longer hem (almost to the knees), a slit on the right side of the chest or in the center (for Russians - on the left), wider sleeves. On the old-style shirts of the Komi-Permyaks, the width of the panel reached 40-45 cm, and the length of the shirt was at least 80-85 cm. The side panels, straight or slightly beveled, were sewn to the central one. Occasionally, for convenience, wedges were inserted into the hem. The sleeves were sewn from one piece of cloth folded lengthwise (50-55 cm long). Square gussets, often made of calico, were sewn under the sleeves. The shirt was sewn with a stand-up collar and no collar at all. Such shirts were always worn untucked, belted with a woven or woven belt (vtsn, yi), tying a knot on the left side. The lower trousers (ports, veshyan), wider than the upper ones, were made of harsh canvas, solid, with two wedges inserted between the trouser legs. Such trousers were fastened to the belt with a cord on a guard - a gasket. According to V.N. Belitser, in the 19th and early 20th centuries. In some places among the Komi, older men wore white ports in the summer as outer pants. More often, outer trousers for summer were made from motley fabric, blue with white stripes, and for winter - from homespun and factory-made cheap cloth. In terms of cut, the Komi men's outer trousers are close to the ancient samples of men's clothing of the Russian population of the Vyatka, Perm and Vologda provinces. Festive pants were made from black paper tights. The pants were tucked into canvas or knitted woolen stockings, usually decorated with geometric patterns throughout the leg.

In the traditional complex of upper shoulder men's clothing Komi V.N. Belitser distinguishes three main types related to the production activities of the population of the region under consideration. The first type is typical for agricultural regions (Vychegda, Sysola, Luza). Shabur, sewn from blue or harsh rough canvas. In appearance, this summer outerwear was a long, solid shirt with sleeves, the sides of which consisted of four panels beveled and sewn together; This cut made it wider at the hem. A hole was cut for the head, from the edge of which a hood made of canvas (yur kyshtsd) was sometimes sewn. Such clothes were usually worn as work clothes and were belted with a belt or twine. With the onset of autumn cold, Komi men wore duktss - a caftan made of homespun blue or white cloth, knee-length, with a fastener on the left side and long sleeves. In some places he was called sukman. They sewed dutss or sukman with a cut-off back and with gatherings at the waist, like a shabur; in other cases, divergent coattails went from the waist. This type of clothing was usually worn by hunters during winter and autumn hunts. The Komi-Permyaks who lived along the Upper Kama and Yazva called such outerwear the term “gunya”. A sukman of a similar cut, but gray in color, was used as working outerwear. Komi-Permyaks often wore a blank apron (zapon) with sleeves as work clothes, which in front was a tunic-shaped shirt up to the knees. At the back, the central panel reached only to the waist, and sometimes had a slit. The head cutout was round or triangular. The cufflink did not have any buttons, ties or hooks. V.N. Belitser notes that the terms that the Komi used to designate certain types of outer shoulder clothing were not stable; often the same term was used in different regions to designate different types of clothing. So, for example, the term shabur was used by the Vychegda Komi to call a blind work blouse, and the Perm Komi who lived in the river basin. Yinvy is a caftan made of canvas, usually blue. The back of this shabur was cut off, and from the waist there were numerous gatherings, as in a Russian poddevka. The right side of the shabur was folded over the left side and fastened with two hooks. The collar was made into a turn-down collar, like a shawl. The shabur was sewn on a white canvas lining. In winter, men wore a sheepskin coat (pas), either over the head or covered with cloth. In Vychegda, men often wore straight-cut sheepskin coats in winter, lined with neblyuya (young deer) fur, also covered with cloth. The second type is the fishing costume of Komi hunters and fishermen. The main distinctive detail of fishing clothing is a short rectangular cape with a hole for the head - luzan (k.-z.), laz (k.-p.). Among the Pechora and Udor Komi, as well as in Yazva among the Perm Komi, such capes were made from homespun canvas or cloth measuring 40x60 cm. The edges of the luzan were trimmed with narrow rawhide straps for strength. For greater strength, the luzan was also covered with leather on the shoulders, chest and back, where a loop for an ax (laz kozyan) was sewn. On teenage fishing capes, the ax loop, as a rule, was not sewn on. Some hunters sewed a shoulder strap for a gun belt on the left shoulder of the Luzan, and a pocket for bullets on the right chest. Sometimes the pocket was made entirely of leather and only the pockets were made of canvas. For winter hunting, a lusan with a hood was used, which was made separately and sewn to the edges of the head opening. According to N.D. Konakov, on Pechora, luzan was woven from wool using a shuttle-needle on a cross-loom. Under the canvas of lusan at the back and in front, due to the hemming of the canvas, bags were formed - pockets that were used during transitions to store hunted game, animal skins, as well as accessories necessary for the hunter. The height of the chest pocket was 15-20 cm, the back pocket (laz nop) was made somewhat larger and had a height of 30 to 50 cm. In order to prevent the back pocket from sagging from the load, in some Luzans it was attached to the middle with a strap with a loop to the clasp - a stick sewn slightly above the edge of the pocket. A rawhide belt with a buckle on the right side or two ties, one on each side, about 1 meter long, was sewn to the lower end of the chest part (laz mortss). Many Luzans had leather or cloth “wings” covering their shoulders. Luzan was often girded with a leather belt (tasma) with an iron or copper buckle. N.D. Konakov and V.N. Belitser note that a similar type of outer hunting clothing is characteristic not only of the Komi, but is widely known to this day among the Karelians and Russians of the Arkhangelsk region, as well as among the Khanty and Mansi of Western Siberia. The third type is the clothing of a reindeer herder, which in the past was characteristic mainly of the Komi-Izhma people, and in the first half of the 20th century. became widespread among the Pechora, Udora and Vychegda Komi. V.N. Belitser emphasizes that the complex of clothing made from reindeer fur (malitsa, sovik, toböki, pima) has a very ancient origin. However, among the Komi, these forms of clothing became widespread only from the 16th - 17th centuries, which was associated with the development of reindeer husbandry and the settlement of the Komi in the forest-tundra areas of the Middle and Lower Pechora, Usa and Izhma. The main names of this clothing were borrowed by the Komi from the indigenous reindeer-herding population of the tundra - the Nenets (cf. Nen. 'myaltsa', 'pandas' and K.-Z. 'malicha', 'pandas'). The Komi reindeer herders improved some details in the cut and finishing of clothing: the Izhemtsy, unlike the Nenets, did not always sew mittens (which were sewn from kamus with the fur outward) to the malitsa, but quite often wore them separately; the hem of the malitsa was decorated and at the same time significantly strengthened with a fur trim (panda) 15-20 cm wide, made from summer deer skin with lower and denser hair; A mandatory element of the malitsa was a tightly sewn hood (yura malich) with a fur trim along the edge and sewn suede ribbons, allowing you to adjust the degree of openness of the face. It is known that among the Nenets the hood on the malitsa became widespread only at the end of the 19th - beginning of the 20th century, and then not in all areas of Nenets settlement. The Komi uses the skin of a non-vomiting animal, slaughtered after the first moult, to make malitsa. The hood for malitsa is made from the thinner, shiny skin of fawn (pezhgu) - a newborn fawn slaughtered in May. Moreover, the hood is sewn in two layers - with wool inside and out, just like a children's malitsa. The Komi are characterized by malitsa, the body of which is cut from two rectangular skins, between which two smaller skins are sewn on the sides, bent vertically, so that the malitsa conveniently expands downwards. Over the everyday malitsa, men still wear a satin or cotton cover-cape (malicha kyshed or kyshan), generally similar in cut to the malitsa. Many Izhma men wore cloth malitsas, similar in cut to fur ones, as autumn clothing. In severe frosts, the malitsa wears a parka, sewn with the fur on the outside from the thin skins of young calves. Cut it the same way as the Izhem Malitsa, only the back of the parka was cut together with the back of the hood from the same skin. A festive men's parka, as a rule, was sewn from white neblyuya (nyarovey, don nyarovey) and decorated along the hem, on the sleeves and on the hood with fur appliqué, as well as colored cloth stripes. On autumn and spring days, Izhma people wore a parka made of coarse cloth (noi parka). In very severe frosts, reindeer herders put on a owl, which was sewn like a parka - with the fur out, but from the skins of adult deer.

Traditional headdresses of Komi men until the first quarter of the 20th century. What remained were felted, cloth and fur hats of various shapes - some with a low crown and wide brims, others with a high crown and raised, curved edges. The color of these headdresses varied between shades of black, grey, brown and white. The hunters wore two types of cloth hats: “zyryankas” in the shape of a helmet with a small strip of cloth falling down the back of the neck, reminiscent of sailors’ caps; with a bottom of five wedges, trimmed with green cloth. The Izhem Komi wore fur long-eared hats made of fawn and neblyuya in winter, and the population of the southern regions - the Vychegda, Letsky Komi and Perm Komi - wore earflaps made of sheepskin. As summer hats in the 19th - early years. XX centuries wore caps and caps. When going to work in the forest in the summer, men put on a mosquito net “nomdöra” - a special blind hood made of canvas that covers the head and neck, with an open face. The same hood with a horsehair mesh on the front was called “sitka”. Commercial fishermen and haymakers tied a scarf around their heads and necks to protect them from insects.

V.N. Belitser notes that the traditional women's clothing of the Komi and Komi-Permyaks is characterized by a sundress complex of the Northern Russian type: a shirt with straight flaps, slanted and straight sundresses. The most ancient forms of folk women's clothing - a long canvas shirt and a slanted sundress (basically has three straight panels - two in front and one in the back, and four wedges, two inserted into the sides) - are still preserved in everyday life among the Komi Old Believers of Vychegda , Verkhnyaya Pechora and Udora. Among the Komi-Permyaks, Izhemtsy and Sysol Komi already at the end of the 19th century. The straight sundress is becoming more widespread. According to V.N. Belitser, the appearance of the straight sundress among the Komi is associated with the spread of factory fabrics, initially in Sysol, which has long been an area of ​​otkhodnichestvo. A straight sundress was a skirt with narrow sewn-on straps, sewn from five or six panels of fabric. The width of the sundress at the hem reached 4-5 meters. They wore a straight sundress with a belt much lower than a slanted one, but they also always girded it with a woven or braided belt, wrapped twice around the waist and tied, as a rule, on the right side so that the hands hung to the knees or behind the back (among the Letsky Komi). Everywhere among Komi women and girls on holidays wore one or more skirts under a sundress for pomp, and, often, an old sundress. Among modern Pechora Komi Old Believers, the second type of sarafan is defined as “worldly tuvya sarapan,” and it is emphasized that “walking in it, much less praying, is a sin.” In the fishing and reindeer herding areas - Pechora, Izhma and partly Udora - sarafans were sewn mainly from factory fabrics, and in the agricultural areas of the Vychegda, Sysola basin and mainly in the Kama region they wore dubass, sewn from homespun dyed canvas or printed cloth with gatherings.

Based on the differences in the choice of cut and material, the nature of the decoration and the corresponding areas of existence, modern researchers conventionally distinguish several types of traditional Komi women’s costume: Luz-Letsky, Komi-Permyak, Verkhnevychegda and Nizhnevychegda, Vymsky, Izhemsky and Pechora, Udora (Vashkinsky and Mezensky) and Sysolsky. The correctness of the proposed typology is indirectly confirmed by the fact that the areas of existence of the identified types of women's costume coincide territorially not only with the distribution of various dialects of the Komi language, but also with the existence of different variants of traditional fabric decoration (patterned knitting, embroidery, weaving), characteristic of certain ethnographic groups of the Komi. For example, G.N. Klimova distinguishes the following groups based on the nature of the ornamentation of fabrics: Izhemskaya, Pechora, Verkhnevychegda, Srednesysolskaya, North Komi-Permyak, Luzsko-Letetskaya, Nizhnevychegdaskaya, Verkhnesysolskaya, Mezenskaya and Vashkinskaya (Klimova 1984, P.28-54). However, modern field research shows that even within the conventionally identified local types, Komi women’s costumes vary significantly, if not in cut, ornamentation and choice of materials for production, then in the ways of dressing its various components.

The main element of a woman's costume is a shirt (dörom), the upper part of which (sös) was made of motley, calico, or embroidered canvas, and the lower part (myg) was made of coarser white canvas. The shirt was decorated with inserts made of fabric of a contrasting color: gusset - on the shoulders and kunlos - under the arms. A straight cut was made in the middle of the chest with a one-button closure at the collar. The collar, hem and cuffs of the sleeves were embroidered with geometric or floral patterns from red, less often red and black threads. Luza and Letka are characterized by shirts with trapezoidal fronts cut from canvas or calico. The main array of embroidered patterns on Let's women's shirts is focused on the shoulders, hence the local name for the shirt - pelpoma kortzoma (i.e. with shoulders, gathered). G.N. Klimova notes that the women's shirt of the Lett Komi is, in a number of ways, very different from this type of clothing among other Komi ethnographic groups. At the end of the 19th and beginning of the 20th centuries. The Komi are characterized by women's shirts of a tunic-like cut with one central panel and a shirt of the Northern Great Russian type with straight flaps and a wide gathered collar. In Priluzye and Nizhnyaya Vychegda, shirts were decorated with two-weft braided weaving, with patterns placed across the shoulder, along the cuff of the sleeve and sometimes along the hem. The Letskaya shirt in its cut belongs to the type of shirts with slanted fronts and is close to the shirts with slanted fronts known among the Russians of the Ryazan and Tula provinces. On Udor and Izhma, they often wore two shirts - a long lower one, made of white fabric, and an upper one, reaching to the waist, made of brocade, lined with cloth. The collar, sleeve cuffs and hem of the shirt were trimmed with a red swearing pattern or narrow strips of calico.

Udora sundress.

Over the shirt, Udora women wore two types of slanted sundresses: kuntey - made of blue canvas fabric with printed floral patterns and shtofnik - made of purchased satin, silk or brocade on a harsh canvas lining. Metal buttons and silver and gold braid were sewn from top to bottom along the front seam of oblique sundresses. Along the hem, the sundress was decorated with two or three rows of lace stripes (proshva). The sundress was supported by a bodice, which was cut out at the back and sewn on at the front. Udora women often wore a tightly fitted jacket with wide tails (gyrka jacket) made of silk or satin over a sundress. On the upper Vychegda, women wore shushun - a slanted sundress made of motley (festive), home-woven blue canvas or printed cloth (everyday). The shushun had a seam at the front, with braid sewn on both sides and buttons in the middle. From factory fabrics (chintz, satin, cashmere), the Vychegda Komi sewed ktsrtsma shushun - gathered on the chest and on the back.

Vychegda sundress.

In the villages in the middle Vychegda and upper Pechora they wore slanted sundresses made of factory fabric - Chinese women. Such sundresses were usually sewn without folds, on a harsh canvas lining, so they were very heavy. Over the sundress, Vychegda women wore a “narkovnik” - a short, swinging jacket made of silk or colored cashmere on a chintz lining, without fasteners or a collar, with wide sleeves gathered at the wrist. A white apron - vozdtsra - made of cotton fabric, embroidered with floral or geometric patterns along the hem, was tied around the waist.

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Pedagogical project

« Komi national costumes»

Yulia Andreevna Volgina, teacher, MBDOU 41, Vorkuta

Explanatory note

In modern conditions, when profound changes are taking place in the life of society, patriotic education is becoming one of the central areas of work with the younger generation. The feeling of patriotism is multifaceted in its content: it is love for one’s native places, pride in one’s people, a feeling of inseparability with the environment, and a desire to preserve and increase the wealth of one’s region.

To be a patriot means to feel like an integral part of the Fatherland. This complex feeling arises even in preschool childhood, when the foundations of a value-based attitude towards the world around us are laid, and is formed in the child gradually, in the course of nurturing love for his neighbors, for kindergarten, for his native places, his native country. Preschool age, as a period of personality development, has its own potential for the formation of higher moral feelings, which include a sense of patriotism.

To find the right way to cultivate a multifaceted feeling of love for the Motherland, you must first imagine on the basis of what feelings this love can be formed and without what emotional and cognitive basis it cannot appear. If patriotism is considered as attachment, devotion, responsibility towards one’s Motherland, then a child is taught at preschool age to be attached to something, someone. Admiration for the vastness of the country, its beauty and riches arises if you teach a child to see the beauty around him.

Relevance of the project:

The problem of introducing children to folk art will never lose its relevance. What touches the soul more than family and friends? Native is the street, these are wooden patterns that miraculously survived in the house, these are outlandish antique things donated to their school, their fine arts office.

It is folk art, especially if it is the art of your ancestors, your small Motherland, that can awaken a little person’s dormant genetic memory and encourage him to empathy, creativity and the formation of responsibility for the preservation and development of traditions.

Our children should know well not only the history of the Russian state, but also the traditions of their national culture, be aware of, understand and actively participate in the revival of national culture, realize themselves as individuals who love their Motherland, their people and everything connected with Komi culture.

The process of cognition and assimilation should begin as early as possible, as figuratively says people : “With mother’s milk, a child must absorb the culture of his people through lullabies, nursery rhymes, and fairy tales.” Getting acquainted with the Komi national costume in kindergarten, children see the color, originality of their nationality, the beauty and greatness of their people.

Project goal:

To form children's ideas about the Komi national costume.

Project objectives:

Expand and deepen children’s knowledge about the peoples living in Komi.

Expand children's understanding of national culture, in particular the Komi national costume.

Introduce children to the varieties of Komi ornament and its features.

Introduce new words into the children's vocabulary: malitsa, pima, ornament - to develop imaginative and spatial thinking, to encourage children to be creative and independent.

Expected result:

Children should know and name:

Place of residence: republic, city.

Your nation.

National costume of your people, elements of clothing.

National embroidery and elements of national embroidery.

Project implementation mechanism:

The organization of the pedagogical process within the framework of the project involves the organization of elementary search and creative activities, conducting conversations, and reading fiction.

To solve the set tasks, the following main methods of working with children were used: problem-based, cooperation method, method of planning activities, play, practical activities, partner dialogue.

The methodology we use to work with children is a combination of practical activities with their assimilation of the necessary knowledge in an accessible form.

For teachers, the project contributed to increasing the professionalism and pedagogical competence of teachers in the field of using interactive technologies in teaching preschoolers, mastering and applying design technology.

Pedagogical project passport

Topic: " Komi national costumes»

Project addressingpreschool workers.

Project participantsolder children

Age of pupils 5-6 years.

By nature of the project: informational, educational, creative.

By number of participants: group.

By duration: short term.

By knowledge profile: interdisciplinary.

By contact level: at the educational institution level.

Project Resources

Information support:

"Origins" program ; authors L. A. Paramonova, T. I. Alieva, A. N. Davidchuk and others

Conversations

Presentations,

Internet,

A selection of fiction according to age,

Information and technical:

Computer,

TV,

Camera,

Organizational support:

Direct educational activities,

Daily routine

Materials for classes:

Demo:

Books with Komi folk tales, album for viewing"Dolls in folk costumes", Painting "Reindeer", piece of deer fur, Presentation"Komi national costumes",

Dispenser:

Sheets of paper, pencils, felt-tip pens, various fabrics, threads, plasticine, stacks, modeling boards; di"Assemble the ornament", "Dress the doll".

Requirements for the level of preparedness pupils:

1. Children show cognitive interest in works of art and curiosity.

2. Able to discuss the material they have viewed

Intended project products

Products of teachers' activities:

Enrichment of the subject-development environment with the album “Dolls in folk costumes”

Project presentation,

Products of children's activities:

Enriching the subject-development environment of Komi with dolls

Drawings

sculpted pimas,

Products of joint activities of teachers and children:

Komi dolls for theater

Implementation stages project

1. Preparatory stage.

Target : development of interest in activities

Date

Responsible

Expected result of work

3rd week of February

Collaboration with families pupils:

Communicating the meaning and purpose of the project.

Educators

Parents

Involving parents in joint creative activities to develop children's cognitive activity and master the methods of searching for information.

Working with children:

Identification of initial knowledge.

Looking at the album"Komi region"

Developing a project together with children, searching for ways to solve the problem.

Children's problem: Why do the people of Komi dress like this?

Children's goal : Find out more about the national costumes of the Komi residents?

Creation of puppets for director's games.

Practical interest for children(motivating factor): find answers to questions for creating dolls

Educators

Identifying knowledge on a given topic.

Raising problematic issues.

Setting a common goal.

The teacher receives information about the basic stock of knowledge and

children's ideas on the topic,

navigates himself and discusses with the children a rough plan of work on the problem.

Data is reported to parents: about the interests, knowledge of children, about what children will do in the near future.

Stage 2. Basic .

Target : to promote the development and accumulation of experience and necessary information about national clothing and practical skills of children in joint and independent activities.

Collaboration with families pupils:

Carrying out individual homework tasks:

a) bring waste material to create a model

Educators Active involvement of parents in the practical implementation of the project content.

3rd week of February

Working with children:

1. The teacher suggests starting work on studying Komi folk costumes

Intensifying cooperation with children in achieving the intended results.

Understanding the world around us

Subject: Subject: "Classification of Komi national clothing"

Goals and objectives.

Using a systematic approach, expand children's understanding of national culture, in particular the Komi national costume.

Introduce children to the history of national costume.

Develop children's creative abilities.

Educators

Children develop ideas about national clothing

Speech development.

Subject : Multimedia presentation

"Komi national costume".

Target : Introduce children to the history of the Komi national costume.

Continue to introduce children to Komi nationalitiescostumes and patterns.

Educational:

Develop interest in the culture of the peoples of your region.

Develop coherent speech, activate cognitive and speech activity.

Educational:

To instill in children a sense of patriotism and interest in Komi folk ornamental art.

In free activity they look through the album"Dolls in folk costumes"; di "Collect the Ornament""Dress the doll".

Coloring pages"Komi people"

Educators

Drawing

Topic: “Reindeer herders”

Target : getting back to the roots national culture through the example of studying art Komi people living in the north, to cultivate respect fornational art.

Tasks:

- introduce the nationalcostume of the peoples of the north Komi.

Learn to see and convey beautynational costume, its characteristic features.

Exercise children in drawing a human figure. Educators Children learned what it is"Malitsa"

Artistic creativity(modeling)

Topic: Northern Pima

Target : introduction to the arts and crafts of residents of the northern regions Komi.

Cultivate emotional responsiveness to the works of masters.

Tasks:

Introduce children with shoemaking

Teach children to make patterns on their own based on the knowledge they have acquired. Educators Children learned to sculpt shoes and display Komi patterns

Fiction

Topic: Reading Komi folk tale"Marpida the Princess".

Tasks:

Foster a love of fiction and fairy tales.

Maintain interest in literary works.

Teach children to emotionally perceive the figurative content of a fairy tale, to understand the characters of fairy tale characters.

Develop activity, logical thinking, imagination, memory.

Educators Children know the works and can name the main characters.

Fabric construction

Topic: “Komi dolls”.

Goals and objectives:

Educational : teach cutting from fabric(squares of 12 cm and 15 cm, to create a doll)and decoration with ornaments.

Developmental : work on enriching vocabulary, developing creative abilities.

Educational : to cultivate a caring attitude towards the work of adults, respect for the culture of the native land and people.

Stage 3. Final.

3rd week of February Cooperation with families pupils:

Parents brought a small model for director's games

Parents

Working with children:

Decoration of dolls"Komi ornament"

Educators

Stage 4. Presentation.

Working with preschool employees.

Presentation project at the Pedagogical Council

Educators Assessment teachers results of use design technologies in the educational process of preschool educational institutions.

Working with children:

Conducting a presentation.

Talking with children about theirsatisfaction: What new did you learn? What surprised you? What was difficult?

Educators Creating a situation of success for students

Children gain new knowledge

(Senior group)

Target: introduce preschoolers to the history of the national culture of the Komi people.

• Introduce the history of the Komi national costume, the features of its appearance;
• Teach children to compare, describe, draw conclusions;
• Promote speech development;
• Cultivate interest and respect for Komi literature.

Materials for the lesson:

• Presentation of illustrations and illustrations depicting Komi national costumes.
• Clothes and shoes of the Komi people.
• Audio recording of a Komi song.

Preliminary work: Looking at illustrations of Komi national costumes, reading Komi folk tales.

Methodical techniques: verbal methods (teacher's story, questions to children, explanation); visual methods (demonstration of illustrations, clothes, shoes, video material), practical method.

Progress of the lesson

Organizational moment.

Hello guys.

The song “Marya Mol” sounds, the children enter the Komi Kerka (Komi Izba).

Do you want to go on a trip today? (Children's answers.)

But before you find out where we are going, answer my questions, this will be a hint:

What land do you live on? (Children’s answers. Komi land, Komi Republic.)

What indigenous people live on this land (in the republic)? (Children's answers - Komi people.)

Well done, guys, and now we will use the time machine and together with you we will look into the past of the Komi people. We close our eyes (Palming), count to 10), open our eyes (at this time the teacher changes into clothes of the Komi people, in the middle of the hut there is a chest with clothes).

Guys, look, here we are in the past. The main clothing of women was a long shirt (myt). A sundress (shushun) was put on over the shirt, and an apron (vodzdora) was put on the sundress.

Among the hats they wore were: girls - a ribbon, married women - a kokoshnik, a magpie, and in old age - a scarf.

Women's headdresses were different for girls and married women. Girls could wear their hair loose or braid it. Women had to hide their hair.

Now I suggest one girl come out and put on a headdress. What kind of hat do you think I should wear? Why? (Kokoshnik or magpie, you are a married woman.)

Let's say again, what parts does a woman's suit consist of?

The main parts of men's clothing were a shirt (dorom), trousers (gach), knitted patterned stockings made of wool (sera chuvki), and leather shoes.

What did men wear on their heads?

The men's headdress of that time was the zyryanka hat, which was a felt cap or a sheepskin hat. Men's and women's shoes differed little: cats (low shoes made of rawhide), shoe covers or boots.

Let's say again, what parts does a men's suit consist of?

In the cold winter, both women and men wore a zipun or sukman.

Men's and women's shoes differed little: kats (shoes made of leather), boots, felt boots (tyuni), fur pimas.

Game exercise: “Arrange in sequence”

The guys are divided into 2 teams. It is necessary to arrange clothes for men and women sequentially.

An integral part of the clothing of the Komi people was an ornament - a pattern of repeating identical figures (diamonds, crosses, flowers, circles, etc.) It was “placed” on the collar, sleeves and hem. It was believed that the ornament - an “amulet” - protected, protected from evil forces.

- Guys, everyone figure denoted its symbol:

• wavy lines meant- symbol of water;
• red circles- symbol of the sun;
• cross- this is also a symbol of the sun;
• rhombus - symbol of earth, fertility;
• flowers- a symbol of wealth.

- Even colors had their meaning :

• red– well-being;
• yellow– warmth and affection;
• blue- joy;
• black- wealth.

Task: “Make a talisman.”

Guys, let's try to create our own amulet on clothes. How to do this? (Children's answers.)

Take the type of clothing you like, on which you will need to apply an ornament. Which part of the clothing will we apply the ornament to? (Hem, sleeve edges, collar; for work you can choose from: plasticine, colored pencils, crayons, strips of colored paper.)

While the guys are doing their work, the song “Marya Mol” is playing.

Well done guys, let's see what patterns you came up with.

Tell me, was it difficult to work? What difficulties did you encounter? No wonder people say:

It’s not so expensive that it’s embroidered with gold,

And it’s expensive that a good master.

You were such good masters today.

Reflection.

Our journey has now ended.

Guys, what did you like about work today?

What new have you learned about the Komi people?

So, we looked into the past with the help of a time machine, let's go home. Let's close our eyes ( Palming), let's turn around ourselves. Let's open our eyes, here we are again in the kindergarten.

Applications for work are possible.