Slide 18

Slide 19

Elements of Khakass women's costume

Quite rightly, this form is contained in the coat of arms of Khakassia, which is a shield in the center of which there is a red traditional Khakass women’s breast decoration “pogo” in the form of a heart-shaped oval plate. The “pogo” depicts a silver winged leopard with golden eyes and claws jumping (in flight).

Slide 20

POGO

The pogo was cut from tanned leather in the shape of a crescent with rounded horns and trimmed with material. Mother-of-pearl buttons were sewn onto the front side, the space between which was filled with coral and beads in the form of circles, hearts, kidneys, trefoils and other ancient patterns. Along the sides, the pogo bib was bordered with pearl buttons. Along the lower edge there was a fringe of beaded strings with small silver coins at the ends. It is clear that this was one of the expensive decorations. early XIX century “pogo” cost 150 rubles. Previously, pregnant women wore pogos at waist level to protect the fetus from evil eye, now it is worn only at chest level.

Slide 21

Khos Yizirga

According to Khakass beliefs, a woman’s ears should not be empty, since the soul is attracted to corals (khut syyncha). That's why married women decorated themselves most often with coral earrings - “khos yzyrga”, they were made from copper wire, curved in the form of a ring. Large and small coral beads were strung onto the ring, and the earrings were finally decorated with a silver half-ruble coin and a silk tassel. Only widows did not have the right to wear earrings in full gear - they left only two beads, or wore only one earring.

Slide 22

Uzumchuk

Sometimes the braids were decorated with pendants - poos. Tassels “chachakh poos” or “ninchi poos” made from coral and beaded tassels were tied to the ends of the front braids (about nine pieces on each side). They were attached to the braids with a horsehair cord. Later, in the 19th century, girls began to make and wear “chaprakh” - silver coins with a braid. For poorer women, the front braids were decorated with “sas poos” pendants, woven from the wool of a ram’s neck together with a silk thread. A pearl “uzumchuk” button was tied to the ends of such decoration.

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Both male and female casual wear Khakass clothing consists of a shirt and pants made from factory fabric.

A men's shirt is loose, long and wide at the hem. They sew it from cotton fabric- chintz, satin, silk and wool mainly bright colors: red, blue, yellow, less often black. Silk and woolen shirts are worn on special occasions and holidays.

The cut of a woman's dress is the same as the cut of a man's shirt, only the women's dress is made longer (below the knees) and a little wider at the hem. Like men's shirts, dresses are most often made from colored chintz or satin. Party dresses sewn from silk and wool.

The corners of a turn-down collar, shoulder pads, cuffs and gussets of a woman's dress are usually made of another material: cloth, silk, corduroy, and in the past - brocade. The shoulder pads and cuffs of women's dresses carry the main decorative load; they are covered with an embroidered pattern. The background color of the shoulder pads and cuffs is matched to the dress, usually based on the principle of contrast. Kumachovy, orange tone dresses - and black or deep blue color of shoulder pads and cuffs. Yellow tone dresses - dark green, black shoulder pads. Blue dress- shoulder pads and cuffs are dark blue, green - again the contrasting color of black in the shoulder pads, etc. (color ill. 108).

The embroidery patterns are dominated by the colors of bright, rich tones: crimson, red, orange, yellow, blue, lilac, which sound especially elegant against the dark backgrounds of shoulder pads and cuffs of dresses. Embroidery is characterized by geometric patterns. The pattern of ornamental forms is clear, always well composed, and its patterns are varied. There are practically no two identical ornamental embroidery patterns for shoulder pads and cuffs. The relationship of patterns with the background, the identification of the pattern itself and the silhouette gaps of the background that form their own ornamental rhythm - all this impresses with the precision and completeness of the compositional solutions. Khakass embroiderers are distinguished by their rich imagination and taste (color ill. 111). Embroidery techniques are very different. The chain stitch, which makes the outline of the design, is combined with a satin stitch that fills the design inside the contour lines. Ancient Khakass patterns are embroidered with silk. Currently, embroidery is most often done using floss threads.

It should be noted that if the steppe regions of Khakassia are especially characterized by geometric pattern ornament, then in the northern, subtaiga regions, floral and plant motifs predominate in the ornamental patterns. Here the ornamental forms are larger. The silhouette of a flower, leaves, stem is clearly and clearly readable against a contrasting background of black, dark cherry, green cloth or silk (color ill. 109).

Feature of women's national dresses subtaiga regions of Khakassia is that their bottoms are often decorated with colored stripes. In addition, they are of a softer color. You won't find bright ones here, rich colors so characteristic of the steppe, southern regions, where everything burns and sparkles under the sun. Next to such shades of red as cinnabar, scarlet terracotta, pink, red-brown, next to yellow, orange, warm violet and green flowers The craftsmen here use blue, light blue, and green in open, sharp tones. It is impossible to imagine them excluded from the steppe landscapes of Khakassia with sun-scorched grass, with a haze of hot haze against the background of a seemingly faded blue sky. They are organic here, and some harshness and apparent disharmony of color relationships turns out to be softened, justified and accurately guessed.

Women's national clothing is in perfect harmony with the nature of Khakassia. The harsh simplicity of cut, color and embroidery pattern merge in the south with the smooth rhythms of the steppes, low hills, distant hills, and in the subtaiga regions with green taiga tracts and gray stone cliffs.

The patternedness of the geometric shapes of the embroidery, the intricate interweaving of the main, leading lines of the chain stitch, around which the rich colors rosettes, three- and five-petalled ornamental forms, sharp branches that simultaneously resemble animal horns and coral branches are due precisely to natural landscapes.

AND men's shirt and Khakass women's dress are fastened with one button. In the past, festive dresses were decorated with large mother-of-pearl buttons. The sleeve gathers at the cuffs are stitched or embroidered with colored threads in several stripes or patterns.

In the last century, in places located close to Russian settlements, Khakass women began to wear dresses of Russian cut, as well as sweaters and skirts. At the same time, it should be noted that in Khakass uluses and villages, women still wear their national clothes today.

Upper spring and autumn clothes Khakassians had a cloth coat or cape - sixpen. In terms of cut, it was almost no different from a Russian army coat or a swing caftan with a solid back. The men's sikpen had a wide straight cut, fastened with one button, wrapped from left to right and belted with a belt; it was sewn with a lining. This was the clothing of predominantly wealthy Khakassians.

The cut of the women's sikpen did not differ from the men's, only its collar was wider and shawl-shaped. The main difference between a women's sikpen is its decor. Often the collar and sleeve cuffs of the sikpen were trimmed with black velvet or corduroy. The collar and cuffs were also decorated with embroidery using colored silk or wool. In addition, large mother-of-pearl, glass different colors buttons. The largest mother-of-pearl buttons were sewn in several rows in front under the collar. The most elegant detail of the women's sikpen is the back. The embroidery fills it with a continuous carpet pattern (color ill. 110; fig. 194).

Women's sikpen are sewn and decorated with embroidery even today. Embroidery is done with silk, woolen threads, but most often floss. Just as in the embroidery on dresses, the embroidery of the sikpen of the southern, steppe regions of Khakassia differs in color from the northern, subtaiga regions. In the south it is more saturated in color, the patterns here are of a geometric nature, the sizes of the ornamental forms are small, the ornament densely covers the back and cuffs of the sikpen. Subtaiga sikpen is softer in color. The colors of the embroidery are dominated by calm green, pink, golden and purple tones. Ornament patterns more large forms, you can clearly see the outlines of individual colors, plant shoots, leaves. The embroidery of these sikpen is more decorative and large-scale (Fig. 195, 196).

The winter clothing of the Khakass was a sheepskin fur coat - tone. The men's fur coat was cut at the waist, with narrow wedges that widened towards the hem. The length of the fur coat in the back reached to the heels, and in the front it was slightly shorter. The sleeves were made with a deep armhole and ended with a semicircular protrusion covering the arm. The sheepskin collar was turn-down and round. A woman's fur coat, like a dress, is similar in cut to a man's. It also smelled from left to right. The fur coat was buttoned up, but not belted, unlike the men's coat. Women's fur coats were often sewn with a collar made of merlushka; their floors, hems, and sleeves were trimmed with fur 10-12 cm wide. Fur from sheep's, squirrel's, and sable's legs was used for the trim. Festive fur coats were decorated with fur trim wide stripe colored fabric: satin, silk, brocade.

The deep and therefore thick folds of the hem of the fur coat held together tartans: with colored silk threads along the top of each central wedge at the very seam connecting the back to the hem, they were stitched through the folded sheepskin folds, at the same time collecting them into small gathers (from 4 to 6) one above the other. The thread stitches were placed in a checkerboard pattern, which created decorative effect. Silk threads (usually of different colors) were passed through the sheepskin, and the ends of each thread went down on both sides of the stitching so that they formed colorful tassels, which is very beautiful.

Above the laid and stitched folds, directly above each of them, along the lower edge of the top of the back of the fur coat, at the very seam, special fabric appliqués were sewn - prata. Inside they were sewn with pieces of silk, and at the edges, like narrow borders, strips of colored silk were sewn: for the outer prata, for example, blue, for the third and fourth - red, and for the central one green. The colors alternated in other ways, but the pattern of their alternation on all fur coats was approximately the same. The size of pratas on fur coats is approximately 5x5 cm. Their number ranges from 1 to 7. Prathas and tarthans are completely original decoration Khakass women's fur coats (color illustration 112).

In addition to trimming with pratas and tartans, fur coats were also decorated with embroidery. Embroidery with oblique cross stitch was placed along the armhole line. Floral motifs embroidery using the same satin stitch technique decorated the back of the fur coat (Fig. 197).

Fur coats decorated with embroidery, trimmed with prats and tartans, are still widely used today in the steppe uluses of the southern regions. They can also be found in other regions of Khakassia.

Traditional look outerwear Khakassian woman was in the past sleeveless sigidek. They were sewn by special craftswomen who were given all the purchased material: silk for the hem of bright colors, sometimes satin or colored brocade, velvet, mostly black, which made up the top of the sigidek itself, silk or satin for the lining, multi-colored silk threads, sometimes also gold or silver gimmick, braids and simple paper material on the frame. The decor of the sigidek was unique and original - cells, which consists of narrow laces sewn closely, row by row, with a seam “over the edge” (in fact, this seam is called “cheek” in Khakass), woven on the hands from colored silk. They did it in the following way: two or three threads of the same color were first twisted, then narrow laces were woven from them, like braids, in three rows, which were sewn onto fabric, usually on black velvet, always with two laces of the same color side by side. Rows of woven laces are arranged in the order of the colors of the rainbow; there may be variations in different cells.

In addition to the neck, the sigidek was also decorated with a fringe of silk tassels, silk thread ties at the collar, expensive buttons and silk embroidery along the seam line connecting the top to the bottom. Sometimes the mesh was replaced with trim made of braid or braid, or in addition to the mesh, a pattern was embroidered on the back.

These days you can see sigidek only in the local history museums of Krasnoyarsk, Abakan and Minusinsk. It is extremely rare in Khakass families (Fig. 198).

198. Women's sleeveless vest. Silk, corduroy, silk threads. Seam "checks". End of the 19th century KKKM

Khakass headdresses, both men's and women's, were almost the same shape until the mid-19th century. They were sewn from sheepskin or lambskin with a wide band and a pointed crown. In cold weather, a piece of sheepskin in the form of earflaps was sewn onto such hats. The old one was peculiar women's hat with a fur band and a long hanging crown made of fabric embroidered with patterns. Such hats were most often worn by married women.

But Khakass women, both in the past and in the present, are more willing to wear a scarf made of woolen fabric (like Pavlovian, printed scarves) on their heads, which they tie very skillfully.

Khakass mittens, both men's and women's, have same shape and differ only in size. Winter mittens sewn from white or black sheepskin with fabric trim. The finishing was usually made of two narrow strips - dark and light corduroy, silk, brocade, wool, satin, chintz (Fig. 199). Often the mittens were lined with fur. Back side the mittens were decorated with embroidery. Making mittens and decorating them with embroidery is the most common type at present. folk art in Khakass uluses and villages, in urban-type settlements. The embroidery designs are varied, and none of them are identical or repeated (color illustrations 113, 114).

The Khakass's shoes were unique. Men and women wore shoes of the same cut and made them themselves from leather. These shoes did not have heels. The boot was tied with straps under the knees. Residents of the subtaiga regions often made shoe tops from canvas.

Male winter shoes sewn from deer, horse and goat (wild goat) kamus. Camus shoes were soft and warm, and also very comfortable for walking. Women's winter shoes were made from sheepskin or goat skin with the wool inside. The backs, soles, and fronts of such shoes were covered with leather. Often women's shoes decorated with embroidery (Fig. 200).

Shoes of this type can often be found in the subtaiga regions of Khakassia.

Source: Aeva E. Khoozychakh: Syrlachan album. Coloring album based on Khakass folk ornaments / Elizaveta Aeva. - Abakan: Khakass Book Publishing House, 1993. - 16 p.

Embroidery for cuff

Round box

Doll carpet

Fabric bag

Embroidered bib

Shoulder embroidery

Mitten

Casket

Khakassian ornament

From the legacy of N.N. Nagorskaya. 1932

Ornament (pattern) is a manifestation of original folk art, reflecting its tastes, degree of culture and influence of other cultures.
The way a Khakass woman shows her inclination towards the decorative and picturesque is mainly through embroidery (chek or khostan). This art is accessible, thanks to the simplicity of the technique, to almost every woman who can hold a needle in her hands and distinguish the colors of silk threads.
The objects of decoration with embroidery are: shoulders (igben) and cuffs (mushkam) women's dresses, cuffs and backs of coats (sikpenov), backs of sleeveless vests (segedek), tobacco pouches (nanjakh) and the sides of wedding pillows (frequent), mittens (meli) and the front of shoes (maymakh-basm). Used to be embroidered side pockets on men's wide corduroy pants, but I never saw them again, they had faded.
The method of applying a design to the material is using stencils, patterns on paper (in former time from birch bark), which are stored for this occasion. They are placed on the material and circled with a piece of soap.
An indicator of the deep traditionality of this art: often a woman, looking at a pattern sketched for memory on a sheet of paper, draws it directly by hand on the material with a sharp piece of soap.
A good embroiderer sometimes, while talking, uses scissors to cut patterns from doubled or quadrupled pieces of paper.
Girls from the age of 12 learn to embroider according to their ability.
According to the technique of applying thread, embroidery stitches are of three types:
1. Contour embroidery with a chain stitch (chain stitch), outlining the contours of the ornament in one or several rows (in Khakass - yuusertken).
2. Embroidery filled with satin stitch - Toldyryn Hoston.
3. The outline is filled not with satin stitch, but with translucent wicker - orbe. This method is usually used to sew stitching areas on top machine seam(the backs of the segedeks, the first finger on the mitten).
The material is mainly threads of colored silk, bought in skeins at the market. In recent years, this silk is not always on sale and therefore is sometimes replaced by colored silk paper thread. The favorite background for embroidery is black velvet (for shoulders and cuffs) and black cloth (backs of sikpen and segedek).
Unfortunately, cooperation does not always take into account the needs of the local population when selecting goods, and therefore Khakass women complain that recent years they lack bright silks, black velvet and textiles with decorative large patterns of the “Asian” type, which we have in abundance in our city. But the shelves of the cooperative are full of urban fabrics, checkered, striped or with a pale “delicate” pattern, which are reluctant to buy. The shortage of silk threads is replenished by weekly bazaars in the village. Askiz, to which private traders, the so-called “speculators,” bring various small items.
Despite the lack of material, it cannot be said that Khakass embroidery is declining, that it has completely ceased to meet the concepts of beauty and decorativeness. Replacing an involuntarily embroidered velvet shoulder with a piece of colored satin or brocade, a Khakass woman still happily sits down to embroider as soon as the material falls into her hands.

Characteristics of the Kachin and Beltir ornaments.

What the Khakass ornament has in common is its floral character. More or less geometrization, coarseness or fragmentation of elements, but in both cases these are curly, twisting stems and flowers. The adaptability of an ornament to the shape of the area it fills is an indicator of its vitality, deep traditionality, and taste. Compositional processing of the same ornamental motif when filling areas of different shapes - oval, square, triangle (mitten, shoulder, front of a boot), makes it possible to trace its flexibility and adaptability - the property of any healthy folk art, without losing the sense of the material and connection with life.
Khakass ornamentation brings its own, richly advanced art, a sense of rhythm and picturesque decorativeness, which makes one immediately distinguish his samples from other numerous representatives of the Turkish group.
Without looking closely at the features that distinguish the Kachin ornament from the Beltir, we can make the following observations: in the Kachin ornament the plant stems are more geometric. In complex closed figures, bilateral symmetry along the vertical axis predominates, in longitudinal stripes sewing - pocket lining, back of segedek - the bends of the stems create a wavy line, an endless rhythmic row. A densely filled surface creates a patterned spot that almost completely repeats its shape. The desire for balance between the ornament and the background is achieved by almost equal areas occupied by both. It consists of many small elements (geometrized flowers, leaves, roots). Its details, in comparison with the Beltir one, seem to be shrunken forms of related flower branches. But the composition of a complex closed figure does not have a clearly defined top and bottom, and these branches somehow have no beginning and end, evenly covering the background plane with small round curls, flowers similar to leaves, and leaves similar to flowers. Separation from the common stem occurs individual parts, for example, the figure of a swastika on mittens, heart-shaped petals on a pouch, and the stem itself is sometimes torn into component parts - rhombuses, ovals and a circle.
The most common parts are the following shapes:
1. Three-petal flower, shown in profile.
2. Leaf with a heart.
3. Curl, bud or bud.
4. Roots (three-, four- and five-petalled).
The shapes outlined by the vestibule are filled entirely with color (satin satin).
The ornament of Beltir embroidery also belongs to the plant type, but retains a more naturalistic form. Bilateral symmetry is found in constructions along the vertical axis, from which rather large flower branches bend to the right and left (see the picture of a boot toe, a fur coat cuff, a pocket). But symmetry is not always evident in every closed compositional figure. Asymmetrical compositions are found on pouches, mittens, the backs of segedeks and, especially, on the shoulder embroideries of dresses. Here is an extremely interesting resolution of the principles of symmetry: the axis is the human figure itself, in relation to which the right and left shoulders, asymmetrical individually, become symmetrical parts of the whole, viewed frontally. Sewing is not segedeke, running along the right and left sides of its back in wavy curves with a flower in each, symmetrical with respect to the imaginary axis of the middle vertical seam.
Compositionally, the ornament is thrown more freely onto the background and does not completely fill the area given to it, but it has more dynamics. The background is less fragmented and therefore retains more solid black fields. And the pattern itself consists of elements that are larger and smaller in number.
Among the details, which are quite monotonous, are the following:
The flower shown in plan has five or six petals, resembling a rose hip.
Stem, continuous, flexible, curling in waves.
The leaves are pointed, oblong, sometimes complicated by buds and curls tending towards a spiral.
In terms of color, in addition to filling the contours with a solid color, they often use the black background color as a color, enhancing its color value with a bright lining that closes it and separates it from the main background. See large patterns on the hems of fur coats, on the cuffs and cross stripes at the elbow on the sleeves of wedding fur coats.
Comparison of Kachin and Beltir ornaments sometimes evokes analogies different eras European art - Beltir is a kind of baroque, and Kachin is Slavic script.

Color distribution

Khakass embroidery is very colorful and bright.
An embroiderer, especially a Kachinka, tries to use the entire available multicolored set of colored silks, scattering them over the entire surface of the pattern, regardless of its shapes. Thus, separate element the ornament - some leaf, curl or flower - turns out to be fragmented in its color: partially filled with blue, orange, pink, which is why the entire embroidery shimmers in color and is joyfully motley.
The Beltir ornament, which is more prone to naturalism in design and in the use of color, exhibits the same property: they try to make the flower petals pink or crimson, the leaves green.
The presence of such rich artistic traditions in everyday life, as well as the promotion of Soviet power development national culture, allow you to raise questions about support and rational use this art, through the creation of artistic craft. It is necessary to use the technical skill of the Khakass woman and the presence of a still living and unique tradition in ornamentation. With proper instruction, organized Khakass embroiderers can provide beautiful pieces of embroidery for various purposes:
cuts for sofa cushions different forms(round, square, oblong).
cuts for wall hangings from different pieces.
stripes for finishing dresses of different widths.
blanks, embroidered for shoes, European cut.
Thus, the transfer of the occupation of artistic products for the needs of one’s family, onto the rails of an organized craft, can preserve and give a new impetus, thanks to the economic base, to the development of folk art.
This will increase the material well-being of the population and give women independent income, which will contribute to her emancipation.
The organization of fishing will have a cultural impact on the population. Cooperation, artel and production associations will be conductors of the ideas of collectivization.
You can achieve penetration into everyday life, on a social scale, artistic products our nationalities, and also, having developed an assortment that meets the needs of the foreign market, include it in our exports.

In art history, an ornament is a pattern consisting of rhythmically ordered elements. This is repetition, alternation, variation of the same images. B. Engross writes: “Ornament arose from a three-dimensional pattern. From the image that reflected real things, minor strokes, features, and insignificant details were gradually discarded. Only the most characteristic remained, but it also underwent changes: it was exaggerated. This is how an ornamental pattern was formed.” (Isenko S.A. About the colors and ornaments of Russian folk costume. // Folk art, 1995 No. 5, p. 18).

Ornamental art has its roots in ancient times; it preserves traces of the time when people spiritualized the surrounding nature. By placing images of the sun, the tree of life, and birds on their clothes and household items, as symbols of vitality, happiness, and fertility, the people believed that they would bring prosperity to the house. Thus, traditional patterns are closely related to the structure of the social environment of its creators and reflect ideas about the world around them.

“KHAKASS ORNAMENT is typologically rich. The variety of types and variants of Khakass patterns testify to the richness of traditions and originality of the subject world of folk art. The abundance of types of Khakass ornaments on metal jewelry, wooden objects, V Khakassian costume indicates that the Khakass have been familiar with pattern making since ancient times and have achieved great skill in this. Khakass patterns They are distinguished by their archaic forms, originality and vibrant artistic style. Characteristic feature Khakass ornament is its inclusion in the costume ensemble. Artistic ornamentation has reached significant development among the Khakassians. The craftsmen and craftswomen had high technical and technological knowledge for that time and conditions. A comparative study of pattern-making traditions in Khakass ornament reveals traces of all past eras on the territory of the Sayan-Altai Highlands. The historical layers of Khakass ornament testify to how geometric, zoomorphic, plant, and cosmogonic motifs, accumulating, remained in the repertoire of ornamental art, changing more and more over time. This is explained by the fact that the ornamentation of the products was closely connected with the mythological and ritual system of life of the Khakass society. We can say that the Khakass ornament, having absorbed ancient artistic traditions, especially in embroidery, is a phenomenon of folk art, on a par with the heroic epic and throat singing. Khakassian ornament is one of the heights of Khakassian artistic culture.”(Source: Kidiekova I.K. KHAKASS ORNAMENT./ I.K. Kidiekova.// Encyclopedia of the Republic of Khakassia: in 2 volumes./ Chief editor. V.A. Kuzmin. - Krasnoyarsk: Polikor LLC, 2008 . - T. 2: O - Y. - 320 p.

Ornamentation folk clothes occupies a significant place among other types of arts and crafts. It shows the artistic talent of the people in a unique and original way.

What the Khakass ornament has in common is its floral character. More or less geometrization, coarseness or fragmentation of elements, but in both cases these are curly, twisting stems and flowers. The adaptability of an ornament to the shape of the area it fills is an indicator of its vitality, deep traditionality, and taste. Compositional processing of the same ornamental motif when filling areas of different shapes - oval, square, triangle (mitten, shoulder, front of a boot), makes it possible to trace its flexibility and adaptability - a property of any healthy folk art that has not lost the sense of the material and connection with life.

Khakass ornamentation brings into the general Turkish group of art its own richly developed art, a sense of rhythm and pictorial decorativeness, which makes one immediately distinguish its samples from other numerous representatives of the Turkish group.
The ornamentation of the elements of the Khakass folk costume is varied and none of them are equally repeated. The craftswoman was judged by the pattern and the skill of the embroidery. They could even tell in what area the product was made.

Thus, the southern steppe regions of Khakassia are characterized by a stylized, geometric pattern of the ornament, just as the Beltyr-Sagai one is realistic, along with geometric ones, plant forms are also characteristic. The ornamentation of the forms here is large, the silhouette of the stem, leaves, and flowers is clearly readable against the background of dark cloth.

In the north of Khakassia in the valley of the Iyusov rivers, the Kyzyl people are characterized by a special distinctive type of pattern. Large flower-shaped rosettes were embroidered in the center. This drawing carries the ancient symbolism of the sun - the main deity of many peoples of the world. Large sunny flowers are followed by bouquets of smaller flowers, the images of which are reminiscent of the amazing beauty of wildflowers, meadows and forests of Khakassia.

Motifs of Khakass folk ornaments used on clothing and household items

Embroidery for cuff

Cup

Vest

Mug

Tuesok

Mitten

Belt

Shoulder embroidery