Art: other arts; tdris. Art: other arts; tdris Udmurt patterns

zoomorphic motifs

Hunting and cattle breeding have played a leading role in the life of the Udmurt people since ancient times. That is why zoomorphic motifs in his patterns are more widely represented than cosmic and plant motifs.

One of the patterns belonging to this group is called "azen shin" or "azem shin puzhi". These names are metonyms and mean a bulging or inflamed eye. A later version of this pattern is "kyi sin puzhi" ("snake eye" pattern). The two names that preceded it are in all probability the result of an ancient taboo. The ornament itself actually reproduces the natural pattern on the surface of the snake skin.

The desire of the Udmurts to notice the beautiful in nature is evidenced by "ӝ aki puzhy" or "ӝ akyyo puzhi” (“ronzha” pattern). Northern Udmurts have adorned the front corner of the hut with ronzhi wings up to the present. The image of the ronji is often used in wedding and lyrical songs.

There are a number of patterns based on the motifs of individual parts of the bird's body: wings, feathers, etc.

A girl in folk Udmurt songs is often compared with a flying bird: “Foreheadӟ od, koshkod tyloburdopi syamen” (“You start up, you fly like a chick of a wild bird”). It is this meaning that is guessed in the principle of decorating a girl's wedding dress - a shirt - with a pattern "ӵö zh burd puzhy "- duck wings. The same pattern is used on the ears "kotyrmach" - girlish sleeve embroidery. The main pattern "kotyrmach" is made with the pattern "kureg pyd" - chicken legs.

Patterns are also knownӟ azeg pin" - goose teeth, "yus" - a swan and "yus belly" - a swan egg.

The birds whose names we have listed were considered sacred and were used as ritual food. Many ancient Udmurt female names are formed from the names of these birds. Some of them were associated with totemistic ideas and assumed the functions of the names of matriarchal tribal groups, while the patterns named by these "bird" names served as a kind of distinctive signs indicating the clan affiliation of one or another individual.

The same function, the function of a totem or tribal sign, along with a purely decorative one, was most likely performed by patterns that are an artistic processing of real images of birds of prey, for example, “dush puzha” (“hawk” pattern), so widely and vividly represented in Perm animal style. In ancient Udmurt anthroponymy, the names of birds of prey are known as male names. From this it can be assumed that the images of birds of prey became ornamental abstractions much later, after patriarchal relations were formed and established among the distant ancestors of the Udmurts.

Among the patterns on "bird" motifs, "atӵ y puzhy” (“nightingale” pattern). Unfortunately, it has not been possible to find out the time of its origin and everyday purpose. It is possible that it arose later than the previous ones.

Of the patterns, which are stylized images of domestic animals, the “valalo” pattern (horses) is of particular interest. It was connected, apparently, with the cult of the horse that existed for a long time and has a very ancient origin. This is evidenced by the strong stylization (geometric) and also by the fact that the pattern is a traditional decoration of a wedding scarf - “dyrkyshet”. "Dyrkyshet" was an obligatory accessory of the bride's wedding dress. It is shaped like a towel. The towel itself symbolizes the road. A towel-shaped wedding scarf with a “valo-valo” pattern apparently means a wish for a happy journey to the bride.

The pattern "takasyur" (ram's horns) is quite widespread. Its appearance, it seems to us, is caused by the role that this animal played in the material life and activities of the Udmurt worker.

At first glance, the appearance of the “osh kizyam puzhi” pattern (a wet track of a bull) seems very strange. The stylization of this unaesthetic fact is apparently caused by the same thing as the previous one. By the way, the bull was also considered the best sacrificial animal.

To this day, patterns resembling insects have survived, especially those that custom did not allow to be destroyed. Superstitious Udmurts treated, for example, cockroaches in this way. For, according to their ideas, the destruction of cockroaches could ignite a fire. We think that it was this meaning that was invested in the “torokan puzhi” (cockroach) pattern. The principle of its stylization is the same as that of the “valo-valo” pattern. In both cases, the legs are depicted as squares. The thoracan pattern is commonly used in embroidery.

We also registered the “karnan puzha” pattern. In Russian, its name means "dragonfly".

The pattern "zu puzha" (bristle) can be attributed to the same group. Its pattern is zigzag. This pattern is considered the simplest. From him, teenage girls began to learn to embroider. They decorated their breastplates. But this production, as a rule, had no practical application.

Anthropomorphic motives and reflection of social relations

In the works of previous researchers, almost nothing is said about the use of anthropomorphic motifs in Udmurt folk patterns. The author of these lines registered five variants of ornamental images of a person. It is very difficult to determine the time of their appearance in the Udmurt folk decorative art. However, such archeological data have been known for a long time. These include female clay figurines discovered at Shanying settlements of the 3rd-2nd centuries BC, which testify to the existence of a cult of a woman-mother, and figures of two men in military equipment carved on tombstones.

One of the anthropomorphic patterns of embroidery, which we recorded in the village of Bagrash-Bigra, Malopurginsky district, has much in common with the stylized humanized metal images of birds of prey, dating back in origin to the eras of the Ananysh and Pyanyobor archaeological cultures. In modern Udmurt fine art, such images are called "ady puzhy" (pattern "man").

In the Udmurt written monuments of the 18th century, the term “uar” is recorded, which corresponds to the Russian “slave”, “servant”. According to legend, such a nickname - a name in the distant past was borne by a captive foreigner with black curly hair who lived in one of the settlements of the present Alnash region. His name later became the family name of the Uvarovs. There is also another pronunciation of the word "uar" - "var". This form is now preserved in the names of the two villages of the same name Varavai in the Krasnogorsk and Yakshur-Bodyinsky districts and Varali in the Mozhginsky district.

The above examples allow us to understand the forgotten meaning of the small and gloomy, often black color, “war puzha” pattern. Among the large other patterns shimmering with all the colors of the rainbow around him, he is, as it were, emphatically alien, but by no means an unnecessary element.

Given the above, we can conclude that at one time "war puzhi" had a very definite social meaning: it was the sign of a slave. This meaning, after a corresponding change in the social structure of society, continued to exist due to the inertia of folk tradition and eventually acquired, so to speak, a purely artistic and aesthetic significance. Just like the famous Russian and Udmurt bast shoes, which have become souvenirs in our time.

From this group of patterns, the primary (utilitarian) purpose of the “calmez puzhy” pattern is relatively easier to reveal. The term "Kalmez" refers to the tribal association of Udmurts that existed before the formation of the Udmurt people, occupying the territory along the Kilmez River (Udmurt name Kalmez) and its tributaries.

Similar to the Russian "cross", this Udmurt pattern was originally, apparently, a generic sign - tamga. After the formation of the tribe, it became their tribal, and later the sign of the entire territorial-tribal association, headed by the Kalmez tribe. This union, which left numerous historical legends and traditions, could have arisen due to the territorial disputes that began between the Kalmezes and the ancient Mari tribes during the period when the Vyatka land was annexed to the great Moscow principality. The name "kalnez puzhi" was preserved among the southern Udmurts. In the north of Udmurtia, where the descendants of the Vatka tribe have lived for centuries, this pattern is called “kechat puzhi” (cross) or “kiros puzhi” (cross). The latter name is the Udmurt form of the Russian term "cross".

Household items motifs

One of the patterns included in this group is called "tereg puzhy". Tereg is the simplest type of bird. The pattern is his stylized image. It is found only on women's elegant clothes.

The pattern "chag vozyon" (svetets) adorns a white canvas upper women's dress, which was worn during family and family-clan ritual ceremonies. It is embroidered on the hem of the dress and on the “chag vozyon kabachi” - on the bib. A breastplate decorated with this pattern, in primitive times, was obviously an obligatory attribute of the keeper of the communal hearth.

On the women's breastplate there is a pattern "zamoko" (lock). Its utilitarian purpose was the same as the “gad kotyrtem” pattern once had.

The “kyryzh tysh” pattern (trodden heels) is more common on the clothes of older women and, as far as you can guess, indicates the age and the position that the owner of this clothes occupies in the family and society.

Patterns named after the material of embroidery and technique

This group of patterns is a phenomenon of later eras. The names were given to them according to the technique of their execution after the patterns, having lost their utilitarian purpose, began to perform purely aesthetic functions.

One of these patterns was made with gold threads. That's why it was called "zarni puzhi". They were decorated with a festive men's shirt and a wedding shortderem (white canvas women's shirt, dress).

Patterns were embroidered with gold threads on “kabachi” (bib), “yyr kerttet” (browplate), “kuin serego” (triangular scarf) and “derem shal” (dress hem). However, in these cases, the ornament changed, and they were not called “zarni puzhi”.

Natalia Suvorova
Summary of the GCD on the decorative application "Decorate the towel" using ICT (Udmurt folk ornament)

Synopsis of GCD on OO"Artistic and aesthetic development"

in the middle group

Topic: decorative appliqué« Decorate the towel» With using ICT

(Udmurt folk ornament)

Target: Generate interest in Udmurt applied arts, the desire to know and use oral folk art in life.

Tasks:

Educational:

Improve the ability to create from squares of different sizes and

color patterned element on a rectangular blank;

To consolidate the ability to cut out squares, commensurate with their size.

Educational:

Develop hand skills, sense of form, eye and color perception.

Educational:

Cultivate interest in composing elements Udmurt ornaments.

Integrated educational areas:

Cognitive development, Social and communicative development, Artistic and aesthetic development.

Activities:

gaming

Cognitive

Productive

Materials for the lesson:

Products people of Udmurtia;

Samples towels;

multimedia device, laptop;

Presentation;

Three stripes papers of different colors;

Rectangular, white sheet of paper;

Brushes for glue;

Napkins;

Scissors.

Forms of work: conversation, questions, children's answers, showing how to work with using ICT.

Lesson progress:

The session takes place in a group decorated with towels with Udmurt national patterns. Sounds like udmurt music. Children enter the group, they are met by Apai Natallya in Udmurt costume.

Apay Natallya: Zechbures, pinalios? Hello children!

Children (pinales): Zechbures! Hello.

Apay Natallya: Good morning, I say to everyone,

Good morning, I give people

And good people smile

It is evident that they love kind words.

What kind, magic words do you know?

I think we will say such words to each other more often. Today we will

continue to teach the ears to listen carefully, the tongue to work and correctly

to speak, and wise little heads to think and we will learn a lot of new things.

Guys, what country do we live in?

Children: AT Udmurtia. (slide2)

Apay Natallya: People of what nationality live in Udmurtia?

Children: Udmurts, Russians, Tatars, Besermens. (show on slide 3)

Apay Natallya: People of different nationalities live in our republic, each people wears his national dress, each people have craftsmen. (slide 4)

Apay Natallya: Today we will visit our museum Udmurt craftsmen. Created beautiful things folk craftsmen - Udmurts. Udmurt folk craftsmen embroidered and weaved towels. The ends of such towels were decorated with ornaments. See what elements it is made up of ornament? (slide 5)

Children: From squares.

Apay Natallya: What color are the squares, triangles.

Children: Red, blue, black.

caregiver: Items in ornament may repeat or alternate with each other in shape or color. Where there is a pattern on the towels? (display towels from the group)

Children: On the edge towels.

Apay Natallya: How located pattern on the towel?

Children: The squares are superimposed on each other.

Apay Natallya: On the towels are usually decorated only at the ends. Do you want to get to know craftsmen of the people of Udmurtia?

Children: Yes

Apay Natallya: Let's all try together decorate towels with Udmurt folk ornaments and send them a package with a surprise - our towels.

Apay Natallya: Let's go to our workshop (to tables). Let's prepare our fingers for work, wake up our fingers.

Finger gymnastics.

Girls and boys are friends in our group

fingers are connected in a "lock"

We will make friends with you little fingers

rhythmic touch of the fingers of the same name of both hands

Our fingers are awake

Pulled up, pulled up

And shook.

Apay Natallya: Well done, now let's remember what elements the pattern consists of Udmurt people?

Children: From squares.

Apay Natallya: What do you have in the plates?

Children: Stripes of different colors.

Apay Natallya: Like from stripes get four squares?

Children: Must be folded stripe into four pieces and cut.

Apay Natallya: let's take stripe paper and fold it in half, again in half and cut at the fold, and so on stripes. What color squares are the largest in size? (slide 6)

Children: Large red squares.

Apay Natallya: Which squares are larger green or black?

Children: The green squares are larger than the black squares.

Apay Natallya: What is the smallest square?

Children: The smallest black square.

Apay Natallya: Applying a pattern to towels in the following order: on the largest red square we impose a green square with corners to the sides to the first figure, then we impose the smallest black square. Where located pattern on the towel? (slide 7)

Children: On the edge towels.

Apay Natallya: We start working with glue, you can glue differently: two of them are glued on the sides of the lower part of the silhouette, and the third is between them above, touching the bottom corners with the other two. (slide 8)

Apay Natallya: Whose work is ready to put on the easel. So, our work is ready. Guys whose towel did you like it better and why?

Children: I like it Anya's towel, Vani, because they performed neatly.

Apay Natallya: Let's put our works in a parcel. (Slide 9 - parcel with the postman Pechkin)

Apay Natallya: And also our people likes to play fun games. What kind Udmurt folk games you know?

Children: "Water"(Woo-murt, "Playing with a handkerchief" (Hat shudon) and etc.

Apay Natallya: Let's play a game.

The game is played with towel.

Is taken Udmurt towel as long as possible (for the convenience of the game) two people play at the same time. The course of the game is controlled by the teacher. Two children take towel from different ends and at the signal of the teacher, turning around its axis, they begin to wrap themselves in it. The game goes on until both children touch each other. The teacher marks a point on towel where they met. Then the children turn back towel and along the line of contact towel folds. The one with the longest edge wins.

Reflection:

What have you learned?

What are the new words?

What was difficult for you in doing your job?

What would you like to make or do with your own hands in the next lesson?

Apay Natallya: Today we have taken a few more steps in studying the history of our native land, culture and traditions Udmurt people.

Related publications:

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The Udmurts are a Finno-Ugric people. The main place of residence is the Udmurt Republic and neighboring regions. Like the Slavs and other peoples with an ancient culture and history, the Udmurts were pagans before baptism. Their paganism to some extent differed from the paganism of central Russia, but the main features of all primordial beliefs are similar. After the adoption of Christianity, paganism merged with the new religion, forming dual faith, where you can still trace the ancient beliefs and concepts that have survived to this day almost unchanged.

What does the paganism of the Udmurts look like? What is their worldview, what gods, spirits exist, and how do the Udmurts honor their deities? We will talk about this further.

The mythology of the Udmurts is equated with the mythology of other Finno-Ugric peoples. The Udmurts are characterized by dualistic cosmogonism, that is, the eternal confrontation between good and evil, light and darkness. Just like in many other pagan beliefs, the world is divided into three components: upper, middle and lower, or: the world of the Gods, the world of people and the world of spirits. There are some disagreements about the supreme deity, but still most researchers and the Udmurts themselves are inclined to believe that the main God of their ancestors was Inmar. According to another version, the main God was considered Kyldysin. According to dualistic philosophy, Inmar has an opponent, a representative of the dark power - Keremet, Keremet, Lud. Another very revered deity is considered Worshud. Vorshud is the God of the family, the God of the whole family, the helper, the keeper of the hearth.

In our time, it is Inmar who is considered the main God of the Udmurts. Inmar is somewhat similar to Slavic. Inmar is a non-personal deity, which often does not imply a personality, but symbolizes the universe and the sky. Like Svarog (svarga - sky), the name Inmara can be translated as - heavenly something. Inmar is also compared with the highest God of other peoples, who correlates with them both by the similarity of the name and by its characteristics: Ilma, Yuma (primal-Ugric deity) - God of the sky, air, Fin., Kar. Ilmarinen, Saami. Ilmaris, Komi Yong and others. The ideas about this deity are quite categorical: Inmar is a good God, the creator of heaven, earth, and people.

Kyldysin is one of the highest gods in the Udmurt pantheon. Kyldysin is the deity of fertility. He patronizes women, women in childbirth, the fertility of the earth, plants, animals, and so on. The importance of this god is difficult to overestimate for the peoples, life itself depended on the fertility of the soil, the offspring of livestock and poultry, the ability of women to give birth to children. Researchers suggest that "Kyldysin" comes from the ancient word - kyldis - creating, creating, fertilizing. The prefix "ying" probably comes from the ancient word - yin, which means female, mother, woman. It is not known for certain what place this God occupied in ancient times, but closer to the 20th century, scientists recorded his status next after Inmar. Sometimes Kyldysin performs an intermediary role between Inmar and people. Mu-Kylchin/Kylchin-mumy is considered the earthly counterpart of Kyldysin, lives inside the earth, is the patron of the earth and the feminine.

The largest amount of information is available about Vorshud (shud vordys). Vorshud or Vorshudy is the protector of people, the patron of the family, the giver of happiness. The cult of Vorshud is also referred to as the cult of ancestors. Vorshud lives in a vorshud box, which is available in every dwelling or sanctuary - kuala. Udmurts throw various sacrifices and offerings into the basket, for example: silver coins, squirrel skins, hazel grouse wings, pike jaw, black grouse feathers, ritual dishes, a piece of sacrificial bread, cereals, tree branches and more. In honor of Vorshud, prayers are held on a variety of days and holidays, whenever possible. Vorshud looks different, sometimes it is a spirit that has no image, sometimes it is depicted as a goose with a silver beak, a bull with golden horns, a humanoid image and others. Warshud also has many names. So, for example, researchers have already managed to find about 70 names of the same deity - the patron of the house, family and clan, among which, such as: Mozhga, Bigra, Blizzard, Kasya, Bonya, Vorcha, etc.

Among the northern Udmurts, one of the highest Gods is also considered: Kuaz, who is the patron of the atmosphere, weather and weather phenomena; Mudor - the patron of the tribal territory; Invu - God of heavenly waters, heavenly elements, rain.

Pantheon of pagan gods Udmurtov is quite extensive. Researchers count about 40 spirits and deities, as well as their strict hierarchy. Nyulesmurt (forest man) Ludmurt (field worker, meadow), Vumurt, Vupush (water) Tolperi (wind spirit), Kyl (evil spirit), Myzh (disease, spoilage), Cher (evil spirit of epidemic diseases), Korkamurt (Korka kuzyo) - brownie, Gidkuamurt (Gid kuzyo, gidmurt) - a manor or barn, Munchomurt (Muncho kuzyo) - bath man, By mums (mother of water), Pyzep mums, Chupchi mums (mothers of the Pyzep and Chupcha rivers), Vozho mums (mother of the summer and winter solstice) Muzem muma (mother of the earth), Puzhmer muma (mother of hoarfrost and wind); Ying Mumy (mother of the sky), Shundy Mumy (mother of the sun), Tolez Mumy (mother of the moon), Gudyri Mumy (mother of thunder), Invu Mumy (mother of heavenly water), Vukuzyo - water, Telkuze - goblin, Yagperi - the spirit of the forest, Kutets - an evil spirit that sends a disease, as well as many others.

The Udmurts developed pagan priesthood. It exists even today. The main representatives include: the priest - hanging, the caster - utis, the carver - brocade, the healer - tuno and toro. Toro is a person who is highly respected and is present at all ceremonies, holidays, rituals, sacrifices, and so on.

The main cultists among the Udmurts are the priest vӧsyas and utis. Vӧsyas is a person who prays. Usually chosen for 12 years or even for life. An interesting fact is that redheads are usually chosen as priests, as they are most beloved by the gods. The obligatory attributes of a priest are: a headdress and birch branches that descend from the shoulders. Birch and birch branches in Udmurt beliefs are given special attention. So, for example, everyone who turns to the Gods must hold in his hands or have a birch branch on himself. Uti - a person who conjures. The latter has assistants, each of which specializes in a certain action. One slaughters the sacrificial animal, the other watches over the sacrificial fire, and so on. Spells that are at the same time communication with the Gods, and a petition, and a magical ritual action are called kuriskons. In addition to the ministers of the pagan faith, there are also Tuno - powerful sorcerers, healers, shamans.

The priestly estate, in addition to all of the above, is divided into two more large and fundamental clans. Some pray to Inmar and do it only during the day, the second priests pray to his antipode Lud and do it only at night. These two clans are not at all at enmity, are not considered white and black, good and bad, and so on. The whole world, according to the pagan Udmurts, rests on both pillars equally and cannot exist one without the other. But still, representatives of the two priestly clans try not to intersect, and members of their clans never intermarry.

Udmurt temple you can call a special wooden house, which is called - Kuala. This is a ritual log building with a gable roof. Usually such a ritual house is located in the courtyard of the priest or in the forest. Here are the glorification of the Gods, the offering of sacrifices and other events on certain days. In addition to the sacred places of kuala, there are other sanctuaries, for example, where, according to tradition, the things of a deceased person are thrown away, where the rite of meeting spring is held, where a goose is sacrificed, as well as sacred groves (lud). The groves consist of trees considered sacred, which include such varieties as: birch, spruce, pine, mountain ash, alder.

In the paganism of the Udmurts, there are idols that depict gods and spirits. So researchers find the oldest idols that are made of wood and even silver.

It is also interesting how they imagined the world ancient Udmurts. The earth, according to the beliefs of this people, rests on the horns of a sacred underground bull. If the bull stands motionless, then peace and good weather reign in the world, if the bull begins to move its horns, shakes its head, then earthquakes and various cataclysms occur in the world. The bull itself stands on a huge fish that swims in the underground sea.

The Udmurt faith says that there is no heaven and hell (which the Slavic pagan faith tells us about). There is a world of people (Yav, the middle world), a world where the spirits or souls of the dead live (Nav, the lower world), as well as a world where the ruling Gods live (Rule, the upper world).

The paganism of the Udmurts is much more complete than the paganism of other peoples, and was subjected to destruction to a lesser extent. Attempts to introduce the new doctrine into pagan tribes began as early as the 13th century, but the first recorded fact of those being baptized occurred only in 1557. Then Ivan the Terrible granted privileges to 17 baptized Udmurt families. After that, everything seemed to calm down, and paganism returned to its place again. A new attempt to eradicate paganism was made in the 18th century. This time it became more successful, but such a late infusion of new teachings made it possible to preserve the paganism of the Udmurts almost in its original form. And until now, pagan rites are held in some villages, priests live, sanctuaries are erected, sacred groves are honored and sacrifices are made to the family spirits of the Vorshudams. Such an amazing phenomenon to some extent can shed light on forgotten traditions and our own paganism.

Municipal budgetary educational institution

"Pokrovsko-Urustamak secondary school"

Bavlinsky municipal district of the Republic of Tatarstan

Scientific and practical conference of schoolchildren

"The future starts today."

Research work

on this topic: "Symmetry in Udmurt ornaments" .

Performed:

8th grade student

Pronina Tatiana

Scientific adviser:

mathematic teacher

Bakhtiyarova M.A.

Introduction

Ornament. Art

Symmetry

Symmetry in Udmurt patterns

Udmurt weaving, costumes

Geometry in patterns. Color spectrum

Illustrations

Conclusion

Bibliography

Introduction.

In my research work, I will study Udmurt art, or rather Udmurt ornaments and traditions of the Udmurts.

The purpose of the research work: Study Udmurt ornaments and find out what geometric shapes are involved in their formation.

Udmurt women have always been famous for their unsurpassed art of patterned weaving and delicate artistic taste. They kept the ancient ways of dyeing yarn, owned various weaving techniques - brane, mortgage, multi-shaft. They even wove on 32 shafts, and this is the highest mathematics of weaving! It is impossible not to admire the folk Udmurt costume, which is rightly considered one of the most complex and colorful outfits of the Volga region. At first, the white-red-black combination of colors was traditional for the Udmurts, which was later reflected in the state symbols of the Udmurt Republic - the flag and coat of arms.

From this we can conclude that mathematics is always needed everywhere and in everything.

Ornament. Art.

Ornament is the most important section of applied art. This is an artistic decoration, a pattern characterized by rhythmic repetition and a symmetrical arrangement of the depicted elements. The motives of the ornament reflect original, national features, local features, artistic traditions, aesthetic tastes, the concept of the beauty of a particular people. The elements that form an ornament can more or less closely reproduce the surrounding reality - the flora and fauna of a given area, various objects, etc. But usually the motifs and images of the real world are subjected to decorative generalization, processing, stylization. For hundreds and thousands of years, along with the history and culture of peoples, the characteristic features of national ornaments, their main complexes, were formed and developed, by which one can immediately distinguish the ornament of one people from the ornament of another people. Ornament is one of the most ancient arts of the Udmurt people. The ornament in folk costume is the most original. The ornament of Udmurt embroidery is characterized by a small number of colors, the predominance of dark saturated tones. Most often used: red with black, black with silver. Among the southern Udmurts, more often than among the northern ones, embroidery became more polychrome; they introduced green, orange, and purple colors, which is seen as the influence of neighboring Turkic-speaking peoples. The names of ornamental motifs were associated with nature, animals, household items. The history of the Udmurt ornament goes back to the distant past, to the time of the origin of the people themselves.

The ancestors of the Udmurt people decorated pottery, household items, weapons with ornaments, applied ornaments to the metal decorations of a women's costume.

The Udmurt folk ornament combines original, inherent only in the Udmurt ornamental art, with elements of Ugric, Komi, Bulgar, Tatar, Bashkir and Russian ornaments.

Symmetry.

What is symmetry? Translated from the ancient Greek language, this is proportionality, immutability, correspondence. Speaking of symmetry, we often mean proportionality, orderliness, harmonious beauty in the arrangement of the elements of an object. Symmetry in geometry is the ability of figures to display, while maintaining properties and shape. In a broad sense, a figure F is symmetric if there is a linear transformation that takes this figure into itself. In a narrower sense, symmetry in mathematics is a mirror reflection relative to a straight line c on a plane or relative to a plane c in space. A transformation of space with respect to a plane c or a straight line c is considered symmetric if, in addition, each point M goes to the point M "so that the segment MM" is perpendicular to this plane or straight line and would divide it in half. In this case, the plane c is called the plane of symmetry, the straight line c is called the axis of symmetry. Geometric figures, such as regular polygons, can have several axes of symmetry, and the circle and the ball have an infinite number of such axes. The simplest types of spatial symmetry include:

mirror (generated by reflections);

central;

transfer symmetry.

Symmetry about an axis is called axial. It assumes that if a perpendicular is drawn through each point of the axis of symmetry, then on it you can always find 2 symmetrical points located at the same distance from the axis. In regular polygons, the axes of symmetry can be their diagonals or midlines. In the circle of the axis of symmetry - its diameters.

Symmetry about a point is called central. In this case, at an equal distance from the point on both sides there are other points, geometric shapes, straight or curved lines.

Hermann Weyl praised the role of symmetry in modern science:

"Symmetry, no matter how broadly or narrowly we understand this word, is an idea with which a person tried to explain and create order, beauty and perfection."

Rice. 1. A flat figure symmetrical with respect to the straight line AB; the point M is transformed into M' upon reflection (mirror) with respect to AB.

Rice. 2. Star-shaped regular polygon with symmetry of the eighth order about its center.

Symmetry in Udmurt patterns.

Most Udmurt patterns have both central and axial symmetry. Let's look at specific examples:

These patterns have a center of symmetry. Axial symmetry is also observed.

So, I gave four examples - these are the Udmurt patterns that are most often found among this people. These examples are enough to prove that central and axial symmetry often predominate in Udmurt patterns.

Udmurt weaving, costumes.

Costume:

In the decoration of household items, tools, dwellings, old traditional motifs, themes and techniques remained unchanged until the 19th century, and in the decoration of folk costume in the 17th century. there was a rapid process of replacing metal pendants, overlays with embroidery. Gradually, the obvious advantages of embroidery - a rich color scheme, wide visual possibilities, an easier way to finish a costume without acquiring expensive metal jewelry made it from the end of the 17th century. the main means of decorating the folk costume. Russian researchers of the 18th – 19th centuries, describing the life of the Udmurts, note the widespread use of embroidery as a costume decoration. A contemporary P.S. Pallas noted that the Udmurts “wear shirts embroidered on the collar and on the shoulders.” They say that the oldest embroideries were made with gold and silver thread (they were worn by the wealthy part of the population). But besides the costume, the Udmurt ornament was used to decorate dwellings, household items, and tools. Wood carving, ornamentation of birch bark and wooden utensils, and artistic production of wicker objects from bast, roots, birch bark and twigs were quite widespread.

Weaving:

Along with embroidery in the XIX century. to decorate the folk costume, artistic weaving (shaft, mortgage, broken and on planks), known to the Udmurts from ancient times, is widely used. The most widespread weaving technique(slide). It made it possible to expand and complicate the geometric pattern, to make the ornament more diverse, more artistic. Often the woven pattern was combined with embroidery. In this case, embroidery introduced some additional motif into the pattern of ornaments, enriching the overall compositional structure. In the Udmurt applied art, a prominent place is occupied by carpet weaving(slide). The basis of the carpet was usually made of black woolen threads, on which a geometric or floral ornament was executed with a colored, and often white woolen thread. Usually the pattern did not cover the entire surface of the base, but seemed to lie on it, this created a three-dimensional pattern. Carpets were also made with a continuous covering of the base. They looked more colorful and rich in color. Such carpets were sheathed with tassels. The technique of making carpets was similar to that of weaving.

An ancient and simpler way of artistic weaving among the Udmurts was weaving on the hands and on the boards of belts and ropes for bast shoes(slide).

In the complex of the Udmurt folk ornament, a special place is occupied by besermyansky ornament(slide). In the embroidery of the Besermians, there are such features that are not found in the embroidery of either the northern or southern Udmurts: fine technical execution, special emphasis on the contour of the ornament, juicy colors.

Geometry in patterns. Color spectrum.

Geometry:

The embroidery technique of this period has its own characteristic features that sharply distinguish it from later examples. This, first of all, refers to the presentation of the ornamental pattern.

The pattern of the ornament is a complete complex of symmetrically arranged and repeating geometric shapes - triangles, quadrangles, rhombuses, stars, etc. The most commonly used embroidery techniques are satin stitch, oblique stitch and stitch stitch. Narrow belts were woven with transverse and zigzag stripes or with images of rhombuses, rectangles, and crosses. The Besermyansky ornament is mainly geometric, consisting of broken lines, triangles, jagged stripes, rectangles, crosses, but plant motifs appear in it earlier. Widely used by the Udmurts and shaft technique of patterned weaving(slide). The ornament, executed by this technique, turns out to be linear. From intersecting more convex than the main surface, lines are formed of various sizes, rectangles, which, by their arrangement, create a pattern that is evenly repeating and smoothly transitioning from one to another. Mittens and stockings (women's and children's) were decorated with bright colored ornaments by the Udmurts. On a brown or white background, a white or colored pattern of six- and eight-pointed stars, rosettes, parallel straight and zigzag lines was knitted.

Color spectrum:

For embroidery of the XVIII century. specific color range. The main, dominant color of the ornament was red, and other colors - blue, blue, black, light green and yellow, used to create an ornamental pattern, only emphasized the red color, gave freshness and brightness to the entire pattern.

Conclusion.

In the costumes and various inventions of the southern and northern Udmurts, there are geometric figures such as a square, a rhombus, stars, intersecting and parallel lines. Both have different ornamental motifs for both Udmurts, as well as different color combinations. I found out that in the Udmurt ornament there are central and axial symmetries.

Modern patterned weaving and carpet weaving of the Udmurts develop in two forms. On the one hand, this is the traditional home weaving of the village, associated with the national way of life. On the other hand, these are art craft enterprises organized in the post-war period.

The bedspreads of the factory do not repeat the old patterns, but they are related to the folk patterned fabrics of the Udmurts by the principle of dividing the decorative plane and the joyful, usually bright, saturated color. It is taken in contrasting combinations: black with orange and yellow, red with white and blue. The texture of the bedspread is very diverse - a combination of a smooth plane with a relief structure of weaves. The cells were covered with large, more decorative ones, the border with abundant fringe plays an important role in the composition. Here you can clearly feel the connection with the folk multi-shaft Udmurt weaving. The wonderful traditions developed by the Udmurt craftswomen of the past should not be forgotten. Samples of patterned weaving, distinguished by their unique artistic originality, should serve as a source of inspiration for the masters of modern Udmurt decorative art.

textiles.

Bibliography.

1. K. Klimov. "Udmurt folk weaving". 1979

2. Udmurt Republican Museum of Local Lore. "Udmurt

folk ornament. 1964

3. Knyazeva T. "Monuments of the Fatherland". 1980

4. Molchanova E.N. "Udmurt folk costume", 2001

5. Mamontov A.V. "Italmas"

6. "State symbols of the Udmurt Republic", 1994

Yunusov Nikita

this report describes the types of ornaments, and you will also find a description of the Udmurt national ornament

Download:

Preview:

MKOU "Balezinsky boarding school"

School practice conference

Report on the topic:

Prepared by:

9th grade student Yunusov Nikita

Supervisor:

mathematics teacher Yakovleva M.V

Balezino village - 2016

Ornament is the most important section of applied art. This is an artistic decoration, a pattern characterized by rhythmic repetition and a symmetrical arrangement of the depicted elements. The motives of the ornament reflect original, national features, local features, artistic traditions, aesthetic tastes, the concept of the beauty of a particular people. The elements that form an ornament can more or less closely reproduce the surrounding reality - the flora and fauna of a given area, various objects, etc. But usually the motifs and images of the real world are subjected to decorative generalization, processing, stylization.

For hundreds and thousands of years, along with the history and culture of peoples, the characteristic features of national ornaments, their main complexes, were formed and developed, by which one can immediately distinguish the ornament of one people from the ornament of another people. At the same time, tribes, nationalities and nations lived in the distant past and do not live now in isolation from each other. Economic and cultural contacts between peoples leave a certain imprint on the culture of each people, enrich it. The borrowing of cultural values, including ornamental motifs and complexes, is not done by chance. The people select those elements that best suit their aesthetic tastes, complement and expand their own national motives.

Modern world culture is the owner of a huge heritage in the field of all types of fine arts. Studying the greatest monuments of architecture, painting, sculpture and decorative and applied art, one more area of ​​artistic creativity cannot be ignored. It's about decoration.

Ornament (Latin ornemantum - decoration) - a pattern based on the repetition and alternation of its constituent elements; designed to decorate various items. Ornament is one of the oldest types of human pictorial activity, which in the distant past carried a symbolic and magical meaning, symbolism. In those days, when a person switched to a settled way of life and began to make tools and household items. The desire to decorate your home is characteristic of a person of any era. And yet, in ancient applied art, the magical element prevailed over the aesthetic, acting as a talisman against the elements and evil forces. The purpose of the ornament was determined - to decorate. In folk art, since ancient times, stable principles and forms of ornamentation have been formed, which largely determine national artistic traditions.

There are four types of ornaments:

Floral ornament.The floral ornament is made up of stylized leaves, flowers, fruits, branches, etc.

zoomorphic ornament.The zoomorphic ornament includes stylized images of real or fantastic animals.

Anthropomorphic ornament.Anthropomorphic ornament uses male and female stylized figures or individual parts of the human body as motifs.

Geometric ornament.

To geometric include ornaments, the motifs of which consist of various geometric shapes, lines and their combinations.
Elements of geometric ornament: lines - straight lines, broken lines, curves; geometric shapes - triangles, squares, rectangles, circles, ellipses, as well as complex shapes obtained from combinations of simple shapes.

Many ethnographers have developed the belief that any geometric ornament originated through the consistent and gradual simplification of zoomorphic, realistic or stylized images. That the process is obligatory and constitutes one of the patterns of development of folk ornament.

Considering the Udmurt national costume, a geometric ornament is clearly traced.

Udmurt clothes were made of canvas, cloth and sheepskin, almost all were home-made. There are several options - northern, southern. The North Udmurt women's costume consisted of a white tunic-shaped linen shirt with a removable embroidered bib, a caftan or a linen white robe with a belt, an apron without a breast was worn over the shirt. The Russian north had a significant influence on the northern Udmurts. Festive clothes of northern Udmurts were made from bleached homespun cloth and decorated with embroidery.

The clothes of the South Udmurt women included a shirt, over which they put on a camisole sewn into the waist or a sleeveless jacket and an apron with a high chest, pants were worn under the shirt. Over these clothes, women wore woolen and half-woolen caftans and sheepskin coats. Shoes were woven bast shoes, shoes or felt boots. Girls' and women's hats - scarves, hats, headbands, etc. - were very diverse. They reflected age and marital status. There were numerous decorations made of beads, beads, coins, etc.

Men's clothing consisted of a tunic-shaped blouse with a low standing collar, worn with a woven or leather belt, and mottled trousers with a leather or woolen belt. Headwear was a felted hat or a sheepskin hat, and shoes - bast shoes, boots, felt boots. The men carried a leather bag with flint, tinder and other things. The upper men's clothing was a white canvas robe or a cloth zipun cut off at the waist, as well as a sheepskin coat.

Of the headdresses, the girls usually wore scarves and headbands (ukotug, tyatyak). The headband of women (yyrkerttet), in contrast to the girl's, was decorated along the lower edge with beads and coins. Headbands were worn in combination with a head towel (turban, yirkyshet), a cone-shaped headdress such as a kokoshnik (ayshon) and a coverlet (syulyk). The ends of a white linen or cotton turban were decorated with patterned weaving, embroidery, ribbons, frills from factory fabrics, lace.

The birch-bark base of the aishon was sheathed with canvas or kumach and decorated in front with coins, beads, beads. A syulyk was put on over the aishon. It was a white square canvas with an embroidered or applique pattern.

Men's clothing of the Udmurts practically did not differ from the clothes of Russian peasants: it was a shirt-kosovorotka, sewn from white canvas, later from small checkered homespun cloth, pants (erez) from striped homespun fabric of dark tones, in their cut close to factory trousers. An obligatory element of the men's suit was an apron with a chest made of white canvas, which was worn both on weekdays and on holidays. Belts played a large role in the men's suit: made of rawhide with a copper buckle, woven or woven home-made from multi-colored woolen threads.

Women wore metal bracelets (poskes) and wrists (suipos) on their hands. There were two types of poskes and suipos: wide, with colored stones inserted into them, and narrow, completely decorated with a notch from a floral ornament. Bracelets were also made from shells (yirpin) and large glass beads (kives) strung on a thread. Of the neck ornaments, the most widely used are kachek and lag, beads (chrytyves).

Udmurt women wore stockings (chugles), sewn from thick white or colored canvas, and also knitted from wool and tailor threads. Ties were attached to the stockings, with the help of which the stockings were tied under the knees.

Ornament is one of the ancient types of Udmurt folk art. The most original is the Udmurt traditional ornament in folk costume.

The ornament of Udmurt embroidery is characterized by a relatively small number of colors, the predominance of dark saturated tones.

Ornament compositions were usually composed of geometric figures: rhombuses, squares, triangles, straight and broken stripes, crosses, etc. The variety of their combinations with varying sizes and colors created an infinite number of patterns.
Favorite patterns were usually squares, triangles, rhombuses and stars. Many patterns had their own name: duck wings, chicken footprint... Favorite color in patterns - red combined with black and blue. Yellow and green colors are much less common. The Udmurt ornament reflects the ideas of the Udmurts about the world and its structure, dreams of harmony with nature.

The patterned weaving of the southern Udmurts is distinguished by a much greater multicolor and variety of ornamental motifs compared to the northern. Their patterns are very similar. However, in the southern ones, the geometric ornament is larger, the silhouettes of individual figures are simpler in contour, and the graphic clarity is weakened. Patterns look more picturesque and wider. Southern Udmurts are characterized by blue, yellow, red, orange colors.