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Main watershed of the northern and southern rivers of the Eastern Europe
Archaic motifs in North Russian folk embroidery and their parallels in ancient ornaments of Eurasian steep population
For some one hundred years now Russian folk embroideries have attracted closest notice. Towards the close of the 19th century several magnificent collections of such embroideries were assembled. Further, researches conducted by V. Stasov, S. Shakhovskaya, V. Sidamon-Eristova and N. Shabelskaya initiated the systematization and classification of the various types of ornamental designs in Russian folk embroidery. These same authors also made the first attempts to decipher the intricate narrative compositions so characteristic of folk tradition in Northern Russia.
The surging interest in the folk arts and crafts caused a series of notable studies to be devoted to analysis of the narrative and symbolical content, the specific techniques and the regional dissimilarities of Russian folk embroidery.
However, most authors concentrated on the anthropomorphic and zoomorphic representations and the archaic three-element compositions incorporating stylized and transmuted representations of, more often, female and, less often, male pre-Christian deities. It is this group of motifs that has always fascinated students. A somewhat specific group consists of the geometrized motifs of North Russian embroideries, which, as a rule, accompany the basic elaborated narrative compositions – although frequently such motifs are exclusive in the decoration of towels, sashes, skirt hems, and shirt and blouse sleeves and shoulder yokes, which explains their importance for art historians.
It should be noted that along with an analysis of the complex narrative designs, greatest note was paid by A. Ambroz in his well-known articles to the geometrical symbolism as archaic in Russian embroidery. Further, in her fundamental monograph published in 1978 G. Maslova extensively considered the evolution and transformation of geometrized ornamental motifs in terms of their historico-ethnographical parallels, which regrettably go no further back than the 10th-11th centuries.
B. Rybakov has always highlighted the archaic geometrized symbolism in Russian ornamental design. Thus, ever present in his writings of the 1960s and 1970s, 6 and, especially, in his 1981 treatise concerned with the paganism of the ancient Slavs is the point that the folk memory has preserved and carried through the ages in the ornamentation of embroidery, wood carving, and folk toys the profoundly ancient weltanschauungs rooted in the dust of the millennia.
Most fascinating in this respect are the collections of Northern Russia museums especially from places that had been populated by the Slavs in the 9th and 10th centuries prior to the Christianization of Russia. To all practical intents, there were no large ethnic units, there that spoke a different language, while the remoteness from the central states, the relatively peaceful existence (the North-Eastern part of Vologda Province was hardly ever ravaged by war), plus