Indo-European ornamental complexes and their analogs in the cultures of Eurasia - страница 15

Vepsian ornaments

A. P. Kosmenko, speaking about the art of the Vepsians – settled in the north-eastern part of the Leningrad region, as well as in the north-west of the Vologda region, notes that at the end of the 19th and the beginning of the 20th century, patterned weaving among the Vepsians was significantly inferior to the art of embroidery. She connects this with the fact that the patterned fabrics among them, in contrast to the Russians, “functioned poorly as objects of decorative design of the dwelling”. Further, A. P. Kosmenko writes that: “Vepsians have just started to get acquainted with labor-consuming and difficult-to-make patterns in two-day weaving on a large number of boards at the turn of the 19th and 20th centuries… which was largely facilitated by red and white borders for decorative design of towels imported here from the Russians of the Vologda region, where this type of weaving was very developed”. Unlike Russian branched spacers, which had complex ornamental designs and high technique of execution, which testifies to the ancient tradition, the ornaments of Veps weaving items are simple, and the flooring of red threads forming patterns is not complicated, giving the impression of a factory product, like in Russians, but loose, which indicates a lack of technical development and the absence of deep traditions. A. P. Kosmenko notes that: “the red-and-white typesetting technique is not fixed in the weaving industry”, and further makes the following conclusion: “The Veps patterned weaving of the 19th and early 20th centuries does not apply such characteristics as"very developed”, types of decorative weaving prevail”, “more widespread than embroidery, or the same”. But all these characteristics exactly correspond to the level of development of typesetting weaving in the folk arts and crafts of the North Russian population in the late 19th and early 20th centuries.

In his other work devoted to the folk art of the Karelians, A. I. Kosmenko writes that, despite the very high level of development of typesetting weaving in them, there is reason to believe that this type of weaving “is not as ancient as, for example, certain types of Karelian The ways of its distribution, obviously, are connected with more southern territories. Typesetting weaving prevailed in the regions of the most intensive contacts with the neighboring Russian population, – in southern and central Karelia. And finally, the Album of Khanty Ornaments (Eastern Group), compiled by N. V. Lukina based on museum collections and field materials of the author, is of some interest. The album contains about 900 ornaments made on birch bark and using the technique of fur mosaic. N. V. Lukina notes that embroidery with threads on fabric is more characteristic of the southern Khanty and now it is rarely found on tobacco pouches, handbags and cult objects, “woven patterns are very rare – on belts and garters of shoes”. Among the 900 ornaments listed in the album, very few have analogues in the North Russian brane weaving. These are “sart-pyonk” (pike teeth) and “tegor-pel” (hare ears) carved on birch bark, as well as patterns consisting of hooks and swastika forms (p. 178 (2) 0, 182 (5), 183 (3a), 208 (1,2,3b), 213 (Ia), 224 (2,3) Thus, only a little more than ten of 900 traditional Khanty ornaments can be correlated with the North Russian ones, i.e. almost a little more than 1 percent.