Clothing of peoples living in Russia,had not only the most diverse forms of forms, but apart from its main purpose - purely utilitarian (protection from cold, from heat, rain, etc.) - it had its own ritual and symbolic functions. This is the Chuvash suit, which will be discussed in this article. It can be considered in three aspects according to the main features of ethnogroups: virial is the top (from the upper Volga), anatriznazovye, anatenchi - srednenizovoy Chuvash. Their costumes differ in tailoring, color preferences and ornamental character of ornaments.
Одежду чуваши изготавливали не только из покупных fabrics, but most often they were materials of leather, felt, homespun canvas cloth or cloth. Shoes were made of wood and bast. Canvases wove all the Deverene women from small to large, and not only Chuvash. For this, flax and hemp were grown, they were handled in rather laborious ways, then they were used for the production of linen.
Чувашский костюм, сшитый для праздников, довольно was very different from everyday clothes. Even the canvas itself was different: thin - for festive clothing, much rougher - for working trousers and shirts. Sheep's wool, spun thinly, was intended for wedding and festive caftans, and thicker yarns wove thick cloth for ordinary chapanas and caftans.
The nineteenth century left quite a few items,which at that time represented the Chuvash costume, many of them can now be seen in museums, admiring and admiring almost lost skills now. This garment is beautiful, even everyday paints (the one that has already been colored in one color). A pestryad makes us wonder at how inventive people were in the pursuit of beauty. Pestry was made from already stained yarn, and the patterns of the fabrics were very different, not just strips and cages. This Chuvash costume from the lower reaches of the Volga is so multicolored, and the upper and middle-sided Chuvashes preferred white canvases, but with abundant embroidery. Closer to the twentieth century, such a cloth was woven even from purchased threads. Fabrics factory were very expensive, but they also bought and used sparingly - for finishing.
Chuvash national costume under the influence oftime and various factors has changed quite a lot. This was influenced by the geographical environment, and traditional people's studies, the world outlook at different epochs of history. Of course, the division into upper and inner clothes remained unshakable, as it was dictated by the functionality of each wardrobe item. However, not everything is easy here. For example, the women's shirt was even differently crocheted in each of the three ethnic groups - anatri, anatenchi and tourists. And the set of items of the wardrobe, too, was different in each case. This is especially noticeable in the patterns of embroideries, compositions, manufacturing techniques. Yes, and they wore them in slightly different ways. Moreover, the Chuvash national costume differs not only by sex, but also by age. And, naturally, for the season.
Самые древние наряды, которыми можно полюбоваться in museums, are not too big age - they were worn at the end of the seventeenth century. Unfortunately, the earlier Chuvash folk costume for study is no longer available. What do we see in clothes a little over three hundred years ago? Almost all shirts are cut out in an old fashion - a tunic. This is the simplest and most economical way, when the canvas bends in the shoulders so that the back and front of the shirts are made from the same cloth. Further, the construction is constructed as follows: lateral wedges, a cutout for the gate, sleeves with a gusset (this is a wedge sewn by the armpit into the armhole for greater freedom in movements). Quite a complicated cut, by the way, for those times. In the variants, the Chuvash folk costume does not differ much: the cut-off or solid one, the collar shape (you can see both standing and turn-down, and complete absence of the collar), the coquette is the cutting edge in front.
In olden times, men's shirts at the Chuvashes from the upper reachesThe Volga was long and wide, right to the knees. They were also cut out in a tunic, and the thoracic incision was on the side - right or left. The collar did not have such a shirt.
Male Chuvash national costume is characteristicsmall, but important distinctive details. The thoracic section of the shirt was tied with braid, and embroidered around, and the richer it was, the more festive. The ends of the sleeves and hem were also decorated. Everyday clothes were often not decorated at all.
The costume of the Chuvash people was not intendedonly for work and holidays. For example, the white shirt of men was traditional and obligatory for everyone, since it was intended for pagan worship. Here, the differences were only as a canvas: the rich - thinner, the poor - more impoverished.
Shirts were worn under the waistband.It is interesting to observe how the cut was modified depending on the development of technological progress. As soon as wide purchasing fabrics appeared, the Chuvash men's suit acquired round armholes, lost gussets, a collar became mandatory. In the cool evenings in the summer, the Chuvash people flaunted in a light canvas snow white caftan and empty blue or black cloth. The smell was provided from right to left, often there was a fitted back with assemblies.
Festive shoots are richly decorated over the chest,The collar, the edge of each floor and the back - a triangle. In addition to embroidery, other techniques were also used - silk applications, for example. Sometimes the scooters were scraped outright, they were necessarily white, they had to be girded with very beautiful woven belts. Such in the old days were worn by priests on sacrifices. And then ordinary males began to wear it. Here was a Chuvash male suit, the photo can be seen below.
Chuvash men in the autumn wore long, lowerknees, caftans of thick cloth, which had a large turndown collar and flaps under the sash. In winter, large sheepskin coats appeared-yellow or black. They were very long, at the waist numerous assemblies or creases, and the fur trim was on the collar and on the sleeves. By the way, the more assemblies and folds, the fur coat was considered richer. And the best of them were hemmed over the sleeves, pockets, collar and the edges of the floor - most often black. On the rim there were stilts, morocco or a good expensive cloth. In the road, on top of a fur coat or a caftan, in case of bad weather, they put on a chapan, raincoat or epanchu made of very dense cloth, which were spun and straight to the ankles, with a huge collar and a very deep smell. They wore raincoats either unbuttoned, or under a sash.
The female costume looked a little different, althoughtype was the same. There were just more variations, and the character of the ornaments was radically different. Women from the upper Volga region had purely white fur-trees and black caftans, similar to a robe. And the grass-roots chuvashi wore cloth caftans, the fur boots were fastened to one hook at the waist. White color was generously decorated with colored stripes of fabric along the floors and on the collar, on the pockets. And they had much more embroidery on their winter clothes. Sleeves, pockets were cheerfully embroidered, also embroidered waistline was emphasized.
Чувашский женский костюм, который предназначался for weddings and holidays, especially richly decorated - here even a silver or gold galloon went into action. Shubore on the top and fully sleeves - from red satin, and the whole bottom - from black. On caftans for women of young age there passed especially soft and thin cloth - green or black, with fabric colored strips or with embroidery on the chest. Working clothes were shorter and more often dark brown. Lower-class chuvash people loved blue and black at holidays, and riding horses - white and yellow. Winter women's fur coats preferred to sew from black sheepskin, with numerous (up to ninety pieces!) Assemblies at the waist.
Embroidery in Chuvashes also differed ingeographic feature: the grass-roots loved polychrome, dense, and the top embroidered jewelry. The first in the patterns were dominated by embroidered medallions, diamond-shaped figures throughout the chest section of the shirt, and the latter decorated their outfit with removable shoulder pads made of richly and thinly embroidered ribbons. Rosette, rhombus, circle - in many peoples, these patterns symbolized the sun. Chuvashi also almost always used them.
Sleeves, back part and hem were decoratedThe crocheted strips of lace, inside of which was embroidered. Lace was also often sewn on the hem, and slightly overlapped on the fabric by an embroidered pattern. Ornaments were chosen geometric, in which one could observe the ancient idea of the picture of the world. Chuvash women's national costume is filled with symbols. A world tree, an eight-pointed star and many other images on old embroideries can tell a lot about the interrelations, borrowings and preferences of ancient peoples. Show how the Chuvash costume looked, photo. Female and male, of course, had differences.
Female festive look is very dressed.The underwear was ornamented much more modestly: two rhombuses or an inclined strip on the undershirt, rather, served as an amulet than an ornament, despite the fact that the complex of the Chuvash costume assumes it its main element. All the rest of the outfit was subordinated to her both by the color pattern and by the composition of the ornaments. Dress on top of the shirt was worn with an apron - brightly decorated with lace, stripe and embroidery.
Women at the party are smart - like dolls inChuvash suits. And each outfit is complemented by a patterned or embroidered belt. By the way, before they were tied at the same time for three: one on the dress, then the dressing, and the last - on the apron. And all are tied on their sides, dropping their long ends down, where they ended with colored pompoms. But in groups of anatenchi and anatri, women always wore only one belt. This is how their Chuvash national costume looked, the photo can be seen in the article.
The most basic kind of footwear for three, and even fourseason there were in both women and men ordinary bast shoes. Each nation had its own way of weaving this eco-friendly, comfortable and lightweight shoe. The Chuvashians wore male bast shoes from seven skins, where the head was relatively small, and the sides were rather low. But the women woven exquisitely and carefully. Strips of bast were made thinner, narrower, and therefore required a larger number of skins - they were nine or twelve. In addition, the riding chuvashi next to the head missed a thin rope, so it was easy to distinguish them from the male.
There are also women's bastards in the museum.whimsical weaving. They wore such shoes with black, densely wound onuchami, over which were wound two meter high fences, and with cloth stockings. It took a lot of skill to wrap them up, and weaving them with frills, it took quite a lot of time. Therefore, often worn with cloths cloth gaiters, wear them faster. And when winter came, it was impossible to do without felt boots. Although in ancient times, not all Chuvash could afford them. At the end of the nineteenth century, there was a tradition to present leather boots for a son, and daughters the same shoes. Chuvashki from the headwaters of the Volga were very fond of kodan boots, whose short and very solid tops were collected by an accordion. But such shoes were worn extremely rarely and extremely cherished.
In the old days all the hats of women of Chuvashiadivided into two groups - caps and bedspreads. The latter include a surpan (headband with a sling), a sling with a sling and a turban. All these things are for married women, including the bride's bedspread. Surpans were decorated in each group with their own specifics. The base Chuvash people wore a very long surpan — two and a half meters, which completely covered the head. The middle of it was made of white linen, and the endings are richly embroidered or decorated with patterned stripes, braids, ribbons, cloth or lace. The patterns on the surpans are basically geometric - in the form of squares, rhombuses, crosses. The surpan was fixed at the lower Chuvashians with a special headband.
In Chuvash Anatenchi Surpan was shorter, decorationsalso narrower - the same woven camouflage stripes, white lace and embroidery. But this headgear was worn differently, using the Masmak dressing. The upper Chuvash surpans were made almost short - up to one and a half meters, and their thin canvas was decorated with two-sided embroidery, the geometric pattern of which was placed in tiers. At the ends of the surpana there was a fringe and multi-colored beads. Headbands are very different in groups. Wide and with massive patterns in Anatenchi and Anatri, and narrow with small embroidered patterns in Viryal. Ornaments on masmaks included individual stylized images of leaves, trees, flowers, figures of birds, horses, dragons, sometimes you can see the whole picture of the creation of the world through the eyes of the ancients. It is in the decorations unique Chuvash costume. Coloring and ornaments are usually not repeated even in two equally cut clothes.
In the women's dress were present and hip, andbelt ornaments, embroidered with silk and woolen threads, beads, stripes, fringe. The latter exclusively enriched any fragment of the dress, since the whole costume was animated in motion. A Chuvashka national costume will not be complete without a beaded headdress, coins and small cowrie shells. In these jewelery, one can see the woman’s belonging, her age, and social status, all her notions about beauty, which her ancestors had been putting together for many centuries. There are clearly visible traces of people's worldview. The main function of jewelry until the very last time is their protective, magical purpose - to protect the owner from evil spirits and many dangers.
The most complete set of jewelry chuvashkiimpose on holidays and weddings. A wedding dress, for example, weighs along with decorations around a pood (sixteen kilograms). The technique of sewing beads in the old Chuvashia was simply brilliant: as a whole, the patterns on the girl's headdress (tukhya) looked like, where it was organically combined almost incompatible: beads, silver coins, precious metals and stones. No less interesting are the hats for women (hapsu). What else was heavy in a woman's suit? Yes, that's all: lapel outfits, neckline, a long embroidered sash, pendants on it, bracelets, rings, belt hangers, scoops, a purse on a belt, and a hanging mirror in a metal frame in the same ... It's hard to carry. But beautiful!
The groom was dressed for the wedding in a beautifully embroideredthe shirt that the bride had prepared for him, a woolen blue caftan with a sash, behind which there was a whip, boots, a soft hat and black gloves. The upper Chuvashs on the caftan put on a special bracelet - a net of beads, decorated with shells at the edges, and the gate of the caftan and its front edges were trimmed with a cloth. Both the groom and his boyfriends were gifted with embroidered towels to the bride, which they either tied around the waist or tossed over their shoulders.
The bride, as has been said, bore the pud.A richly embroidered shirt, a painted fur coat, a cloth holster, boots or leather boots with stockings, and the rest is jewelry. And her outfits during the wedding ceremony changed from girl to woman, but did not get any easier. Three more people were very beautiful at the wedding: the master of ceremonies (leader), the eldest friend and matchmaker.
The wedding gown of pals was reallyimpressive. The snow-white canvas, dyed on the principle of a swing coat, is long, straight, without clasps. White color was considered sacred, it was very reverently treated. But the caftan of the leader of the wedding has already been decorated to the maximum with embroideries and stripes of silk fabrics or ribbons. The matchmaker, over her richly embroidered caftan, wrapped her hands in a huge shawl — silk with patterns or simply embroidered with embroidery. This sign, which was understood by all, is her special position at this celebration. Vivid ornaments of wedding objects - blankets, shawls, the groom's dorsal attire, a special dance shawl, a beer cover for chyurias — all this added color and solemnity to the event.
Clothing for the Chuvash was not just protection fromweather phenomena. She could tell a lot about the person and the event in which he participates. Were visible and marital status, and age, and property status, and even the ritual purpose of this attire - it is wedding or prepared for religious rites. First of all, the significantness was manifested in ornaments and headdresses. Only married women could wear a surpan, huspu or masmak. The bride wore her first surpan according to a special rite. But the girls were wearing tukhyu, about which women could only nostalgically sigh sometimes. Only young women and girls could wear neck jewelery and ear pendants, as well as jewelery with ribbons. General ornaments from women and girls were, but these are isolated cases.
Chuvash folk tradition in dress is realtreasury of the richest spiritual and material culture of the distant centuries. The millennial traditions are concentrated in the temporal relations of peoples, tribes, cultures of different regions of Europe and Asia, and the folk costume helps to discover and trace these connections by borrowing and influences. It is clear that the entire Chuvash costume is connected much more with the agricultural, and not the nomadic way. It is a cultural monument, which was created in various historical circumstances, giving rise to and developing both cosmogonic ideas and purely aesthetic views according to the socio-economic, natural, cultural conditions that prevailed in this region.
The ancient structure of the Chuvash costume containsimagine all the cosmogonic worldviews, they reflect a model of the world with all the luminaries, otherworldly and local worlds. But social life developed, the worldview changed, the views expanded, which was the reason why it was impossible to recall the meaning of all the elements of the costume. Now all three types of Chuvash costumes are used in amateur activities, in national professional art, in stage and exhibition activities.
