In the open field, on the border of the Russian land, the heroes are closely watching - if the treacherous enemy is hiding somewhere and if the weak are offended somewhere. These are the three main characters of epic tales - Ilya Muromets, Alyosha Popovich and Dobrynya Nikitich

GENERAL CHARACTERISTICS OF THE PERIOD

In the VIII - IX centuries. East Slavs had their settlements along the waterway "from the Varangians to the Greeks" between the Baltic and Black Seas. Among them, the most developed culturally and economically were Novgorod, Smolensk, Kyiv, supporting trade with the Scandinavian countries in the north, with Greek cities, especially with Byzantium, in the south. In the X century. the first feudal state of the Slavs, Kievan Rus, reached a high economic, political and cultural upsurge, which was the birthplace of the culture of three fraternal peoples: Russian, Ukrainian and Belarusian.
In the XII century. largest cultural centers become the cities of northeastern Rus': Novgorod, Vladimir and Suzdal. However, in the XIII century. the high flowering of Russian culture was suspended by the Tatar-Mongol yoke. Since that time, progressive social aspirations have been aimed at uniting all Russian principalities in one state.
In 1380, Russian troops under the leadership of the Moscow prince Dmitry Donskoy defeated the Tatars on the Kulikovo field. During the XIV - XV centuries. Russian lands are united around Moscow, a centralized Muscovite state is being created. Socio-economic conditions are deeply reflected in art Ancient Rus', which is represented by the architecture, monumental painting(frescoes, mosaics), icon painting, artistic crafts. They were also reflected in the costume of this great historical period.

AESTHETIC IDEAL OF BEAUTY AND THE MAIN FEATURES OF THE COSTUME.

The appearance, the beauty of the ancient Russians always evoked enthusiastic responses from both Europeans and Asians. Ancient travelers, people of different tastes and ideas about beauty, describing the Russians, necessarily noted them high growth, special stateliness, white skin with a bright blush, beautiful blond hair.

Arab traveler of the 10th century. Ahmet Ibi-Fodlan, describing the Russian merchants who came to the king of the Khazars, notes: "They are like palm trees, ruddy, red." The famous Venetian Marco Polo in the XIII century. in his "Journey" writes about the inhabitants of a large northern country Russia: "They are very beautiful people, white, high. Their women are also white and tall with blond and long hair".
High criteria of beauty since ancient times determine the aesthetic folk ideal, which is told in epics and sung in songs. And among them, first of all, a tall, stately figure, a majestic posture, a white face with a bright blush, sable dark eyebrows, women have a smooth swan gait.
This attractive stateliness, proud posture, coloring helped to recreate the old Russian costume with its silhouette, the shape of the details, the decorative solution, the fabrics and decorations used, color combination. The most common features characteristic of the costume of this historical period include the following:

1) static, straight, extended downward silhouette of the product and sleeves;
2) the predominance of symmetrical compositions with the rhythm of rounded lines in details, decoration, additions. Even if there is asymmetry in the shape of the costume or the way it is worn (korzno, kosovorotka, feryaz), its composition is balanced, stable;
3) the use of decorative patterned fabrics with the effect of gold and silver, large complex ornaments; trim with embroidery, fur, fabric of a different color; creating a dynamic shape through contrasting colors.
4) the great importance of the headdress in solving the composition of the costume.

FABRICS AND COLORS.

Valuable archaeological finds, among which surviving fabric samples are very rare, as well as a description in the literature, allow us to judge the materials used in the clothes of Ancient Rus'. The most common fabrics were linen and wool, which could be High Quality(linen, fine cloth), and in the form of coarse canvas, sermyaga, Armenian. Ornamentation was carried out by coloring, embroidery, in more late periods- heel and motley (woven pattern of multi-colored yarn). Both the heel and the motley were usually a severe color with a blue-green, blue or cinnabar pattern.
Until the XVII - XVIII centuries. Russia did not have its own large-scale weaving industry, and high-grade fabrics were brought to Kievan Rus from Byzantium, Iran, China, from the East, to Novgorod and Pskov - from Italy and Spain, to Moscow Rus - from England and Holland. The general name for foreign precious fabrics - silk and brocade - canvases.
Of the color schemes, the most attractive were purple or crimson (shades of red), azure (blue-blue), green. Ornamentation with a clear and large pattern, using gold and silver threads, was predominant.
For ceremonial clothes, especially outerwear (fur coats, hats), velvet was used, woven with a large gold pattern on a gold silk base. In Muscovite Rus', satin, red, blue, purple with gold thread, was widely used for the manufacture of fur coats, caftans, letniks, and quilted jackets. Velvet and satin were brought from Turkey, Persia, Italy. In Rus', the fur of sable, marten, beaver, otter, fox, hare, squirrel, and sheepskin was widely used.

COSTUME X - XIII centuries. Kyiv, NOVGOROD.

MAIN FEATURES OF THE COSTUME.

The clothes of the ancient Slavs were influenced by the costume of the Scythians both in terms of assortment (shirt and pants), and in form and decorations used. Bracelets, beads, earrings, kolts (temporal pendants attached to a woman's headdress), hryvnias, thanks to the art of Slavic artisans, acquired an original form and were distinguished by highly artistic qualities.
In the middle of the ninth century with the adoption of Christianity in Rus', its ties with Byzantium became especially close. The Kiev prince and his retinue exchanged Byzantine fabrics, gold and silver items for Russian furs, wax, honey and other goods. Naturally, in the costume of the prince and his warriors, Byzantine forms were largely repeated, which on ancient Russian soil acquired an original character.
Frescoes from St. Sophia Cathedral in Kyiv, handwritten collections, the so-called “front books”, iconography give an idea of everyday clothes of Kievan Rus. Along with the saints, they depicted the prince and members of his family, townspeople and other everyday figures.

Men's suit

A colorful drawing from the manuscript "Izbornik Svyatoslav" of 1073 depicts the family of Prince Svyatoslav Yaroslavich. The prince is wearing a Kiev caftan, or retinue, of green color with a red border along the bottom and gold sleeves (the type of our cuffs). The same multi-colored caftans girded with a wide embroidered belt are worn by his sons. It was a laid on outerwear of various lengths (from the knees to the middle of the calves) with long narrow sewn-in sleeves and straight armholes. The caftan of the nobility was made of axamite, velvet, silk, with a pattern and rich embroidery; the caftan of the common people was made of coarse cloth. The prince is wearing a blue cloak over the caftan Korzno(clothes of the nobility), trimmed with a gold border, on a red lining. On his head is a round hat with a fur band and earmuffs, and on his feet are green morocco boots.
Caftans, korznos and grand ducal caps can be seen on the Novgorod icon of the 13th century depicting princes Boris and Gleb. Their korzno and caftans are reminiscent of Byzantine costumes.
Hats, starting from the 11th century, were an integral part of the Russian men's costume for both the nobility and the poor. The peasants wore round caps made of felt, coarse cloth with a narrow fur trim, wealthy people - made of fine cloth or velvet, nobility - velvet or brocade with decorations made of silver, gold, precious stones and with a fur band.
The basket, which is thrown over one shoulder and fastened with a fibula on the other, appeared as a result of the Roman-Byzantine influence and was typical only for the period of Kievan Rus. With the transfer of the socio-political life of Ancient Rus' to the north, to Novgorod and Vladimir, the korzno is replaced by the Novgorod fur coat - a swinging straight product with a turn-down collar and long sewn-in sleeves, which play a more decorative than functional role, since the fur coat was worn saddle. We see such fur coats on the icon "Praying Novgorodians" (XV century). Here, over green, lilac, blue, red caftans, Novgorodians are thrown over red, green, yellow, blue, lilac fur coats on bright and contrasting color linings. The coat collars are red.

The underwear of the nobility and the main one among the peasants from ancient times was a shirt and ports. Peasant shirts were made of canvas, heels, and motley with lining on the chest and back, which was sewn on with red threads. The one-piece sleeve for freedom of movement had a red fabric gusset. Shirts of the nobility made of thin linen were trimmed with red taffeta along the bottom, buttons were covered with it and all seams were edged. Such a shirt is one of the oldest and most interesting examples of combining constructive and decorative lines in clothing. Since the fabric was narrow (from 30 to 60 cm), the shirt was cut out of several parts. All seams were emphasized decoratively. Together with other types of decoration, they formed a single artistic whole. The shirt was worn loose and girded with a narrow belt or colored cord. IN special occasions cuffs and detachable round collars-necklaces, richly embroidered with pearls and precious stones, were worn to the shirt. The color of the main fabric was varied, but always bright.
Ports, or pants, were made from canvas. They were narrow trousers, narrowed down to the ankles, tied at the waist with a drawstring. Over them, wealthy people also wore upper silk or cloth pants, sometimes lined. At the bottom, the pants were tucked into boots made of colored leather or onuchi(pieces of fabric with which the legs were wrapped), and bast shoes were put on top, tied to the leg with special ties with frills.
Russian soldiers wore a short chain mail shirt with slits on the sides and short sleeves over ordinary clothes, and on their heads - sholom with a bar.
Men wore their hair cut in a circle, beard and mustache.

Woman suit

The costume of the women of Ancient Rus' basically had the same assortment, the same constructive and decorative solution as the men's costume. On the fresco of St. Sophia Cathedral (XI century), the wife and daughters of Yaroslav the Wise are depicted in richly ornamented Kyiv caftans, a basket with a wide border, and cone-shaped hats. Under hats or as an independent headdress, women of Ancient Rus' wore ubrus- a linen white or red scarf, folded in a triangle and pinned under the chin. The ends hanging down on a breast were richly embroidered. Peasant women covered their heads warrior(a type of cap), and the girls braided a braid low on the back of their heads.

The upper female caftan, unlike the male caftan, had wide sleeves, from which the decorated cuffs of the lower shirt could be seen. The women's shirt was long (to the feet). It was worn with a narrow belt, decorated with an ornament (usually along the bottom). The neck of the shirt was trimmed with a narrow border.
The range of women's clothing of this period also includes poneva- a skirt wrapped over a shirt on the damper, zapona- consignment note, not sewn on the sides, clothes made of canvas, which the girls wore over the shirt.
Women's shoes, like men's shoes, are represented among princes and boyars by soft boots without heels made of colored leather with embroidered toe and bottom parts, among peasants - bast shoes with onuchs.

COSTUME XV - XVII centuries. (MOSCOW).

A hundred years after the Battle of Kulikovo, Rus', united around the Moscow principality, refused to pay tribute to the Tatars, and the great-grandson of Dmitry Donskoy, Prince Ivan III of Moscow, declared himself the first Russian autocratic tsar. The growth of the Moscow principality coincided with the period Tatar-Mongol yoke when all the forces of the people were directed to the fight against the enslavers. During this period, a certain isolation of Rus' from the culture of the West affected, which was reflected in the forms of the costume. In addition, stagnation public life under the Tatars, the northern, more severe climatic conditions of Moscow contributed to the creation of heavier, longer and more voluminous clothes compared to the clothes of Kievan Rus.
The costume of Muscovite Rus can be judged from much more extensive sources than the costume of Kievan Rus. Icons, miniatures, emerging secular art were supplemented literary descriptions and drawings of foreign merchants, ambassadors, diplomats. In addition, the era of Muscovite Rus', as a period of prosperity national culture and art has always attracted attention talented artists and later writers. Carefully studying this era, they left us wonderful works with images of antiquity (Repin, Surikov, Vasnetsov, Golovin Bilibin, Ryabushkin, Korovin, A. Tolstoy and others).

The main features of the suit

The main features of the constructive and decorative solution of the costume of Moscow Rus', which distinguish it from the costume of the previous period, are the following:

1) a significant increase and diversity in the range and clothing of the nobility;
2) simultaneous wearing a large number clothes (up to 5 - 6).
3) an increase in the volume and length of clothing, a significant expansion of it at the bottom (up to 2 - 6 m).
4) further development decorativeness due to fabrics, embroidery, jewelry, decorative
cosmetics.

Characteristic of the clothing of this period is its sharp class differentiation, which is expressed in the use of fabrics, decorations, decorations, in the number of clothes worn at the same time, in the appearance in clothing of forms (for example, sleeves) that play a purely decorative role.
The development of urban crafts and the specialization that appeared in the production of clothing contributed to the diversity of the assortment of clothing types of decoration, the art of sewing. In scribe books of the 17th century. Shvets, fur coats, homesteaders, sleepers, caftans are mentioned. sarafanniks, shower warmers, hatters, cap-makers, mittens, pickpockets. Moreover, in large workshops at that time, a technical division of labor was observed even in the manufacture of the same type of clothing. So, on the miniature from the front chronicle 16th century "Sewing a caftan" it is shown that 11 people make a caftan: craftsmen, apprentices, students.
A similar consolidation and specialization was observed in the production of shoes. Shoemakers, shoemakers, soles, heels, bast shoes - the number of craft specialties compared to those that existed in Ancient Rus' has increased significantly.

Men's suit

The shirt and ports, which remained the basis of the costume of Moscow Rus', did not undergo significant changes. In the shirt, the neckline has moved from the middle to the left, a kosovorotka shirt appears. Its length has become shorter. Shirts of various purposes appeared, for example, maids' shirts that were worn in the upper room.

Worn over a shirt zipun- swing clothes of a semi-adjacent, extended downwards silhouette with a butt closure. Its length varied from the middle of the knees and above. The sleeve is narrow to the wrist. The armhole was straight, the sleeve did not have an eyelet. The decorative solution of the zipun focused mainly on the fastener line, a detachable collar "necklace", sleeves made of a different fabric, and an embroidered belt. Zipun was worn by boyars (as home clothes), townspeople, peasants - men and women. Accordingly, various fabrics were used: damask, taffeta, cloth.

The caftan, worn over the zipun, had several options that differed not only in decoration, but also in constructive solution. Some caftans (ordinary, home, day off) were of a straight silhouette, extended downwards and uncut along the waist line. Other ( Polish, Terlik) were of an adjacent silhouette with a cut-off waist line, with a wide pleated lower part. The length of the caftans varied from knees to ankles. For the decorative solution of caftans, expensive patterned fabrics, trimming with buttonholes (on the chest and along the side slits), metal, buttons (wooden, woven from a cord and pearls), a high richly embroidered trump collar, edging of the side, neck, bottom of the product and bottom of the sleeves were used. multi-colored with gold and silver braid or galloon. Boyars and nobles wore caftans made of silk, brocade, velvet, townspeople and peasants - made of cloth and cotton fabric with appropriate trim.

A typical men's clothing of this period was also a fur coat - a swinging product of a voluminous silhouette extended downwards with long wide sleeves and a turn-down fur collar. The top of the fur coat was usually covered with fabric (satin, brocade, velvet, cloth), the lining was sable, ermine, marten, fox, arctic fox, hare, squirrel, and sheepskin. The fur coat was fastened with cords. Sometimes the sleeves at the level of the elbow had a slit for threading the hands, while the remaining lower part of the sleeves hung freely. In harsh climatic conditions northern regions of Rus', all classes wore a fur coat. However, the boyars and nobles in some cases put on a fur coat in the summer and did not take it off even indoors as a sign of their dignity.
Costumes such as feryaz And ohaben, appeared in the clothes of nobles and boyars as an expression of their estate and property status. The shape of the details and the manner of wearing these types of caftan emphasized the complete inability of their owners to any kind of work. An expensive silk or velvet floor-length feryaz, lined with expensive fur, was worn only on the right sleeve, collecting its length in numerous assemblies. The left sleeve hung down to the floor. The outfit made of satin, velvet, brocade had a quadrangular folding collar that reached half of the back, and long narrow sleeves that were tied at the back, having no practical significance.
Single row- clothes without lining, sewn from one row of fabric - woolen or cotton - played the role of a raincoat in inclement weather.

The description of the costume of Prince Vyazemsky testifies to how colorful and decorative the Russian costume was: “The prince was wearing a white satin caftan. The pearl necklace of the shirt was visible from behind a low-cut collar. Pearl wrists were tightly pulled together at the tassels by the wide sleeves of a caftan, carelessly belted with a crimson silk sash with a gold fringe extended at both ends, with patterned gloves tucked up at the sides. Crimson velvet trousers were tucked into yellow morocco boots with silver braces on the heels, with tops embroidered with pearls and lowered in frequent folds to half the calves. Over the caftan was put on a silk, light golden fringe, buttoned on the chest with a double diamond cuff. The head of the prince was covered with a white brocade murmolka with a flexible diamond feather.
There are no significant changes in the form of hairstyles and headdresses, but just like in clothes, their assortment is increasing: murmolkas with lapels, boyar throated hats made of sable, martens with a velvet or brocade top, a small tafya embroidered with silk and jewelry, worn under top headdress.

Boots made of morocco and velvet served as footwear. Heels were attached to them with silver or iron staples, soles - with nails. The tops were cut off at an angle in front and lowered in folds to the middle of the calves.
A significant role in the costume was played by belts and sashes with which they girded a shirt, zipuns, and some types of caftans. In terms of material, decorations, shape and method of wearing, they were varied. They were made of leather, silk, brocade, velvet, simple rope.
They also embroidered with gold, pearls, precious stones, metal plaques, galloon. They were wide, draped or flat, narrow cord type. Jewelry and a small purse were often hung from the belts. kalitu. Due to the different manner of wearing, belts and sashes emphasized directly opposite qualities of the figure. Worn at waist level good fellows"and warriors, they emphasized the slenderness of the figure; lowered to the line of the hips with a large overlap of the upper part of the clothes, the belts accentuated the fullness, corpulence, highly valued in aesthetic ideas boyars.
In a cold climate, especially the northern regions of Rus', big role in a suit of all classes played mittens. In the clothes of boyars and nobles, they also had a decorative value. Made of leather, morocco, velvet, silk, woven and knitted, they were richly decorated with embroidery, fringe, hemstitch.

Woman suit

The women's costume of Muscovite Rus' was exceptionally colorful and picturesque. In its constructive solution, there were many common features With men's suit, although preference was given to a deaf overhead type of clothing. The constructive basis of women's clothing consisted of shelves and a back, cut from straight pieces of fabric, expanded from top to bottom due to wedges. The width of women's clothing at the bottom, like men's, could reach up to 6 m. The armhole line was straight, the sleeve had no fringe and could be shaped differently at the bottom in various types of clothing.

The lower (and for peasant women - and upper) clothing was still a shirt made of cotton or silk fabric, straight, gathered at the neck, with narrow long sleeves. Worn over a shirt sundress, which crept along the chest line and was more adjacent. It was sewn from canvas, silk or brocade. In the center of the front, a sundress was decorated with a vertical stripe with braids or a row of copper or tin buttons. He kept on narrow short shoulder straps and girdled under the chest.

Short top swing clothes was soul-warming, which, like a sundress, was held on shoulder straps. The shelves of the dushegrey were straight, the back was laid with tubular tucks, at the top it had a figured cutout with a cape, to which the straps were sewn. A soul warmer was worn over a sundress and a shirt, sewn from expensive patterned fabrics and trimmed along the edge with a decorative border. Being original national clothes, shower warmers often returned to fashion in later times. Artists XIX and XX centuries. women were often depicted in these picturesque colorful clothes.

Overhead clothing, worn mostly by wealthy women, was flyer- long clothes with long, very wide sleeves at the bottom, strongly splayed down. Main decoration the summer was located on the neck and shoulder girdle and at the bottom of the sleeves. Sleeves decorated lice- triangular pieces of satin or velvet, embroidered with gold, pearls, metal plaques, silk. The wide end of the seam was attached at the wrist, the sharp one hung down. The arms had to be kept bent at the elbow so that the lice did not wrinkle and were clearly visible. The same seams were sewn to the collar and lowered onto the chest.

The letnik was also decorated with a beaver necklace - a false round fur cape with a hidden clasp. Fur for such necklaces was usually dyed black to emphasize the whiteness and blush of the face. A type of letnik was a false fur coat, which differed from it in the cut of the sleeve. The sleeves of the coat were long and narrow. A cut was made along the armhole line for passing hands. Thus, the sleeves performed a purely decorative role.

Telogreya in silhouette, shape of details, fabrics, it resembled a fur coat, but was open-ended clothing with buttons or ties. Brocade, velvet, satin, fur were used for fur coats and quilted jackets. The top swing dress with a round button closure and a lapel collar is also outrageous.

Great importance in women's costume belonged to headdresses and decorative cosmetics. Girls wore loose hair or one braid, low braided with a lattice at the back of the head with woven ribbons, gold and pearl threads, fringe and a tassel at the end. A ribbon richly decorated in front was tied around the head. Sometimes the tape was glued to a hard pad, one of its edges was lifted up and cut out with teeth. This dress was called brow, or crown.

Cassocks descended from him along his cheeks, and on his forehead - lower- strands of pearls with pendants. Married women carefully covered their hair warrior from light silk or cotton fabric. A veil was put on top of it. A brow adorned with pearls was attached to a bright satin soft crown. This headgear was called kick. The ceremonial, richly decorated headdress on the frame was kokoshnik. In the cold season, women wore fur hats. throaty, or caps with a band.

It was considered indecent for a wealthy noblewoman or noblewoman to appear without a thick layer of white and rouge, thickly outlined eyebrows and eyelashes. The German historian Olearius, in his Journey to Muscovy, says that the Circassian noblewoman refused to whiten and blush, as she had a very beautiful natural complexion. The wives of other boyars were indignant at this and persuaded her not to neglect folk customs.
The most common costume decorations were necklaces in the form of richly embroidered standing and turn-down collars, earrings, rings, bracelets, and pins.

Women wore leather, morocco, velvet, satin boots and shoes. Until the 17th century shoes were flat, then high heels. Gloves were little used. Unique beauty ancient Russian women's costume, the search for a national image and its aesthetic comprehension we find in the works visual arts(Ryabushkin "Russian women XVII century”, “The family of a merchant of the 17th century”, “Moscow girl of the 17th century”, Surikov “Boyarynya Morozova”, “Morning of the Streltsy Execution”, Repin “Princess Sofya Alekseevna in the Povodevichy Convent in 1698” and many others) and fiction.

In the novel “Prince Silver”, A. K. Tolstoy describes the costume of Elena, the wife of the boyar Morozov: “She was wearing a blue axamite summer coat with yakhont buttons. Wide muslin sleeves, gathered into small folds, were intercepted above the elbow with diamond wrists or sleeves. The same earrings hung to the very shoulders, the head was covered with a kokoshnik with pearl slopes, and morocco boots shone with a gold stripe.

The costume of the king and the clergy.

The costume of the king and queen differed from the clothes of the nobility only on especially solemn occasions. Then it consisted of the royal paid- oar long clothes, very extended from top to bottom, with wide short sleeves. The butt fastener line, sides, bottom of the pay and the bottom of the sleeves were sheathed with a decorative strip. A round wide collar was worn on top - barms and a headdress - a cone-shaped crown with a fur band. The royal vestments are so picturesque, bright and rich that in the descriptions of foreigners they were compared with "the sun adorned with stars."
The clothes of the clergy did not differ in silhouette and cut from the secular ones. Its main types were cassock caftan type and upper cassock coat type. In winter, confessors wore a fur coat. The headdress was white or black (depending on the rank) cowl type of hood or soft hat. During the service, special vestments were put on everyday (walking) dress: surplice- a rectangular piece of fabric, not sewn on the sides, orarion- wide, with crosses, ribbon on the left shoulder to the waist, phelonion- a round cape with a cutout for the head.
Until the 15th century The clothes of the clergy were made of modest light-colored fabrics with red crosses. In the XVI - XVII centuries. confessors began to compete in the luxury of their clothes with the Moscow tsars and their court. The predominant colors were dark - brown, blue, black with gold and silver patterns.

Nov 06

Draw a Russian hero? Yes Easy!

For those who want to draw Russian heroes, this topic contains educational videos, drawings, coloring pages, as well as a description of the painting by V.M. Vasnetsov "Heroes"

V.M. Vasnetsov "Bogatyrs"

1881 Oil on canvas. 295 x 446 cm.

Tretyakov Gallery, Moscow, Russia

Description of the painting by Vasnetsov V.M. "Heroes"

Viktor Vasnetsov dedicated about 30 years of his life and work to painting, which later became his most recognizable work. Defenders and guards of the Russian people - "Heroes"- everyone knows them exactly as they appeared on the canvas of the great master of epic stories.

In the open field, on the border of the Russian land, the heroes are closely watching - if the treacherous enemy is hiding somewhere and if the weak are offended somewhere. These are the three main characters. epic tales- Ilya Muromets, Alyosha Popovich and Dobrynya Nikitich.

Ilya Muromets is depicted in the center. Mighty and strong, he examines his native expanses, looking for an enemy who is always ready to fight back. The hero is so strong that he does not seem to feel the weight of a forty-pound club hanging on a hand raised to his forehead. Remarkable strength surprisingly combined in it with the breadth of the soul and kindness open to people hearts. Ilya Muromets - real historical figure, and the tales of his unprecedented exploits are a true chronicle of life. Later, the hero became a monk of the Kiev-Pechersk Lavra, and now his name can be found among all the saints. Vasnetsov wrote to Ilya Muromets with simple peasant Ivan Petrov, a strong and tall man, kind and sincere - what was the hero himself.

On the right hand of Ilya Muromets, an educated and courageous Dobrynya Nikitich. He is always ready to protect his native land from the adversary - his sword is already half out of its sheath. Only he wears a golden cross. By this, Vasnetsov recalls that his Dobrynya is associated with the legendary voivode of the troops of Vladimir, the prince of Kyiv and the baptist of Rus'. The hero became for the artist the embodiment collective image the Vasnetsov family: himself, his father and uncle. It is no coincidence that researchers of the master's work noted the similarity of the appearance of Dobrynya and the artist.

The youngest is Alyosha Popovich. A brave and dexterous slender young man can overcome the enemy by force, cunning and even deceit. The prototype was the son of Savva Mamontov, who died at an early age. This cheerful and sociable man gave his mischievous temper to the young hero - the artist transferred these traits of his character to the picture.

Each of the heroes is ready to repel an enemy attack at any moment - Ilya Muromets firmly holds a spear, Dobrynya Nikitich holds a sword, and Alyosha Popovich has already put an arrow into his bow. The helmets on their heads are like domes Orthodox churches and act as a symbol of a just cause, blessed deeds for the benefit of the people.

Horses - to match the riders. Ilya's huge funnel can only be held by a metal chain. Powerful and strong, he complements the greatness of the image of his master, to whom he will be devoted to the end. Dobrynya has a proud, dignified horse, warning the rider about possible danger with an alarming neigh. And Alyosha's fiery horse is ready to rush into battle, seething with youthful enthusiasm and energy.

It was not for nothing that epic heroes joined forces. A storm is coming. Clouds driven from afar by a gusty wind, swaying herbs, fluttering manes of horses do not bode well. But the defenders are here, they are ready to face the enemy.

Collected video tutorials and coloring pages

Can it be easier to draw in cells?

You are not Michelangelo or Leonardo da Vinci, and you have never even taken drawing lessons, but circumstances have developed in such a way that you need to draw a human figure. And so that you are not trampled like Ostap Bender from the ship (that is, from work), because you do not know how draw a human figure, consider the basic principles of depicting a human figure.
All you need is a pen or pencil, paper, and no discernible artistic ability.

Ability to draw human figure helps a lot in the explanatory process, it has an auxiliary value. The figure of a person is sometimes needed to show a schematic picture of something. To do this, use the form graphic image human - human-schemes, skeletonized man, "stick-man" stick man. Such a scheme of a person is an extreme expression of external simplicity and, at the same time, synthesis. However, one should not be embarrassed by this simplicity, remembering that it has a great and, therefore, valuable expressiveness for us. And in those cases when the drawing person needs a figure of a person, it is necessary, throwing aside the so-called correctness of the drawing, to fully accentuate in the drawing the movement expressed by the figure.
However, the fact that the figure of a person is expressed by a diagram, a skeleton, sticks does not at all free us from knowing the basic position: the relative size of the human figure (or, in other words, the proportions of the parts). Here we must not allow gross errors in our wand-shaped little men. Violation of the proportions in the sticks will introduce a logical discord, which, of course, is completely undesirable.
The so-called "artistic canon" requires that the size of a person's head fit into the human figure 5.5-6 times (see the figure below, a unit of measure in this case is the head). We will draw it in the form of an oval. In the body, the head is deposited 2.5 times, in the legs - also 2.5 times, the lower leg and thigh are the same in size. We will adhere to this rule in all cases, no matter in what position a person is portrayed by us. The dimensions of the arms are as follows: the arm extended along the body should touch the middle of the thigh. The size of the foot (which is very important) is equal to the size of the head. This size should be estimated by eye until it starts to be obtained automatically by the drawer.
Here, in fact, everything you need to know in this regard.

Let us now turn to the study of human movements.

First of all, let's go back to the picture above and carefully study the drawings. Here human figure given from wand to greek warrior in full form. It is clear from the drawing how the human figure “dresses”.
Let's practice in the most elementary images of human movements: a person runs, jumps, falls, calls, pulls, carries weight, defends himself, attacks, sits, people carry, fight, storm, etc.

In our picture, the drawings are quite expressive, one has only to mentally “dress” each of stick man in the appropriate suit, and the goal will be achieved. The facial types and facial expression schemes are shown in the figure below.

It is also possible for a person who cannot draw by dressing the sketch man in one or another outfit.

Let's make a sketch of the boyar
1) Draw the head.
2) Since the legs of the figure in this case are covered with a long fur coat, there is no need to draw the torso and legs.
We just draw a sheer line from the head with a size of 5.5 goals.
3) We put on a long hat with a slight tilt back on the head, and put on the torso in a wide bell-shaped suit.
4) We draw one, left, hand lowered down.
5) In the fist of his right hand, the boyar holds a high staff. We draw a staff.
6) Slightly outline the tips of the boots from under the fur coat.
7) Finally, let's draw some details (the collar, the transverse stripes on the chest of the fur coat, conditionally - the fur trim of the lower part of the fur coat). The dressing of the figure of the boyar is completed.

You can share your work and post it in the comments to the article. To do this, you need to register on the site. You can also become our author

In the picture, draw a boat and boyars, as in Pushkin's fairy tales or about the scarlet flower.

There are boats on the blue sea. There are three boyars on the shore. From the bridge from the boat to the shore, the peasants are demolishing overseas goods. Drawing on the theme of trade in antiquity. Drawing of an ancient temple, drawing of a historical event, drawing of a portrait of a hero of a great historical battle.

Theme Battle of Borodino. Hussars at rest, a portrait of a hussar, a portrait of Kutuzov, a battle scene.

Drawing about the Great Patriotic War. Air battle. In the sky black from smoke - draw a gray background of the sky and curls, or shading over the entire selected area with black, smoke.

Two planes are flying towards each other.

Drawing a historical theme for school occupation is not an easy one. Mostly historical pictures with people come to mind. But if you don’t know how to draw people, and for example, you are great at drawing ships, trains, architectural structures, nature, then the picture on historical theme it will also turn out very good.

Pictures can be drawn on famous historical events and dates.

Or just draw a picture from the life of people of the past.

For example, a wooden church.

But this one struck me the most children's drawing on a historical topic.

1. Through the history of the Russian costume, show the life of a person, tell what role clothing played in it.

2. To teach by clothes to determine the era in which a person lived, his social status.

3. Introduce children to new words, with the names of the details of old Russian clothing.

4. To teach children to see history in the objects that surround us.

5. Develop creative thinking in oral work.

During the classes.

Stages:

I. Organizational moment.

II. Reviewing what was learned in the previous lesson.

In the previous lesson, we talked about clothes. Remind me why a person needs clothes? (Its purpose: not only warms, protects, decorates a person, but also shows his place in society.)

The task is the game “Dress the doll”.

Choose ancient Greek and ancient Roman clothes and dress paper doll. (Appendix 1 (pril1.zip))(Ancient Greece: tunic, himation. Ancient Rome: tunic, toga).

Why did the ancient Greeks have such revealing clothing? (Because warm, mild climate)

Could Roman clothing have taken root in other countries? In Europe? (Europe has a harsh climate and such clothing would be cold and uncomfortable)

III. Announcement of the topic and objectives of the lesson.

In Rus', the climate was also not hot - long winters and cool summers - another people lived with their own customs and traditions. Therefore, the clothes of the inhabitants of Ancient Rus' were completely different. And what it was like - we'll talk about this in today's lesson, its topic is: "How they dressed in Rus'." In the lesson, we will learn how the costume changed in different centuries. Let's see what role clothing played in the life of a Russian person.

IV. New material.

1. 1. “They meet by clothes ...” This well-known proverb came to us from the depths of centuries. A thousand years ago, it was enough for our ancestors to look at the clothes of a stranger once to understand what locality he is from, what kind of tribe he belongs to, whether he is married, whether he is married, whether he is rich or poor.

This made it possible to immediately decide how to behave with a stranger and what to expect from him.

2. And in ancient times, Russians called clothes - “clothes”. And the main garment was a Russian shirt. Ancestors believed that clothing is amulet. (the word "Charm" is put on the board) amulet means to protect. What does it protect from? From bad weather, shelters from the "evil eye", from the effects of evil forces. Therefore, all the vulnerable places of the human body were hidden: Ancient shirts were necessarily long - below the knee, had an almost closed collar, long sleeves to the wrists.

Everyone wore shirts: girls and boys, boys and girls, men and women, rich and poor.

2. Men's clothing 10th century

As the story progresses, the teacher puts the drawings on the blackboard in a certain order. (The design of the board is presented in Appendix 2).

<Рисунок 1>A peasant shirt was sewn from canvas. They wore it for graduation and girdled with a narrow belt or colored cord. It was both upper and lower clothing.

<Рисунок 2>Since the clothes were festive and everyday, they put on a shirt on special occasions. sleeves(all underlined words are put on the board) and detachable round collars.

Picture 1

Figure 2

Noble people put on another, upper, richer shirt over the lower one. Ports or pants were not wide, narrowed down, tied at the waist with a cord.

3. Women's clothing peasants.

Women also wore a shirt, but it was long, to the feet (like a dress) with long sleeves. The collar and the bottom of the sleeves were decorated with embroidery. The shirt was sewn from white linen or colored silk and worn with a belt.

<Рисунок 3>Worn over a shirt ponyuvu- a skirt consisting of 3 unsewn rectangular pieces of fabric, fastened to a strap. Poneva - meant a piece of cloth, a veil. She was shorter than a shirt, and in front her floors diverged. The fabric for the pony was colorful, with a checkered pattern (from the cells one could guess the village where the woman came from).

What were the peasants doing? They worked, and during work it was possible to tuck the corners of the poneva and put it in the belt so as not to interfere with movements.

<Рисунок 4>outerwear was zapon - overhead clothing, unstitched on the sides. The zapona was shorter than the shirt. It was worn with a belt and cut off at the bottom.

Figure 3

Figure 4

What were the shoes of the peasants?
What were the bast shoes made of? (from birch bark, from bast)

Birch bark - upper layer bark stripped from a birch. It was divided into strips and bast shoes were woven. (Showing bast shoes: sandals from aspen are light, from birch - yellow) But they took not only birch bark, but also linden, and aspen, and other trees. Weaved in different places different ways(with and without rim).

Bast shoes were fastened to the leg with long strings or ropes. They dressed not on a bare leg, but on onuchi- pieces of fabric up to two meters long.

Practical work: putting onuche and bast shoes on the student.

Story while dressing:

Onuchi were wrapped around the leg in a certain way, covering the bottom of the pants. Weaving bast shoes was considered an easy job, which men did literally in between times. But bast shoes did not last long. In winter, they were worn in 10 days, after a thaw - in 4, in the summer in the field - in 3 days. Going on a long journey, they took a lot of spare bast shoes with them on the road. There is a proverb: "To go on the road - weave five bast shoes."

And merchants and noble people wore boots.

5. Clothing of noble people.

<Рисунок 5>Rich, noble women put on clothes called retinue. She had wide sleeves. In cold weather they wore raincoats.

<Рисунок 6>Scientists learned from handwritten books about what clothes the prince had (the prince is the ruler of the region, the leader of the army).

The prince is wearing a green retinue with golden sleeves. blue cloak Korzno with a golden border (only princes wore such a cloak) on a beautiful lining. On the head is a round hat with fur. On her feet are green boots made of very soft leather.

Figure 5

Figure 6

6. Let's repeat, what was common in the clothes of peasants and rich, noble people? (Everyone wore shirts)

There were casual and festive shirts.

Everyday shirts were almost not decorated - only the seams and edges were sheathed with red thread to block the way for evil forces.

For weddings, religious and labor holidays, our ancestors wore richly embroidered shirts. And since it was believed that on holidays a person talks with God, then the shirt also, as it were, participated in this “conversation”, in its language ornament- a repeating pattern - all the requests and desires of a person were recorded. Women diligently covered the collar, cuffs, shirt hem and sleeves near the shoulders with a pattern.

Reading a table. (A symbol table is posted on the board)

For security purposes, amulets (figurines) were worn on a cord or on a belt. The horse is a symbol of goodness and happiness, the wisdom of the gods. Spoon - satiety and well-being. The key - helped to preserve and increase wealth. Amulets in the form of weapons were purely masculine.

Creative task - each student is given paper templates in the form of a shirt and red pencils.

Explanation of the task: imagine ourselves as craftswomen of that time and “embroider” a pattern on shirts, write down our requests with symbols. Think about what kind of shirt you will have: everyday or festive.

(After completing the task, several students show their work in front of the class and decipher the symbols).

7. XV - XVII centuries.

And now let's look at the XV-XVII centuries. and find out how the people of Muscovite Rus' dressed.

Men's clothing.

<Рисунок 7>men began to wear caftans. They were very different. Some are short, others are long, made of patterned expensive fabrics. Some were trimmed with buttonholes, metal and wooden buttons were sewn on. On others, the collar and bottom of the sleeves were beautifully embroidered with gold and silver.

<Рисунок 8>Fur coats were traditionally Russian clothing. She, as a valuable gift, was awarded for good service.

From above, the fur coats were covered with fabric, and the fur of sable, fox, arctic fox served as a lining. The fur coat was fastened with cords.

In Rus', the winter was cold and everyone wore a fur coat. And some boyars and nobles put on a fur coat in the summer and did not take it off even indoors, as a sign of their dignity.

Figure 7

Figure 8

8. Women's clothing.

<Рисунок 9>Wealthy women wear flyer- clothing extended downwards. A feature of the letnik was wide bell-shaped sleeves, sewn only to the elbow, then they hang freely to the waist. At the bottom they were embroidered with gold, pearls, silk.

<Рисунок 10>look at the picture and tell me what is the name of this clothes? (Sundress).

Figure 9

Figure 10

A sundress is a sleeveless dress worn over a long-sleeved shirt.

What do you think, whose clothes were the sundress, peasant women or rich women?

The fact is that the sundress, as scientists studying the history of the costume suggest, was at first the clothes of women from royal family and noble noblewomen. Only they were allowed to wear these outfits from expensive overseas fabrics - silk and velvet. Sundresses were richly decorated with embroidery and precious stones.

Turns on Russian folk melody. A woman in a Russian costume enters the class.

“But she herself is majestic, acts like a peahen.” And indeed, a woman in a sundress does not walk, but “acts”, majestically and smoothly.

Fizminutka. The game is a round dance for words:

“Like in our lesson, Red Russian sundress
Here is such a width, Here is such a knot,
Here is such a beauty. Sing along soon:
Sundress, sundress, red Russian sundress!”

A woman in a suit puts on a shower jacket. - Dressed over a sundress I warm my soul- (warms the soul) short, wide clothes.

9. Hats. Pay attention to the headdress of our Russian beauty. It's called kokoshnik- This is the dress of a married woman. It was the most elegant headdress, it was embroidered with pearls. <Рисунок 11>

Figure 11

In the cold season, women of all ages covered their heads with a warm scarf. Only he was tied not under the chin, as we are used to, but in other ways.

Practical work. In front of the class, six students are tied with scarves, each in a special way. Example

And what hairstyles were worn in Ancient Rus'?

Young girls wore their hair loose. But it is not convenient to work, wash, cook food with loose hair, so they tied it with a headband (show). They also braided their hair in a braid - certainly one - as a sign that while single - one). Only married women were allowed to weave two braids. They were wrapped around the head.

The girl's braid was considered a symbol of honor. To pull the scythe meant to offend.

10. XVII century. Let's travel to the 18th century.

In Russia, becoming Tsar Peter I changed a lot in the state, clothes also changed.

Peter forbade the boyars, all rich people to wear the old Russian costume and instead ordered the men to wear a short, tight caftan and camisole, long stockings and buckled shoes, a white wig or powdered hair and shave off beards.

<Рисунок 12>look at this and at the former costume of the boyars. They are completely different.

Imagine, now our president is issuing a decree that all men and boys wear skirts and dresses. And the girls were ordered to shave their heads. Would you like it? Even at that time, many people did not like Peter's decree.

<Рисунок 13>Women's costume was distinguished by splendor and wealth. Women wore dresses with a deep collar, such a collar was called - neckline. Dresses were fitted with a wide skirt. They wore corsages to be slimmer.

Be sure to wear a wig and high heels. Such clothes were supposed to be worn by people surrounding the king, and those who did not want to obey state decrees were forced by force, fined.

Everyone else was allowed to wear old boyar clothes, including a sundress. This is how the sundress became the favorite women's outfit of the common people. (The pattern of the sundress is outweighed)

Figure 12

Figure 13

V. Checking the assimilation of new material.

At the lesson, we looked at how the Russian costume changed over time.

Questions for children:

1. What is the purpose of the clothes of Ancient Rus'?

kept from the cold
Amulet - protected from dark forces
Decorated a person
Shows his place in society.

2. All details of the Russian costume are “talking”. What can they tell?

Rich or poor person
Distinguish a girl from married woman
Festive or everyday wear

Task 1: try to determine who is in front of you from the illustration. <Рисунок 14,15,16,17>

Task 2: From the illustrations on the board, choose the costume that you liked the most and name all the details of this costume.

Like everything in the world, "talking" clothes are born and die. And now we wear very different clothes from what we used to wear. But we can in our time see people dressed as a Russian folk costume. Where can we do it? (At national holidays, at concerts, at the cinema).

Some elements of the Russian folk costume are used in modern clothes. (In the summer we wear sundresses, we put on scarves, shawls, mittens, embroidery, etc.)