Russian folk costume man's drawing in stages. Drawing in the preparatory group on the topic "A doll in a national costume": the specifics of the lesson. Exhibition of children's works

The development of specific features of folk costume is mainly influenced by climatic, socio-historical factors and national mentality... Also, a significant role in the formation of a particular stylistic image of a folk costume is played by the neighborhood and relationship with other ethnic groups and their cultural and everyday characteristics of life. In any case, national dress is a synthesis folk art... Drawing in stages would be a good way to remember its main features. After all, clothing is the face of an ethnic group, a mirror reflecting its life and beliefs.

In modern society, with an increase in interest in their culture, people strive to find out what Russian folk costumes are, how to draw them. To fully satisfy your interest, you need to master some theory of the origin of clothing. For example, you can consider a female one or draw it in stages with watercolors, thereby securing the presented image on paper.

The history of the emergence of Russian folk clothing

The history goes back many centuries. Statistical practically unchanged conditions of peasant life, climatic and natural environment life, religious environment and folk beliefs have formed a style of dress that is most adapted to hard work.

Many artists are wondering how to draw Russian folk costume... To do this, you should know its specific features. Firstly, such features are lightness, functionality, ease of dressing. Each type of activity has its own clothes - from underwear and kazakin to long-length sheepskin coat and army coat. The very activity of everyday activity set its own framework for cutting and sewing clothes - a wide wedge was inserted into the trousers, and diamond-shaped gussets were inserted into the armpits of the shirt. The clothes had a wide smell and were without buttons - they were tied with a sash, and any family member could at any time put on a zipun and a zipunnik or a sheepskin sheepskin coat on his shirt.

The design of a sundress, a shirt, a ponytail, an army jacket and a zipun practically did not require the use of scissors, and the surplus of material was extremely insignificant.

So how to draw, guided by the knowledge of his model range?

Russian national costumes for women and men

Russian folk costume varied in gender, age and territorial affiliation. You need to know this in order to imagine what Russian folk costumes look like, how to draw them.

Children's clothing repeated the cut and decoration of an adult, but was sewn in a smaller size and from a cheaper fabric. In the summer, children wore long shirts tied with belts.

To draw a Russian folk costume for men, it is useful to know that men's clothing was of the same type. Its complex included a shirt, a belt, ports, an upper and lower caftan, bast shoes or boots and a headdress.

Choosing the position of the suit, its features of cut and color

To draw a Russian folk costume step by step, it must be remembered that the costume of different segments of the population differed not only in the number of details, but also in the variety of materials, having the same cut of its individual parts.

So, a large number of draperies and folds create additional volume of clothing, giving it the illusion of layering. Therefore, the artist should avoid compositional congestion of the silhouette, and if this congestion still takes place for the cut of clothing, then it is necessary to minimize the number of folds.

Fabrics have always been dyed with vegetable dyes - the predominance of red is due to the presence of madder weed as a dye in every village, while green dyes were imported exclusively from China. It is important to voice this in order to show how to draw a Russian folk costume.

Mannequin line drawing

Before drawing a Russian folk costume in stages, it is necessary to determine the angle of the transmitted image and its technical and stylistic qualities.

For a more open "panoramic" view of clothing, it is recommended to depict it in a "three-quarter" turn, for the construction of which the suit will be rotated along the "y" axis of the ternary coordinate system, that is, rotated in relation to the observer by 95 degrees. This angle allows you to simultaneously show the object both in frontal view and in profile. You can copy the Russian folk costume (photo), it is quite simple to draw it.

From such an angle, as presented below, reliefs and decorations of such women's hats as a kichka or a kokoshnik will be perfectly visible.

Physiological features of the mannequin

So, the middle line of the mannequin's body will lie on the y-axis: it is worth depicting shoes along it - in women it is represented by shoes with low heels, boots or bast shoes, in men - boots or bast shoes.

Three lines are arbitrarily drawn: shoulders, chest and the pelvic girdle. Then two ovals are built along the limb belts - respectively, male and To draw a Russian folk costume in stages, it is necessary to supplement the female mannequin with one more line - at the level of the midline of the chest - it will indicate the angle of the female breast. Then all the girdles of the limbs and the line of the shoulders are connected by a body contour curved at an arbitrary waist.

Asking the question of how to draw a Russian folk costume step by step, it should be remembered that from the huge variety of women's clothing, two can be distinguished: South Russian and North Russian.

Therefore, in order to draw a Russian folk costume in stages, the territorial model of the costume is first selected: for the South Russian one - an embroidered shirt, an apron, a belt, a checkered poneva, a shortened shoulder shirt, a magpie headdress; for North Russian - a shirt, a long sundress, a belt, a shower jacket, a kokoshnik.

Practical ways of decorating Russian folk costumes

Since ancient times, Russians have used embroidery and patterned weaving to decorate clothes. Patterned weaving includes a three-dimensional pattern with a convex (mostly red) ornament, located in stripes across the cloth.

When using the patterned sewing technique, it is very difficult to convey the circular outlines of the pattern, therefore, the motifs of the ornament are geometrized and rectilinear, and the motif of the circle in sewing was transmitted using rhombuses or squares set at an angle. On the combined festive clothes, an ornament was made in the form of stitching, embroidery, sewn ribbons, small appliqués, located along the shoulder seams, background seams and the like, thus marking the constructive and functional elements. The ornament was used only small, geometric, less often plant. On underwear, the ornament performed primarily a protective function, built on popular superstitions, and covered the collar, sleeve cuffs and the hem of the shirt.

Drawing decorated parts of clothing

On both mannequins, a shirt with long, falling down sleeves is drawn in the shoulder area, the cuffs of which or the sleeves themselves are covered with a girdling pattern of red and white stripes. A similar pattern should cover the collar of the shirt - for women it is round or finely gathered, for men it is oblique.

At the level of the female chest, the bodice of a sundress is drawn, the straps of which, trimmed with yellow or red ornaments, are drawn to the shoulders. The bodice of a sundress goes around a rounded female breast, goes down to the very bottom in two lines. The hem of a sundress can be covered with horizontal or vertical patterns.

The men's shirt continues to the level of the waist, where it is intercepted by the circumference of the belt, and then it is drawn out. Its bottom edge is also covered with an ornament.

Below the line of the pelvic girdle, the pant legs of the ports are drawn, reaching the level of the ankles.

The shirt has White color, a sundress is often red, less often green or blue; ornament - red, green or yellow, less often blue. The men's ports were sewn from gray or dark brown cloth.

A kokoshnik drawn in the shape of a crescent, decorated with arbitrary combs and lines, a rounded or rectangular color pattern is perfect for a women's sundress. The patterns should always be small and located along the hem of the dress or shirt.

Blending light shadows

To draw a full-fledged Russian folk costume with a pencil, you need to impose a light shading of shadows. It will run along the edge of the shirt along the sleeves, in a single spot from the chest line to the middle of the pelvic girdle. It is recommended to put several folds along the sleeves and vertical planes - there the pattern will bend and a shadow will be superimposed.

The cage drawing should be applied to an already tinted plane with a hard pencil. In the planes close to the viewer, the drawing stands out with strokes of increased softness.

Painterly watercolor treatment

The color saturation of the paint on the brush must be checked on the plane of the white palette before each stroke. First, the required color segment is filled in, then a repeated tone is applied to emphasize the accents of perspective and color saturation of the image.

Most of them were made of shiny, smooth fabrics that acquire bright reflections in the sun. Therefore, it is recommended not to touch in advance the color of the surfaces that stand out in the sun, but to make the tone for them with a brush from paint by repeatedly washing it off.

V preparatory group preschoolers, as part of drawing classes, are offered such an interesting, albeit complex, topic like the image of a doll in national costume... In addition to the development of artistic skills, such work has a great educational and educational value- introduces children to the culture and life of the Russian people and thereby awakens patriotic feelings in them.

Aspects of drawing on the theme "Doll in Russian folk costume" in the senior group of the preschool educational institution

Preschoolers try to depict anthropomorphic objects from an early age. At first, these are primitive works according to the principle "Stick, stick, cucumber, so the little man came out!" However, in order for development to go further, systematic work of the educator in this direction is necessary. Learning the art of portrait painting is inextricably linked with the development of perception and imagination. The teacher must find techniques that arouse children's interest in portraying a person.

Of course, preschoolers are intimidated by the task of drawing a person, because they are afraid that they will not succeed. The task of the educator is to overcome this fear and replace it with an enjoyable creative process. It is ideal to start the image not with a human figure, but with something similar to it. So, in the middle link, the guys are happy to draw a nesting doll, a snowman. They know very well what parts these objects are made of and learn to portray a face. Further, it is proposed to draw a Snow Maiden in a wide fur coat and hands.

V senior group a detailed acquaintance with the portrait takes place, children learn the proportions of the face, ways of conveying the character and mood of a person. They paint themselves, parents, friends, fairy-tale characters.

In the preparatory group, the children improve their ability to depict anthropomorphic creatures from nature and from memory. Children 6-7 years old already notice well characteristics objects and objects and transfer them to artistic images... At this age, in a drawing lesson, preschoolers are offered such a difficult, but interesting topic like "A doll in a national costume." As a rule, this is drawing from life or based on illustrations. Note that the guys are not portraying a person, but a doll. This makes the work a little easier, since the proportions of the structure of the body and face will not be so strict here: for example, the head can be large, as well as the eyes, mouth, palms.

In conducting this lesson, the teacher should focus on examining the doll in appropriate clothing. The form of a sundress (if it is a Russian national costume), a shirt, a headdress, and shoes is discussed in detail. Also, the teacher focuses on the location of the arms, legs, head shape. The doll's head in the figure can be oval or round. To depict a face, children must visually (or simple pencil) divide it into three parts: forehead, eyes and nose, lips with a chin. The teacher can remind the children how eyes are drawn (depict them on the board), remind them that the nose can only be indicated by its tip (nostrils or a short dash).

Sometimes children are offered a schematic drawing of a doll: using a circle (head) and several lines (part of the body). Then this diagram is outlined by the missing elements, including clothing. Another option is to draw with ovals or arcs.

Phased image

In the preparatory group, it is especially important to give children the opportunity to show creative initiative, creative imagination, to encourage independent choice of color schemes for drawings. So, for example, the guys independently choose the color and nature of the pattern of the sundress of the Russian beauty, as well as her kokoshnik. Note that at this age, preschoolers already know a lot of shades, such as lemon, sand, light green, etc.

An important point of the lesson in the preparatory group is the analysis of the finished work. By looking at their drawings, children learn to see their strengths and weaknesses. Together with the teacher, the guys discuss what can be done better than complementing the composition.

Materials used and base

In the preparatory group, the range of materials with which children can work in the process is expanding. visual activity... Their combination in one drawing contributes to the creation of an expressive image. Since the image of a doll in a national costume requires detailed drawing, it is advisable to additionally use felt-tip pens or gel pens during the main work with paints (watercolors or gouache) or colored pencils. Using these tools, you can outline facial features or intricate patterns on a sundress and kokoshnik.

An object of the image, such as a doll, requires a preliminary sketch with a simple pencil. This is especially true when working with paints. As for the eraser, which is sometimes offered to preschoolers in the preparatory group, it is better not to give it, as often children use it irrationally and spoil the drawing.

As a basis for drawing a doll in a national costume, the teacher offers the children sheets of paper of a standard size. When painting with paints, they are pre-toned in pastel colors. By working with colored pencils, children can complete the composition with a suitable background.

Drawing techniques and techniques to be used when drawing a doll in a national costume in the preparatory group

In the preparatory group, the technique of the image is being improved even more. Hand movements become more free and precise, smooth and rhythmic.

A sketch with a simple pencil is done with rather quick movements of the hand, with a light unbreakable line (so that it is easy to correct inaccuracies). By the way, it will be helpful if the child completes a few trial sketches on a draft.

When drawing with a pencil, the guys exercise in a smooth rotation of the hand - this is necessary to depict rounded lines. Preschoolers learn to draw long lines without interruption, as well as depict large forms. Small details (facial features, ornament on a sundress) are drawn using short lines and strokes.

Similarly, different ways of working with a brush (all nap and tip) are being improved when painting with gouache or watercolors. Preschoolers develop technical skills - they learn to mix paints for interesting shades.

Additional types of visual activities used when drawing a doll in a national costume in the preparatory group, the appropriateness of an individual approach

In the preparatory group, the peculiarities of the development of children are already clearly visible, some preschoolers have pronounced abilities and interest in visual activity. Such children, no doubt, need to be encouraged, to further stimulate their desire for artistic creativity. One of the ways is to invite them to diversify the composition with additional applicative or plasticine elements.

For example, a sundress or kokoshnik of a Russian beauty can be decorated with plasticine elements (thin ornate flagella or small balls) or shiny sequins can be glued on.

Drawing can be combined with appliqué, especially when it comes to a collective composition: the drawn figures of young ladies are painted, cut out, supplemented with applicative details and glued to the general background.

Drawing with applique elements

Specific variants of compositions within the framework of the theme "Doll in a national costume" in the preparatory group

Drawing on the topic is traditionally offered to pupils of the preparatory group at the very beginning school year(September). This theme can be interpreted somewhat: children can depict beauties from Russian folk tales, for example, Alenushka, Vasilisa, Maryushka (they will also be dressed in Russian folk costume).

If the guys live in an area where there are their own peculiarities of the national costume, then they can be reflected in the drawing, for example, "Chuvash costume", "Mordovian outfit".

By the way, shortly before the lesson "A doll in a national costume" children can separately depict national headdresses or color the proposed patterns: this is how they will practice drawing patterns, mixing colors. In the same way, you can practice drawing Russian folk shoes - bast shoes.

An interesting idea is to invite the children, after drawing the Russian national costume, to depict the traditional outfit of some other country (for example, Ukraine, China, India, etc.). Note that such an activity requires a detailed informative conversation. When portraying dolls of different nationalities, children should use such means of expression as the transfer of skin and hair color, eye shape. The teacher must necessarily demonstrate to preschoolers a doll in an appropriate costume or its image.

If desired, the theme "A doll in a national costume" can be designed as a collective composition, for example, "Round dance". Children draw young ladies in Russian folk costume, then cut them out and stick them on the base (the teacher thinks out in advance a suitable background (meadow with green grass, flowers, etc.). As a simplified version, the children can be given templates that they should paint.

Possible options for a motivating start to the lesson: looking at pictures, talking about questions, a fairy tale, poems, etc.

Even in the preparatory group, play remains the leading type of child's activity. And the teacher should not forget about this when constructing a lesson. Playful motivation plays a very important role.

For example, the teacher informs the children that dolls have come to visit them, but they are dressed in a strange way. It turns out they came from the past. After all, this is how people who long ago lived in Russia dressed. Our grandmothers wore floor-length sundresses, and our grandfathers wore a blouse with a belt. The motivation for the children will be to ask the dolls to photograph them, because in the distant past there were no cameras.

Dolls in male and female Russian national costume

Doll in Russian folk costume

Another option is that the dolls (for example, Arina and Danila) are going to the fair and want to dress up better. After all, at the fairs people had fun, danced. Children will draw them in beautiful clothes, the emphasis is placed on its decoration (sleeve, sundress hem, men's shirt collar).

You can come to visit preschoolers - it can be Alyonushka, Vasilisa the beautiful or Maryushka (doll or picture). The teacher emphasizes how slender, graceful, ruddy she is, with a long blond braid. The teacher informs the children that before such beauties were called "swan", "pea", "birch", "berry" (the vocabulary of preschoolers is being replenished). The heroine tells the children a sad story: Baba Yaga or an evil witch stole and burned her most beautiful sundress. Children always respond vividly to someone else's misfortune and strive to help - they will happily draw the beauty of a new outfit even more beautiful than the old one.

The heroine of a Russian folk tale

The heroine of a Russian folk tale

Drawing lessons can be started with an informative conversation about Russian national dress. Children will be interested to know that the embroidery and the patterns with which it was decorated had a special meaning in the old days. People believed that embroidery not only decorated, but also protected from evil forces - it was a talisman. These were wavy lines, circles, crosses. Also, craftswomen embroidered trees, birds, animals. The motivation after such a story will be an invitation to children to draw their favorite doll in an outfit that will protect her from all evil.

Traditional element of the pattern of clothing Traditional element of the pattern of clothing Traditional element of the pattern of clothing Traditional Russian embroidery

In addition, the children can be told that the red color in the Russian national costume was present in a huge variety of shades. And in combination with green, red seemed even more juicy and festive. Red symbolized fire, and fire can give both joy (warmth) and sorrow (fire). It is also the color of love.

Illustration to use in class

Originally Russian peasant footwear

If children draw a national costume not of Russia, but of some other country, then it is imperative to show them the corresponding pictures, or even better a doll in such clothes.

Doll in national costume

Thematic Pictures Poster Paper toys Dolls

The motivation for drawing an elegant doll, of course, can be gleaned from fiction. A grandmother-storyteller (a disguised educator) can visit the children and tell them a fairy tale about the merchant Sadko. He had three beautiful daughters. When Sadko was going to distant countries to buy goods, his daughters ordered him to bring him a golden crown, a beautiful shirt and a sundress embroidered with patterns and ribbons. In an overseas country, the merchant searched for these gifts for a long time, finally found and bought them. But the daughters, when they saw the new clothes, began to envy each other: each wanted her to have a sundress, a shirt, and a crown. And so he asked the storyteller to turn to the children - let them help him and draw beautiful outfits for the daughters.

We also recommend modern fairy tale Larisa Sergeeva According to the plot of the work, at one end of the village there lived a sundress-master, and at the other end - a shirtless man. The sundress was tired of lying in the chest, waiting for the mistress to get it and put it on, and decided to visit the Shirt. She was very happy with the guest, put the samovar on. They sat down to drink tea, and the Sarafan asked Shirt why she was so kind and handsome. She replied that the owner puts it on the body and warms it with his soul. The shirt, in turn, protects a person from evil spirits with the help of a collar (this is a collar and cuffs). And so that the cold does not get inside, the belt helps. The sundress thought and thought and became friends with the shirt - and now they always walk together.

After reading this short fairy tale, it will be even more interesting for children to depict primordially Russian clothing items.

Illustration for a fairy tale

You can also start the lesson with a poem. For example, the following lines are interesting:

Prigotskaya Svetlana

Turn around, golden-winged sundress,
Full width, full height, full speed.
And in the harsh years of Russia
The women were spinning a stern thread.
Here in such a homespun outfit
A mother with many children went to church.
Sundress-latitude is what you need -
You can cover the field with canvas!
Oh, you, dear, curly, desired,
Play the accordion more fun!
The maidens sailed in colored sundresses
Among rainbows, meadows and fields.
All ruddy, like nesting dolls,
Round dances led endlessly ...
Not one accordion rejoiced -
Choose a fellow according to your liking!
And what ditties they sang!
And the handkerchiefs flew out of my hands!
Our grandmother has become old
I put my sundress in the chest.
My mother tried on a sundress,
She said: oh, I should dance!
The villages are overgrown with weeds,
And accordions have not been heard for a long time.
You will not hear a funny ditty
Young people are now in cities ...
An old woman will tell in the village
About the old round dance years!

http://chto-takoe-lyubov.net/stikhi-o-lyubvi/kollektsii-stikhov/11499-stixi-pro-sarafan

L.A. Kruglova

Dolls, young ladies, nesting dolls

Everyone lives next to us.

Surprise, delight

And they do not give rest.

We sew clothes for all dolls

Studying the old days.

We learn from which edge

We are in a dream or in reality.

Together with the nomadic people

We set up a yurt, we are waiting for guests.

We drink tea from a samovar

And the nomad drinks kumis.

We are going to the house to rest

And the nomad lay down in kuizi

Well try to take a look.

Different people live ...

Everyone sings in their own way,

Wear different clothes

They believe in God as before ...

http://nsportal.ru/detskiy-sad/okruzhayushchiy-mir/2012/10/18/kukly-v-natsionalnykh-kostyumakh

Chastooshkas about bast shoes:

Oh, my sandals,
My little paws,
The gardens you dug
We got here to dance. "

"Walk Matvey
Do not spare your bast shoes.
You will live until Saturday
You will make new sandals.

Note that on the eve of drawing a doll in a folk costume, it is good to offer preschoolers didactic games on this topic. For example, during the game “Dress a doll in a national costume”, children memorize the features of traditional clothes of different nations.

Didactic game"Dress a doll in a national costume" Didactic game "Dress a doll in a national costume" Didactic game "Dress a doll in a national costume" Didactic game "Dress a doll in a national costume" Didactic game "Dress a doll in a national costume" Didactic game "Dress a doll in a national costume" costume "Didactic game" Dress a doll in a national costume "

Since it is obligatory to carry out physical education or finger gymnastics before productive activity, we will give the following wonderful option:

Lesson notes

Examples of finished works of pupils of the preparatory group on the topic "Doll in a national costume" with comments on the performance of the work

Drawings "Russian beauty", "Russian folk costume", "Ivan da Marya" (all of them are made in watercolors) show us the national clothes of our Motherland. The work "Russian Beauty" is permeated with a positive mood: it is complemented by a bright and pale blue sky. We see a familiar Russian attribute - a slender birch tree in the foreground. The doll in the figure is shown in a traditionally bright red sundress, her long blond braid flutters.

The works "Tatar outfit", "Tatar costume", "Mordovian outfit", "Chuvash clothes" are painted by children living in a certain region or on the border with it. Note that the drawings very realistically convey the features of specific clothes, shoes and hats.

The composition "Chinese woman" deserves attention, where not only the image of the national Chinese clothing, but also the hairstyle is very well conveyed.

The work "National headdress" is a kind of preparation for drawing a holistic image of a doll in a national costume.

Pencil drawing Watercolor drawing Watercolor drawing Watercolor drawing Pencil drawing Watercolor drawing Watercolor drawing Simulator for drawing Template for coloring Picture for coloring Template for coloring

"A doll in a national costume" is a very exciting topic for drawing in the preparatory group. In such a lesson, preschoolers not only practice drawing a person, but also expand their horizons. And thoughtful motivation can turn drawing into a fabulous action.

Traditions section publications

They meet by clothes

Russian women, even simple peasant women, were rare fashionistas. In their voluminous chests, many - at least three dozen - of a variety of outfits were kept. Especially our ancestors loved headdresses - simple, for every day, and festive, embroidered with beads, decorated with gems. And how they loved beads! .. The formation of any national costume (be it English, Chinese or the Bora-Bora tribe), its cut and ornamentation has always been influenced by such factors as geographic location, climate, and the main occupations of the people.

"The more closely you study Russian folk costume as a work of art, the more you find values ​​in it, and it becomes a figurative chronicle of the life of our ancestors, which in the language of color, shape, ornamentation reveals to us many intimate secrets and laws of beauty of folk art."

M.N. Mertsalova. "Poetry of folk costume"

In Russian costumes. Moore, 1906-1907. Private collection (Kazankovs' archive)

The Russian costume, which began to take shape by the 12th century, contains detailed information about our people - a worker, a plowman, a farmer, who have lived for centuries in a short summer and a long fierce winter. What to do endless winter evenings, when a blizzard howls outside the window, a blizzard sweeps? Our forefathers-needlewomen weaved, sewed, embroidered. They did it. “There is the beauty of movement and the beauty of peace. Russian folk costume is the beauty of peace ", - wrote the artist Ivan Bilibin.

Shirt

The main element of the Russian costume. Composite or one-piece, made of cotton, linen, silk, muslin or plain linen, the shirt certainly reached the ankles. The hem, sleeves and collars of shirts, and sometimes the chest, were decorated with embroidery, braid, patterns. Moreover, the colors and ornaments varied depending on the region and province. Voronezh women preferred black embroidery, austere and sophisticated. In the Tula and Kursk regions, shirts are usually tightly embroidered with red threads. In the northern and central provinces, red, blue and black, sometimes gold, prevailed.

Shirts were worn differently depending on what kind of work was to be done. There were shirts "mowing", "stubble", there was also a "fishing". It is interesting that the work shirt for the harvest has always been richly decorated and equated with a festive one.

Russian women often embroidered spell signs or a prayer amulet on their shirts, because they believed that, using the fruits of the earth for food, taking life from wheat, rye or fish, they violate natural harmony, come into conflict with nature. Before killing an animal or mowing grass, the woman said: "Forgive me, Lord!"

Shirt - "fishing". End of the 19th century. Arkhangelsk province, Pinezhsky district, Nikitinsky volost, Shardonemskoye village.

Slant shirt. Vologda province. II half of the 19th century

By the way, about the etymology of the word "shirt". It does not come from the verb "chop" (although chopping wood in such clothes is certainly convenient), but from Old Russian word"Cut" - border, edge. Therefore, the shirt is a sewn cloth with scars. Earlier they said not to "hem", but "to cut". However, this expression is found even now.

Sundress

The word "sarafan" comes from the Persian "saran pa" - "over the head". It was first mentioned in the Nikon Chronicle of 1376. As a rule, of a trapezoidal silhouette, a sundress was worn over a shirt. At first it was a purely man's attire, the ceremonial attire of princes with long fold-down sleeves, sewn from expensive fabrics - silk, velvet, brocade. From the nobles, the sundress passed to the clergy and only after that it was entrenched in the women's wardrobe.

Sundresses were of several types: deaf, swing, straight. Swing ones were sewn from two panels, which were connected with the help of beautiful buttons or fasteners. A straight (round) sundress was attached with straps. A deaf oblique sundress with longitudinal wedges and beveled inserts on the sides was also popular.

Sundresses with soul warmers

Reconstructed holiday sundresses

The most common colors and shades for sundresses are dark blue, green, red, blue, dark cherry. Festive and wedding sundresses were sewn mainly from brocade or silk, and everyday ones - from coarse cloth or chintz. However, the overseas word "sarafan" was rarely heard in Russian villages. More often - kostych, shtofnik, kumachnik, bruise or kosoklinnik.

“The beauties of different classes dressed up almost the same - the difference was only in the price of furs, the weight of the gold and the brilliance of the stones. A commoner “on the way out” put on a long shirt, over it - an embroidered sundress and a jacket, trimmed with fur or brocade. The noblewoman - a shirt, an outer dress, a summer dress (clothes expanding from top to bottom with precious buttons), and on top there is also a fur coat for greater importance. "

Veronica Bathan. "Russian beauties"

A short soul warmer (something like a modern jacket) was worn over the sundress, which was festive clothing for the peasants, and everyday for the nobility. A soul warmer (katsaveika, quilted jacket) was sewn from expensive, dense fabrics - velvet, brocade.

Portrait of Catherine II in Russian dress. Painting by Stefano Torelli

Portrait of Catherine II in shugai and kokoshnik. Painting by Vigilius Eriksen

Portrait of Grand Duchess Alexandra Pavlovna in Russian Costume ”. Unknown artist... 1790 JavaScript: void (0)

Empress Catherine the Great, who was reputed to be a trendsetter, brought back into use the Russian sarafan, clothes that were largely forgotten by the domestic upper class after the reforms of Peter, who not only shaved the boyars' beards, but also forbade walking in traditional clothes, instructing his subjects to follow the European style. The Empress considered it necessary to instill in Russian subjects a sense of national dignity and pride, a sense of historical self-sufficiency. As soon as she sat on the Russian throne, Catherine began to dress in Russian dress, setting an example for the ladies of the court. Once, at a reception with Emperor Joseph II, Yekaterina Alekseevna appeared in a scarlet velvet Russian dress, studded with large pearls, with a star on her chest and in a diamond diadem on her head. And here is another documentary evidence: "The Empress was in Russian attire - a light green silk dress with a short train and a corsage of gold brocade, with long sleeves."- wrote an Englishman who visited the Russian court.

Poneva

Just a skirt. A must-have wardrobe piece married woman... Poneva consisted of three panels, it could be deaf or swinging. As a rule, its length depended on the length of a woman's shirt. The hem of the poneva was decorated with patterns and embroidery. Most often, poneva was made of semi-woolen fabric in a cage.

She was put on a shirt and wrapped around her hips, and a woolen cord (gashnik) held her at the waist. An apron was often worn in front. In Russia, for girls who reached the age of majority, there was a rite of putting on a poneva, which said that a girl could already be married.

Belt

Women's wool belts

Belts with Slavic patterns

Belt weaving machine

An integral part not only of the Russian costume, the custom of wearing a belt is widespread among many peoples of the world. In Russia, it has long been accepted that a women's lower shirt should always be belted, there was even a rite of belting a newborn girl. The belt - a magic circle - protected from evil spirits, and therefore they did not take it off even in the bath. Walking unbelted was considered a great sin. Hence the meaning of the word "unbelieve" - ​​to become insolent, to forget about decency. By the end of the 19th century, in some southern regions, it began to be allowed to wear a belt just under a sundress. Belts were woolen, linen and cotton, they were crocheted or woven. Sometimes the sash could reach a length of three meters, such were worn by unmarried girls; edging with volumetric geometric pattern- married women. A yellow-red belt made of woolen fabric, decorated with braid and ribbons, was wrapped around the holidays.

Apron

Women's urban costume in folk style: jacket, apron. Russia, late 19th century

Women's costume of the Moscow province. Restoration, contemporary photography

Not only protected clothing from pollution, but also served as an additional decoration for a festive outfit, giving it a complete and monumental look. The apron was worn over a shirt, sundress and poneva. However, in Russia the word “zapon” was more in use - from the verb “zapinati” (to close, to delay). The defining and most abundantly decorated part of the outfit - patterns, silk ribbons and trim inserts. Lace and ruffles trim the hem. From the embroidery on the apron, one could read the story of a woman's life like a book: the creation of a family, the number and gender of children, deceased relatives and the owner's preferences. Each curl, each stitch emphasized individuality.

Headdress

The headdress depended on age and marital status... He predetermined the entire composition of the costume. Girls' headdresses left part of their hair exposed and were quite simple: ribbons, headbands, hoops, openwork crowns, scarves folded in a plait.

After the wedding and the ceremony of "unweaving the braid", the girl acquired the status of a woman and wore the "kichka of a young woman". With the birth of the first child, she was replaced by a horned kichka or a high spade-like headdress, a symbol of fertility and the ability to bear children. Married women were required to completely cover their hair under a headdress. According to the old Russian custom, a scarf (ubrus) was worn over the kichka.

Kokoshnik was a ceremonial headdress of a married woman. Married women wore a kichka and a kokoshnik when they left the house, and at home, as a rule, they wore a warrior (cap) and a scarf.

The age of the owners was easily determined by colors... Young girls dressed most colorfully before the birth of a child. The costumes of the elderly and children were distinguished by a modest palette.

The women's costume was full of patterns. Embroidery on sundresses and shirts echoed the carved frame of the village hut. An image of people, animals, birds, plants and geometric figures... Sun signs, circles, crosses, rhombic figures, deer, birds prevailed.

Cabbage style

A distinctive feature of the Russian national costume is its layering. The casual suit was as simple as possible, it consisted of the most necessary elements. For comparison: a festive women's suit of a married woman could include about 20 items, and a daily one - only seven. The girls wore a three-part ensemble for every appearance. The shirt was complemented with a sundress and kokoshnik or a pony and magpie. According to legends, multi-layered loose clothing protected the hostess from the evil eye. Wearing less than three layers of dresses was considered indecent. The multi-layered clothing of the nobility emphasized their wealth.

The main fabrics used for folk peasant clothing were homespun canvas and wool, and with mid XIX centuries - factory silk, satin, brocade with ornaments, calico, chintz, satin. Trapezoidal or straight monumental silhouette, main types of cut, picturesque decorative and color scheme, kitsch, magpies - all this existed in the peasant environment until the middle - end of the 19th century, when the traditional costume began to supplant urban fashion. Clothes are more and more often bought in the store, less often they are sewn to order.

Thank you for the photographs provided by artists Tatyana, Margarita and Tais Karelin - laureates of international and city competitions of national costume and teachers.

Women's urban costume in folk style: jacket, apron
Russia. End of the 19th century
Cotton, linen threads; weaving, cross-stitching, multi-pair weaving.

Peasant woman's outerwear
Tula province. Early 20th century
Woolen fabric; dl. 90 cm

Peasant woman's outerwear: "fur coat"

Cloth, chintz; machine line. L. 115 cm

Women's outerwear "Clothes"
Nizhny Novgorod province. 19th century

Women's folk costume. Sundress, shirt, apron
Nizhny Novgorod province. 19th century
Burgundy satin, red silk and striped satin;

Women's costume: paneva, shirt, apron, headdress "magpie", necklace, belt

Woolen fabric, linen, chintz, braid, woolen, silk and metal threads, beads; weaving, embroidery, braiding.

Women's suit: paneva, shirt, apron, scarf
Oryol province. Second half of the 19th century
Woolen fabric and thread, braid, linen, cotton thread, satin, silk; Weaving, embroidery, patterned weaving.

Women's costume: paneva, shirt, shushpan, chain, apron, headdress "magpie"
Ryazan province. Second half of the 19th century
Woolen cloth, linen, cotton cloth, metal, cotton thread, beads; weaving, embroidery, braiding.

Suit for women: sundress, belt, shirt, bandage, necklace

Heel on canvas, kumach, linen, silk ribbon, colored thread, braid, amber; sewing, printing, cutting.

Festive Cossack costume: sundress, "sleeves", belt, kerchief
Ural, Uralsk. Late 19th - early 20th centuries
Satin, silk, calico, galloon, gilded thread, beat, crystal, silver, silver thread; embroidery.

Peasant costume, urban type: sundress, jacket, kokoshnik, shawl
Arkhangelsk province. Early 20th century
Silk, satin, calico, braid, fringe, braid, artificial pearls, metal thread; embroidery

Peasant costume: sundress, apron, belt, shirt, shawl
Kursk province. Late 19th - early 20th centuries
Woolen, linen, silk fabric, braid, velvet, brocade, kumach, braid; weaving

Peasant costume: sundress, shirt, apron, headdress "collection"
Vologda province. End of the 19th century
Cotton fabric, canvas, silk ribbons, lace; weaving, embroidery, braiding

Peasant costume: sundress, shirt, belt
Smolensk province. End of the 19th century
Cloth, chintz, cotton fabric, woolen, cotton threads; embroidery, weaving.

Belts for folk costume
Russia. Late 19th - early 20th centuries
Woolen, linen, silk threads; weaving, knitting, braiding. 272x3.2 cm, 200x3.6 cm

Girl's costume: paneva, shirt, "top", belt, gaitan, "bundle"
Tula province. Late 19th - early 20th century
Woolen, linen fabric, linen, red calico, chintz, galloon, fringe, woolen thread; weaving, embroidery, braiding.

Breast decoration: chain
Southern provinces. Second half of the 19th century Beads, linen thread; weaving.

Festive girlish costume: sundress, shirt
Northern provinces. Early 19th century
Taffeta, muslin, silver, metal thread; embroidery.

"Nurse's" costume: sundress, soul warmer, beads
St. Petersburg. Late 19th - early 20th centuries
Silk, metallic thread, fringe, agramant, faux pearls;

Festive girlish costume: sundress, "sleeves", bandage, necklace
Upper Volga region. Second half of the 18th century
Damask, chintz, brocade, mother of pearl, pearls, braid, braided lace; embroidery, lowering.

Women's festive costume: sundress, shirt, kokoshnik, shawl
Upper Volga region. 19th century
Silk, brocade, muslin, metal and cotton threads, braid, beads; weaving, embroidery.

Women's festive costume: sundress, padded jacket, kokoshnik "head", shawl
Tver province Second half of the 19th century
Damask, silk, brocade, velvet, fringe, metal thread, mother of pearl, beads; weaving, embroidery

Girly headdress: crown
Arkhangelsk province. Second half of the 19th century
Canvas, bugles, beads, braid, cord, metal; embroidery. 35x24 cm

Girl's headdress "Lenka"
Russia. 19th century Cloth, gold thread ;; embroidery.

Girly headdress: crown
Kostroma province Early 19th century
Canvas, cord, copper, foil, mother of pearl, glass, sequins, linen thread; weaving, embroidery. 28x33 cm

Girly headdress: crown
Northwest region. First half of the 19th century
Canvas, cord, rhinestones, freshwater pearls; embroidery. 13x52 cm

Girly headdress: coruna
Vologda province. Second half of the 19th century
Canvas, lace, cord, foil, beads, gimp, satin, kumach, printed cloth; embroidery. 36x15 cm

Arkhangelsk province. Second half of the 19th century
Galloon, kumach, silver thread, fringe, artificial pearls; embroidery. 92x21.5 cm

Girly headdress: headband
Upper Volga region. First half of the 19th century
Brocade, foil, pearls, turquoise, glass; embroidery, lowering. 28x97.5 cm

Upper Volga region. 19th century.
Velvet, chintz, braid, metal thread; embroidery. 14x24 cm

Women's headdress: kokoshnik
Central provinces. 19th century
Brocade, braid, mother-of-pearl, artificial pearls, glass; embroidery. 40x40 cm

Women's headdress: kokoshnik
Kostroma province. Late 18th - early 19th century
Velvet, canvas, cotton fabric, braid, pearls, glass, metal thread; embroidery. 32x17x12 cm

Women's headdress: kokoshnik
Pskov province. Second half of the 19th century
Brocade, white beads, canvas; embroidery. 27x26 cm

Women's headdress: kokoshnik "head"
Tver province. 19th century
Velvet, mother of pearl, beads, metal thread; weaving, embroidery. 15x20 cm

Women's headwear: warrior
Ryazan province. Early 20th century
Chintz, canvas, metallic sequins, beads; embroidery. 20x22 cm

Women's headdress: pozatylen
Southern provinces. 19th century
Kumach, canvas, cotton fabric, metal thread, beads, beads; embroidery, lowering. 31.5x52 cm

Women's headdress: a collection
Northern provinces. Second half of the 19th century
Canvas, red paper, chintz, gilded metal thread, glass, beads; embroidery. 23x17.7 cm

Female headdress: forty
Voronezh province. Late 19th - early 20th centuries
Canvas, velvet, satin, chintz, woolen, metallic threads, sequins, braid; embroidery.

Silk, metal thread, beat; embroidery. 160x77 cm

Gusset "head"
Nizhny Novgorod province. Second half of the 19th century
Taffeta, metal thread, cotton fabric; embroidery. 133x66 cm

Purse. End of the 18th century
Silk, metal thread, heel; embroidery. 11x8 cm

Jug Wallet
Russia. Second third of the 19th century
Silk, cotton thread, beads, copper; Crochet. 12x6.7 cm

Necklace
Russia. Second half of the 19th century
Beads, glass beads, linen thread, silk braid; weaving. 52x2 cm

Earrings. Russia. Second half of the 19th century
Pearls, glass, copper, horsehair; weaving, cutting, stamping. 7.8x4.1 cm

Earrings and necklace. Russia. Late 18th - early 19th centuries
Linen thread, mother of pearl, glass beads, pearls, copper; weaving

Breast decoration: "mushroom"
Voronezh province. Late 19th - early 20th centuries
Woolen, metal threads, sequins, bugles; lowering. L. 130 cm

Apron for women's festive costume
Tula province. Second half of the 19th century
Linen, lace, linen and cotton threads; embroidery, weaving. 121x105 cm

Head scarf
Russia. Second half of the 19th century Silk thread; weaving. 100x100 cm

Head scarf Russia. 19th century Chintz; seal. 131x123 cm

Shawl Moscow province Russia. 1860s -1880s
Silk; weaving. 170x170 cm

We have already taught you in one of our lessons how to draw step-by-step Russian national costumes with a pencil - male and female. Here in this lesson we will draw a Russian beauty in stages. This is a girl in a Russian folk costume. In ancient times, each region and each locality had its own special outfits. They have come down to us in drawings and in museum collections. And no matter how different women's clothes are in a particular area, the sundress and kokoshnik of girls have always been considered truly Russian folk. Let's get down to step by step drawing with a pencil of one of the symbols of our Russian culture.

Stage 1. Now we will draw auxiliary lines. The circle is the head, in it the features of the eyes and mouth, Above and on the side of the head are the line of the kokoshnik and below the line of the neck.

Stage 2. Now draw the oval of the face smoothly, it should be very gentle and smooth, from the chin below the line of the neat swan's neck. Above the circle, we will draw a parting and the girl's hair, laid on both sides of the head. On the bottom line of the kokoshnik near the face we show jewelry - earrings.

Stage 3. Let's depict the eyes of our beauty. We taught you how to draw in stages with an eye pencil in our lesson on the site. Her eyes are very expressive, large, beautiful. Thick eyelashes are located on the eyelids. Here we will draw a neat nose with literally one dash and a mouth with a smile at the bottom.

Stage 4. On the top of the head we make a kokoshnik - the Russian national headdress. Only unmarried girls could wear it. It is drawn between the lines from stage 1. The kokoshnik is quite large. It looks like a semicircle. There are several lines on it, between which patterns will be located.

Stage 5. Now we will show the auxiliary lines of the girl's body. This is a quadrangle and the lines of bent arms, below the chest is the hem of a sundress.

Stage 6. Draw the outerwear. A shirt can be seen under a sundress, a collar is a shuttlecock. The top of the sundress itself is the straps from the shoulders to the chest line.

Stage 7. Add the bottom of the sundress. From the chest line, smoothly draw the hem line to the very ground. The sundress should be long.

Stage 8. Show the folds on the fabric on the bottom of the sundress with wavy lines.

Stage 9. Now we draw the sleeves of our beauty's shirt. Along the lines of the arms from stage 5, outline the contours of the sleeves. The sleeves are quite wide, they also have folds. The bottom of each sleeve is gripped with a cuff. Also here we will depict neat handles with fingers.

Stage 10. On the front of the sundress, we will depict triangular patterns of different sizes. They remind us of flower petals. In the girl's hand we will draw a handkerchief with which she waves in the dance.

Stage 11. In this stage, we will draw numerous patterns on the kokoshnik, the neckline of the sundress and the bottom of the hem of the sundress. What these patterns look like is shown in an enlarged view. You can choose your own patterns.

Stage 12. Let's leave the main lines of the Russian beauty, erase unnecessary ones.