Educational research work "the meaning of ornament in the Komi Izhma costume". Summary of art classes. Komi - Permian ornament. Ornament elements

Abstract of GCD for visual activity... Topic: “Komi - Perm ornament. Ornament elements "

Target: familiarization of children with the main elements of the Komi - Permian ornament and the principles of its compositional construction.
Tasks.
Educational.
- To acquaint children with the drawing up of patterns from various elements of the Komi - Permian ornament.
Developing.
- Develop the ability to alternate pattern elements, develop visual perception, memory, voluntary attention, imagination.
Educational.
- Arouse interest in the art of the Komi - Perm people.
- To educate accuracy in work.
Equipment: audio player (laptop), blackboard, composition - "Marya Moll", illustrations with ornaments of the Permian inhabitants of several main groups. Two cardboard dolls, elements of Komi-Permian ornament, drawing of a belt and an apron, (sash).
Materials. Album sheets (cut out in the shape of an apron, at the bottom there is a strip for ornament), watercolor, brushes, oilcloth.
Preliminary work.
Conversation with children about people of other nationalities living in the Perm Territory.
Examining the album "Costumes of the peoples Perm Territory».
Conversation about the Perm Komi: traditions, occupations
The course of the lesson.
Organizing time.
Educator. Hello guys! Guests have come to us today, say hello to them and let's get started.
I am very glad to see you. Today you and I will travel again huge country"Imagined and Creativity." We will create and paint. And so, everyone smiled, wished each other good luck and begin our fun journey.
Main part.
Educator. But what we are going to do today, I suggest you guess. First, listen carefully to an excerpt from a very funny song.
An excerpt of the song "Marya Mol" sounds - folk Komi-Perm song
The guys are listening to the melody

Educator: Did you like the melody?
Children's answers: Yes, a very funny song.
Teacher: Guys, what is the song about, do you understand?
Children's answers: No, because it is not in Russian.
Teacher: You are right, this song is not in Russian or even in English. It is in the Permian Komi language. We all know that in the Perm Territory there are people who not only speak Russian, but also people of other nationalities. Which ones do you remember?
Children's answers... Russians, Tatars, Bashkirs, Perm Komi, Udmurts, Mari, Mansi.
Educator. Well done. And today I invite you to look into the past of a small but very interesting Komi nation - Perm. Two sisters, Masha and Glasha, will help us. The teacher hangs out on the board two dolls made of cardboard, both dolls are dressed in the same outfit, but one has an outfit (the other does not have an apron, shirt sleeves are embroidered with patterns)
Educator: Meet Masha and Glasha. They are Permian Komi. Masha and Glasha will be happy to help us understand some of the peculiarities of the Permian Komi people.
Teacher: Guys, look at them carefully. Tell me, are they similar?
Children's answers: Yes!
Educator: And what? (bring up with leading questions to the dolls' outfit)
Children's answers: Face, hair. They have the same outfit.
Teacher: So, do you think that Masha and Glasha are wearing exactly the same clothes? (shows on dolls)
Teacher: Masha's White shirt, the sundress and Glasha's everything is exactly the same, do you agree with me?
Children's answers: No, we disagree. Masha looks smart.
Teacher: And why does Masha look more elegant?
Children's answers: Masha is as smart as she has patterns on her clothes.
Teacher: Everything is correct and today we will find out what kind of magical patterns decorate the outfit of our guest Masha. Let's find out and try to decorate Glasha's boring outfit.
Physical education.
I go and you go.
I go and you go - one, two, three.(We walk in place.)
I sing and you sing - one, two, three.(Clap our hands.)
We go and we sing - one, two, three.(Jumping in place.)
We live very amicably - one, two, three.(We walk in place.)
Teacher: Guys, this pattern is called an ornament. An ornament is a pattern built on the repetition and alternation of its constituent elements.
Teacher: Look closely at Masha's outfit, on which parts of the clothes is there an ornament? (Working with dolls)
Children's answers: On the sleeves of the shirt, on the belt, on the collar
Teacher: All this is not accidental. In the old days, the ornament served not only as decoration, it also played other roles: it protected from the evil eye, fulfilled a magical meaning. The belt protected from evil spirits, and helped the hunter not to get lost in the forest. Embroideries were made on the sleeves and collars of the shirts, which also “protected” from “all evil spirits”. Guys, what elements do you see on Masha's ornament?
Children's answers: we can see crosses, check marks.
Teacher: All the elements that make up the pattern are specific symbols and did not appear in these patterns by accident. In the ornaments on Masha's outfit, there are simple geometric elements: points, squares, rectangles, rhombuses, crosses, triangles, diagonal lines. The source for creating interesting compositions in the Komi - Permian ornaments for man has become nature and the world around him. As a result, the ornaments of the Permian people can be divided into several main groups:
- some are associated with tools and other objects (teeth, saws, cross, compass ...

-others belong to the representatives of the animal world (horn, insects, ...)

- still others are images of plants (Christmas tree pattern, flower, grain ...)

-the fourth were the image of the figures of people.

In today's lesson, your task is to complete the Permian Komi ornament using the elements that are presented on the board.
Teacher: Each of you has a leaf on the table (cut out in the shape of an apron, at the bottom there is a strip for ornament), and I suggest you help Glasha and decorate her boring outfit. We will make bright aprons for her, decorated with Permian Komi ornaments.
Each has already marked a strip in which you should have a Komi-Permyak ornament from the elements presented on the board. Do not forget that an ornament is a pattern of alternating elements, that is, your task is to select several elements and alternate them.
The result of the lesson.

Analysis and assessment of the success of achieving the goal.
Teacher: I see that everyone has a job ready. Let's admire our aprons.

Teacher: Guys, were you interested in the lesson? Who was it easy and understandable? Who was it difficult for? What is more difficult to draw or paint? But all of you have coped with the task. Well done!
What have you learned today?
What have you learned new for yourself?
Are you satisfied with your job?
Well done, guys, thanks for the lesson, we are cleaning up jobs.
Cleaning of workplaces.

Municipal budgetary educational institution

"Secondary general education school No. 5" Sosnogorsk

"The value of ornament in the Komi Izhsma costume."

(Educational research.)

student of grade 11 A

Head Volkova Maria

Arkadyevna

Sosnogorsk

2011 r.

Introduction …………………………………………………………………………… ..4

The origin and ethnic history of the Komi people ………………… .5

1.1 Ethnographic groups of the people …………………………………………. 8

Izhemtsy traditions associated with costume …………………………… 10

Everyday and festive costumes of Izhma peasant women ……… ..12

1. 1.1 Description of the suit and fabrics used for its manufacture ……. 12

   1.2 Features of a cut and design ……………………………………… 15

   Ornaments of the Komi peoples ……………………………………………… .16

4.1. The history of the origin of the ornament …………………………………… .. 16

4.2. Typology of Komi ornament ………………………………………… ... 18

4.3 Brief description of the Komi - Permian ornament ………………. 19

4.4. The meaning of the komi passes that make up the ornament ……………………… .. 20

Reflection of elements of the Komi Izhma costume in

modern fashion ………………………………………………………… .22

Conclusion ……………………………………………………………………… 23

List of used literature ……………………………………… .25

Appendix 1 Costume of Izhma peasants late 19th century

Appendix 2. Drawing of the design of a shirt and a sundress

Appendix 3, 4 Photos of interlocutors in Komi national costume

Application 5 Komi ornament consisting of passes

Appendix 6 Ornamental household items

annotation

In recent years, there has been an active growth in the national consciousness of the Komi people, which causes increased interest in their history and traditional culture.

We live in the Komi land and must know the history, culture and traditions of the Komi people. The work consists of two parts: theoretical and practical. In the theoretical part, the features of the Izhma costume are revealed: the history of the appearance of the Komi national clothes, the features of the cut, the manufacturing technology of this product and the features of the Komi - Permian ornament. In the practical part, a reduced model of the Komi Izhma costume, decorated with embroidery, was made in compliance with all the rules.

This work a contains: 25 pages, 6 annexes. To write the work, many literary sources were used, a conversation was also held with the indigenous inhabitants of the village. Izhma and d. Akim and workers of the Komi center of Sosnogorsk.

The work was performed by Ekaterina Bulgakova, a student of 11 "A" class, M. Volkova, supervisor.

Introduction

Any national culture with a long history manifests and carries in itself unique components inherent in this particular ethnos, starting with the arrangement of life and everyday life, the construction of a dwelling and ending with the traditions of folk applied and oral poetry. The decorative and applied art of the Komi people was multicolored and varied, so I chose the theme “History and development of the Komi Izhma costume”.

A costume is an integral part of the material culture of any people. By the peculiarities of the costume, the cut of the clothes, the accompanying adornments, today we can distinguish one nation from another.

Komi folk clothes have For Komi folk art, the most characteristic form of decoration is an ornament - a pattern consisting of repeating, rhythmically ordered motives.

In the Komi ornament, the pass is defined as one of the leading foundations of the ornament and several functions of the pass are distinguished: a sign of a generic affiliation, a magical function (amulet), and a decorative function.

much in common with the clothes of the population of the Russian North and some Finos - Ugric peoples... But there are also features of the Komi national costume. Currently, on the territory of Komi, there are five types of women's suits: Priluzsky, top - Vychegodsky, Udora, Sysolsky and Izhemsky. All of them differ from each other in a variety of styles, we will cover details, embroidery, ornaments.

1. Origin and ethnic history of the Komi

In ancient times, the distant ancestors of the Komi, Finns, Hungarians, Nenets and a number of other peoples constituted a single large ethnolinguistic community. This is evidenced by the similarities in the languages ​​spoken by these peoples. Linguists call this community the Uralic language family.

In 5-4 millennia BC, the Ural community was divided into Samoyed (ancestors of the Nenets, Selkups and some other peoples) and Finno - Ugric.

In the 3rd millennium BC, the Eneolithic-Bronze Age began. The population of the Pechora and Vychegda basins was then very diverse ethnically, but, as the researchers emphasize, the Finno - Ugric tribes... Over time, the Finno-Ugric community was divided into Praugorian and Paraffin-Permian. The latter later split into paraffin - the Volga (ancestors of the Mari, Mordovians and possibly the ancestors of some other peoples) and the Right Volga.

In the 1st millennium BC, on the basis of the paraffin-Volga community, the Baltic-Finnish (ancestors of the Finns, Korels, Estonians and some other peoples) and the Right Volga emerged.

Representatives of the Pre-Permian linguistic community inhabited the banks of the Kama, Vyatka, Vychegda, Pechora and some other rivers. In the last centuries BC - the first centuries AD, this community was divided. New cultures were formed, one of which is associated with the ancestors of the Udmurts, the other with the ancestors of the Komi and Komi - Permians.

In the middle of the first millennium AD, the era of the great migration of peoples began. Warlike nomads - the cattle breeders of the Hunnic tribal union - invaded the European North - East. According to archaeologists, it is with this invasion that the division of a single community of Komi and Komi ancestors - the Permians - is connected into two different ones.

The Komi territory began to be populated since the Paleolithic era. The settlements of the Paleolithic time in the north could not be long-term. People appeared here in pursuit of prey and did not stay in one place for a long time. In addition, the coming cold snap forced the Paleolithic man to retreat to the south. Therefore, there is no doubt that in the Paleolithic era there was no permanent population in the region, but there were separate episodic visits to hunting hordes. We can say that the “birth” of the Komi people was the result of climate change. After all, migrations from the Kama region to the territory of the modern Komi Republic began, probably in the 8th century AD, when the warmer climate made the natural conditions of the North more suitable for the farmers and livestock breeders living to the south. Moreover, migrations did not go over long distances, not immediately from the Kama to Vychegda, but gradually with the development of intermediate territories.

A stable population in the region appears only from the Mesolithic period. It can be assumed that from about the seventeenth millennium BC, the territory of modern Komi begins to develop completely, and at first it settles in separate foci on the shores of large lakes (Sindorskoye, Yam - lake and others). However, temporary sites of wandering Mesolithic hunters on the banks of the Pechora, Vychegda and their tributaries were found in significant numbers.

So research recent years suggest the existence of a wide Mesolithic area, spread from the Lower Volga to the Pechora.

The main occupation of the population continued to be hunting with bows and arrows. Along with it, fishing with nets and with the help of special barriers took a noticeable place. The population used skis, sledges and boats, made birch bark dishes and used polished stone tools.

Thus, ethnic ties in the early Neolithic, as well as in the Mesolithic time, cover a fairly wide area and stretch both eastward in the Trans-Urals and southward to the Urals.

The ethnicity of the Late Neolithic can only be speculatively discussed. According to ON Bader, it was at this time that the Permian-Finnish branch separated from the ancient common Finno-Ugric trunk.

The main occupations of the population were still hunting and fishing. A new important step was taken in the development of the economy and culture. Ceramics appeared, stone tools became noticeably more varied and of better workmanship: various arrowheads, darts and spears, scrapers, knives, cutters, adzes, chisels, axes, picks, saws, polished tools, and so on. Bone was widely used in crafts.

In the second millennium BC in the region, the Neolithic Age was replaced by the Bronze Age. Classes in the Bronze Age remain the same. The tools of labor are mostly stone, there are few bronze ones: arrowheads, Celtic axes. The metal was used more for jewelry.

The early Iron Age was characterized by the resettlement of the Ananyin and later Glyadenov tribes, which some researchers consider to be Finno-Perm, implying possible participation among the creators of these cultures, in addition to the Permians, representatives of the future Volga-Finnish peoples. Among the monuments of this time, there are sites confirming the habitation of trans-Ural settlers in the region. Therefore, it can be considered undoubted direct participation Trans-Urals in the process of ethnogenesis. The main occupations of the population continued to be hunting and fishing. The beginnings of cattle breeding appear.

Fur trade emerged. Labor tools were made of bone (arrowheads, copies, etc.) and stone (rough scrapers). There is little metal. Copper and bronze were mainly used to make jewelry. Iron objects are rare.

Summing up the above, it can be argued that during the previous centuries (and millennia) the Komi region was inhabited by people of different ethnic communities and during periods entered into different ethnic areas. In the first millennium BC to the first millennium AD, the region firmly entered the circle of settlement of the Finno-Permian tribes. As a result of various, including ethnic, contacts of these tribes with related unrelated neighbors, the Permian Vychegda culture arose (10-14 centuries AD).

10th - 14th centuries AD play special role in the ethnic history of the Komi people. There are Permian Vychegda tribes - direct and immediate ancestors of the modern Komi (Zyryan).

In the following centuries, further changes in the territory of the Komi settlement took place. Shrinking in the west and south, expanding to the east and north, it gradually approaches its present-day borders. According to the established tradition, but scientifically not supported by anyone, it is generally accepted that the Komi have always lived approximately in the borders that outline the borders of the Komi Autonomous Soviet Socialist Republic. In fact, it was far from the case. Close to modern borders, the settlement of the Komi in the west took shape by the sixteenth century. Somewhat later, the limits of the Komi settlement in the east and north took shape. In the east, the Ural Mountains became the border, and in the north, where the Izhemtsy were engaged in reindeer herding, a wide vague zone of contact between the two reindeer-herding peoples of the North Komi and the Nenets arose.

What were the Komi people in the Middle Ages? The main occupation was hunting and fishing. Agriculture and cattle breeding developed, which, in the course of economic development and under the influence of the Russian peasantry, gained increasing importance, and from the eighteenth century began to play a decisive role. In the fourteenth and fifteenth centuries, the Komi experienced the collapse of the clan system. Feudal relations began to develop. However, the development feudal relations among the Komi it was already happening within the framework of the Russian state, and this left its mark. The nascent local nobility was quickly replaced by the governors and henchmen of the Russian tsar, including the princes of Vymsk, and the free communes of the Komi turned into black-haired state peasants, obliged to bear numerous taxes and duties in favor of the feudal state.

In subsequent centuries, through the disintegration of the ancient ethnic community of the Vychegda Permians, through the period of the addition of neighboring associations, the process of resettlement and mixing of representatives of these “compatriot” communities, the Komizyrian people and their culture gradually took shape.

And only in the 11th century the ancient Komi were formed. The final stage in the formation of the Komi people falls on the 17th - 18th centuries. At the indicated time, an increase in the productive forces was observed. The area occupied by agriculture increased, the role of which increased in the Komi economy. The local socio-economic conditions were leveled, approaching the all-Russian ones. Small-scale crafts grew, the marketability of agriculture rose, industrial enterprises arose, and internal exchange developed. Gradually, the framework of land unions, at first little connected with each other, was overcome. This was facilitated by both the strengthening of trade ties and the mutual resettlement of residents from one districts of the region to others.

1.1. Ethnographic groups of the people

In the course of the ethnic history of the Komi people, the boundaries of their settlement were repeatedly changed, new territories were developed. Accordingly, the living conditions changed, new cultural and economic ties with neighboring peoples were established. Penetrated into the territory of the Komi Territory, settling there, representatives of other ethnic groups. There was a certain isolation between the individual districts of the region, caused both by a certain isolation of territorial peasant communities, and by the lack of roads typical for the European North - East. For these reasons, the Komi - Zyryan population developed and consolidated in the traditional culture regional differences in its individual elements, in language, clothing, ornament, economic activities and others.

As a result of the analysis of these differences, ethnographers identified areas that are distinguished by their cultural specificity and identified the main ethnographic groups of the Komi people. Some of these groups - the Umichs, Nizhnevychegodtsy, Priluzians, Sysoltsy, Udorsky - formed already in the 16th - 17th centuries, others - Izhemtsy, Verkhnevychegodtsy, Pechorsky - later, as a result of the further resettlement of the Komi - Zyryans on the territory of the region. The northernmost Komi ethnographic group was Izhma.

Despite the fact that the processes of interethnic consolidation and the formation of the Komi nationality were mainly completed in the 18th century, differences in the culture and life of ethnographic groups remained long time... The erasure of these differences took place especially intensively already in Soviet times, and this was due to the general breakdown of the traditional way of life of the Komi people. Nowadays, only the Izhma Komi preserve certain features of the national culture. For the rest of the ethnographic groups, regional ethical specificity has been largely lost, excluding the dialectal features of the language.

2. Traditions of Izhemtsy associated with costume

Traditionally, among the Komi, clothing was perceived as a "cover, shell" and at the same time a "trace, shadow" of a person. All clothes that a person wears during his life were considered inextricably linked with him and his fate. An expression of a person without clothes is called not only a naked, but also an exhausted, sick person, about whom they can also say - he does not have a shadow - a talisman. It is no coincidence that in the past, the one who wore tattered clothes not only violated the norms of traditional etiquette, but also exposed himself to serious danger. Damage or loss of clothing can portend misfortune or illness for its wearer.

The Komi had a special witchcraft technique called theft of a shirt: they tried to steal a shirt from a woman with traces of menstruation in order to then place it in the crevice of a creaky tree. As a result, the wearer of the shirt will be chronically ill and "creak" like this tree.

With the help of your own clothes, you can get rid of the enemy. Among the Izhma Komi, it is believed that the patient or his relatives should be taken "clothes with disease or damage" to the forest and left on the trunk of an aspen or any dying tree until it decays completely. To this day, the Izhma Komi have retained the tradition of leaving the clothes of a sick person (or a fragment of it) as a covenant, as a butt on the vowed cross.

There is a widespread idea that you can get rid of a disease by "passing" it on to another person along with your clothes. In the past, it was strictly forbidden for the Komi to give away their clothes, even for temporary use. For this reason, dilapidated clothes were never thrown away, but hung in the attic or in the shed of the house until they were completely decayed. A person who showed excessive perseverance in seeking or acquiring someone's clothes, as a rule, was suspected of wanting to spoil the owner of a particular outfit. To prevent possible damage or the evil eye through clothing, it was prescribed to burn it.

According to the tradition that is widespread among the Komi to this day, older people on the eve of leaving for another world distribute part of their personal clothing to relatives and friends (women, as a rule, in this case give most of their headscarves) "in commemoration of their souls after death." The clothes associated with certain milestones in a person's life were especially carefully preserved: a gift to a child during the eruption of the first teeth; shirt, which was presented by the godmother when performing the baptismal ceremony. Clothes received by a person as ritual gifts were also considered an effective amulet. Everywhere among the Komi, ritual and everyday belts were supposed to be stored, tied in a knot or loop beforehand - a belt that was not worn and untied could be perceived by others as a sign of wishing someone sickness or death.

Unlike everyday clothes, festive and ceremonial clothes were forbidden to be washed. Once a year (in the summer) it was either weatherbed in the sun or evaporated over a stove in a bath. Certain prohibitions were also observed when washing everyday clothes: women's outfits cannot be washed with men's and children's clothes - men will not have good luck in hunting, and children may get sick. Among the Komi, a scarf acts as a symbol of conjugal ties, the ends of which were held by the young during the wedding. After the death of one of the spouses, this scarf is torn in half: one part is placed in the coffin of the deceased, and the other is kept by the widow (or widower) until he leaves the other world.

The traditional perception of clothing as a shadow-amulet of a person largely determined the strict observance of the prohibitions associated with the order of everyday putting on, wearing and storing it. Until now, a certain sequence has been observed in putting on various elements of clothing. Violation of this order is fraught with various troubles for a person throughout the day. The procedure for removing clothes before going to bed is also strictly observed. So, for example, it was prescribed to take off a sundress from oneself to the inside out and over the head (to take off through the legs is a sin, “only they take off the deceased”). You can store a sundress turned inside out only in a chest - “if you leave such a sundress uncovered for the night, then the devils will wear it”. For this reason, everyday clothing, taken off at night, was always left inside out.

Any dressing during the day was condemned, since it was perceived by others as tunavna (witchcraft, divination). Women, putting on a sundress in the morning, tried not to take it off during the day, and, if necessary, put on other clothes over it. Only during the holidays was it not forbidden to repeatedly change clothes during the day in different clothes, although many women in this case also put on two or three sundresses at once, one under the other, and in the same way several skirts for the splendor of the outfit.

In the fairy tale folklore and beliefs of the Komi, magic power is endowed not only with clothing as a whole, but also with its individual elements. With the help of a mitten, you can easily determine whether a stolen item is found or not: if a thrown mitten falls on the ground thumb to the top - it means that the loss will soon be discovered. A patterned glove tucked into the belt in the summer is considered the best amulet against midges and mosquitoes. You can easily provoke a headache in a person by tossing his hat several times or twisting it.

Ritual dressing up in the "outfit" of the deceased to participate in Christmas divination was also considered unsafe for human life. The idea of ​​the direct connection of the soul of the deceased with this clothing was reflected in a number of Komi beliefs: it is impossible to leave knots tied on the clothes of the deceased at the moment of lowering the coffin into the grave - otherwise the deceased will often disturb the living in their dreams; if you do not wash clothes and linen for a long time, in which a person was dying, then the soul of the deceased will suffer, etc.

In rituals, a person's clothing is considered both as a "border" from the influence of the other world, and as a means of establishing contact with the other world. In family rituals and love magic Komi, the integrity of the spouses' personal clothing is a metaphor for their closeness and a symbol of family well-being.

3. CASUAL AND HOLIDAY COSTUMES OF THE PEASANT IZHMA

3.1 Description of the suit and fabrics used for it

making

Historical development the main types of Komi clothing took place in close connection with natural conditions, the economic specifics of certain groups of the population, cultural ties with neighboring peoples. However, it is difficult to trace the entire evolutionary path of folk clothing, since there is no reliable data on the material culture of the Komi throughout entire historical eras.

Ancient clothes of the Komi ancestors - zyryan is being restored based on materials archaeological site... It was sewn from fabrics woven from wool and plant fibers.

The Komi folk clothes have much in common with the clothes of the population of the Russian North and some Finno-Ugric peoples. At the same time, ethnic specificity is clearly manifested in the very complex of traditional Komi clothes, in the features of the cut, in the nature of the adornments, in some specific attributes of the folk costume. It should be noted that it is not always the presence of different nations common types of clothing should be seen as direct borrowing. The origin of certain common elements in traditional clothing among different peoples could be due to similar natural and climatic conditions and, accordingly, general types of farming.

From the words of the interlocutors, we learned that until the beginning of the 20th century, the Komi sewed clothes mainly from home-made fabrics: canvas (white and colored) and cloth. In addition to cloth, semi-woolen fabrics were also used to make outerwear.

For women's clothing Komi is characterized by a sarafan complex of the North Great Russian type with some peculiar details of the cut of a sundress and shirt and specific headdresses.

The main element of a woman's costume is a shirt, the upper part of which was sewn from pestry, kumach or embroidered canvas, and the lower part from a coarser white canvas. Very often chintz was bought for the upper part, and silk and satin were bought for the rich izhemki, and for the lower part of the shirt, which was covered with a sundress, they used an old canvas or new fabric, but of a worse quality. The shirt was decorated with inserts of fabric in a contrasting color: gussets on the shoulders and kunlos under the armpits. On the chest, in the middle, a straight cut was made with a fastener at the collar for one button. The collar, hem and hem of the sleeves were embroidered with a pattern. On Izhma, they often wore two shirts - a lower, long one, made of white fabric, and an upper one, reaching to the waist, made of brocade, lined with cloth. A sundress was worn over the shirt. Traditional Komi clothing is diverse, its various types had different purposes and different ways manufacturing. Casual outfits were made from coarser homespun fabrics in modest colors.

Komi festive clothes were made of better quality fabrics (thin canvas, thin cloth, and later - factory silk fabrics). On Izhma there was a festive brocade sarafan called “shtofnik”. The shtofnik was usually sewn on a harsh canvas lining, so they were very heavy. An apron decorated with embroideries, sewn ribbons or laces was worn on such a sundress.

Komi women's headdresses differed according to the age principle. Girls' headdresses left part of the hair uncovered. Of particular interest are wedding hats. For example, during a wedding, Izhma Komi brides changed up to five different headdresses. On the eve of the wedding, after ritual ablution in the bath, the bride is put on her loose hair with a young - a bottomless headdress, covered with red cloth, embroidered with beads and decorated with fur (to protect the beauty of the bride from the evil eye). Married women braided their hair in two braids, putting them around their heads, and covered their heads with a special cap - "hairworm". Going out into the street, when guests came into the house, a woman put on a scarf or other headdresses over the hairs, which completely covered her hair. The headdresses of married women were of great variety. So on Izhma, on a soft basis, various kinds of embroidered headbands: a triukh, or an oshuvka.

The Komi's outerwear for women was close to that of men. The women's fur coat was sewn of a straight cut from tanned yellow sheepskins. Komi fur clothes - izhemok (malitsa) differed from men's in a more beautiful trim on the hem, a fur frill, as well as decorations from various pieces of fur and cloth.

Traditional Komi footwear for both sexes did not differ much in cut. In summer and autumn they wore: pistons made of rawhide and tightened at the ankle with a strap; cats - leather shoes with a low cloth top. They put on such shoes over canvas footcloths or woolen stockings.

At present, the Izhma reindeer breeders continue to wear clothes and footwear made according to the traditional cut from reindeer fur.

Izhma shirts with sleeves are distinguished by the richness of the fabric, the peculiarity of the cut. Their width in the armhole can reach 45 - 60 cm. The sleeve at the wrist is assembled in bilateral or one-sided folds that form a cuff. The women of the Izhemsky region wore the so-called round sundresses. Silks were used for their sewing. floral ornament predominantly cold shades - dark purple, dark green. The hem was decorated with lace. Before the advent of factory lace, the hem of a sundress was trimmed with homemade fringes, which were made from cotton threads or garus, dyed black. ANNEX 1.

The description of the appearance of the Izhma Komi costume was compiled from the words of the old-timer Arteeva Polina Moiseevna(v. Akim) and Kogevina Elena Yakovlevna(v. Izhma). For us, they kindly agreed to be photographed in their costumes, which they inherited from their ancestors. Handmade costumes made by their great-great-grandmothers. According to the interlocutors, the costumes for them have great value... APPENDIX 3.4.

3.2. Features of the design and technology of the suit

Komi women's clothing is characterized by a sarafan complex of the North Great Russian type with some peculiar details of the cut of a sundress and shirt.

A long women's shirt consisted of two parts: the upper ("sos") and the lower - "myg" (bed, stan). The shirt was sewn with straight shoulder inserts - "lastovich" or poliks, with a stand-up collar, gathering at the collar in an assembly. A straight cut was made on the chest with a one-button fastening at the collar. The sleeves were long and wide, for which wedges were inserted into them. Small square gussets - "kunlos" were sewn under the sleeves. Sometimes the sleeves were made very wide with large wedges without kunlos. The sleeves and shoulders of old shirts were trimmed with a branded woven ornament in the form of transverse stripes of red cotton threads. The lower part of the shirt was usually sewn from three straight panels - two in front and one in the back; wedges were inserted into the sides to increase the width at the hem. The hem of the shirt is a bogdor - often decorated with a red stripe, the width of which reached 20 - 30 cm. With the development of commodity relations in the village, the upper part of the shirt was sewn from factory fabrics. The cut of the shirt and sleeves has changed. In terms of cut, the Komi women's shirts differed from the tunic-like shirts of other Finno-Ugric peoples, which is explained by the early Russian cultural influence. However, the ancient Komi women's shirts were also tunic-like.

A sundress was worn over the shirt, which was girded with a patterned belt.

By cut, there are skewline and straight sundresses, with gathers at the waist and with a bodice. The kosoklinny sarafan - shushun basically had three straight panels - two in front and one in the back, and four wedges, inserted two into the sides. The sundress was supported with the help of straps, which were knitted at the back, and sewn at the front. The front of the shushuna was straight, and the back was with gathers. Up to half of the shushuny was made on a lining of coarse canvas, to make the bottom heavier, so that the hem did not rise during the wind. In front of the shushun there was a seam, on both sides of which they often sewed braid, and in the middle of the button. Shushun length - 110 - 115cm. APPENDIX 2.

The appearance of a straight sundress among the Komi is associated with the spread of factory fabrics. A straight sundress with straps was a skirt with narrow sewn on straps, sewn from five or six panels of fabric. In front, a sundress was often made at an upset, and at the back, folds were laid or collected. On the hem of the sundress, they sewed trims made of colored fabric, lace and fringe. In front, the sundress did not have a longitudinal seam, and this also differed from the clinic. The length of the sundress is up to one meter.

They wore a straight sundress much lower than the oblique one, but also always girded with a woven or braided strap. The width of the sundress in the hem has reached 4 - 5 meters. Old sundresses were even wider. Under the hem. so that it lay better, they sewed a lining, 0.5 meters wide, made of satin, calico or chiffon. For pomp, one or more skirts were worn under a sundress, and sometimes an old sundress. In a straight sundress with a bodice, the skirt was sewn from one transverse piece of fabric, and the bodice was laid in a small fold. The skirt was made on a canvas lining. The bodice was fastened in front with two iron hooks. Such a sundress was held on the shoulders also through the straps. Its length is 85 - 90 cm. Over the sundress, the Komi women wore a zapon - an apron without a bib. The embroidery was done with silk and wool, mainly of dark red combined with black, the ornament was geometric (a rhombus with continuing sides). The embroidery uses multi-colored beads, which stand out brightly against the background of red fabric. V antiques Komi often find embroidery with a chain stitch - red threads on white fabric or white threads on red fabric.

4. Ornaments of the Komi peoples

4.1 The history of the appearance of the ornament

For Komi folk art, the most characteristic form of decoration is ornament - a pattern consisting of repeating, rhythmically ordered motives. Researchers note the closeness of the Komi geometric patterns to the ornament of the Volga Finns, the peoples of North-Eastern Europe (Estonians, Karelians, the population of the Russian North) and North-West Siberia (Khanty, Mansi). Probably the proximity of the motifs of the ornament different nations was due to their common ancient basis.

In the scientific literature devoted to the study of the Komi folk art, several points of view are expressed regarding the origin and development of various compositions and variants of geometric ornament among the Komi.

Scientists define the pass as one of the leading foundations of the ornament of the Finno-Ugric peoples and distinguish several functions of the pass: a sign of a tribal affiliation, a magical function (amulet), a decorative function. In their opinion, with the loss of the first two functions, the pass remained as an ornamental motive. This statement is not consistent with traditional views, typical for many peoples, that the ornament serves as a talisman against evil spirits.

G.N. Klimova in her monograph "Komi Textile Ornament" examines the dynamics of the development of the Komi geometric ornament for two last centuries and comes to the conclusion that its development was due to a number of factors: the material of manufacture (clay, wood, leather, fabric); technical methods of its execution; influenced by other cultural traditions.

The author identifies several local variants of the Komi geometric ornament, the appearance of which he considers a natural result of those historical conditions in which various ethnographic groups of the Komi developed. In particular, in the geometric ornament of Komi knitted products, there are three main options: Izhma - with a predominance of the so-called sevenfold borders; Vashko-Mezensky and Srednesysolsky - wide borders and mesh patterns; Upper Vychegda, which is characterized by features of 1 and 2 groups of patterns. It should be noted that when considering the distribution of various variants of diagonal-geometric ornament in the Komi territory, G. N. Klimova clearly exaggerates the role of external influence. The researcher, in particular, notes that the same decorative features could not develop independently among different peoples, but could appear only as a result of connections between the population. This statement contradicts another thesis of the author that the laws of development of ornamental compositions are largely determined by the technique of their execution. Despite the presence common features in the geometric ornament of the population of the Russian North, Finno-Ugric peoples and even Turkic peoples, in most cases, significant differences are found, which are manifested in the combination of technology, the ratio of parts of the ornamental compositions and, finally, in the color scheme.

4.2 Typology of Komi ornament

Depending on the motives, several groups of Komi geometric ornament are distinguished:

Patterns from simple geometric motifs - points, squares, rectangles, rhombuses, crosses, diagonal lines, triangles - are presented in most types of technology.

Patterns in transverse and longitudinal stripes, patterns of combined squares, rectangles and stepped rhombuses are typical for knitting, carvings and fur mosaics.

In Komi textiles, the most numerous and varied are diagonal-geometric patterns, in which several main compositions stand out:

a) the so-called seven-fold borders (discontinuous and continuous);

b) mesh patterns;

c) patterns of asymmetric structure (putanka);

d) symmetrical patterns, which are characterized by the equality of the pattern and the background.

Most of the variants of the diagonal-geometric ornament developed in the Komi territory from property marks - passes, which were originally applied to clay, birch bark and wooden products, and later reproduced in the Komi textile ornament.

Floral ornamental motifs are found in embroidery on clothes, towels and various bedspreads among the Izhma, Upper Vychegod, Vymsk and Udora Komi. Embroidered (vegetable) and woven (geometric) patterns are often combined on towels. The hems of aprons, bedspreads and the ends of towels were often decorated with lace with floral (floral) patterns.

Vegetable and ornithomorphic motifs of the ornament are also characteristic of the printed homespun canvas, covered with a pattern with the help of special padded boards. From printed fabric Komi sewed mainly sundresses. The most widespread Komi print is a blue fabric with a simple floral ornamentation in white or yellow colors. A more complex heel was made using several printed boards and paints of various colors: several ornamental stripes of different motives and colors were printed on one piece of fabric.

Researchers of the Komi folk art believe that floral ornament became widespread in the Komi territory in the late 19th - early 20th centuries, together with the technique of lace weaving and the manufacture of printed fabrics under the influence of Russian culture and has no local specifics. Nevertheless folk craftsmen skillfully combined innovations with local geometric ornamental traditions (often geometric ornamental motifs are found in embroidery and lace products of the Komi). APPENDIX V

In traditional Komi life, ornaments were used to decorate wooden utensils, tools, furniture, buildings, and clothing. The Komi ornament is extremely diverse in technical implementation: knitting, weaving, embossing on fabric, birch bark, clay, leather, wood and bone carving, wood painting.

4.3. Brief description of the Komi Permian ornament

Ornament is a Latin word meaning decoration. This is a pattern consisting of rhythmic elements to decorate any objects or architectural structures.

Ornament was one of the main parts of the folk art of the Perm Komi. They were used to decorate various household items made of wood, fabric, and fur. The art of ornament has been passed down from generation to generation. Learning skills began in childhood. Along with the mastery of the methods of performing this or that product, the children developed a sense of rhythm, color harmony, and proportionality.

In the ornament of the Komi people for the most part dominated by geometric motifs rooted in antiquity, to the origins of human culture. Among them are an oblique cross, a simple rhombus, multi-layered, with crossed and extended sides, straight and wavy lines, an oblique mesh, a checkerboard pattern. In addition to typical geometric motifs, there are stylized figures of humans and animals, as well as motives of a plant character: rosette flower, stems with a bud, flowering branches. Sometimes geometric elements are combined with floral motifs.

4.4. The meaning of the komi passes that make up the ornament

The word pass means a sign, a brand, a tamga, a brand. They are placed on plots of land, on bags in which they carry grain for threshing, on trees in the forest, to indicate the direction of the path, or the site of the one whose fishing line is; also on sticks or oblong boards, for various household calculations; finally, these marks are placed on the actual passes or tags.

"Pass-calendar - says Mr. Savvaitov - there are about four vershoks in length a hexagonal stick, thickened in the middle and divided by a notch into two equal parts. sticks are carved with special signs.The number of cuttings on the ribs - 365 indicates the number of days of a common year, and the cuts on the sides - fixed holidays indicated in the calendar, and some household notes.On each rib there are two months, which are separated from each other by a cutting on The beginning of the year from March 1 is marked with a special cut.

In fact, the meaning of the Komi passes is much broader. The main definition of passes in the Komi language is Rodvuzh, the main goal is to resist mystical forces and diseases, which were considered the result of evil spiritual strength and corruption. The concepts "Rodvuzh", "Nim" and "Pass" are central in the traditional worldview and ethnography of the Komi-Zyryan.

Pass-calendars, exhibits of the Komi National Museum, Syktyvkar (length about 20 cm). Wooden hexahedral (there is one tetrahedral) carved, known from the 12th century, these samples are from the end of the 19th century. Notches on each rib for the number of days in two months. There are many passes (signs) on all sides. On these samples of pass-calendars, the new year begins on March 1, personal generic memorable dates owner, and the passes themselves have both nominal, magical witchcraft and practical purposes.

On spinning wheels, you can also study the Komi pass. There were spinning wheels in almost every house, in every family they were painted in their own way. The main purpose of the drawings and passes was to protect the family from evil spirits and evil spirits, to convey the history and spirit of their family clan. Application……

A spell written down has more power than a spoken one. The main magical significance is the passes. Different ornament means different sacramental meaning and purpose, also on our website. Drawings mean an appeal to different gods, images of pets were made to protect them from damage. Most of the circles represent the sun. Technologically, there are such necessary and most important elements for Aleksey Sidorov as round holes and metal inclusions in spinning wheels. The superimposed arc lines are characteristic of the northern Komi, associated with reindeer husbandry.

Deciphering images gives the big picture life and everyday life of the traditional Zyryan family and clan, although many elements admit the multidimensionality inherent in the Komi culture. For example, an oblique cross X on passes according to information by Lyudmila Koroleva (Kortkeros) may have meanings and names: face; intersecting rays; howling gray (new pattern); Fire; Sun; cross or oblique cross as a protest against Orthodoxy. Moreover, it can usually have several different meanings at the same time. A simple rhombus ◊ on passes can mean: circle; Fire; Sun. And of course, each clan or family can also attach its generic meaning to any element.

5 . Reflection of elements of the Komi Izhma costume

in modern fashion.

Various industries have developed in the Republic. Large cities and urban-type settlements appeared. There have been fundamental changes in the traditional way of life and the spiritual life of the people. Gradually there was a decline in original folk art. The spread of urban-type factory clothing led to the displacement of traditional folk costumes, the disappearance of local woven and knitted patterned products.

Exploring modern direction fashion, it was revealed that the craving for traditional art did not disappear at all. It was expressed in the preservation of patterns of patterned fabrics, embroidered things that people continued to use, occasionally putting them on. The interest in the traditional is manifested in the preference to buy factory-made fabrics with colors that resemble homemade ones. White and light fabrics, red or burgundy colors, as well as blue satin, chintz in dark tones with a small light pattern, reminiscent of folk heels, various striped and checkered fabrics, were considered and are still considered favorite. Komi - Izhemtsy used purchased fabrics for sewing clothes, including smart and expensive (satin, velvet, brocade, etc.), very bright and at the same time noble designs.

The similarity can be traced not only in the fabrics used, but also in the cut and design of clothing. In modern fashion, decorative and constructive elements are relevant, such as a stand-up collar, decoration of products with embroidery and beads.

Many leading fashion designers produce collections of clothes in folklore style, using the design of traditional national clothes.

From the above, we can conclude that elements of Komi clothing have found application in modern fashion and are quite relevant. The traditional Komi folk art has now acquired a new life. This is one of the manifestations of the spiritual revival of the Komi people, their rich original culture, which occupies a worthy place in the treasury of world culture.

CONCLUSION

The active growth of the national self-awareness of the Komi people arouses increased interest in their history and traditional culture. Having completed this work, I learned a lot of new facts from the life and traditions of the Komi Izhma people, and also learned about the Komi national Izhma costume.

In the 11th century, the ancient Komi were formed. The final stage in the formation of the Komi people falls on the 17th - 18th centuries. At the indicated time, an increase in the productive forces was observed. The area occupied by agriculture increased, the role of which increased in the Komi economy. The local socio-economic conditions were leveled, approaching the all-Russian ones. Small-scale crafts grew, the marketability of agriculture rose, industrial enterprises arose, and internal exchange developed. Gradually, the framework of land unions, at first little connected with each other, was overcome. This was facilitated by both the strengthening of trade ties and the mutual resettlement of residents from one districts of the region to others.

During the 17th - 18th centuries, the process of the formation of the Izhma Komi ethnographic group was mainly completed. As a result of long-term interethnic mixing and ethno-cultural mutual influence, the Izhemtsy developed peculiar features in the anthropological type. A special Izhma dialect arose with significant borrowings from the Russian and Nenets languages. Changes have taken place in the traditional economic complex, and other significant differences from other Komi ethnic groups have emerged.

Nowadays, only the Izhma Komi preserve certain features of the national culture. For the rest of the ethnographic groups, regional ethical specificity has been largely lost, excluding the dialectal features of the language.

The settlement where the Izhma Komi lived was at first the village of Izhma (1567) - the center of the Izhma region. Named after the river Izhma of the same name, on which it is located. Today it is the city of Sosnogorsk, which is known as a major railway junction, a center for oil production, gas processing and energy. From here, trains with oil, coal, timber go to all ends of Russia, electricity runs along the wires. The city is the financial donor of the Komi Republic.

Izhemtsy, like all peoples, had their own traditions, rituals and their own unique national costume. Traditionally, among the Komi, clothing was perceived as a "cover, shell" and at the same time a "trace, shadow" of a person. All clothes that a person wears during his life were considered inextricably linked with him and his fate. An expression of a person without clothes is called not only a naked, but also an exhausted, sick person, about whom they can also say - he does not have a shadow-amulet.

The Komi folk clothes have much in common with the clothes of the population of the Russian North and some Finno-Ugric peoples. For Komi women's clothing, a sarafan complex of the North Russian type with some specific details is characteristic. The Izhma costume is one of the most striking costumes of the Komi people and has its own characteristic features. It differs primarily in the fact that purchased fabrics were used for its sewing. Women's shirts were made of silk with a special detail on the collar and sleeves. Sundresses are a type of round sundress. Silk was used for tailoring the costume, often with floral ornaments. The decoration used braid, lace, embroidery and beads. The headdress in the costume was of great importance. It was a kokoshnik embroidered with beads, mother-of-pearl buttons, worn over a large silk shawl with long tassels.

Several elements of the Komi costume have found widespread use in modern fashion. Fashion designers in their models increasingly use designs, drawings, developed many years ago by our ancestors. For the decoration of modern products, it has become fashionable to use embroidery and beads.

This topic is quite interesting and relevant. The work can be used in technology lessons, when explaining topics related to the regional component.

List of used literature

Northern open spaces // - 2001 № 2 - p.30 - 33.

Savelyeva E.A., Korolev K.S., In the footsteps legendary miracle... - Syktyvkar: "Komi Book Publishing House", 1989. - p. 120.

Zherebtsov I.L., Konakov N.D., From the life of the ancient Komi. - Syktyvkar: "Komi Book Publishing House", 1985. - p. 133.

Ilyina I.V., Zherebtsov I.L., Nesanelis D.A. et al., Traditional culture of the Komi people. / I.V. Ilyina, I.L. Zherebtsov, D.A. Nesanelis and others; Ethnographic essays. - Syktyvkar: "Komi Book Publishing House", 1994.-p. 269.

Belitser V.N., Komi - zyryane. / V.N. Belitser; Historical and ethnographic reference book. - Syktyvkar: "Komi Book Publishing House", 1993. - with. 176.

Zherebtsov I.P., Where do you live: Settlements Republic of Komi. / I.P. Zherebtsov - Historical and demographic reference book - Syktyvkar: "Komi Book Publishing House", 2000. - p. 185.

Sosnogorsk: at the turn of the millennium. - LLC "Regional Printing House", 1999.

The fate of a volatile zigzag: dedicated to the 60th anniversary of the Sosnogorsk gas processing plant - OOO Severgazprom, 2001.

Gribova L.S., Savelyeva E.A., Folk art of Komi. / L.S. Gribova, E.A. Savelyeva - Ministry of Culture of the Komi Republic: Publishing House - Republican Center "Veterans for Peace", 1992. - p. 270.

Zyryanskiy Mir - Essays on the traditional culture of the Komi people - Syktyvkar: "Komi Book Publishing House", 2004. - p. 256.

Monuments of the Fatherland Land of Komi. - Almanac of the All-Russian Society for the Protection of Historical and Cultural Monuments. - Syktyvkar: "Komi Book Publishing House", 2004.

Klimova G.N. "Komi Textile Ornaments" - Monograph.

Topic of the lesson: “Komi - Permian ornament. Ornament elements "

The purpose of the lesson: To acquaint pupils with the main elements of the Komi - Permian ornament, and the principles of its compositional construction.
Tasks:
Developmental tasks:
* Develop the skill of drawing patterns from various elements.
* Promote the development of imagination.
Educational tasks:
* Educate neatness.
* Arouse interest in the art of the Komi people.
Occupation type: Acquaintance with new material
Required technical equipment: an audio player (in this case a laptop), a magnetic marker board.
Materials: Album sheets, gouache, brushes, pencil, eraser, whiteboard markers (red and black)
Visuals: Two cardboard dolls, elements of Komi-Permian ornament, drawing of a belt and an apron, (sash)
Musical row: composition - "Maryamol"
Course of the lesson
I. Organizational stage. Preparing children for work.
Teacher: Hello guys! I am very glad to see you. Today you and I will again travel across the vast country. Imagined and Creativity. Will we create and paint? And so everyone smiled at each other wishing good luck and starting our fun journey.
Children listen carefully and tune in to the lesson.
II. Preparatory stage. Providing motivation and acceptance by children of the goal of educational and cognitive activity
Teacher: But what we are going to do today, I suggest you guess. First, listen carefully to an excerpt from a very funny song.
An excerpt of the song "Maryamol" sounds - folk Komi songs
The guys are listening to the melody
Teacher: Did you like the melody?
Children's answers: Yes, a very funny song
Teacher: The melody seems to be familiar to us, folk motives, do you understand the meaning of the song?
Children's answers: There is no meaning did not understand, because it is not in Russian.
Teacher: You are right, this song is not in Russian or even in English. It is in the Permian Komi language. Friends, you have just listened to a song in the Permian Komi language. And today I invite you to look into the past of this small but very interesting nation. And we will be helped by two sisters - twins Masha and Glasha.
the teacher puts two dolls made of cardboard on the desk, both dolls are dressed in the same outfit, but one has the outfit (the apron, sleeves and collar of a shirt are embroidered with patterns on the other
Teacher: Meet Masha and Glasha. They are Permian Komi. Masha and Glasha will be happy to help us understand some of the peculiarities of the Permian Komi people.
Guys greet dolls
Teacher: Guys, look at them carefully. Tell me, are they similar?
Children's answers: Yes!
Teacher: And what then?
bring leading questions to the dolls' outfit
Children's answers: Face, hair. They have the same outfit
Teacher: So, you think that Masha and Glasha are wearing exactly the same clothes.
shows on dolls
Teacher: Masha has a white shirt, a green sundress and Glasha has everything exactly the same, do you agree with me?
Children's answers: No, we don't agree. Masha looks smart
Teacher: And why does Masha look more elegant?
Children's answers: Masha is smart as she has patterns on her clothes
Teacher: Everything is correct and today we will find out what kind of magical patterns decorate the outfit of our guest Masha. Let's find out and try to decorate Glasha's boring outfit.
III. Repetition of the passed material. Checking the children's knowledge and readiness to learn a new topic.
Teacher: In the previous lessons, we already got acquainted with this pattern, it is called ...?
Children's answers: Ornament.
Teacher: Right. An ornament is a pattern built on the repetition and alternation of its constituent elements. By construction, it happens three types, list them.
Children's answers: Ornament for construction is:
- tape;
- closed;
- mesh.
Teacher: That's right, we have studied three main types of ornament according to the patterns of construction: (the teacher posts the clarity).
tape (Fig. 1),
closed (Fig. 2),
mesh (Fig. 3).
Teacher: An ornament is called a ribbon ornament, the decorative elements of which create a rhythmic row with an open two-way movement that fits into the ribbon. A closed ornament is a pattern, the decorative elements of which are grouped so that they create a closed movement. One of the varieties of ornament is a mesh ornament. It is called mesh because its composition is built using a mesh. The mesh ornament is built on the rhythmic alternation of one or
And Masha has a complicated ornament - this is the national Komi - Permian ornament.
Today we will take a closer look at the ornament of the Permian Komi. Let's find out what the ornament was for, how it appeared and what elements it consists of. Guys, what kind of ornament do we refer to the ornament made on Masha's apron?
Children's answers: Tape.
Teacher: Right.
IV. Assimilation of new knowledge and methods of action. Providing primary memorization
Teacher: Look closely at Masha's outfit, on which parts of the clothes is there an ornament?
(Working with dolls)
Children's answers: On the sleeves of the shirt, on the belt, on the collar
Teacher: All this is not accidental. In the old days, the ornament served not only as decoration, it also played other roles: it protected from the evil eye, fulfilled a magical meaning. The belt protected from evil spirits, and helped the hunter not to get lost in the forest. Embroideries were made on the sleeves and collars of the shirts, which also “protected” from “all evil spirits”. Guys, what elements do you see on Masha's ornament?
Children's answers: we can see crosses, check marks.
Teacher: All the elements that make up the pattern are specific symbols and did not accidentally appear in these patterns. In the ornaments on Masha's outfit, there are simple geometric elements: points, squares, rectangles, rhombuses, crosses, triangles, diagonal lines. In more complex patterns, these elements are combined. The source for creating interesting compositions in the Komi - Permian ornaments for man has become nature and the world around him. As a result, the ornaments of the Permian people can be divided into several main groups:
- some are associated with tools and other objects (teeth, saws, cross, compass ...) (Visibility)
-others belong to the representatives of the animal world (horn, insects, ...)
(Visibility)
- still others are images of plants (Christmas tree pattern, flower, grain ...) (Visibility)
-the fourth were the image of the figures of people. (Visibility)
In today's lesson, your task is to complete the Permian Komi ornament using the elements that are presented on the board.
Working with visibility
V. Initial check of understanding of what has been learned. Establishing the correct assimilation of new material, identifying errors and correcting them
Teacher: Guys, just that Masha and Glasha told me that they would like to check if you remember well the elements of the Komi-Permian ornament.
For each of you, they have prepared a piece of paper where it is written which element you need to draw.
(leaflets with the names of the elements are prepared in advance, the hint from the board is not removed, the teacher draws a strip on the board with a marker to perform the elements of the ornament)
Children go out at the blackboard and draw elements of the Permian Komi ornament with markers, the rest guess.
Vi. Control stage. Revealing the quality of mastering knowledge, self-control and correction of knowledge
Teacher: Well done Masha and Glasha are happy with you. And now I invite you guys to help Glasha and decorate her boring outfit. We will make bright aprons for her, decorated with Permian Komi ornaments.
Each of you will receive album sheet format A-4, put it horizontally, This is our future apron for Glasha, each of them has a strip already marked in which you should have a Komi-Permyak ornament from the elements presented on the board. Do not forget that an ornament is a pattern of alternating elements, that is, your task is to select several elements and alternate them.
The teacher invites the children to make an ornamental composition from the elements that they liked the most. Children are provided with full creative freedom providing personalized assistance.
Children design and apply an ornament
on pre-prepared sheets A-4
(cut out in the shape of an apron, at the bottom there is a strip for ornament)
Vii. Final stage Analysis and assessment of the success of achieving the goal.
Teacher: I see that everyone has a job ready. We will try on our Glasha's aprons.
The results of the work are summed up, attaching each sheet to Glasha's sundress.
Teacher: Well done, guys, thanks for the lesson, we are cleaning up jobs.
Cleaning of workplaces.

Lesson - research for students in grade 2 on the topic

"INDIGENOUSPEOPLES OF THE KAMYA. KOMI-PERMYATSKY ORNAMENT "

Target: To promote the development of cognitive interest in the traditional culture of the peoples of the Kama region.

Tasks:

Developing:

develop creative and cognitive activity

develop emotional, aesthetic perception, creativity.

Educational:

to bring up accuracy and the ability to bring the work started to the end, perseverance

promote education respectful attitude To cultural heritage, to the history and traditions of their land, respect for people of different nationalities.

Educational:

introduce students to characteristic features ornament of the Permian Komi people.

develop skills for consistent work.

Lesson type: learning new material.

Lesson form: research lesson

Teaching methods: verbal, explanatory and illustrative, practical, creative.

Teaching methods: conversation, posing questions, demonstration.

Teaching techniques: observation, listening, answering questions.

Equipment: media projector, laptop, screen, map of the Perm region, contour map Perm Territory - for each school desk, watercolor paints, brushes, paper.

Musical row: Komi-Perm music

Visual range: electronic presentation"Komi-Perm and their traditions"

PROCESS OF THE LESSON.

INTRODUCTORY CONVERSATION

Teacher: In a certain kingdom, in a certain state, namely in the one in which we live, in our Perm region, more than a hundred peoples have settled. And this is not a fairy tale, but a real reality. Say hello! - and you will be answered: "Boer moons!" or "Isyanmesez!" And this is great: the more friends you have, the more interesting it is. And even such - with their own language and their wisdom, their rituals and customs. They will share them with you - and you will become richer, as if you have found an old treasure. Some peoples are scattered throughout the Perm region, live everywhere, in the north and south, others are concentrated in one settlement. But the Permian Komi have vast lands, a whole district.

STATEMENT OF THE LEARNING PROBLEM

Teacher: Guess who we are talking about today?

Children answer

Teacher: What do you know about these people?

Children answer

Teacher: Until 2007, the Permian Komi Autonomous Okrug existed on its own, but after the unification of the Perm Region and the Permian Autonomous Okrug, a new subject of the Russian Federation appeared - the Perm Territory. There is a border between the district and the Perm region, but only on the map. There are no border guards there: get on the bus and go. Find the Perm Komi District and its capital on the map yourself!

Children work with geographic map Perm Territory

Teacher: What is the name of the largest city in the Komi-Perm district.

Children answer

Teacher: One of the ancient legends says that a hero named Kudym once lived here. He built a fortified settlement - “Kar”. This is how the settlement got the name Kudymkar - the settlement of Kudym. Komi-Perm , indigenous population Prikamye. Until the 1920s. They called themselves Permians, Permians, Permians, and after the formation of the Permian Komi Autonomous Okrug in 1925 - Permian Komi.

Slide show.

ADMISSION OF NEW KNOWLEDGE AND WAYS OF ACTION

Teacher: In the old Permian-Komi legends there are two famous heroes : Feather-hero and Kudym-Osh.

Kudym-Osh - "osh" in the Komi language - bear; Kudym-Osh - the tribal leader, the son of a bear, is endowed with the qualities of a hero: he discovered iron, taught his people crafts. Kudym-Osh - strong and courageous, can turn into a bear; bears "were relatives to him, served his people."

Slide show.

Feather-hero - the protector of his people from enemies. Me G no legends speak of Pera's help to the Russian people; about Pera's struggle against the oppressors, including the Stroganovs. Pera is a brave hero who performs feats in the name of saving the people from any enemies.

Slide show.

Teacher: How did the Permian lived in the old days. They set up their settlements near rivers, springs, on large highways. Traditional dwelling among the Permian Komi is a chopped hut made of various species of coniferous trees.

The Permian Komi was engaged in agriculture, animal husbandry, hunting, and fishing; they collected herbs, mushrooms and berries.

Bread - " nannies " baked in a Russian oven, most often from rye or mixed rye and barley flour, only in prosperous farms - from wheat. Flour was used to prepare such dishes as pancakes, pancakes, unleavened juices. Pies with various fillings were popular: turnip, cabbage, rare, mushroom. Dumplings are considered one of the main symbols of the Permian Komi cuisine. The origin of these names is associated with the Permian Komi words. sang - ear, nyan b - bread - "ear of bread".

Slide show.

Teacher: Did you know that we all often speak Perm Komi? Every second name on the map of the Perm Territory we got from ancient times from this language. Water across the Komi-Permyatsk "Wa" , and many of our rivers have names that end in va. What rivers of the Perm Territory do you know with an ending in "va"?

Children call rivers.

Teacher: And now I will name the rivers of the Perm Territory, and you guess why they got such a name!

In our region there is the Shakva river, and in Permian Komi "tshak" is a mushroom!

Slide show. Children answer.

The Yusva River, in the Permian Komi "yus" is a swan!

Slide show. Children answer.

In Permian Komi "ur" is a squirrel! What is this river?

Slide show. Children answer.

In Permian Komi "osh" means ……! So, what kind of river flows with this name in our region ...?

Children must guess for themselves and give the correct answer.

Teacher: You already understood that in our region most of the rivers were named from the Permian Komi language. So, what other rivers do we have:

Velva - high-rise river

Vilva - fresh water

Ivan - divine river (female tears)

Koiva - cold, icy (splashing) river

Colva - hunting river

Kosva - shallow river (water)

Lysva - river flowing through coniferous forests

Capelin - beaver river

Obva - meadow snowy river

Pozhva - turbid water

Suzva - river flowing where eagle owls are found

Usva - noisy water

Chusovaya - Chusva - fast water

The students and the teacher look for river names on the map.

Physical education.

Teacher: Now we will play a little and you will learn a few Permian Komi words: KI are HANDS, CHUNYOK are FINGERS, KYRYM are LADOSHKI. I will speak these words to you in the Komi language, and you must show me your hands, fingers and palms. I will also show these body parts, but I can sometimes confuse you.

Teacher: Today in the lesson we will also get acquainted with the Permian Komi costume. Perm Komi masters are famous for their weaving and knitting. The clothes of the Permian Komi in many ways resembled the clothes of the Russian people, they were embroidered on the turn, on the cuffs, on the bottom. They especially liked to decorate the belts. Now tell me what is the name of the alternating and repeating pattern that we saw on the costumes!

Children answer.

Teacher: Ornaments of the Komi peoples can be divided into several groups:

WITH ANIMAL WORLD. The Permian Komi call themselves a forest people, therefore, many ornamental signs of the image of a deer, teeth of predatory animals, and a bear's head are associated with the forest.

Slide show

RELATED TO EQUIPMENT OF LABOR. The people knew how not only to hunt, but also to plow the land, grow bread. Many signs of land, a sown field, sheaves - reflect peasant labor.

Slide show

WITH THE PLANT WORLD

Slide show

WITH THE IMAGE OF THE FIGURES OF PEOPLE

Slide show

Teacher: Now we perceive the ornament as a beautiful decoration of the outfit, and in the old days people believed that these were charms that would protect them from evil spirits and diseases. The patterns were embroidered first of all where the clothes ended, touched the open body: at the collar, on the hem, on the cuffs. Needlewomen decorated the belts with ornaments, it was believed that the belt protects from evil spirits, and the hunter helped not to get lost in the forest.

The most common elements of the national ornament of the Permian Komi:

PERNA - has an ancient origin, plays the role of a talisman, is a protection from evil spirits and evil spirits. In addition, PERNA serves as a symbol of eternity, high aspirations and happiness.

SHONDY- a symbol of the sun, a kind light amulet, like the sun it protects from negative energy and protects from everything bad in life.

Slide show

Teacher: Where can we see the Permian Komi ornament?

Children answer, then the teacher shows slides with images of textiles on which the Permian Komi ornament is applied.

Children call the elements of the ornament.

Teacher: It is winter now, it is very cold and our hands are very cold in the frost. We will draw a Komi-Permian ornament on the mittens, which I will give you out now!

Children circle the patterns of mittens, and then draw elements of the Komi-Permian ornament on them.

4. RESULTS OF THE LESSON. Reflection.

Teacher: Complete the suggested phrases:

I especially remember ... ...

Today I found out ……

I learned……

An exhibition of children's works is taking place. Identification of errors, grading.




Target: to deepen the idea of ​​children about the signs-symbols in the Komi folk ornament. Developmental tasks: * Develop the skill of drawing patterns from various elements. * Promote the development of imagination. Educational tasks: * Educate neatness. * Arouse interest in the art of the Komi people.




Ornament - this is the decoration of a product (thing) with various geometric, plant, animal elements.




The ornament served not only as an ornament, it also performed other roles: it protected from the evil eye, fulfilled a magical meaning;

The needlewomen decorated the belts with ornaments. The belt protected from evil spirits, and helped the hunter not to get lost in the forest. Belts were knitted from wool, woven from threads, braided, leather; narrow and wide.







Others belong to the representatives of the animal world (horn, insects, ...)

Still others are images of plants (Christmas tree pattern, flower, grain ...)





Vegetable

Animal

Subject




Distribute the ornaments into groups.

Animal

Subject

Figures of people

Cow collar

Ram horns

The horns of the young

Adult horns

Cow horns

Deer collar