ABOUT one of the elements of clothing that has been known since ancient times - classic women's scarf. Relatively recently, it was quite popular, although today it is more difficult to meet a woman in a traditional headscarf in the city than, for example, in a village.

A small digression. In the modern city, there is a trend to wear a scarf around the neck. For example, a few photos of fashion bloggers:

In the villages, a headscarf is often worn on the head. And you can remember numerous examples of grandmothers in headscarves yourself. But even this phrase should not stop you from the idea of ​​trying on a scarf like the heroines of a retro film! On the blog of elegance and style - - there is a self-published How to tie a scarf on your head and video:

The history of scarves goes back several centuries. The first mentions of a square piece of matter appeared long before history Ancient Greece, India, Egypt and Turkey. Among African peoples they were no less popular.

IN different countries The meaning of scarves varied. In some countries it is an independent element of a costume, in others it is part of a headdress. For some peoples it was an indicator of social status. Women from noble families wore scarves made of expensive fabric, hand-embroidered with gold threads.

In addition to its intended purpose, the scarf was often used during dance. With its help, the dancing girl tried to emphasize the grace and lightness of her movements as best as possible. Today, the scarf is often used for the same purpose.

In the history of scarves, this accessory was worn not only on the head or neck, but also as a belt. The fashion of tying a scarf around the neck can be attributed to the Roman legionnaires. And after the collapse of the empire, this trend was picked up by the people of other countries. These include: Romania, Croatia and France. Light, wide scarves became popular back in the 18th century.

To summarize, it would be fair to say that the women's headscarf has not lost its relevance today. It can be either an item to keep you warm during the cold season, or an accessory that will transform any outfit.

Do you know the name of the woman who came up with the idea of ​​wearing fur capes with... evening dresses? Be sure to get to know this royal person in the article Who Invented the Stole.

The most beautiful examples which were found specifically for this publication:

To get acquainted with all the articles that are currently on the elegance and style blog - http://site/, go to the Blog Map page

Ekaterina Sargsyan
Lesson summary “History of things. Russian shawl"

Target: Introducing children to history of the Russian scarf. Introducing children to Russian folk culture

The recording of the song is playing "Peddlers", screen saver.

In the hands of girls handkerchiefs, the boys are belted with a sash. Children coming out to music. The children lined up and bowed to the ground to the guests. Take your seats.

1. About history of the scarf.

Today we will talk about something simple at first glance, scarf.

Russia has long been famous for its scarves. They appeared here almost 200 years ago. They were brought from Turkey and India. These were patterned, woven from the fluff of Tibetan goats, scarves.

Beautiful, bright handkerchief worn by both the queen and the peasant woman. It kept you warm, gave you health and good mood.

Once upon a time, grandmothers passed on the most precious thing as an inheritance to their granddaughters, it was handkerchief. Men, going on a journey, in square boards wrapped bread, or a handful of native land.

The melody of the song sounds "Give me handkerchief» , on the screen there is a video series and a splash screen handkerchief.

Times change, but only handkerchief remains the best gift. After all handkerchief not just a headdress, but a symbol of love and beauty.

Guys, tell me, do your mothers and grandmothers wear scarves?

Required attribute national costume Russian woman wore a headscarf, it was worn on the occasion of a holiday, or celebration, or sadness.

Previously, they always demanded that handkerchief necessarily covered the woman's head. And only in the 20th century it became possible to throw it over the shoulders.

Today it is believed that every woman should have at the ready handkerchief, and a real fashionista – not even one.

Showing a video series about scarf.

I was cleaning out my closet yesterday and found

Mamin Pavloposadsky handkerchief.

The soul immediately remembered something important,

How freedom took a sip.

And in the scarf itself: field, field is blooming!

And the flowers in it are incredibly beautiful...

In every thread, Russia is native lives:

Rivers... Mountains... Roads and fields!

In every thread the heavenly heights stretch!

Homespun, colorful pattern,

He will protect you with warmth and love,

When it gets cold and painful!

I couldn’t resist putting it on, I’m spinning

Near the mirror, like a petal...

I’m descending, but no, I’m plunging into Rus' -

In my mother's Pavloposadsky handkerchief …

Watching a video about Pavloposad scarf.

2. Russian scarves were recognized as the best in the world thanks to the work of talented artists and craftsmen.

Creation story scarf. (Video show)

3. Final questions – quiz:

1. Name the attribute of the national costume Russian woman.

2. Who wore it and when? handkerchief.

3. Why handkerchief was the best gift.

4. What scarves were recognized as the best in the world.

5. How many people worked to create scarf.

In Rus', guys, not a single folk festival was complete without an elegant, patterned scarf. Let's play with you too handkerchiefs.

A game "Burn, burn clearly..."

4. Summary classes: Business before pleasure.

This brings us to the end of our conversation about scarves. And as a souvenir, please accept dolls - amulets from small scarves. These amulets will protect you from everything bad and bring good luck.

Everyone Russian scarves suit your face, wear Russian scarves.

The melody of the song sounds "Peddler", on the screen there is a splash screen – handkerchief.

Well? One more concern -
The river is noisier with one tear
And you are still the same - forest and field,
Yes, the patterned board goes up to the eyebrows...

And the impossible is possible
The long road is easy
When the road flashes in the distance
An instant glance from under a scarf,
When it rings with guarded melancholy
The dull song of the coachman!..
A.Blok

Today I would like to talk to you about a feminine, gentle, chaste item of women's wardrobe - a scarf.

Previously, I wore a scarf only to visit the temple, not even a scarf, but a stole, and it was so comfortable, and beautiful, and the feeling was completely different, not the same as from knitted hat.
This winter I wanted to update my hat, and no matter how hard I looked, everything was unsuccessful, everything seemed uncomfortable, or it didn’t suit me, or the color was wrong. Then I was inspired by the images of girls who wear scarves instead of other headdresses, and decided to try it.

Of course, it was important for me that the scarf was made from natural fabrics, as well as warm and beautiful. Therefore, I went directly to the Pavloposadskaya Shawls store (the Pavloposadskaya manufactory has been operating since 1795). The selection of scarves is simply mesmerizing, it was not easy to choose, but still I made up my mind, choosing a scarf in lingonberry-pink-scarlet tones with a mixed pattern - a few flowers and a few cucumber ornament. Of course, at least 2-3 more scarves appeared on my list of next purchases.

I’ll be honest – the feeling of wearing a headscarf is amazing. It looks very feminine and unusual, soft and modest. It holds back - wearing a headscarf is much more difficult, for example, to be rude or argue.

I became interested in studying the history of the scarf in Rus', and understanding why it gives me such feelings?
I invite you to go with me on a short journey through history.
Initially, back in pagan times, women covered their heads in Rus' to protect themselves from the cold and harsh climate.
After the Baptism of Rus', with the arrival on our land Orthodox faith, head women's clothing are considered an integral part of a woman's costume.
The headdress was a symbol of integrity: to appear “simply haired” was the height of indecency, and to disgrace a woman, it was enough to tear the headdress off her head. This was the worst insult. This is where the expression ‘goof off’, that is, ‘disgrace yourself’, comes from.

In Ancient Rus', women wore crowns or corollas, first made of leather or birch bark, covered with rich fabric, and then metal, decorated precious stones. Long blankets were attached to the top of the crowns and fell down their backs. According to V. O. Klyuchevsky, from the 13th century. noble Russian women began to wear kokoshniks on their heads. The word comes from the word “kokosh”, that is, hen, hen. Kokoshniks resembled an onion in shape. The edge of the kokoshnik was framed underneath in the form of a mesh or fringe.
The kokoshniks were trimmed with dark red fabric and beautifully decorated with pearls and stones. Kokoshniks for rich boyars and hawthorns were made by special craftswomen.

Artist Zhuravlev.

Then women began to wear ubrus - part of a married woman's headdress - a towel richly decorated with embroidery. It was placed around the head on top of a cape - a soft cap that covered the hair - and tied or pinned with pins.

Ubrus is a rectangular panel 2 meters long and 40-50 cm wide. The material depended on the welfare of the owner. The most common option is linen or other dense fabric decorated with embroidery or border. Noble women wore a headband made of white or red satin and brocade. They wore such a scarf over their headdress.
In everyday life, peasant women wore simple scarves - a symbol of marriage.

Artist Surikov

At the end of the 19th century, scarves as headwear were widespread in Russia. They were worn by girls and young women in different time of the year. Scarves gave women's suit special color and originality. At first, scarves were tied over a headdress (usually a kichka), later they began to be worn independently, tied on the head in different ways. Girls tied a scarf under their chin, and sometimes with the ends back (married women also wore a scarf). The fashion of wearing scarves tied in a knot under the chin came to Russia from Germany in the 18th - 19th centuries, and the image of a Russian woman - “Alyonushka in a scarf” tied in this way - was formed already in the 20th century.

The scarf in the image of a Russian woman was the logical conclusion of the costume. It was like a cover for her face, a woman without a headscarf is like “a house without a roof”, “a church without a dome”. The scarf gave a woman a special femininity and tenderness. No other headdress gave as much lyricism to a woman’s appearance as a scarf.

Artist Kulikov.

Headscarf as a sign of social status

Unmarried girls had different hats and hairstyles. Their main headdress was crowns, also called beauty. For example, an image of a mansion in several tiers, separated by a pearl rim. The crown was a ribbon of Byzantine brocade glued onto a hard pad, one edge of which was raised and cut with teeth. The rim was made of silver or bronze.
At the ends of the corolla there were hooks or eyes for a lace with which it was tied at the back of the head. The back of the girls' heads in such headdresses remained open. Along the cheeks, strings of beads made of stones or, more often, pearls, descended from the crown of the cassock, and the forehead was decorated underneath. The crown was always without a top, because open hair was considered a sign of girlhood. The crowns of middle-class girls consisted of several rows of gold wire, which were sometimes decorated with corals and semiprecious stones. Sometimes it was just a wide bandage embroidered with gold and pearls. This headband tapered at the back of the head and was tied with wide embroidered ribbons that fell down the back.

In winter, girls covered their heads with a high hat, which was called a stolbunets. The bottom was lined with beaver or sable fur, and the high top was made of silk. Braids with red ribbons fell out from under the pillar. The fact is that under the column they also put on a bandage, wide in front and narrow in back, which was also tied there with ribbons. Braids were sewn to girls' ribbons - dense triangles made of leather or birch bark, covered with silk or embroidered with beads, pearls, and semiprecious stones. They were woven into a braid using golden twisted thread. After the girl got married, her head was covered with women's clothing.

Since biblical times, a scarf on the head of a married woman has been a symbol of female nobility and purity, submission and humility before her husband and God, which is why without using a scarf, a woman expressed her pride and rebellion, and therefore could not be allowed into the temple for spiritual repentance.
It is also believed that a married woman demonstrated her dependence on her husband with a scarf, and a stranger could not touch or disturb her.
A scarf gives a woman a feeling of protection, security, belonging to her husband, adds femininity, modesty and chastity.

Production of scarves

Throughout the 19th century. all the scarves were nameless. All the names of the factory craftsmen, the authors of the wonderful scarves, have not reached us. Danila Rodionov is the first master whose name is mentioned; he was both a carver and a printer.
Oriental shawls appeared in Russia earlier than in France. They came into official fashion at the end of the 18th century. - in 1810, when the Empire style came. In the tenth years of the 19th century. The first Russian shawls appeared.

They were produced mainly at 3 fortress factories.
• 1. Kolokoltsov shawls - at the factory of Dmitry Kolokoltsov, a Voronezh landowner.


• 2. In the workshop of the landowner Merlina, who began with the production of carpets in the Voronezh province, then switched to shawls and moved the workshop to Podryadnikovo, Ryazan province. “Mrs. Merlina’s scarves and shawls, with their high kindness, have earned first place among products of this type.”


• 3. In the workshop of the Voronezh landowner Eliseeva.

The shawls of all 3 workshops were called Kolokoltsovsky. Unlike eastern and European shawls, Russian shawls were double-sided, the reverse side did not differ from the face, they were woven from goat down using the carpet technique and were very highly valued. In the first quarter of the 19th century. the shawl cost 12-15 thousand rubles. The best shawls were woven over a period of 2.5 years.

In the middle of the 19th century. in Russia, a special center for the production of national scarves is emerging - Pavlovsky Posad.) 0 there is material in the magazine “Manufacture and Trade” for 1845. Excerpts from there: “On May 13, 1845, the village of Vokhna, Bogorodsky district and 4 nearby villages were renamed Pavlovsky Posad ".
The merchant Labzin and Gryaznov, who entered into business with him, opened a factory of printed scarves; 530 workers worked at the factory. The factory's silk and paper products were sold out at fairs, which were held in Pavlovsky Posad up to 9 times a year.

In 1865, Shtevko opened a large-scale production of printed wool and calico scarves. But only from the 80s of the 19th century, when the Labzin factory switched to aniline dyes, the type of Pavlovsk scarf that made Pavlovsky Posad famous began to take shape. The fact is that natural dyes can be used to obtain pure bright colors on wool fabric extremely difficult. And here comes the change natural dyes bright chemical ones came - by the end of the 50s, aniline, and from 1868 - alizarin.
By the end of the 19th century. - early 20th century Pavlovsk scarves are exhibited at international exhibitions, captivating with their originality and national identity. Bright, colorful, they have become the most beloved among the people. Their popularity was facilitated by their versatility: the scarf went with everything and everyone - the outfits of peasants and urban lower classes.

Patterns of Pavloposad shawls

Pavlovsk scarves of the 1860-1870s differed little stylistically from the scarves of Moscow manufactories, which were predominantly decorated with the so-called “Turkish” pattern, the style of which goes back to woven oriental shawls. This pattern is most characteristic of Russian woven and printed scarves of the 1st half of the 19th century. It involves the use of certain ornamental motifs in the form of a “bean” or “cucumber”, geometrized plant forms. In Russia, interest in the art of the East was quite stable throughout the 19th century. Although some researchers mistakenly associate exclusively floral patterns with the Pavlovian scarf, nevertheless, Pavlovian shawls with “Turkish” patterns were also quite diverse.

In the 2nd half of the 19th century. the depiction of flowers, and in a somewhat naturalistic interpretation, was very fashionable. This was probably due to the romantic tendencies of the connection between man and living nature, characteristic of the entire era of historicism. Preference was given to floral motifs in embroidery, lace, and fabrics. Porcelain and trays were decorated with bouquets of flowers, and their images began to appear in interior painting. So, in decorating shawls with flowers, the desire of Pavlovsk craftsmen to make a fashionable product that would be in demand among buyers was evident.

In 1871, there were already 7 draftsmen working in the drawing workshop of the factory: Stepan Vasilyevich Postigov, Ivan Ivanovich Ivanov, Mikhail Ilyich Sudin (Sudin), Akim Vasiliev, Pavel Zakharovich Nevestkin, Boris Efremovich Krasilnikov, Zakhar Andreevich Prokhanov. By the end of the century their number reached eleven. The work of artists was highly valued: the salary of the highest paid of them, Stepan Postigov, at that time was 45 rubles, which was almost 2 times the salary of a carver and several times the earnings of workers in other specialties.

The end of the 19th - the beginning of the 20th century. can be considered as the time of the final formation of the Pavlovian scarf style. The pattern was printed on cream or colored ground, most often black or red. The ornament included a three-dimensional image of flowers collected in bouquets, garlands or scattered across the field of a scarf. Sometimes flowers were complemented with thin ornamental stripes or small elements of stylized plant forms. Distinctive feature Pavlovsk scarves had impeccable harmony in the selection of color combinations and individual decorative elements. It is no coincidence that in 1896 the enterprise received the highest award of an industrial exhibition in Nizhny Novgorod: the right to depict the State Emblem on signs and labels.

Since the mid-1920s, the traditional floral pattern has received a slightly different interpretation. During these years, flower forms become larger, sometimes acquiring almost tangible volume. The coloring of scarves is based on bright contrasting combinations of red, green, blue and yellow colors.
Drawings of the post-war period are characterized by decorative richness and a denser arrangement of floral patterns. The color and compositional richness of the drawing with complex light and shadow developments corresponded to the general trend in the development of applied art of those years.
In the last decade, work has been carried out to restore the designs of old Pavlovsk shawls. The creation of new drawings is carried out in two directions. Along with the development of the classical line, new, modern designs appeared, taking into account the pan-European trends in the development of the scarf. In accordance with the fashion and style of the time, the color scheme of products changes. The color scheme is based on a harmonious combination of similar tones with a predominance of beige, ocher, brown and greenish.

If you, like me, are interested in scarves, then look at the scarves at

An ancient piece of women's clothing. The extent to which the scarf spread depended on climatic conditions, religious traditions, customs. Thus, in Egypt the climate was not conducive to wearing headscarves; in addition, wigs were in fashion in Egypt. In the ancient Greek world, women wore a pelos - a piece of fabric that replaced a cloak and a scarf at the same time, or simply a bandage. Women of Ancient Rome covered their heads in the same way. In Byzantium, along with caps and hairnets, they wore scarves.

In the ancient world, covering the head symbolized maturity. The girls did not cover their heads. During the Renaissance, women often did not cover their heads.

We see confirmation of this in the paintings of artists of that era, where women were often depicted with their heads uncovered ("Lady with Ermines" by Leonardo da Vinci, paintings by Botticelli). True, sometimes women tied their heads with bandages (Madonna Litta in the Hermitage), in the north of Europe at this time caps with lace came into fashion, and for noble ladies - hats.

At the beginning of the 18th century. In northern Europe, the first printed scarves appeared with various designs from ornament to political caricature. During the period of the spread of the Empire style, after Napoleon's campaigns in Egypt, Eastern European shawls, Indian and Kashmiri shawls appeared. The production of printed shawls begins in Europe.

In 1840-50 Berendey style scarves are fashionable - thick cloth scarves embroidered with chain stitch.

In Russian life, scarves, first of all, protected from the harsh climate. Since pagan times, a woman has been walking with her head covered, and for a long time in Rus', a married woman, according to custom, covers her head with a scarf, since she was not allowed to show her hair. After a wedding, forced exposure of the head was considered the greatest shame.

The woven scarf was first called “lor”, then “ubrus”. The Slavic word "ubrus" has been preserved among the Western Slavs to this day. Under the headscarf, women wore hats, the so-called “podubrusniki” or “volosniks,” which on one side insulated their heads and, on the other, protected expensive embroidered scarves from contamination and, accordingly, from frequent washing. The woman's hair was pulled so tightly by the headdress that it was difficult for her to move her eyelids. In winter, a fur hat was worn over the scarf. The poor covered their heads with dyed scarves and woolen scarves.

In the 16th century, square scarves made of dense patterned woven fabric, the so-called “konovatki”, appeared. Indian historians suggest that scarves appeared in Russia after Afanasy Nikitin brought them from his trip to India in 1460.

From the second half of the 19th century. Down, brocade, chintz and silk printed scarves are coming into fashion.

The scarf was an aesthetic accent in the clothing of a Russian woman, the logical conclusion of the costume. It was like a cover for her face, a woman without a headscarf is like “a house without a roof”, “a church without a dome”. According to Blok, “patterned dresses up to the eyebrows” are an organic part of the appearance of a Russian woman. She wore a scarf for 2/3 of her life, not taking it off until her death. The scarf gave a woman a special femininity and tenderness. No other headdress gave as much lyricism to a woman’s appearance as a scarf. It is no coincidence that many Russian poets, one way or another, turned to the scarf in their work.

"Discharge: get out
In your outfit blue
And put it on your shoulders
Shawl with a painted border."
A. V. Koltsov.

But this is another topic, it can take us far, right up to “I’m standing at a stop in a colorful half-shawl.”

Second half of the 19th century. is marked by the pseudo-baroque or second baroque style. Scarves with a pattern on a black background, the so-called dark-earth and light-earth backgrounds, are common.

In Russian life, the scarf had a number of symbolic and ritual meanings. Only a married woman covered her head with a scarf; a girl did not have the right to wear a scarf. She tied her head only with a bandage, and in winter she wore a hat.

There was a ritual of wrapping a young woman associated with a wedding. At the end of the first day, the young woman was put in a corner, covered with scarves on all sides, they braided her two braids and put on a scarf.

According to Slovak custom, the bride wore a special wedding scarf for 14 days, and then put on a regular scarf.

Girls covered their heads with scarves only at funerals. Another of the Slovak customs associated with scarves. On Christmas, girls washed themselves with water into which coins were thrown and wiped themselves with a red handkerchief so that they would be rosy throughout the year.

The scarf turns into a symbol, a sign. "A sign - according to the definition of the ancient philosopher... - is an object that names a thought not only about itself, but also about something else." So the scarves became a kind of signs. A certain symbolism appeared in the way of tying a scarf.

For one or another Religious holidays special scarves were worn.

On funeral days - sad or “sad”, scarves - black with a white floral pattern, and from the 2nd half of the 18th century. - black lace scarves. Old Believers wore blue, black and white scarves. The assortment of calico-printing factories included special peasant old woman scarves. Girls in cities already somewhere in the 19th century. They wore blue, pink and crimson scarves. Noblewomen did not wear headscarves.

Throughout the 19th century. all the scarves were nameless. All the names of the factory craftsmen, the authors of the wonderful scarves, have not reached us. Danila Rodionov is the first master whose name is mentioned; he was both a carver and a printer.

Oriental shawls appeared in Russia earlier than in France. They came into official fashion at the end of the 18th century. - in 1810, when the Empire style came. In the tenth years of the 19th century. The first Russian shawls appeared. They were produced mainly at 3 fortress factories.

1. Kolokoltsov shawls - at the factory of Dmitry Kolokoltsov, a Voronezh landowner.

2. In the workshop of the landowner Merlina, who began with the production of carpets in the Voronezh province, then switched to shawls and moved the workshop to Podryadnikovo, Ryazan province. “Mrs. Merlina’s scarves and shawls, with their high kindness, have earned first place among products of this type.” The staff of Merlina's workshop consisted of 2 dyers, a draftsman, 3 weavers, 26 weavers, and the captured French brigadier general Duguerin grew herbs for paints.

3. In the workshop of the Voronezh landowner Eliseeva.

The shawls of all 3 workshops were called Kolokoltsovsky. Unlike eastern and European shawls, Russian shawls were double-sided, the reverse side did not differ from the face, they were woven from goat down using the carpet technique and were very highly valued. In the first quarter of the 19th century. the shawl cost 12-15 thousand rubles. The best shawls were woven over a period of 2.5 years. After 10 years, the craftswomen were given eternal freedom, but, as a rule, after 5 years of such work they became blind, and they no longer needed freedom. The French ambassador wanted to buy a “Kolokoltsovskaya” shawl for Napoleon’s wife, but Eliseeva raised such a price (25 thousand rubles) for patriotic reasons that the ambassador was forced to leave without purchasing the shawl.

In the 20s, the fashion for shawls reached its apogee - everything began to be made from shawls: sundresses, dresses, furniture and shoes were upholstered with shawls. There was an impression of ancient Greek frescoes coming to life. The dance "pas de chal" was danced in the salons. The passion for shawls can be seen in the portraits of Borovikovsky, Kiprensky and other artists of that time. The shawls were in keeping with the Russian costume tradition of covering one's body.

Shawls from serf manufactories brought richness and subtlety to the elaboration of forms, introduced looseness in color, multi-coloredness and played a big role in the development of the production of scarves. In the 19th century Calico scarves and shawls widely entered Russian life. Even aristocrats at times turned their favorable attention to them. So the empress, the wife of Nicholas I, ordered calico and cotton shawls from the factories of Rogozhin and Prokhorov in 1830, albeit based on designs sent from France.

In the first half of the 19th century. A very favorite was the woven Kolokoltsovsky red or, as they were called, kumach shawls (based on the dyes, they were also called Adrionopole or Krilov).

In the Bogorodsky district, the Fryanovsky factory produced printed shawls, which to some extent were based on the Kolokoltsov ones. The combination of red and yellow in the scarves was reminiscent of expensive brocade fabrics.

In Rus', warm, bright colors were loved. They wore red shirts and even trousers (“Mumu” ​​by Turgenev). The red color symbolized warmth, sun, joy and fullness of life. It is not surprising that red goods occupied a significant place in the volume of output. On a red background, patterns were printed with yellow paint; green and blue colors were tactfully introduced. The yellow color led from the impression expensive dress, embroidered with gold.

In the first half of the 19th century. The paper goods from the Tretyakov and Prokhorov factories competed with Western goods. One of the scarves has the mark " Russian product merchant Prokhorov." A large batch of scarves was purchased for North America.

In the 70-80s, during the use of alizarin dyes, Baranovsk scarves and calicoes were very popular, they were distinguished by their inimitable red color. The secret of this special red color lay in the composition of the water used in production. The Baranov manufactory was located in the Vladimir province, in the village of Karabanovo, not far from the village there is a lake, the water of which contains practically no salts. Baranov installed oak pipes to the factory to eliminate the possibility of scale and other impurities from metal pipes getting into the water. Baranovsky scarves were immediately recognizable by their multicoloredness, which did not fall into variegation, by their design, and by their high technical skill. They were distinguished by a high ornamental and coloristic culture.

Turkish "cucumbers"

A special group of shawls are Kashmiri and Turkish with a shawl pattern of Turkish “cucumbers”. These shawls were exported from Russia to China, Persia, and Central Asia and replaced similar English products.

Fragment of a Pavlovo Posad scarf. Floral ornament with "cucumbers"

“Cucumbers” were found in Russian ornamentation already in the 16th century. Although they were called Turkish "cucumbers", they came from India. In India, "cucumber" symbolizes the footprint of Buddha.

Unlike Indian “cucumbers,” Russian draftsmen provided a more generalized decorative solution, which required fine printing. In the 19th century New cucumber motifs appeared - the so-called Russian "flourishing cucumbers", the tips of which were decorated with flowers. Russian masters are characterized by a simplified solution. They were attracted by the outlandish silhouette, the dynamism of the “cucumber” shape, which allowed them to give free rein to their imagination in the internal design, which is not found in oriental shawls. At the same time, the characteristic features of the “cucumbers” were not lost, but only their sizes changed.

The “Babylonian” quality of the scarf, the jewelery of this pattern, contrasted with the face; it benefited from the frame of the scarf.

In the first half of the 19th century. products from the Rubachev brothers' manufactory of the Prokhorov manufactory (now the Trekhgornaya manufactory, founded in 1799) are known. A talented Russian draftsman, master Marygin, worked at the Prokhorovskaya manufactory for 40 years.

Along with kumak scarves, “cube” scarves - blue ones - were very popular. Indigo dye is from India; no synthetic dye could replace its depth. On white fabric where there should not be blue, a reserve was applied through which the paint did not penetrate. The fabric was dipped into a cube (hence, cube scarves), and after dyeing, the reserve was washed off, and in its place, instead of white, a yellow color was obtained due to the addition of certain substances to the reserve, or, as it was also called, to the vaga.

Until 19, large calico scarves were made by hand. In 1914 at the Prokhorovskaya manufactory there were about 100 more printing tables for printing large scarves.

A large group consisted of commemorative or souvenir scarves; they were distinguished by strong designs. Examples: a scarf with a railway (its image is not naturalistic, the design is purely weaving), a “Bronze Horseman” scarf, a scarf dedicated to General Skobelev, a calendar scarf with advice (3rd quarter of the 19th century), a scarf was released in 1913 , dedicated to the 300th anniversary of the House of Romanov with their portraits (checkered scarves were never called shawls).

In the middle of the 19th century. in Russia, a special center for the production of national scarves is emerging - Pavlovsky Posad.) 0 there is material in the magazine “Manufacture and Trade” for 1845. Excerpts from there: “On May 13, 1845, the village of Vokhna, Bogorodsky district and 4 nearby villages were renamed Pavlovsky Posad ".

Textile production appeared here at the beginning of the 18th century, Vokhna developed particularly rapidly after 1812, but in the entire article there is not a word about the production of scarves. Only in “Memoirs of the Naydenov family of merchants (a later publication) is there information about the intention to organize the production of printed scarves in Pavlovsky Posad on shares.

The merchant Labzin and Gryaznov, who entered into business with him, opened a factory of printed scarves; 530 workers worked at the factory. The factory's silk and paper products were sold out at fairs, which were held in Pavlovsky Posad up to 9 times a year.

In 1865, Shtevko opened a large-scale production of printed wool and calico scarves. But only from the 80s of the 19th century, when the Labzin factory switched to aniline dyes, the type of Pavlovsk scarf that made Pavlovsky Posad famous began to take shape. The fact is that it is extremely difficult to obtain pure bright colors on woolen fabric using natural dyes. And so natural dyes were replaced by bright chemical ones - by the end of the 50s, aniline, and from 1868 - alizarin.

By the end of the 19th century. - early 20th century Pavlovsk scarves are exhibited at international exhibitions, captivating with their originality and national identity. Bright, colorful, they have become the most beloved among the people. Their popularity was facilitated by their versatility: the scarf went with everything and everyone - the outfits of peasants and urban lower classes. The coloring of the scarves took into account how it looks up close, in winter and summer. The patterns in the scarves were skillfully arranged; the pattern of the fringe played an important role.

The popularity of Pavlovsk scarves has become so great that other manufactories, for example, the city of Ivanova, are beginning to imitate them. In the 30s, they tried to move away from the tradition of the Pavlovian scarf, but nothing interesting came of it - borders and an inexpressive “middle” went.

In the 70s they returned to old traditions. Now mass products are produced with a black background, less often with a crimson background. Scarves are again very popular.

If we look back at history, we will see that in different cultures and countries the scarf is a very symbolic accessory:

- in Ancient Egypt, for example, a headscarf was a symbol of social status;

— in Rome, a scarf was considered an important functional accessory that protected from cold and wind;

- in the days of the first Christians, women covered their heads as a sign of their husband’s power over them;

- in France, thanks to Louis XIV, the scarf became a luxury item and testified to its aristocratic origin;

— in Rus', the image of a married beauty was unthinkable without a headdress. The scarf on her head meant a change in social status to married.

The predecessor of the Russian scarf was ubrus – decorated white linen towel. The ubrus was decorated with embroidery and lace. Later, in the 17th century, the scarf and shawl already appeared in Rus' (shawl is translated from Persian as “large patterned scarf”).

By the way, in Rus', in noble families, girls were taught to wear a shawl, tie it and even dance with it.

How are things going with scarves and shawls now? World designers still believe that “ real woman always has a scarf at the ready, and a real fashionista has more than one, which in an instant makes even the most ordinary suit or dress irresistible and elegant.”

Indeed, a scarf and shawl are a universal accessory, thanks to which you can always look different. A scarf can be both part of everyday wear and an elegant accessory. We can use it not only as a fashion accessory, but also as an element of our own unique style.

The scarf has been a great style element for many celebrities of different times:

Audrey Hepburn, Grace Kelly and Sophia Loren skillfully used this accessory as decoration, headdress and complete look.

Modern fashionistas are inspired by examples of celebrities and stylish women and they tie scarves in different ways, skillfully combining them with both casual and elegant clothes.

Thanks to the multifunctionality and versatility of the scarf, each of us has an excellent opportunity to experiment with different styles and images to choose for yourself what you like. Handkerchief– a relevant accessory not only in the temple, but also outside it.