not the most famous artist, the greatest portrait painter and historical painter, but this artist, he worked at the intersection of classicism and empire, period, he was not a purely empire artist, he captured a very famous character who was personally acquainted with napoleon, this is alexander borisovich kurakin, prominent political and statesman of the russian empire.

drawing on fabric is the easiest way to emphasize your individuality. today , ornaments are so diverse, ranging from classic stripes or checkered ones to ending.

abstract and even those that preserve centuries-old traditions of weaving, but is it so easy to transfer a design onto fabric, what modern technologies are used today, and most importantly, how a design on fabric came to life in the distant past, we will talk with real professionals in their field and find out the answers to answer these and many other questions, alina nivoina is with you and this is the fashion for culture. many... of you are familiar with the poem by our outstanding compatriot, the poet maxim bogdanovich slutsk pumper, the forgotten hand, zamizh persian pattern, flower of rodina cornflower. weaving is perhaps the most widespread type of belarusian folk art. the ability to weave was mandatory for every girl, and it was not for nothing that the bulk of the dowry consisted of woven items. towels, tablecloths, weaving

were a purely female occupation, only with the development of commodity production did it become the lot of male artisans. many ancient folk rituals and customs are associated with this craft. it is very often mentioned in belarusian folk songs. but what about is there a pattern on the fabric? for example, mortgage weaving, with the help of which our ancestors created rich decorative designs that were complex in technology. various patterns of a geometric and floral nature were produced by pick weaving, which is widespread throughout belarus . the director of the museum of ancient belarusian culture, candidate of art history, associate professor boris andreevich lazuka will tell you in more detail about the appearance of patterns on fabric using the example of one of the main brands of belarus from the lutsk belt. boris andreevich, good afternoon, good day, we are in... in the font storage

of the museum of ancient belarusian culture, where the originals of sluts belts and arnats of the 18th century are presented, because men were allowed to weave and make sluts belts, because it was a rather complex, unusual craft, with its own unique style , so tell us what the style of the slut belts was, was this something already verified or was the design different? this is truly a unique achievement of belarusian culture, belarusian art, a work of arts and crafts art, but you should definitely remember that... that the slutsk belt is one of the variants of the kontush belt, that is, a belt that was used with kuntush, the outer clothing of the gentry, the belarusian nobility, in slutsk, where the production of similar kontush belts was established belts,

a new version of such a kontush belt was made, invented, formed, when we see the originals from the lutsk belts, we are really... amazed not only by the weaving technique, but also by how harmoniously everything looks elements of the slodsk belt. can you always distinguish copies from originals? to determine the sludsk belt or not the sludsk belt, you need not only to look at the mark, and this was a mandatory element in the corner of the sludsk belt, along the edges, at the ends of the sludsk belt, marks were stuck, but there are also a number of other features, they are quite...

status, how did women decorate themselves in those distant times? if we talk about men's and women's suits, then the men's suit for a long time retained fairly stable features that we can trace in fact, until the beginning of the 19th century. there was a kind of dress code according to which it was necessary to wear that european suit, which belarusian aristocrats were obliged to wear as well. women's clothing, women's costume, he very quickly began to master those characteristic features that were completely characteristic of all european fashion. one question arises here: the fact is that we are now using the achievements of the internet, and there you can

get a variety of information, including patterns, cuts, how to make, sew this or that, for example, a dress like french... abbreviations of the 18th century, then in the 18th century, how did it all happen, a very interesting device was even invented, it was a doll called pandora, there was a large pandora, a small pandora, these were dolls, but on them in france, it was in the atelier where they sewed such suits, women's suits, women's dresses, headdresses, made a mini, miniature... copy of this dress, put it on this doll, and then brought the doll here, then in the rodivilov's palace, in the female radewilovsky or sapegov in ruzhanakh, it was possible to get it, take it apart into pieces, rip it apart, see this cut, enlarge it, then sew the

dress that the customers wanted, let’s still go back to the slutsk belts, how do you see them modern? sound today, how can we bring these unique technologies into everyday life? let us make a small digression, we will now unfold one of the original sulu belts, which is kept in our museum of ancient belarusian culture. a sulu belt is always, as in fact, most kontush belts, always double-sided, that is, it is a belt, in which does not have a front and back side, but if you pay attention that...

we don’t see any gentry meeting on the street, especially a gentry dressed in a kontushy formation with

an asul belt, this is the lot of only a stage costume, a costume that is used in different situations in cinema, these are museum exhibitions and much more, but it is then that we can show the costume, the slutsk belt and the era we are talking about as our historical one? a chalice, in orthodox culture, is a cover, these ornamental compositions, here

we can transfer such beautiful bouquets, medallions with different colors and with different ornaments, floral patterns , onto a variety of objects, the same applies not only to sluud belts, but to any other fabrics that we can now see, the wealth of textile products is immeasurable, infinitely, it would be very good if among these fabrics there were sometimes such repetitions of historical patterns from the past, from the 17th, 18th, even 19th centuries. this always awakens not only the desire to admire this grace, but also encourages the natural, an understandable and much-needed sense of pride in one’s culture, one’s country. and your people, this is the most important thing. the weaving loom

appeared on the territory of belarus in the 10th-12th centuries. these were horizontal crosses. complex weaving technology has always been combined with high artistic skill. everything that was needed in the household was woven on crosses, as well as the fabric from which clothes were made. nikolaevna, good afternoon, good afternoon, people mastered weaving back in the stone age, and the first products that people needed were clothes, shoes, as a rule, it was all made from plant fibers, this is nettle, then they switched to wool, they began to use cotton, linen, and initially it was bare fabric, without a pattern, but how did a pattern on the fabric begin to appear, well , i must say that initially it was not necessarily bare fabric, because

plant fibers also have different different colors, different shades, primitive fabrics, let's call them that, yes, they could be woven in stripes, and stripes are the simplest the most archaic ornament of stripes, it survived on our territory of belarus almost until the middle of the 20th century, this can be seen on towels. what is a stripe? a stripe is a border, a boundary. for example, on clothes they always tried to limit the hem of the skirt, the hem of the apron to stripes, a composition of stripes. on the skirts this striped ornament goes in a circle; the circle is associated with the sun, our solar symbol and a very powerful amulet. and this amulet circle, it is present even in clothes of the 20th century. the striped ornament was also a symbol of this or that

of a different kind. the striped design can be compared to today's modern barcode. each region had its own patterns and ornaments. tell us more about this. here is an ornament, what you now understand by an ornament, rhombic-geometric, then a floral one, it appeared much later, when a horizontal weaving loom, albeit a primitive one, appeared. like it was possible to weave a simple plain weave when people realized that they could thread the threads in more than two threads. v four you can get just such a checkerboard pattern and a rather complex pattern, depending on how we press the footrests, that is, raise or lower our threads, depending on what kind of weft and how many we put in this or that pattern pharynx, we get a different ornament. in addition, more complex ornaments, perhaps

even earlier ones, could be obtained. by hand, that is, you could take some kind of stick with a pointed tip and, by sorting through the warp threads, create patterned shed, this is what we now call braided weaving. at the beginning of the 19th century , a miracle machine saw the light of day, it was a semi-automated jacquard machine, so what is their difference from the same peasant crosses? the principle is the same, the only thing is that instead of pressing the steps manually... throwing the shuttle, all this was automated there, besides, the jacquard machine is a close relative of our computers, because control appeared for the first time in weaving , and how different colors began to appear on the fabric, how was it painted? well, people have long noticed that various plants - when working with them

, they paint their hands, dye fabrics there in different shades of color, they began to use this. therefore, even i had to meet flax threads dyed with beetroot and brine, because in addition, the dye must be fixed with some kind of substance, then they began to use various chemical substances, but initially these were natural ingredients, these are plants, plant bark, plant roots, sometimes rusty iron, by the way and some specific land was painted in... color. today this process is fully automated. a striking example is the republican unitary enterprise sludskie belts, one of the largest enterprises of artistic crafts in belarus. we will talk with the leading

artist of the enterprise, antonina vladimirovna isaakova, about the unique manufacturing technology that has survived to this day, as well as the modern production of the national heritage of belarus. antonina vladimirovna, good afternoon. hello. you are the leading artist of the republican unitary enterprise slutsk belts. today the slut belts are a symbol of the brand of belarus, which is known throughout the world. although the technology for their production was initially lost, the company managed to recreate it. tell us the secret, how did you do it? the process was very long. it was a joint effort. specialists of our enterprise technologists, artists, and the technology was developed by vitebsk university, using this technology a machine was ordered, which is analogue in no other world. are there any events currently underway? work to improve the technology of the sludka belts. yes, we continue to work on expanding the range of sludsk

belts and souvenir products; we are searching for new compositional and color solutions. some solutions, new types of patterns, drawings. in your opinion, how can we, belarusians, pass on these centuries-old traditions to younger generations? it is necessary that these products are constantly at exhibitions, some souvenir products are produced with this theme, which could be bought by ordinary people. for the average buyer, so that it is always a visible part, so that it is before their eyes, because... this is our history, this is our culture, so that young people appreciate it all, know it, and pass it on to this generation. antonina vladimirovna, we are now at a manual machine, so this is the paradox of the 21st century , what was previously created on manual machines can now be repeated with modern , automated equipment. this is

where your famous, one-of-a-kind machine is located, tell us about... well, this machine is unique and has no analogue in the world, it was specially designed for making copies of slutsk belts, on this machine we not only make copies of slutsk belts, but also souvenir belts, these are the author's stylizations of slutsk belts, these are souvenir products based on historical belts, all kinds of panels, these are fragments of the heads of slutsk belts, we use elements of the slutsk belt for clothing and for other types of souvenirs, and how long did it take for our people to make the slutsk belt ancestors? well, our ancestors made such a train somewhere within a year, everything at the enterprise... production is automated, that is , a program is put into the computer, a button is pressed and the manufacturing process of the product begins, but

we still see people at the machines, that is it turns out that this process of automation, it is impossible without a person, the process of automation is impossible without a person, but not all our production is automated, we still have manual machines, on them we make exclusive things that are automatically...