quality, 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, the sludsk belt. boris andreevich, good afternoon, good afternoon. we are in the holy of holies in the font storage of the museum of ancient belarusian culture, where we are presented. originals of sludsk belts and ornates of the 15th century, because men were allowed to master the name, specifically to make sludsk belts, because that this was a rather complex, unusual craft, with its own unique style, so tell us what the style of the slut belts was, was it something already verified or the design was different, this is truly a unique achievement of belarusian culture, belarusian art - a work

of decorative and applied art, but you should definitely remember that the slutsk belt is one of the variants of the kuntush belt, that is, a belt that was used with kuntush, the outer clothing of the gentry of the belarusian nobility, in slutsk, where it was established the production of similar kontush belts was made, invented with... a new version of such a kontush belt was formed, when we see the original izlod belts, we are really amazed not only by the weaving technique, but also by how harmoniously all the elements of the slod belt look. can you always distinguish copies from originals? to determine the sludsk belt or not the sludsk belt, you need not only look at the mark, but this was a mandatory element in the corner of the sludsk belt along the edges.

women, if we talk about a suit, men's and women's, then men's costume for a long time retained fairly stable features, which we can actually trace back to the beginning of the 19th century, there was a kind of dress code according to which it was necessary to wear that european costume, which belarusian aristocrats were obliged to wear , including women's attire , a women's suit, 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 it is possible get a variety of information, including patterns, cuts, how to make, sew this or that, for example, a dress like a french aristocrat of the 18th century, then... in the 18th century, how was it all? a very interesting device was invented, it was even a doll called pandora, there was a large pandora, a small pandora, these were dolls, but they were used on them in france , in the atelier where they sewed such costumes, women's suits, women's dresses dresses, made a mini, a miniature copy of this dress,

let us make a small digression; we will now unfold one of the original slutsk belts, which is kept in our museum of ancient belarusian culture. the sulu belt is always, as in fact most of the kontus belts, always double-sided, that is, it is a belt in which there is no front and back side, but if you notice that the belt has different...

red ones on this side, on the other reverse side they will be ocher. the fact is that here we can also see other objects in which old fabrics are present, seventeenth centuries, they too, this church vestment, they also have such a difference. sludka belts also have this division, where in sacred fabrics it has... meaning, that is, on different church holidays one could wear vestments corresponding to the nature of this holiday, a very reasonable, very complex question, this is about the modern use of sludka belts and

other fabrics that we now see here how we don’t see museum objects in the collection on the street now meeting... the nobility, especially the nobility dressed in the contush formation with the asulo belt. this is the destiny 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 you can show the costume, the slutsk belt and the era that we are talking about as our historical memory, about our history , about ours -

these ornamental compositions, these beautiful bouquets, medallions with different flowers, with different ornaments, floral ornaments, we can transfer to the most various objects, the same applies not only to slutsk belts, but to any other fabrics that we can now see, the wealth of textile products is immeasurable, limitless, it would be very good if among these... fabrics such repetitions of historical patterns could sometimes be found from the past from the 16th, 16th, even 19th centuries. this always awakens not only the desire to admire this grace, but also stimulates a natural, understandable and much

-needed feeling of pride in one’s culture, one’s country and one’s people. here it is most important. the weaving loom appeared on the territory of belarus in the 10th-11th centuries; these were horizontal looms. complex manufacturing 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. maria nikolaevna, good afternoon. good afternoon. there were weavings 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 moved on for wool, they began to use cotton, linen, and

initially it was bare fabric, without a pattern, but how did the pattern begin to appear on the fabric, well, i must say that... and initially it was not necessarily bare fabric, because plant fibers also have different different colors, different shades, primitive fabrics, we will call them that, yes, they could be woven into stripes, a stripe is the simplest most archaic ornament of stripes, it survived on our territory in belarus almost until the middle of the 20th century, this you can see on towels what a stripe is, a stripe is... a border, a boundary, for example, on clothes they always tried to limit the hem of a skirt, the hem of an apron with stripes, a composition of stripes. on the skirts this striped ornament goes around, the circle is associated with the sun, our solar symbol and a very powerful

amulet, this amulet circle, it is present even in clothes of the 20th century. the striped ornament, it still appeared. symbol of one kind or another. the striped design can be compared to today's modern barcode. for each region had its own patterns, its own ornament. tell us more about this. no, here is an ornament, what you now understand by an ornament, rhombic-geometric, then also floral, it appeared much later, when a horizontal-type weaving loom, albeit a primitive one, appeared; it was possible to weave a simple plain weave, when people realized that you can thread the threads, not in two, not in two nochelnits, but in four, you can get something like this... a checker pattern and quite complex ornament, depending on how we

press the steps, that is, raise or lower our threads, depending on what weft in what quantity we lay in a particular patterned shed, we will 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 fingering the warp threads, create a patterned shed, this is what we now call brane weaving. at first in 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 to throw the shuttle, it was all automated. and besides, the jacquard machine is a close relative of ours, our computers, because

control first appeared in weaving. how did different colors begin to appear on the fabric, how was it dyed? well, people have long noticed that various plants, when working with them , color your hands, dye fabrics there in different shades of color, they began to use this, so even i had to meet flax. the threads are dyed with beetroot and brine, because in addition, the dye must be fixed with some substance, then various chemical substances began to be used, but initially these were natural ingredients, these are plants, plant bark, plant roots, sometimes rusty iron, by the way, and some specific land, painted in black color, today this process is completely 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 isakova, 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 slutsky belts. today sludskie belts are a symbol of the belarusian brand, which is known all over the world, although initially the technology for their production was lost, but the company managed to recreate it. tell us the secret, how did you do it? the process was very long and lengthy. this was a joint work of specialists from our company, technologists and artists. and the technology was developed by vitebsk university; using this technology

, a machine was ordered, which is not similar in the world. are there any activities or work currently underway to improve the technology of sludsk belts? yes, we continue to work on expanding the range of sluud belts and souvenirs. this is a search for new compositional solutions, some coloristic 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 a simple ordinary buyer, so that it is always a visible part, so that it is before the eyes, because this is our history, this is our culture.

and there is no analogue in the world, it was specially designed for making copies of slud belts, on this machine we not only make copies of lud belts, but also souvenir belts. these are the author's stylization of sludsk belts, these are souvenir products based on historical belts, all kinds of panels, these are fragments of the heads of sludsk belts, we use elements of the sludsk belt for clothing and for other types of souvenir products. how long did it take our ancestors to make a slut belt? well, ours ancestors, such a train was made somewhere

within a year. at the enterprise, all production is automated, that is, in... a computer, a program is loaded, a button is pressed and the process of manufacturing 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 we do not have all automated production, we still have manual machines, on them we make exclusive things that are automatic it is impossible to make on a loom, these are things. in which a very large number of colors should be used, because automatic production is, as it were , limited, for example, by the number of colored threads, the structure of the thread, there is definitely only the thread density, in manual quality you can use different thread densities, some voluminous things , make some kind of cords, just so much

is the unlimited possibility of handmade quality, dispel the myth that your enterprise is famous only. has the significance of the national symbol of belarus and is assessed as the largest achievement of belarusian and all-european decorative and applied art made of

silk, silver and gold threads, by the art of artists and artisan weavers. and true masterpieces continue to be created, be proud of national achievements, study history, follow fashion trends in the cultural life of our country. alina nevoina was with you, remember, being cultural is fashionable, see you in a week, until new cultural meetings.

belarus is going to the olympics in paris, albeit in a neutral status, but additional conditions are not accepted. this was confirmed once again last week by the head of the national olympic committee, viktor lukashenko. as of today , our athletes have 28 licenses, and there is still an opportunity to increase this number, and those passed in minsk are allowed by the international federation. there are also plenty of paradoxes. our wrestlers, for example, in tokyo had eight licenses.

there is a ticket, but most likely there is no opportunity to go there, because he doesn’t change his mind, he’s more focused on brix’s game for all these stages of the queen of sports, is it possible to somehow explain to the viewer what the logic is, for example, if the wrestling world allows its guys, but the international federation does not allow it, it turns out that it’s a matter of some personal ambitions, personal views on the process, that is, this is not a single position at all in the end, it turns out very fragmented, but there is actually some kind of human factor here, some people like belarusian athletes, some don’t like them, some... rely more on this policy, some still try to defend the fact that sport is outside of politics, and we, unfortunately, in athletics are faced with a person who just, well, doesn’t... loves us everything, this is a sports shot, hello, look at the program today, the fact that he gets on the bus and goes sad until mozyr.