[000:00:00;00] i’m already thinking with you only forward to the heroes, luck is the reward, heroes, victory is calling, a new day is ahead, boldly go towards it, and take the first step, without a doubt, this is... our finest hour, time has chosen us, don’t miss it , our time, friends, is with you, wings behind

your back, and you just have to believe, tickey, hero! they are already next to you and only forward to the heroes , luck is the reward, heroes, victory is in reverse, heroes, they are already next to you, and only forward is to the heroes, luck is the reward, heroes, victory is coming. they are already next to you, despite the long journey, the outcome of the game can be decided quickly, can the chosen ones become heroes,

welcome to the world where everything is real. quality has always been widespread among belarusians, and it appeared on the territory of our country in ancient times. archaeologists date the qualitative finds to the second half of the first millennium bc. in the 11th-13th centuries, the level of weaving

in belarus was already quite high. the oldest belarusian products were woven bedspreads, tablecloths, towels, shirts, and people themselves grew flax, kept sheep to get wool, everything processed by hand using natural dyes. women usually did this. there was also work for men, they made machines, they had good skills, how to thread a pattern. as far as the threads were passed exclusively from mothers to daughters, wind the threads on bobbins, weave yarns, watch the balls while warping so that the shadows roll out. by the age of 14-15, young village women usually knew the basic techniques of making fabrics. in general, the ability to weave was considered one of the advantages of a future bride, as evidenced by many

wedding songs. and now there is one in belarus. who preserve the traditions of belarusian folk weaving in the agricultural town of guddevich, that in the mostovsky district of the grodno region one of the main architectural attractions, the museum of belarusian literature and ethnography, has been preserved. it was created in 1968 by the teacher of the belarusian language and literature oles nikolaevch belok, at the gudevo secondary school. initially, the museum was located in one room, its area began to increase, now the museum has four halls and more than 1,700 exhibits of the main fund. the diversity of the exhibition attracts visitors not only from different parts of belarus, but also from abroad. in addition, the museum enjoys authority among literary scholars, ethnographers, cultural experts and other researchers. the theme of folk weaving occupies a separate place in the museum,

where in the hall... local women on crosses revive this original craft. the gudevac museum has a unique collection of old double carpets, including the oldest one. dates from 1898 , a real rarity. double quality - a very complex type of folk art. people's artist of belarus vera ignativna belokos has over 15 double carpets to her credit. for her work in 2013, she received the title of people 's master, and in 2016, for her personal contribution to the revival, preservation and development of double weaving technology, as an element of intangible historical and cultural heritage, she was awarded the dubko prize of the grodno regional executive committee for creative achievements in the field of culture and art. in 2016, vera

ignatievna was an active participant regional festival of folk art from great-grandfathers to weaving, international arts festival slavyanski bazaar vitebsk, is a laureate.

yes, such genteel and genteel clothes, cotton and masculine clothes, all the ladies were engaged in weaving, where, on the contrary, all the white and upper seams were woven with our own hands. iznu on the sheet is cut out from the main linen, and on the upper adzenna it is on the main linen they took linen for the war, and this time they wore men's and women's suits, jackets they called, we were called sachak zhanochy, spadnitsa and sachak , this same kastsum, such a tent, woven felt, and then they began to buy it, threads were called goryny, and goryny this weave. this was called the placenka, iago ў asnoўnўkalі ў three nechalnitsy, but the simple one there kuzhali, tkalі ў two nechalnitsy. in your opinion, vera ignatina, why is it so important to capture all these traditions, my history,

why is it all? pass on the strips, as the thread was used in the past, all weaving, in vain, plowing, weaving here and weaving there and the handbrake. the variety of technical techniques, swearing, choice, openwork, pick weaving, made it possible to create real works of art , which invariably very deeply reflected the worldview, philosophy and aesthetic views of belarusians using ancient patterns and ornaments... we have the opportunity to read the book of the life of our ancestors, pages which are truly unique and priceless. 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. bed dress. towels in a tablecloth, quality was a purely female occupation, only with the development of commodity production it became 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 how did the design on fabric appear, for example , mortgage weaving, with the help of which our ancestors created a rich decorative pattern that was complex in technology. different patterns of geometric and vegetable in nature, gave a pickled 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 sluts belt. boris andreevich, good afternoon, good afternoon, we are in the holy of holies, in the font storage of the museum of ancient berussian culture, where the originals of the slutsk belts and ornates of the 8th century are presented, because to the patronymic, to the name in the manufacture men were allowed to wear slud belts, because it was a rather complex , unusual craft, with its own unique style, so tell us what the style of slut belts was, was it something already verified or was the design 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 sludsk belt

is one of the variants of the kontushy belt, that is, a belt that was used with kuntush, outerwear, gentry of the belarusian nobility, in slutsk, where the production of such kuntush belts was established , a new version of such a kontus belt was manufactured, invented, formed, when we see the originals from the lutsk belts, we really, not only the weaving technique, but also how harmonious all the elements of the slodsk belt look. how do you see their modern sound today, how can these unique technologies be brought into everyday life? let us make a small digression, we will now deploy one of the original slutsk belts, which is kept in our museum of ancient belorussian culture. the sluud belt is always, as in fact, the majority of the kontush belts.

always double-sided, that is, this is a belt in which there is no front and back side, but if you notice that the belt has a different tone and a different color, coloring on both sides, this is not dyeing, these are certain threads of a certain color that are visible red on this side, on the other, the fact is that here we can also see other objects in which old fabrics are present 18-18 centuries, they too, this church vestment, they also have this difference , in the slutsk belts this division is also present, where in sacred fabrics it has a sacred meaning, as about our historical

memory, about our... history, about ours, the highest achievements of belarusian culture, we can say remember now, on a variety of objects to which we can transfer this or that pattern from the same sluud belt, these ornamental compositions, these beautiful bouquets, medallions with different flowers with ornaments different, floral, ornaments, we can transfer to a variety of objects , the same applies not... not only to suul belts, but to any other fabrics that we can now see, the wealth of textile products is immeasurable, limitless, it would be very good , so that among these fabrics, sometimes there would be such repetitions of historical patterns from the past, from the 17th, even the 19th century, this always awakens not only desire... admiration for this

grace, but also stimulates a natural, understandable and so necessary feeling of pride for their culture, for their country, their people, this is the most important thing, at the beginning of the 19th century, a miracle machine saw the light of day, it is a semi-automated jacquard machine, so this is their difference from the same christian crosses, the principle is the same , the only thing is, what, what... instead of pressing the steps to manually throw the shuttle, all this was automated there, besides, the jacquard machine is a close relative of our computers, because control first appeared in weaving, and how they began to appear different colors on the fabric, how was it dyed? well, people have long noticed that various plants, when working with them, they dye their hands, dye fabrics there,

they began to use different shades of color, so even i had to meet linen threads dyed with vuracomo with brine, because in addition, the dye must be fixed in some way -a substance, then they began to use various chemical substances, but initially these were natural ingredients, these are plants, plant bark, plant roots, sometimes rusty... by the way, and some specific land was painted black. today this process is fully automated, a striking example is the republican unitary... enterprise slutsk belts, one of the largest enterprises of artistic crafts in belarus, about the unique manufacturing technology that has survived to this day, as well as the modern production of the national heritage of belarus, we will talk with the leading artists of the enterprise antonna vladimirovna

isakova. antonina vladimirovna, good afternoon, hello, you are the leading artist republican unitary enterprise slutsk belts. today, slutsk belts are a symbol and brand of belarus, 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, it was a joint work of specialists from our enterprise , technologists, artists, and the technology was developed by vitebsk university, using this technology... a machine was ordered, which is not analog in the world. are they underway now? some events, work to improve the technology of slutsk belts. yes, we continue to work on expanding the range of sluts belts and souvenir products; we are looking for new compositional solutions,

some coloristic solutions, new types of patterns, designs. so this is the paradox of the 20th century: what was previously created on manual machines can today be repeated with modern automated equipment. this is where your famous and one-of-a-kind machine is located, tell us about him. well, this machine is unique and has no analogue in the world; it was specially designed for making copies of loot belts. and on this machine we not only make copies of lutsk belts, but also souvenir belts, these are the author’s stylization of sluts belts, this is a souvenir. these are fragments of the heads of sluts belts; we use elements of the sluts belt for clothing and other types of souvenirs. how long did it take our ancestors to make the slutsk belt? but among our ancestors, such a train was made somewhere within a year. on

in the enterprise, all production is automated, that is, a program is inserted into the computer, a button is pressed. and the process of manufacturing a 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 automation process 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 cannot be made on an automatic loom; these are things that should have apply a very large amount. colors, because automatic production is, as it were, limited, for example, by the number of colored threads, the structure of the thread, there is only a certain thread density, in manual quality, you can use different thread densities, lay some - voluminous things, make some kind of cords , it’s just that this is an unlimited opportunity

for handmade quality, today the slutsk train has the significance of a national symbol of belarus and is assessed: as the largest achievement of the belarusian and pan-european decorative and applied arts, from silk, silver and gold threads, the art of artists and artisan weavers created and continues to create

genuine masterpieces. live news, elizaveta