Burk (cap) occupies a special place in the Karachai-Balkarian ethnoculture. There is a specialized phraseological unit denoting a male representative: "bashyna burk kiygen" - "man"; the literal translation of this expression is "the one who wears the hat."

A hat is not only a garment for a man, but also a symbol of his dignity. Traditionally, it was believed that a hat is worn not for warmth, but for honor. According to ethical rules, no one has the right to touch a man's headdress if it is worn. In ancient times, violation of this rule could even lead to blood feud.

It is not for nothing that the following statement is used in society: "Bashyngda birkyung bar ese, zat aytyp bir ker" - "Try to say something if you have a hat on your head."

There is such an expression: "Bireunyu berkyun alsang, borkyune sak bol". Literally it means: "If you take someone's hat, take care of yours." The meaning of this proverb is: "If you play with the honor of someone, take care of your honor."

Consider other proverbs, which encoded the connection between a headdress and a man in the Karachai-Balkarian culture.

A hat is an indicator of a man's respectability:"Berkyu amanny beti aman" - "He who has a bad hat, has a bad look."

The hat can serve as an advisor:"Sorur adamyng zhok ese, borkynge sor" - "If there is no one to ask, ask the cap."

The hat is also a measure of prowess:"Böryu ataryk burkünden belgili" - "You can see the one who can shoot at the wolf by the cap."

Other:"Myyysyz bashha burk akyl bermez" - "A cap of mind will not give a head without brains."

According to Karachai-Balkarian etiquette, men did not take off their hats even indoors, with the exception of the headdress. Sometimes, taking off the hat, they put on a light cloth hat. There were also special "night" hats - "kechegi burk", mainly for old people.

A hat is a way of expressing trust. Sharing hats with someone meant showing the greatest friendship and trust.

The hat is an expensive inheritance. According to the traditions of the Karachais and Balkars, when a man died, his clothes and belongings were handed out to close relatives, but hats were not given to anyone if there was someone to wear in the family, and if this did not turn out to be, they were presented to the most respected man in the family.

Types of men's hats

The Karachais and Balkars have a sufficient number of them. For example: bashlyk (bashlyk), kalpak (hat), burk, bokka (children) (hat), bukhar burk (astrakhan hat), kechegi burk (night hat), kiyiz burk (felt hat), dog burk (fez), chyrpa burke (papakha), june burke (woolen knitted hat), kulakly burk (hat with earflaps), salam kalpak / goten burk ( straw hat). And also teppa burk (lit. - "cap for the crown"), which fully corresponded to its name: it was worn on the top of the head by old people, and on top they also wore a fur hat; teppé burk also had another name: "takya" (borrowed from Arabic).

Ethnoculturally, the hat is opposed to the headscarf.

If the hat is for a man's head, then the headscarf is for a woman's. In the Karachai-Balkarian language, by means of phraseological units, she is defined as "bashyna zhauluk kyskhan" - "woman"; the literal translation of the expression is "the one who wears the headscarf."

The scarf in the Karachai-Balkarian linguoculture is marked by a number of ethnocultural characteristics that are positive from the point of view of society.

The headscarf is a symbol of peace. It represents a symbol of peace, reconciliation. This is evidenced by the fact that if a woman throws a handkerchief between men who are trying to find out between themselves, then they are obliged to end the confrontation, that is, the handkerchief is able to reconcile blood enemies.

The scarf is a symbol of purity. The white shawl symbolizes purity. Removing the white veil from the bride's head - "bash ay
algan "- was one of the main acts wedding ceremony, and the one who took it off was given valuable gifts. For many peoples, the change of a girl's headdress for a married woman's headdress was timed to coincide with the wedding.

Shawls are a must the bride.

A scarf is an element of warm clothing. In the cold season, elderly women put on a warm woolen shawl "ullu bota", "auat bota", "suu bota". Among the prestigious headdresses of the Karachais and Balkarians were also "jun zhauluk" and "kerpe zhauluk" - woolen blankets that were worn over their shoulders. These were the clothes of adult women; girls rarely wore them.

A woman's headscarf is often mentioned in the Karachai-Balkarian epic in the description of the Emegenshi: “Bashyna zhuz bla zhyrym k'arydan kendirash khalydan zhauluk kysyp” - “She had a scarf on her head, knitted from one and a half hundred cubits (k'ary is an old measure of length) of hemp thread ".

Prepared by Hadis Tetuev

Candidate of art history, leading specialist of the State Hermitage, member of the Union of Artists of the Russian Federation, member of the European Textile Network (ETN).

[For illustrations to the article, see the paper version of the issue]

Headscarf in Russia: the road to revolution

The semiotic status of the headscarf in world culture has always been extremely high. This item played important role in traditional costume complexes of many peoples of Russia. He was assigned a significant ritual role, which persisted over the centuries. The headscarf is especially widely used in wedding and memorial traditions. Various superstitions were associated with him, and he was used in fortune-telling, he was often mentioned in folk songs and ditties. The most expensive headscarves were passed down from mother to daughter, from mother-in-law to daughter-in-law.

By the end of the 19th century, printed chintz shawls became widespread among the peasantry in Russia, which supplemented or replaced the old headdresses of married women - kichki, magpie, kokoshniks. Large quantities of scarves were produced by textile factories in the Moscow, St. Petersburg and Vladimir provinces. Their products differed in patterns and quality of fabrics, sizes and prices, meeting the most varied tastes of customers. However, scarves were worn not only in the villages, but also in the city - peasant women who moved there to live. On the streets of large cities one could see "chintz women" offering handkerchiefs (Fig. 1). Trade, as a rule, was successful - after all, the bulk of the Russian population was the peasantry and the working class, and the custom of covering the head of young girls and married women in the first decades of the 20th century was still preserved. Thus, hundreds of thousands of handkerchiefs were sold annually throughout Russia, reaching even the most remote corners of the vast country.

At the same time, the First World War and the subsequent February and October revolutions of 1917 had a significant impact on the Russian textile industry. Some factories began to produce fabrics exclusively for front-line needs, but most of the enterprises stopped production due to serious economic difficulties.

However, despite the huge shortage of textile products that was observed in the first decades of Soviet power, it was handkerchief has become a compulsory subject Everyday life, becoming one of the most important symbols of the revolution and a marker of belonging to the new system. So, for example, N. N. Berberova recalled the first post-revolutionary years: "Women now all wore headscarves, men caps and caps, hats disappeared: they have always been a generally accepted Russian symbol of lordship and idleness, now they could become a target for a Mauser at any moment." ...

Red scarf - a symbol of revolution

A red headscarf, which was worn by the most revolutionary-minded representatives of the fair sex, received a special status in post-revolutionary Russia. The way of wearing a scarf had its own peculiarity - instead of the traditional tying of a knot in the front, as a rule, it was done from the back.

Red has always been one of the most important colors in Russian folk culture, symbolizing fertility and wealth. In pre-revolutionary Russia, scarves with a red background were widespread and the peasant women were very fond of them. Usually such shawls were decorated with a floral pattern or had an ornament in the form of oriental "cucumbers". The brightest shawls, painted in the red "Adrian-Nopol" color, were produced by the Baranovs' Manufactory Partnership in the Vladimir province of the Arkhangelsk district in the village of Karabanovo. They were very popular among the peasant population and organically entered the complex of folk costumes.

After the establishment of Soviet power both in the city and in the countryside, a red shawl without any pattern became widespread. Of course, he reminded of the revolutionary banner, which the Bolsheviks made a symbol of the struggle for freedom. Red took on a different meaning and became the personification of the blood of the oppressed classes shed for their liberation. In the beginning, the Bolshevik banner was a simple red cloth in the form of a rectangular piece of cloth. Sometimes slogans were written or embroidered on it, as well as portraits of V.I. Lenin and other revolutionary leaders. After the formation of the USSR, in accordance with the Constitution of 1924, the red banner was approved as the state flag. In the upper corner, at the shaft, an image of a sickle and a hammer was added, and a red five-pointed star was placed above it.

In addition, the red scarf in the Soviet cultural environment evoked associations with the Phrygian red cap of the era of the Great French Revolution (Lebina 2016: 133). So, for example, V.V. Veresaev in his novel “Sisters” wrote about a young worker from the rubber factory “Krasny Vityaz”: “Basya ... was dressing now. She did not dress in the usual way, but very diligently, carefully looking in the mirror. Black curls beautifully knocked out from under the scarlet kerchief tied on the head like a Phrygian cap ”(Veresaev 1990: 198).

The history of this headdress is interesting. It appeared even among the ancient Phrygians and was a soft rounded cap with a top hanging forward. In ancient Rome, a similar hat was worn by freed slaves who received Roman citizenship. It was called "pileus" (pileus). After Marcus Junius Brutus killed Caesar and placed the pileus on the reverse of the coin between the two blades, the hat became a symbol of the overthrow of tyranny. This largely explains the fact that the Phrygian cap appeared in revolutionary France in 1789-1794. Due to the spread of the personality cult of Brutus, it is likely that during the French Revolution, the Phrygian cap became a generally accepted symbol of freedom, and therefore the red cap began to be used by the Jacobins as a headdress. Later, the outstanding French artist E. Delacroix, in his famous painting "Liberty Leading the People", depicted a female figure personifying France in a red Phrygian cap.

It should be noted that during the revolutionary upheavals in different countries there was a need for a certain identification mark of the rioters, which would be understandable and clearly visible to them. This is exactly what the Phrygian cap became in France, and later the red scarf in Russia.

So, a small rectangular piece of bright red fabric became an important attribute of the new Soviet regime. For example, E. Pylaeva, a milling machine operator at the Moscow Dynamo plant, recalled that in 1923 “the most fashionable clothes for a Komsomol member were a black pleated skirt, a white blouse, a red scarf and a leather jacket” (Always in the fight 1978: 105). The famous Soviet poetess O. Berggolts also often appeared in the editorial offices of Leningrad newspapers in a red kerchief.

Pictures of Russian artists of the 1920s introduce us to the gallery of bright female images in red scarves. One of the earliest is the "Portrait of the Artist T. V. Chizhova" by B. Kustodiev, 1924 (ill. 1 in the insert), as well as the canvas by K. Petrov-Vodkin, "Girl in a Red Headscarf" in 1925 (ill. 2 in the inset). The artist K. Yuon, who was famous even before the revolution, painted in 1926 the pictures "Young people near Moscow" and "Komsomolskaya Pravda", where young activists are depicted in red kerchiefs. The painting "International Youth Day", dedicated to the new revolutionary holiday of youth, was created by the artist I. Kulikov in 1929 (fig. 3 in the insert). He depicted the ranks of young people walking in jungstur-movki. The heads of many girls were covered with red scarves, which, together with the banners in the hands of the young men, were already traditional symbols of Soviet power and served as bright accents in the multi-figured composition of the work.

On the posters of the first revolutionary years, you can also often see the image of a red scarf, which complemented the image of a woman defending the ideals of the revolution. The famous Soviet artist A. Samokhvalov in 1924 created the poster “The Immortal Leader of October. Lenin showed us the path to victory. Long live Leninism! " (ill. 4 in the insert). Three were chosen as the main ideological and compositional solution. female figures, two of which are depicted in red scarves.

The poster quickly responded to topical events and could reflect radical changes in public life in an intelligible, expressive form. So, for example, in the collection of the State Russian Museum there is a sketch of the poster of the already mentioned A. Samokhvalov “Grow, cooperation!”, Created in 1924. The artist presented a young worker in a red dress, a scarf and holding a banner in her hand, campaigning for the introduction of consumer cooperation.

Unknown artist on the famous poster "Are you helping to eradicate illiteracy?" created one of the most expressive female images, in which the red headscarf is an important attribute of the new power (Fig. 5 in the insert). The activist is dressed in a blouse with red polka dots and a red headscarf - she threateningly and persistently calls for the fulfillment of "Ilyich's behests" and to join the "Down with Illiteracy Society."

Constructivist propaganda scarf

However, in the early 1920s, headscarves with a hammer and sickle pattern appeared. The headscarves themselves have not survived in museum and private collections, but the fact that they existed and were worn is evidenced by N. Ionin's painting "Woman in a Headscarf" (ill. 6 in the insert). Presumably the author wrote it in 1926. She was presented to the public at the exhibition "Painting, Style, Fashion", organized by the State Russian Museum in 2009. The female face is framed with a scarf in such a way that it evokes an obvious resemblance to the image of the Mother of God. The artist's wife, Ekaterina Nikolaevna Ionina (Samokhvalova), served as the model. The woman's pure, calm and slightly detached gaze is turned to the side, and behind her, the artist depicted rickety old village huts, reminiscent of the pre-revolutionary past. The fabric of the scarf and dresses with sickles and hammers undoubtedly acted here as a new symbol of life in Soviet Russia.

After the revolution, the crossed hammer and sickle were one of the most important state symbols and were supposed to personify the unity of workers and peasants. Since the second half of the 19th century, proletarian organizations have chosen the hammer as their class sign. On the eve of the first Russian revolution, he became a generally accepted attribute in the ranks of the Russian revolutionary movement. In turn, the sickle was a mass general peasant instrument of labor, symbolizing the harvest and harvest. It was often used in pre-revolutionary heraldry in Russia. In Soviet times, the hammer and sickle became the main emblem of the Soviet Union, as well as one of the symbols of the communist movement. In the coat of arms of the USSR, the sickle was always depicted superimposed on the hammer. This meant that the hammer preceded the sickle as a heraldic sign and was older by design. In the pattern of the headscarf and the fabric of the dress in N. Ionin's painting "Woman in a Headscarf", these important formalities of the coat of arms are observed.

The factories of Moscow, Ivanov and other cities began to produce textiles with patterns in the form of a hammer and sickle in the first half of the 1920s. Famous master agitational pattern on fabrics S. V. Burylin included their images in his rapport textile compositions. However, a pattern consisting exclusively of a hammer and sickle can be seen on a fabric sketch by L. Popova, a famous Russian avant-garde artist. Together with another outstanding artist of that era, V. Stepanova, they worked at the 1st cotton-printing factory in Moscow (formerly Tsindel) in 1923. They developed a special type of geometric ornamentation, which art critic F. Roginskaya called "the first Soviet fashion."

It should be recalled that at the beginning of the 1920s, a revival of the textile industry began and the newly opened enterprises were in dire need of new designs for fabrics. On March 11, 1923, the First All-Russian Art and Industry Exhibition opened in Moscow. An all-Russian conference dedicated to the issues of the art industry was held simultaneously with the exhibition. Among the organizers and active participants of these events was the well-known Russian art scientist J. Tugendhold, who emphasized the importance of raising the quality level of the art industry, since it is, in his opinion, that it is capable of fulfilling the dream of the Russian revolution - to introduce art into life. Analyzing the products of the industrial department of the exhibition, Tugendhold highlighted the samples of textiles, emphasizing that they were sorely lacking in new ornaments and rhythms. Professor P. Viktorov on November 29, 1923, on the pages of the Pravda newspaper, appealed to artists to come to work in the textile industry and give new drawings for calicoes (Viktorov 1923). This publication found a lively response from L. Popova and V. Stepanova, who during 1923-1924 created designs for printed fabrics.

In their bright original patterns, mainly geometric motifs prevailed, which reflected the painterly quests of the artists in the field of design and color. However, L. Popova in several textile designs, instead of geometric shapes, used revolutionary symbols already widespread by that time - the hammer and sickle, as well as the five-pointed star. The fact that L. Popova's fabrics were bought and various costumes were sewn from them was evidenced by the words of Tugendhold: “This spring the women of Moscow are not Nepmen, but workers, cooks, office workers dressed up. Instead of the old bourgeois flowers, new unexpectedly large and catchy patterns flashed on the fabrics. L. Popova made a breach in the Chinese wall that existed between industry and art ”(Tugendhold 1924: 77). Ionin in his painting "Woman in a Headscarf" depicted women's dress and a scarf with a pattern very reminiscent of L. Popova's fabric sketch with a hammer and sickle. They were distinguished by exquisite line graphics and a clear rhythm of the rapport composition.

Campaign headscarves and symbols of the Soviet era

At the same time, at the beginning of the 1920s, a new type of scarf began to be created at textile factories, which was called "propaganda". They have become a visual means of propaganda, occupying a special place in the history of artistic textiles. Portraits of leaders of the revolution, elements of state symbols, abbreviations, slogans and memorable dates, as well as the themes of collectivization of agriculture and industrialization of the economy were most directly reflected in the decoration of scarf products of those years. Subject and ornamental compositions of campaign shawls, their coloristic solution first demonstrated adherence to the textile tradition. However, gradually new artistic techniques began to be introduced into industrial production, showing a close connection with the art of the avant-garde. Thus, the headscarf became a vivid symbol of the era, becoming a powerful weapon in the struggle for the ideals of the revolution.

Most of the headscarves produced by factories in Moscow, Leningrad and Ivanov in the first decades after the revolution must be attributed to the so-called commemorative products. Similar products in a large number were issued even before the revolution and were dedicated to various memorable dates: the accession to the throne of Nicholas II in 1896, the 100th anniversary of the war of 1812, the 300th anniversary of the Romanov dynasty in 1913, etc. The tradition of creating such commemorative scarves dates back to the 17th century 1, when geographic maps began to be printed in English manufactories, and then products with plot images on the theme of certain historical events, military victories, etc. It is believed that the first commemorative scarf in Russia appeared in 1818 on the day of the opening of the famous monument to K. Minin and D. Pozharsky on Red Square in Moscow 2.

As the study of the issue showed, after the end of the Civil War, when the revival of the textile industry began, agitation headscarves were among the first examples of new Soviet products. It should be recalled that as early as 1918, Lenin determined the main ideological guidelines for the development of art in the famous plan of monumental propaganda 3. The Soviet government insistently demanded that artists create a special subject environment, which should not have caused associations with the life of pre-revolutionary Russia. It was textile ornamentation that played an important role in the global ideological restructuring. A. Karabanov, on the pages of a specialized supplement to the periodical Izvestiya Textile Industry, wrote about the need "... to give new colors and patterns of fabrics, which, being poorer in fiber, will defeat the world competition with the richness of their design, boldness and revolutionary beauty of thought" (Karabanov 1923 : one). However, the author of the article did not specify exactly what kind of imagery, compositional and coloristic solution the new revolutionary textile patterns should have. The well-known theorist of industrial art B. I. Arvatov also called for “to destroy flowers, garlands, herbs, female heads, stylistic fakes” and to introduce new ornamentation into the design of industrial products (Arvatov 1926: 84).

However, at a time when the discussion about new ornamental motifs in Soviet textiles was just unfolding, some Russian enterprises began to produce printed scarves that fully corresponded to the ideological tasks set by the country's leadership for the industry.

For example, at the Teikovo factory of the Ivanovo-Voznesensk Textile Trust in 1922, a series of headscarves was produced for the 5th anniversary of the October Revolution. There are two known handkerchiefs from this series under the motto "All power to the Soviets!" and "Workers of all countries, unite!" The first of them demonstrated the most complex ornamental composition with the central drawing "Dispersal of the Constituent Assembly by the Bolsheviks", placed in a decorative frame in the form of a five-pointed star and a round medallion. It was supplemented with explanatory inscriptions "All power to the Soviets!", "Workers of all countries, unite!" etc. In the corners of the headscarf there were plot compositions "Successful battle in the days of the October revolution", "Capture of Perekop", "Annexation of the Far Eastern Republic", "Destruction of the signs of autocracy". V upper part framing the plot scenes, the artist included portrait images of V. I. Lenin, Ya. M. Sverdlov, M. I. Kalinin, L. D. Trotsky. Both the central field and the border pattern of the scarf were distinguished by the complexity of the composition and the abundance of decorative elements.

The second headscarf, made at the Teikovo factory in 1922, also showed portraits of the leaders of the world proletariat in round decorative medallions in the corners - F. Engels, K. Marx, V. I. Lenin and L. D. Trotsky 5. The central field of the item is decorated with the image of the Freedom Obelisk, which is an architectural and sculptural group dedicated to the Soviet Constitution. The obelisk designed by N. Andreev and D. Osipov was erected on Sovetskaya (Tverskaya) Square in Moscow in 1918-1919. The monument has not survived to this day, and therefore the scarf with its appearance has a special historical and cultural significance. In the composition of the scarf, Chernov-Plyosky placed on the sides of the obelisk monumental figures of a standing worker against the background of an industrial landscape and a peasant with scenes of harvesting (Kareva 2011: 64). The border design of the handkerchief was distinguished by exquisite line graphics with the inclusion of one of the most important Soviet symbols - the hammer and sickle. At the top of the scarf was the inscription "February 1917 - October 1917" with a five-pointed star, and at the bottom - "Workers of all countries, unite!" (Fig. 8 in the insert). This is one of the most famous international communist slogans. It was first expressed by Karl Marx and Friedrich Engels in the Communist Manifesto. In 1923, the Central Executive Committee of the USSR determined the elements of the state symbols of the Soviet Union, which included the motto "Workers of all countries, unite!"

He was present on the coat of arms of the USSR, and the factory artists later used him more than once in the creation of propaganda compositions in the decoration of fabrics.

In 1924, a commemorative scarf with a portrait of Lenin was made at the Fifth Oktyabr factory of the Vladimir-Aleksan-drovsky trust, based on a drawing by the artist NS Demkov. The composition of the scarf was traditional and consisted of five parts associated with the general background. The central field, decorated with a bust portrait of Lenin in a round medallion, was surrounded by a decorative frieze depicting the marching future generation of Soviet people and explanatory inscriptions about the monetary reform, the cultural revolution, etc. The dark brown background of the item was covered with an exquisite lace pattern with the inclusion of portraits of Marx, Engels, Kalinin and Trotsky. In October 1924, a trial batch was first made, and in November it was launched mass production of this product. It was handed over to all the workers of the enterprise as a memento, as well as to the guests of honor at the festive events of the factory dedicated to the 7th anniversary of the October Revolution. In January 1925, N. K. Krupskaya presented such headscarves to the delegates of the First All-Union Teachers' Congress in Moscow (Kuskovskaya et al. 2010: 79) (ill. 9 in the insert).

Campaign-themed scarves were not only stored as memorable gifts or used as posters but also worn. For example, in the Central State Archive of Cinema, Photo, Phono-Documents of St. Petersburg, a photograph of 1925 has been preserved, depicting workers on excursions. In the center of the frame, a young woman is sitting at a table, on her head you can see a scarf with a revolutionary theme (Fig. 2) 6.

In 1928, at one of the factories of the Ivanovo-Voznesensky trust, a scarf was produced for the 10th anniversary of the Workers 'and Peasants' Red Army (RKKA). In the center of the item is a five-pointed star with a portrait of a prominent revolutionary military leader M. V. Frunze. The border decoration of the headscarf included the image of the Red Army soldiers and various subjects on the theme of "Capture of Ufa", "Liberation of the Far East", "Cruiser Aurora on the Neva". The background of the central field of the scarf and border was filled with scenes of battles, military equipment: cannons, airplanes in black and white colors... As a coloristic accent, the artist used red, which has its own symbolism in Soviet art.

It should be noted that the compositional solution and artistic methods of filling the main field and borders of many propaganda shawls produced by Russian factories in the 1920s, to a large extent, repeated pre-revolutionary products of this type. Soviet artists, like their predecessors, turned to a realistic manner of depiction and borrowed motives from printed graphics and paintings, and also included monuments and sculptures in the composition. Lush Baroque and Old Russian ornaments, characteristic of the historicism style, were often used as decoration.

However, in the late 1920s and early 1930s, a new direction emerged in the design of campaign scarves. It demonstrated a close connection with the art of the Russian avant-garde, namely, constructivism. For example, at the Shlisselburg factory in the first half of the 1930s, a red shawl with an original border design was produced. The artist left the central field of the item not filled, and placed the image of the cruiser "Aurora" in the corners. At the same time, it was not a silhouette image of the ship that was shown, but its more interesting perspective - a front view. Above the Aurora were the hammer and sickle. In the border composition, the author of the drawing created a detailed panorama of Leningrad in the 1930s - working factories and plants, residential and public buildings erected after the revolution in the style of constructivism. Horizontal and vertical black lines with expressive strokes literally "construct" images of the views of the city on the Neva. One of the buildings is quite recognizable - this is the House of Soviets of the Moscow-Narva District, built by the architect N.A.Trotsky. The administration of the Kirovsky district of St. Petersburg is located there even now. The building occupies the southern part of the city square, designed on the basis of the general reconstruction plan, which was drawn up in 1924 by the architect L.A. Ilyin. The decoration of the scarf with a sweeping panorama of the city is distinguished by refined graphics and coloristic contrast (Fig. 10 in the insert).

Another red scarf dedicated to the 10th anniversary of the October Revolution can be ranked among the handkerchiefs of the Shlisselburg factory. The central field of the item is adorned diagonally with two ornamental stripes in mirror reflection depicting ears of wheat and flowers, as well as the inscription “1917–1927”. Hammer and sickle with flower garlands are located in the center between anniversaries. The edges of the scarf are decorated with similar ornamental stripes, as well as the inscription "Long live the workers and women workers who are marching to the world October." The details of the pattern of the scarf are distinguished by their graphic quality and original color scheme (Fig. 11 in the insert).

Another shawl, produced at the Krasnopresnenskaya Trekhgornaya Manufactory in Moscow in 1927, demonstrated new artistic and stylistic techniques in the design of shawl products. The centerpiece of the scarf is filled with a dynamic composition of flying planes against the backdrop of spotlights. It should be noted that the country's leadership was extremely concerned about the country's defense capability. Considerable attention was paid to aviation, which was supposed to reliably protect the world's first state of workers and peasants in the sky. For this purpose, the most advanced fighter models were purchased abroad. Judging by the nature of the shape and design of the aircraft, the headscarf depicts the Fokker D.XIII fighter, which was specially developed by order of the Soviet Union by Dutch aircraft designers (Fig. 12 in the insert).

The wide border of the scarf is distinguished by a special dynamic character of the image, representing a variety of industrial motives: working factories and factories, gears, various mechanisms, as well as sickles and hammers. It should be emphasized that the theme of factories and factories was one of the most important in the plot drawings of agitation textiles. And this is not surprising, since the Soviet government during these years pursued a policy of large-scale construction of industrial enterprises. Most often in the textiles of the 1920s - early 1930s, the motif of working factories with pipes was depicted, as well as production details. It was they who were used in the decoration of the border of the scarf, which stands out against the background of other products in the original artistic manner with the prevalence of linear constructions, where the emphasis is on the design features of the objects depicted. The scarf certainly shows the influence of avant-garde art on its decorative design.

Thus, we see that the history of the revolutionary transformations in Russia in the 1920s-1930s left a bright imprint on campaign-themed headscarves, turning traditional subject costume into a powerful ideological means of fighting for new ideals. The scarf products of those years demonstrated, on the one hand, the continuity of textile patterns, and on the other, an innovative approach to the decorative design of textiles using artistic means of the most advanced trends in contemporary art.

Such headscarves were worn on special occasions or used as propaganda posters, and were also kept as memorabilia. Today, propaganda headscarves serve as an important material monument of the era and testify to the traditions and innovations that existed in textile design in the 1920s – 1930s.

Literature

Arvatov 1926- Arvatov B. Art and Industry // Soviet Art. 1926. No. 1.

Blooming 2010- Blumin M. The art of dressing: agitation textiles from the 1920s - 1930s to the present day // 100% Ivanovo: agitation textiles of the 1920s - 1930s from the collection of the Ivanovo State Museum of History and Local Lore. D. G. Burylina. M .: Design Bureau Legein, 2010.

Veresaev 1990- Veresaev V. Sisters. M., 1990.

Always in the fight 1978- Always in the fight. M., 1978.

Karabanov 1923- Karabanov A. New calico // Supplement to "Izvestia of the textile industry". 1923. No. 6.

Kareva 2011- Kareva G. Ivanovo agitation textiles. Ornament and inscriptions // Fashion theory: clothing, body, culture. 2011. No. 21, pp. 63–70.

Kuskovskaya et al. 2010- Kuskovskaya Z., Vyshar N., Kareva G. Born by the revolution: Non-circulation works from the museum collection // 100% Ivanovo: agitation textiles of the 1920s - 1930s from the collection of the Ivanovo State Museum of History and Local Lore. D. G. Burylina. M .: Design Bureau Legein, 2010.

Lebina 2016- Lebina N. Soviet everyday life: norms and anomalies. From War Communism to Big Style. M .: New literary review, 2016.

Tugendhold 1924- Tugendhold J. In memory of L. Popova // Artist and spectator. 1924. No. 6-7.

Notes (edit)

1. The earliest commemorative scarf dates from 1685 and is kept in the collection of the Victoria and Albert Museum (Great Britain).
2. The monument to K. Minin and D. Pozharsky was designed by sculptor I. Martos and installed in front of St. Basil's Cathedral on Red Square in Moscow. The grand opening of the monument took place on February 20 (March 4), 1818.
3. The tasks of the monumental propaganda plan were determined by the Decree of the Council of People's Commissars on April 14, 1918.
4. Chernov-Plyosky N. L. (1883-1943) - painter, was born in Kinesh-me (Ivanovo region). In 1913 he graduated from the Imperial Academy of Arts in St. Petersburg. After the revolution, he wrote posters, designed books, and also worked as a decorator at the Kineshma Drama Theater named after A. N. Ostrovsky, painted decorations and sketches of costumes; became the author of the first campaign headscarves. Repressed in 1937, shot.
5. Trotsky LD - one of the main participants in the revolutionary events in October 1917. In 1927 he was removed from all posts, in 1929 he was expelled from the country and declared an enemy of the people. In this regard, all the portrait images of L. D. Trotsky on the campaign headscarves were cut out.
6. Photo published in: Blumin 2010: 122.

Have you ever wondered what it symbolizes handkerchief? Yes, yes, a woman's headscarf, which in the traditional sense is usually worn on the shoulders or tied over the head? After all, in fact, this is not just another attribute. female wardrobe, not just a piece or accessory. A modern woman's headscarf is a kind of visiting card and the role that is assigned to it becomes dominant.

It is not surprising that nowadays shawls, stoles, shawls and scarves are in demand again, and the old Russian traditions are returning in completely new images and forms. Foreign designers - manufacturers of France, Italy and China allowed us to look at the usual scarf from the standpoint of modern fashion, adding notes of romance and airiness, dynamism and, possibly, some aggressiveness. Today's appearance modern woman is determined not only by the well-groomed hair, perfect manicure and proud posture. A bright woman certainly has in her wardrobe more than one headscarf of famous foreign brands, and this wardrobe detail requires special attention, and most importantly, the ability to use it correctly. Indeed, in essence, any modern stole or scarf has a lot of not only aesthetic, but also practical functions, allowing its owner to stand out from the crowd and attract the genuine attention of others.

And the materials from which scarves and stoles are made? Sometimes the imagination of foreign designers crosses all conceivable and inconceivable boundaries, presenting to our attention the most real works of art, often made in the singular. It can be exquisite, airy silk, framed by heavy, and quite simple cotton. Or maybe a delicate cashmere with fur trim or a hand-painted Chinese silk scarf. But the most important thing is that this detail of the women's toilet is no longer its addition, it is an exclusively independent unit that is able to create a completely new, unique image of its owner.

Was it in the old days in Russia allowed to tie a scarf on the hips or tie it around the neck? Not! After all, the headscarf began its historical march across Russia, based on primary sources, from about the end of the 17th century. True, at that time, he was an integral element of an exclusively headdress, since traditions obliged a woman to cover her head. The handkerchief was the best gift, an iconic subject given and valued, often no less than decoration.

And what is most surprising is that today the value and demand for scarves in various designs are no less relevant than in the old days. True, their purpose is being adjusted by the time itself, giving the "beautiful" half of humanity the opportunity to conduct bold experiments on this piece of wardrobe, the origin of which is very, very symbolic for every nation.

The Hadith of the Prophet (c.1.c.) reads: "The whole world and everything in it is beautiful, but the most beautiful thing in the world is a virtuous woman." Dear readers, let me put one question on your behalf in connection with the above hadith. No one will dispute the validity of these words, but how can we consider a virtuous woman who is sloppy, licentious, not spiritually connected with the wonderful traditions of her people, her ancestors, parents, brothers and sisters? .. But a woman is called to pass on these traditions to her children and To grandchildren, the Chechen people have always risen from the material and spiritual ashes, primarily due to the fact that social institutions, in particular, the family institution and the institution of elders, have never stopped working in our country, during any life upheavals. The requirements for the uniform of both men and women remained a component of the age-old national traditions. A big difference in these two-fold requirements for a member of the community was not observed either in Myron's time or during the period of trials. In this regard, I will clarify: the wearing of a headscarf by a woman or a girl in Chechen society has always been a requirement of the national ethics of the Chechen people.
Along with a whole range of other national gender and age attributes, a headscarf is an important element of a woman's clothing, regardless of her age, testifying both to morality and, in a certain sense, to her marital status, social status, position in the social hierarchy, adherence to one or another other spiritual and cultural values.

Digressing a little from the topic, I want to say that I have been wearing my headscarf with pride since early youth, and it was not imposed on me by my father, brother, husband, or son. If you want, this is a spiritual and mental need for each of us, or alienation. But in any case, you must admit that the headscarf on a woman's head continues to testify to a lot.
Let no offense be said to representatives of other ethnic communities: a woman with an uncovered head among the Chechens has long been perceived as both morally and morally inferior. Those. The headscarf has always been a symbol of morality or immorality. Another thing is what the law says about this.

The law, as we must agree with me here, usually advocates for the protection of human and civil rights in the event that such a violation is evident. In certain articles of the law and, moreover, articles of the Criminal Code of the Russian Federation, quite specific actions of the executive power are spelled out if there has been or is a violation of constitutional and civil rights person.

Now it is legitimate to pose the question from this perspective: is the propaganda of the moral and moral foundations of the Chechen society a violation of the laws of the country or a violation of any articles of the Criminal Code of the country?

What did the initiators of the appeal regarding the wearing of a headscarf and, in general, this excitement around our headscarf see? .. They do not like that we want to return the previous status to our national customs?

Why do they cling to us all the time? Either someone does not like our Lezginka, or a handkerchief is wrapped around the throat. Is it still not clear that Chechens will never stop dancing Lezginka, and Chechens will never stop wearing headscarves. And we will never stop fighting back those who are trying to tear us away from our national roots and traditions.

In this particular case, we are talking about the observance of the traditional and legalized by the millennial custom of the form of clothing. I think many will agree with me that wearing a headscarf is, in a sense, a great art. A beautifully tied headscarf is a well-groomed head of a girl or woman, this is a completely finished aesthetic effect in society, this, after all, is information for thought. For a lush hair styling framed by waves of a scarf is a kind of sacrament, a playful schoolgirl hairstyle hidden by a scarf is a no small mystery for a young man, and a scarf tied under the chin may indicate a tragic period in a woman's life,

And the propaganda of wearing a headscarf, by the way, is not carried out in opposition to anyone or to spite us, women, but in order to avoid the moral degradation of society and in the name of preserving the national identity and cultural self-sufficiency that has distinguished the Chechen people throughout its thousand-year history.

Meanwhile, I would like to note that the problem of spiritual and moral revival is very acute in all regions. Russian Federation, and the local clergy are involved in this process: in Muslim regions - workers of the Spiritual Directorates and imams, in Christian ones - priests and primates of churches. So the Chechen Republic (Chechnya) is not the only region of our state where the struggle for spiritual education and moral enrichment of the younger generation.

And in terms of a concrete positive result against the general background, we have a colossal advantage over all other regions of Russia, which literally groan from alcoholism, drug addiction and crime. And in achieving this moral, moral, spiritual advantage, I will say without exaggeration, did the Head of the Chechen Republic (Chechnya), demonstrating both the high qualities of the soul and a commendable adherence in all respects to our folk customs and traditions.

Why then do the spiteful critics who fanning slanderous myths using provocative ideological clichés such as the notorious "Shariatization of Chechnya" do not talk about this? After all, every step of the Head of the Chechen Republic (Chechnya) Ramzan Kadyrov is focused on strengthening both Russia itself and strengthening the friendship of the peoples inhabiting it.

Therefore, I consider the attempts of both well-known public figures of Russia and their followers, who seek to discredit the idea of ​​a cultural-moral and ethical-distinctive face of the Chechen people, to be unworthy from a moral point of view.

And, ending this small prelude to the poem to the glory of the commonwealth of a beautiful scarf and an equally beautiful woman's head, I would like to say a few words about television. I am sure that the expansion of Western psychology through electronic media did not bring anything good to our everyday life. On the contrary, we have big problems with the younger generation because of, to put it mildly, carelessly edited from a moral point of view and widely broadcast films and other programs, which show sheer violence, immorality, the dictates of brute force over the light of spirit. All this distorts the psychology of the child, already in childhood poisoning his soul and mind with the seeds of cruelty, aggression, lack of spirituality. I think it is time for us to create tough censorship on television and by all means to protect our younger generation from the bad influence of television and the Internet.

Aminat (Aset) Malsagova.