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    Love, the Great Ruler. The Illustrated History of Most Frequent Symbols on Traditional Ukrainian Embroidered Clothing
    Love, the Great Ruler. The Illustrated History of Most Frequent Symbols on Traditional Ukrainian Embroidered Clothing
    Love, the Great Ruler. The Illustrated History of Most Frequent Symbols on Traditional Ukrainian Embroidered Clothing
    Ebook200 pages25 minutes

    Love, the Great Ruler. The Illustrated History of Most Frequent Symbols on Traditional Ukrainian Embroidered Clothing

    By Valentyn Moiseienko

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    About this ebook

    This research album through many illustrations shows history of most frequent symbols on traditional Ukrainian embroidered clothing.

    LanguageEnglish
    PublisherAndrew Afonin
    Release dateOct 6, 2015
    ISBN9781519902139
    Love, the Great Ruler. The Illustrated History of Most Frequent Symbols on Traditional Ukrainian Embroidered Clothing

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      Book preview

      Love, the Great Ruler. The Illustrated History of Most Frequent Symbols on Traditional Ukrainian Embroidered Clothing - Valentyn Moiseienko

      Author’s Note: 

      Today we are witnessing a steady growth of interest to everything ethnic and, among other things, to traditional embroided clothing. Increasingly more Ukrainians wear it for festivities, demonstrating their own national identity. It is also becoming fashionable to decorate everyday wear with ancient symbols. And now the question arises: What meanings did our ancestors use to imply in those symbols?

      Traditional folk ornaments may be classified as geometrical or floral, while their particular variations are special for different regions of the country. The floral trends in ornaments came to us from Europe, after textile manufacturing became widespread there. But as for geometric patterns, they are in fact ages old protective codes of Ukrainians. This book is dedicated to some of the most popular among them: a cross (i.e. a ruler), a rakes symbol, which is a symbol of masculine valor, and its variation, a ‘cossak’, and to ‘Berehynia-Rozhanytsya’, i.e. a protective mother. Those are symbols which, in countless variations, decorate most traditional vyshyvankas, i.e. embroidered clothing, for men and for women alike. Those are protective codes used by a score of generations of Ukrainian girls to embroider gowns and cloths, and to write with coloured fibres their dreams about a brave knight, happy marital love and procreation of future generations living in their own country.

      This book offers a reader an opportunity to:

      understand a universal role of the cross symbol in Ukrainian folk tradition;

      go back in time to the epoch of Odyssey and Iliad and to learn how some symbols, traditional for Ukrainian, found themselves on Crete, Cyprus and Sardinia;

      learn to differentiate symbols and thus know how to choose a traditional embroidered vyshyvanka shirt with greater competence;

      realize why a person wearing an embroidered vyshyvanka shirt is in fact an intrinsic link between former and future generations.

      Part I. On Those Who Give Us Life

      Berehynia is a goddess of goodness, protecting people and their dwellings. She is a guardian of marital life.

      Rozhanytsya is a goddess of childbirth and woman’s lot.

      Oranta is the Great Mother-Goddess (literally: the one, who prays).

      Ukrainian Mythology. Kyiv, 2002

      For our ancestors, inhabiting the European terrain at the dawn of civilization, the Great Mother Goddess, a primordial mother of all, was the main deity. She was depicted with big breasts and thighs. It is quite obvious that she was an embodiment of fertility. Inhabitants of Qatalhoyuk, the world's first temple city, which is at the south of today's Turkey, endowed her with another, equally important function: to guard and to protect. They decorated walls of their temples with numerous depictions of the Great Goddess in a pose of a woman giving birth and protecting, at the same time. Her legs are spread wide apart, and her hands are up (Pic.1).

      Later on this image travelled through the Danube River region to the modern Ukraine’s terrain.

      Pic.1. Traditional image of the Great Goddess Qatalhoyuk. End of VII millennium BC.

      At the beginning of the last century Polish archaeologists found a clay Cucuteni-Trypillian figurine. It was much discussed and finally nicknamed Trypillian Oranta (Pic. 2).

      Pic. 2. Trypillian Oranta clay figurine. The end of the IV millennium BC. Koshilivtsi settlement of the Ternopil Oblast. The Lviv Historical Museum.

      By the times of Scythian and Srubna cultures Berehynia and Rozhanytsya concepts were already firmly instilled in our lands [4, p. 217, 226], (Pic. 3-5).

      Pic. 3-4. Geometric outline of Berehynia (up) and Berehynia-Rozhanytsya (down) at the pottery of Srubna historical culture. The Don River Basin. Middle of

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