#chuvash folk costume

[veralevina15]

A final part of folk costumes requests! Russian folk costume (Ryazan province) and Chuvash folk costume! 🌺 Nastasya is looking for her husband at the fair, who is having fun somewhere, and her friend, Sarpige, says to her: “Stop messing around with this Vasily!”☀

Четвёртый и финальный реквест по народным костюмам! 🌺Рязанка Настасья ищет на ярмарке своего мужа, который где-то загулялся, а её подруга, чувашка Сарпиге, говорит ей: «Да хватит тебе уже васькаться с этим Василием!»☀

🌺Настасья родом из Михайловского уезда Рязанской губернии.

На голове у неё - рогатая кичка с низками бисера. Рога в народном представлении обладали большой обережной силой, особенно это было важно для женщин, ждущих ребёнка.

Юбка-понёва в синюю клетку и расшитая рубаха - это привычные элементы южнорусского костюма. Особое внимание привлекает верхняя одежда - прекрасный белый шушпан (шушун), богато расшитый и украшенный всевозможными узорами. В "Письме к матери" Сергея Есенина упоминается шушун ( а как вы знаете, поэт был родом из Рязанской губернии и имел характерный говор), так вот, шушпан - это туникообразная одежда, кофта, обычно с рукавами, крой у неё мог быть самый разный, но объединяющим мотивом служил белый цвет и красная отделка. Праздничные шушпаны дополнялись блёстками и обшивались шерстяными нитями.

Важнейшую роль в рязанском костюме играл бисер: в отличие от северянок, крестьянки южных губерний очень любили яркие тона. К ожерелью "ожерелку" крепилась бисерная сетка, сборками ложащаяся вокруг шеи. Круговые (вокруг шеи) и весовые (спадающие на грудь) ожерелья-монисты были очень популярны.

☀️Сарпиге одета в женский чувашский костюм, жаль только, я не знаю, из какой именно местности. Народ, одетый в серебро - так поэтично называли чувашей. Костюм отражал представление древних чувашей о мироздании, на него наносили знаки солнца, звёзд, луны.

Головной убор олицетворял собой небесный купол. Девичья тухья - шапочка из холста, с конусом-навершием из светлого металла. Тухья украшалась рядами бисера и монет, а застегивалась на шее ремешками, тоже с монетами. Они нанизывались определённым образом, чтобы создавать гармоничное звучание.

Рубаха была самой "консервативной" частью костюма, её шили из белого холста, украшали богатой вышивкой. Самым любимым мотивом в вышивке были ромбы (квадраты) и кресты. Узор всегда был довольно сложным, гармоничным, законченным. Спереди повязывался белый с пёстрыми акцентами передник.

В качестве украшений использовались бусы, несчётные цепочки бисера и монет. Нежный перезвон серебра и переливчатые движения света по бисерным рядам придают необычайную и неповторимую выразительность чувашскому костюму.

[slobozan-shitposting]

🇺🇦 Чи знали ви, що Донецьк і Донбас як промисловий регіон було засновано валлійським підприємцем?

🏴󠁧󠁢󠁷󠁬󠁳󠁿 Oeddech chi'n gwybod bod Donetsk a Donbas fel rhanbarth diwydiannol wedi'u canfod gan entrepreneur o Gymru?

🏴󠁧󠁢󠁥󠁮󠁧󠁿 Did you know that Donetsk and Donbas as an industrial region were found by a Welsh entrepreneur?

🇺🇦 Джон Юз (Г'юз) приїхав у Дикий Степ в 1870х та відкрив кільках металургійних мануфактур, навколо яких виросло місто Юзівка, яке зараз ми знаємо як Донецьк.

Металургійний завод був доволі успішним, туди з Уельсу приїздили працювати висококваліфіковані фахівці разом зі своїми родинами. Однак після більшовицької революції завод було націоналізовано, а більшість валлійських робітників повернулися назад до Уельсу.

🏴󠁧󠁢󠁥󠁮󠁧󠁿 John Hughes came to the Wild Steppe in the 1870s and established metal works, later Hughesovka (Yuzovka), now known as Donetsk, was formed around the ironworks. 

The ironworks used to be quite successful, highly qualified engineers with their families had been coming from Wales to work here. But after Bolshevik revolution the manufacture was nationalized and many Welsh workers had to come back to Wales. 

🏴󠁧󠁢󠁷󠁬󠁳󠁿 Daeth John Hughes i'r Paith Gwyllt yn y 1870au a sefydlwyd gweithfeydd metel, yn ddiweddarach Hughesofka (Iwsofka), a adwaenir bellach fel Donetsk, o amgylch y gwaith haearn.

Roedd y gwaith haearn yn arfer bod yn eithaf llwyddiannus, roedd peirianwyr tra chymwys gyda’u teuluoedd wedi bod yn dod o Gymru i weithio yma.  Ond ar ôl chwyldro'r Bolsieficiaid gwladolwyd y gweithgynhyrchu a bu'n rhaid i lawer o weithwyr Cymreig ddychwelyd i Gymru.

Source of photos: Glamorgan archives

A girl on the last picture - John Hughes'granddaughter wearing supposedly russian peasant costume. It doesn't look like any russian folk costume and I don't know to which culture it actually belongs. Looks like the Chuvash one, but Chuvash in Eastern Ukraine?? I'm confused 😬

[thewitcheslibrary]

small bits of info on Turkic deities

Some of these I cant find tons of information on. So im going to compile them all here, I hope this information is useful to some people

Burkut -

She is a knowledgeable, elderly woman who lives in a cave atop a massive mountain someplace at the end of the earth. She rides the winds, causing storms and whirlwinds. Szelanya also has a Slavic counterpart, a nymph with wind power who enjoys generating storms. She lives near hills, mountains, and tall mounds.

In Hungarian and Turkic folklore, she is also described as a feminine fairy-like spirit that dwells in the forest and occasionally in the skies.

Yel ana-

In Turkic mythology, the Yel İye are feminine fairy-like spirits that reside in the forest and occasionally in the skies. They were thought to be the spirits of women who had been frivolous in their lives and were now suspended between the physical world and the afterlife. They are frequently shown as lovely maidens, either nude or clad in shimmering gorgeous white costumes and extraordinary spectacular gowns.

According to legend, removing even one of Yel İyesi's hairs causes her to die or revert to her original form. A human can seize control of a Yel İyesi by taking a portion of her hair. If the hair is burned, the Yel İyesi disappears. The Yel İye's magnificent voices create powerful winds that may carry houses into the air. Despite their feminine appearance, the Yel İye are ferocious warriors. The ground is reported to quake when they fight. They possess healing and prophetic abilities and are occasionally ready to assist humans.

Yel Ana, also known as Cel Ene, is the Turkic and Altai goddess of the wind. Also known as the Goddess of Guidance. She is the female version of Yel Iyesi. The name Yel Ene translates to 'Wind Mother. Szel Anya is known as the "queen of wind" in Hungarian mythology.[1] She's a clever woman. Szélanya (Wind Mother), an ancient woman, controls the wind.

Aisyt-

Ajyyhyt (Aysyt, Ajsyt, or Ajyhyt; Yakut: Айыыһыт) is a deity of the Yakut people from the Lena River area of Siberia. The name means "birthgiver," and she is sometimes referred to as the "mother of cradles."[1] Her full name is Айыыһыт Хотyн, which means "birth-giving nourishing mother".[Citation required] At each baby's birth, Aisyt brings the soul from heaven and registers it in the Golden Book of Fate. She is the daughter of Yer Tanrı.

Ajysyt was in charge of guiding a newborn child's soul to birth and was present at every birth. Women would channel Ajysyt, believing that it would reduce their agony during childbirth.[1] She maintained a gold journal where she chronicled each one. She is claimed to have lived on a mountaintop in a seven-story house,[1] from which she ruled the globe.

Yakut venerate a kind of ajyy (Yakut: Айыы). The principal manifestation, "Njelbey Ajyhyt," is responsible for childbirth. Djøhøgøj Tojon is responsible for horse reproduction, Ihegej Iejehsit for oxen, and Noruluya for dogs and foxes. When referring to the deity responsible for the birth of male animals such as stallions or bulls, the term ajysyt is interpreted to mean masculine. However, when referring to the birth of a mare or cow, the term is feminine.

Su iyesi-

Su Iyesi (Tatar: Сy Иясе or Su İyäse; Chuvash: Шыв Ийҗ; Sakha: Уу Иччи; meaning "water master") is a water spirit in Turkic mythology. It is equivalent to the nymph in Turkic civilizations. The entity is disembodied and intangible, yet it may transform into a female being and become Yer Tanrı's daughter. Sometimes the master of water is represented as a bull.

When angry, it destroys dams, sweeps away water mills, and drowns humans and animals. It takes individuals down to her undersea home to serve her as slaves. In Tatar folk stories, this figure is also known as the Su Anası ("water mother"). In Turkic folklore, it dwells in ponds or rivers. There is no mention of a specific house, and the 'half-sunken log' is not visible. To go about, it rides a log.

Su Iyesi is sometimes linked to dangerous events like floods, storms, shipwrecks, and drownings. In some Turkic folk beliefs, she might be kind or beneficial while simultaneously causing rain. It is thought that some potent Su Iyes, such as Su Dedesi, might induce illness. Water Disease, which he supposedly produced, manifests as watery bubbles in the human body. To get rid of salt, throw it into a river or fountain.

Su Ana ("water mother") is frequently referenced as the feminine equivalent of Su Iyesi. She is described as a nude young woman with a fairy-like face and yellow and long hair, which is generally coated in black fish scales. She has a fish tail and eyes that glow like fire. She generally rides around her river on a partially submerged log, generating loud splashes. Su Anası are believed to be responsible for local drowning incidents. She is the wife of Su Ata. She enjoys beaches and getting out of the water.

Od iyesi-

Od iyesi (Tatar: Ут Иясе or Ut İyäse; Chuvash: Вут Ийҗ; Sakha: Уoт Иччи) is the Turkic and Mongolian spirit or deity of fire. In Turkic languages, Od (or Ot) denotes fire, while Iye is the familiar spirit of any natural asset, literally meaning "master" or "possessor." Od iyesi shields the fire. Od Ana is the Turkish and Mongolian goddess of fire. She is also known as the goddess of marriage. She is the feminine version of Od iyesi. The Altay name Ot Ene translates as "fire mother" (od "fire"; ene "mother"). In Mongolian tradition, she is known as the "Queen of Fire." She was claimed to have been born at the beginning of the world, when the earth and heaven divided, as the daughter of Yer Tanrı.

Some compare her to Umai, the mother deity of Turkic Siberians, who is shown with sixty golden tresses like sun rays. Umai is supposed to have been the same as Ot of the Mongols. Tengri, the main deity, causes three flames to burn in the human spirit, which Od Ana hides and extinguishes on Earth. Today, Turkish people refer to this as "cemre," the fire that descends on Air, Earth, and Water each year.

Od Ata is the Mongolian and Turkic/Altai deity of fire. He is the male version of Od Iyesi. Od Ede translates to 'Fire Father' in the Altay language. He is known as the Od Khan, or "king of fire" in Mongolian tradition. Od Khan (or Odqan) is a fire spirit associated with Mongolian shamanism. He is typically characterised as a red-colored person riding a brown goat. His feminine counterpart is Yalun Eke (Yalın Eke), the 'fire mother' and Kayra's son.

Yer tanri-

Yer Tanrı is an Earth deity in Turkish and Altaic folk belief and mythology, also known as Yertengri or Certenger. It can signify wickedness, humanity, and sensual shapes. It remains in the backdrop, adjacent to the Gök Tengri. It is not often shown in human form. However, it is frequently viewed as a feminine entity. The Earth or World is referred to as "Yertinç / Yerdinç". Tengri is offered a white chicken as a sacrifice. Sometimes fish, lambs, and oxen are sacrificed. Specifically, his head is buried in the earth. In some stories, weak and fragile children are buried by their parents, where they become stronger and emerge as heroic three days later.

Infertile ladies pray to Mother Earth beside a sacred tree. In fairy tales, Mother Earth breastfeeds the heroes once from her right breast and twice from her left breast, giving the heroic enormous power. In Yakut heroic epics, the brave individuals who would be invincible in the future are fragile and helpless as children. Even their parents are unwilling to accept them. After being nourished by the Earth God (Yer Tanrı), these youngsters transform into legendary heroes after being buried in the dirt. This is still the meaning of shaking mad persons into wells in several Anatolian regions.

It is stated that there are no images of the earth deity. They sometimes refer to her as a white-haired woman who lives in the trunk of a great beech tree. The branches of this tree rise up to the sky, which is owned by the spirit who gives people the most beautiful horses as presents.

Yereh Khan is the family god of Turkish and Altaic mythology. The earth is an entity related to the notion of God. Protects the family and house. Because he like onions, a sacrificial vaccination is left for him with the onions. The term shares the same origin as the verb to settle. In Mongolian, yeröh means "wish." It lives in baskets made of tree bark that are placed behind doors.

The baskets built for him are also known as Yereh. Yereh Türkelli is the name given to these baskets that have been passed down seven generations. When young ladies marry, they take their baskets (guardian spirits) with them, and the notion of dowry is most likely founded on this tradition. He is prayed for to be healed of skin disorders. The term shares the same origin as the verb to settle. In Mongolian, yeröh means "wish."

Etugen eke-

Etügen Eke ("Mother Earth"), also known as Itügen or Etügen Ekhe, is an earth deity in Tengrism. She was said to be permanently virginal. "Etugen" refers to a lady and Kayra's daughter. Her name might be derived from Ötüken, an ancient Turkish goddess of fertility and the sacred mountain of the earth Etugen is occasionally paired with a male counterpart named Natigai or Nachigai (Natikai, Natıkay), however this is most likely a mistake due to Etugen's mispronunciation. In legend, Etugen is commonly shown as a young woman riding a grey bull.

Etugen existed in the centre of the universe. The Turkic people saw Etugen as a voluptuous, attractive woman who served as the patroness of the homeland and nature. All living things were subservient to her. As a result, the Turkic people regarded Etugen as the second highest divinity, behind Kök-Tengri. Tengri dominated the fate of individuals and nations, until natural forces gave way to Etugen. Etugen would occasionally punish people for their faults under Tengri's order.

But she was typically regarded as a beneficent Goddess. Every spring, offerings were performed to the goddess Etugen before the cattle-breeding season and agricultural sowing. Sacrifices were also carried out in the fall, once the harvest was over. During the Khaganate period,[8] sacrifices to Etugen were national in scope. They were carried out around rivers and lakeshores. A reddish horse was sacrificed in the name of livestock and crop fertility, as well as general well-being.

Kormos-

Kormos or Kormoz (Tuvan: кормоc; Turkish: Körmöz or Körmös) are Turkic mythological spirits, sometimes known as ghosts or devils. In Turkic languages, "kormos" implies "does not see" or "blind". The term can also denote "mentally ill". Kormoses are wicked spirits from Turkic mythology that live in the underworld. Because a soul may transform into a Kormos after death, they are frequently linked to ancestor spirits. Other names for them include Alban, Chahik, Ozor, and others.

Ülgen commands the Angelic Kormoses, who assist and defend humanity. Erlik commands the demonic Kormoses [also known as "Sokor Körmös" (blind angels)], who frequently inhabit the underworld and attack humanity. The last Kormoses are neither good nor evil, and they walk the Earth in a sad state. Souls transformed into Demonic Kormoses after death can escape the anguish and rise to Uçmag if the good in their core outweighs the evil.

They are all good and malevolent spirits. Körmös Khan is their chief.

Jaiyk-

Jaiyk, also known as Cayık or Jayık Khan, is the deity of rivers in Tengrism. He is a significant deity in traditional beliefs. Jaiyk was originally referred to as Dayık in Altai mythology. He was initially the patron deity of humanity and the son of Kayra, but his religion eventually extended throughout Central Asian tribes. He was the god of rivers, water, and lake water.

Jaiyk is seen as a young guy holding a scourge in his hand. He lives at the confluence of seventeen rivers. Jaiyk possesses all of the power of water and can create storms on the water. If he becomes upset, he creates and causes floods on Earth. Jaiyk commands all of the rivers and lakes. He sends ghosts to every river. Every river or stream has an İye (protective spirit or divinity). The Tengrist conception of the deity appears to connect him with both the destructive and purifying properties of water.

According to old traditions and beliefs, water and rivers are sacred phenomena capable of purifying everything. People used to be required to respect the water in their homes and social settings. A protective spirit (familiar spirit) resides in the sea. If he is furious, he may be dangerous to people. Because of this rude behaviour, the water may go dry. As a result, Tengrist's literature and oral storytelling contain warning tales and stories of disrespect towards water. The Great Law of Genghis Khan (Yassa) prescribes severe punishments for anybody who pollutes water or rivers.

Alaz Kahn-

Alaz is the deity of fire in Turkish mythology. Also known as Alas-Batyr or Alaz Khan. He is a significant divinity in folk beliefs and the son of Kayra.

Alaz Khan is represented as an elderly guy holding a torch in his hand. He resides in Ulugh Od (Turkish: Uluğ Od, "Great Fire"). His garment is formed of flames, and Alaz Khan possesses the power of fire. When Alaz Khan grows enraged, he starts and spreads flames on Earth. Alaz Khan commands all of the hearths and stoves. He distributes spirits to every hearth. Every fire or hearth has an İye, which is a protective spirit or divinity. The Turkic notion of the deity appears to relate him with both the destructive and purifying properties of fire.

According to old Turkic traditions and beliefs, fire is a sacred phenomena that may purify everything, including spirits and souls. People are obligated to respect the fire in their families and social settings. According to popular belief, a protective spirit (familiar spirit) resides within fire. If it was furious, it might cause harm to humanity. Because of this rude behaviour, the fire may be quenched. As a result, Tengrist traditional oral traditions portrayed horrifying stories of disrespect to fire. The Great Law of Genghis Khan (Dead Law) imposed severe punishments on anybody who showed contempt to fire.

Bai Baianai-

Bai Baianai (Old Turkic: 𐰉𐰀𐰖 𐰉𐰀𐰖𐰀𐰣𐰀𐰖) is the Yakut spirit of forests, animals, and the patron of hunters. Hunters kindle fires and hope that their job will be fruitful and without incident. In certain traditions, she guards children. She is considered a lineage protector.

Baianai was the ancient Turkish goddess of animals, riches, and fertility. She was venerated over what is today known as Altai and Sakha. Her name translates as "rich, fertile, and wealthy". She was Kayra's daughter. Baianai, a woods fairy or protective spirit, appears in Turkic-Altaic folklore and mythology. In Central Asia, she's known as Payna. There are three Baianas:

Bai Baianai, the Goddess of Hunting.

Tagh Baianai, the Goddess of Forests.

Ughu Baianai: Goddess of Fisheries

Baianai are frequently represented as ethereal maidens with long, flowing hair and, on occasion, wings. They are frequently clad in free-flowing dresses embellished with feathers that allow them to fly like birds. Baianai is typically depicted as a blonde, tall, slim woman with pale, bright complexion and blazing eyes. Baianais are thought to be extraordinarily attractive ladies with a strong affinity for fire. They have the ability to cause drought, burn a farmer's crops, or cause livestock to die from high fever. It is reported that when a Baianai becomes angry, she transforms into a monster bird capable of hurling fire at her foes.

sorry for the info dump! im gonna do my pantheon posts like this from now on if I cant find a ton of info online about them! - Especially the cultures im not apart of.

[moonfae-art]

чӑваш хӗрӗпе хӗвел

chuvash girl and sun

[biointernet]

Made_with_Love, #144

“You see the first thing we love is a scene. For love at first sight requires the very sign of its suddenness; and of all things, it is the scene which seems to be seen best for the first time: a curtain parts and what had not yet ever been seen is devoured by the eyes: the scene consecrates the object I am going to love. The context is the constellation of elements, harmoniously arranged that encompass the experience of the amorous subject... Love at first sight is always spoken in the past tense. The scene is perfectly adapted to this temporal phenomenon: distinct, abrupt, framed, it is already a memory (the nature of a photograph is not to represent but to memorialize)... this scene has all the magnificence of an accident: I cannot get over having had this good fortune: to meet what matches my desire. The gesture of the amorous embrace seems to fulfill, for a time, the subject's dream of total union with the loved being: The longing for consummation with the other... In this moment, everything is suspended: time, law, prohibition: nothing is exhausted, nothing is wanted: all desires are abolished, for they seem definitively fulfilled... A moment of affirmation; for a certain time, though a finite one, a deranged interval, something has been successful: I have been fulfilled (all my desires abolished by the plenitude of their satisfaction).”  ― Roland Barthes, A Lover's Discourse: Fragments

Made_with_Love

Sculptured pair of shoes "Made with Love" Rustam Adyukov, MHC Online Museum 2008-2017 Installation Includes a pair of author's shoes and art photos

Made_with_Love, #144

Made_with_Love, #144

Made_with_Love, #144

Made_with_Love, #144

Made_with_Love, #144

Made_with_Love, #144

Made_with_Love, #144 On the project Made_with_Love, #144: Zapalova Lyudmila (Nizhny Novgorod), engineer-designer of shoes and leather goods. Graduated: Kimsky Mechanical and Technical College (department "artist-fashion designer"); Moscow All-Union Institute of Textile and Light Industry (Faculty: designing shoes and leather goods) Worked: factory "Record" Nizhny Novgorod, leading designer-designer (individual tailoring of shoes). The models of footwear on the artistic council under the Ministry of textile and light industry of the USSR were repeatedly evaluated (40 points-on a 40-score scale) with subsequent introduction into production.Volganova Natalia Konstantinovna (Nizhny Novgorod), folk doll, weaving, flap, folk costume. 1974. Gorky Engineering and Construction Institute. V.P. Chkalov on the specialty "Architecture". She worked as a specialty in design institutes in Saransk and Nizhny Novgorod. since 1984. Member of the Union of Architects of Russia Since 1993, the head of the amateur workshop of applied art "PARASKEVA" under the Nizhny Novgorod regional organization of the Union of Architects of RussiaMezentseva Maria (Nizhny Novgorod), master of arts and crafts, designer of clothes and accessories, artist. 1997 NTLP Nizhny Novgorod technical school of light industry, specialty "technician-technologist" 2000. State Ivanovo Textile Academy, specializing in "sewing engineer-technologist"Shipakina Oksana (Nizhny Novgorod), artist, master of glass melting in the "lampwork" technique, making of author's beads, ready-made ornaments and interior accessories. Founder and head of the creative workshop "ARTishok" (Nizhny Novgorod) University of the Russian Academy of Education, social psychology. Participant of Russian and international exhibitions ".Nasedkin Sergey, Anna. Artists, graphics (Nizhny Novgorod region, Dzerzhinsk) Sergey N. Gorky Art CollegeAnna N. Chuvash State Pedagogical Institute (art-graphic department) Participants of Russian and foreign exhibitions.Kozlov Kirill (Nizhny Novgorod), jeweler of his own family workshop "Jewelry House of Kozlovs-Kustovs" 1993 the professional school No. 60 in Nizhny Novgorod, specializing in a watchmaker for repairing mechanical watches with the ability to perform engraving work.Stepanov Alexander, 12.02.1961g. (Nizhny Novgorod region, Bogorodsky district, ...) 1984-1984. The artistic vocational school No. 15 was trained in the specialty: carpenter-cabinetmaker (Mogilev region, Bobruisk) 1984-1990. The cooperative "Uzory" worked as a carpenter (Grodno) 1978-1980. Vocational and technical school, trained in the specialty: carver-cutter (Semenov, Nizhny Novgorod region). 1994 г. The factory "Khokhloma painting", worked on the specialty: carver-cutter (Semenov, Nizhny Novgorod region). 1998. The factory "Elegant", worked on the specialty: "the master of manufacturing of shoe accessories from a tree" (Nizhny Novgorod)Zevakhin Sergey (Nizhny Novgorod), artist, designer, woodcarver (http://utiliorrerum.ru)Pilipenko Marina (settlement of Reshetikha, Nizhny Novgorod region), seamstress. Agricultural Technical School pos. Workers of Kstovo district (specialty zootechnician), Cooking and sewing courses in Dzerzhinsk In the photo project participated: Evgenia Shlivko, photographer, sculptor (Nizhny Novgorod)Pavel Lunev, photographer (interior photo studio Atmosphere, Dzerzhinsk, Nizhny Novgorod region)) 2004 Modern Humanitarian Academy. Member of the Union of Photo Artists of Russia.Anton Andriyanov - ModelElena Uchanina - Visagist, 2008 HSE (NSF), the head of the company "PERFETTO" Beauty Studio (Dzerzhinsk, Nizhny Novgorod region)Alexander Polyakov - graphic designer Nizhny Novgorod Economic and Legal College, programmer. Art photo processing. Venue / Interior Photostudio ATMOSPHERE (Dzerzhinsk, Nizhny Novgorod region) Techniques of execution: jewelry works (installation); painting / dyeing / polishing, weaving / designing / sewing; woodcarving / finishing; Art glass processing "lampwork", mixed technique (wool, metal wire). Materials: wood (rosewood, ebony), metal (steel, silver, titanium), oil paints, egg tempera, lacquer, carnauba wax, threads (cotton, linen), glass, experimental fabric (Borås) Sweden. Russian: Скульптурная пара обуви «Сделано с любовью» 2008-2017 Инсталляция. Включает в себя пару авторской обуви и ряд художественных фотографий. «В своей новой работе Рустам Адюков использует символы, близкие и понятные для любого носителя европейской культуры. Посредством этих символов мастер визуализирует понятия «семья — основа общества», «влияние семьи на личность», «предметно» раскладывая перед зрителем сложные психологические, социальные и философские явления, связанные с темой семьи. Фотографии представляют молодого человека с атрибутами семьи: гнездом с яйцами и деревянной обувью . Образ юноши, увенчанного гнездом как короной, демонстрирует значимость семьи для каждого человека, необходимость бережного к ней отношения. Перья на плечах и груди юноши рождают целый ряд ассоциаций, говоря, в частности, о том, что мы несем через всю жизнь традиции своей семьи, даже если считаем себя представителем иного, чем родители, вида. Не менее символична фотография, запечатлевшая момент примерки обуви, как воплощение в зрительный образ необходимости «примерить» семейную жизнь, создать собственную семью. Деревянная обувь — главная часть инсталляции. Их внутреннее пространство включает в себя свои символы. Один сапог содержит в себе гнездо, другой — горстку камней, производящих шум при ходьбе, который, по мысли автора, должен отпугивать как диких животных, так и злых духов. Помещенное в обувь гнездо — образ неоднозначный. Взаимоисключающие трактовки его составляют особенность образного строя произведения. При работе с деревом автор раскрывает красоту самого материала, особенности его структуры и собственной истории. Дерево выбрано мастером неслучайно: мировое древо соединяет миры подземный, земной и небесный, деревянная доска, на которой писали икону, символизирует в русской традиции тело Христово. В работе автора образ семьи, воплощенный в ряде символических изображений, имеет вневременной характер, автор демонстрирует ряд универсальных ценностей и провоцирует зрителя попытаться разрешить вопросы, которые волновали человечество на протяжении всей истории." Искусствовед / Елизавета Сурганова. Хочу выразить теплые слова благодарности соавторам, друзьям принимавшим непосредственное участие в создании скульптуры: -Запалова Людмила (г.Нижний Новгород) , инженер-конструктор обуви и изделий из кожи. Закончила: Кимрский механико-технический техникум (отделение «художник-модельер»); Московский всесоюзный институт текстильной и легкой промышленности ( факультет: конструирование обуви и изделий из кожи») Работала: фабрика «Рекорд» г.Нижний Новгород, ведущий модельер-конструктор (индивидуальный пошив обуви). Неоднократно высоко оценивались (40 баллов- по 40-бальной оценочной шкале) модели обуви на художественном совете при министерстве текстильной и легкой промышленности СССР с последующим внедрением в производство. -Волганова Наталья Константиновна (г.Нижний Новгород), народная кукла, ткачество, лоскут, народный костюм. 1974г. Горьковский инженерно-строительный институт им. В.П. Чкалова по специальности «Архитектура». Работала по специальности в проектных институтах в Саранске и Нижнем Новгороде. с 1984г.Член Союза архитекторов России с 1993 г руководитель самодеятельной мастерской прикладного творчества "ПАРАСКЕВА" при Нижегородской областной организации Союза архитекторов России -Мезенцева(Владимирова) Мария (г.Нижний Новгород), мастер декоративно-прикладного искусства, дизайнер одежды и аксессуаров, художник. 1997 г. НТЛП Нижегородский техникум легкой промышленности по специальности «техник-технолог» 2000 г. Государственная ивановская текстильная академия по специальности «инженер-технолог швейного производства» -Щипакина Оксана (г.Нижний Новгород) , художник, мастер плавления стекла в технике "lampwork", изготовление авторских бусин, готовых украшений и интерьерных аксессуаров. Основатель и руководитель творческой мастерской "ARTишок" (г.Нижний Новгород) Университет российской Академии образования, социальная психология. Участник российских и международных выставок". -Наседкины Сергей, Анна. Художники, графики (нижегородская обл., г.Дзержинск) Сергей Н. Горьковское художественное училище Анна Н. Чувашский государственный педагогический институт (художественно-графическое отделение) Участники российских и зарубежных выставок. -Козлов Кирилл (г.Нижний Новгород), ювелир собственной семейной мастерской «Ювелирный дом Козловых- Кустовых» 1993 г. профессиональное училище №60 г.Нижний Новгород по специальности «часовщик по ремонту механических часов с умением выполнять граверные работы». -Степанов Александр, 12.02.1961г.р. (Нижегородской обл.,Богородского р-на, ...) проживает по адресу: Нижегородская обл.,Борский р-он., дер.Тайново 1984-1984 г.г. Художественное профессионально-техническое училище №15 обучался по специальности : столяр-краснодеревщик (Могилевская обл.,г.Бобруйск) 1984-1990 г.г. Кооператив «Узоры» работал по специальности :столяр (г.Гродно) 1978-1980 г.г. Профессионально-техническая школа ,обучался по специальности :резчик-ковшечник (г.Семенов,Нижегородская обл.) 1994 г.Фабрика «Хохломская роспись»,работал по специальности : резчик-ковшечник (г.Семенов,Нижегородская обл.) 1998 г.Обувная фабрика «Элегант»,работал по специальности : «мастер по изготовлению обувных комплектующих из дерева» (г.Нижний Новгород) -Зевахин Сергей (г.Нижний Новгород), художник, дизайнер, резчик по дереву (http://utiliorrerum.ru) -Пилипенко Марина (пос. Решетиха, Нижегородская обл.), швея. Сельско-хозяйственный техникум пос. Работки кстовского р-на (специальность зоотехник) , Курсы кройки и шитья г.Дзержинск В фотопроекте участвовали: -Евгения Шливко, фотограф, скульптор (г.Нижний Новгород) - Павел Лунев, фотограф (интерьерная фотостудия Atmosphere г. Дзержинск Нижегородской обл.)) 2004г. Современная гуманитарная академия. Член союза фотохудожников России. Модель / Антон Андриянов Визажист / Елена Учанина: 2008г. ГУ ВШЭ (ННФ) , руководитель компании "PERFETTO" Beauty Studio (г. Дзержинск Нижегородской обл.) Художественная обработка фотографии / Александр Поляков: 1987 г. рождения, графический дизайнер Нижегородский экономико правовой колледж, программист. Место проведения / Интерьерная Фотостудия ATMOSPHERE (г.Дзержинск, Нижегородская обл.) Техники исполнения: ювелирные работы (монтаж); роспись/крашение/полирование ;ткачество/ конструирование/шитье; резьба по дереву/отделка; художественная обработка стекла «лампворк», смешанная техника (шерсть, металлическая проволока). Материалы: дерево (палисандр, эбен), металл (сталь, серебро, титан), масляные краски, яичная темпера, лак, карнаубский воск, нити (х/б, лён ), стекло, экспериментальная ткань (Borås) Швеция. https://www.gdvplanet.com/product/made_with_love/ Made with Love for My Hourglass Collection by Rustam Adyukov. Art object on MHC Virtual Museum. Welcome to the Exhibitions! Read the full article