An ancient women's headdress, like all clothing of those times, reflected the customs and worldview of the Russian people, as well as their attitude to nature and the whole world. In the old days, some elements of clothing were borrowed from other peoples, although to a greater extent Russian costumes had their own, special style.
How women dressed in Rus'
The main component women's clothing was a shirt or chemise. The first was a kind of underwear underwear and was made exclusively from thick and coarse fabric. The second one was always made from thin and light materials. Shirts were mostly worn by rich women, while the rest always wore shirts.
At the same time, the girls wore canvas clothes called “zapona”. In appearance, it resembled a piece of fabric folded in half with a small cutout for the head. The zapona was worn over a shirt and belted.
During the cold season, women in Rus' wore fur casings. In honor of various celebrations, they wore long sleeves - special shirts. Women wrapped wool fabric around their hips, tying it at the waist with a belt. This piece of clothing was called “poneva”. Most often it was made in a cage. The colors of the poneva differed among different tribes.
Ancient women's headdresses in Rus'
During times Ancient Rus' men always wore the same hats, but women's hats were classified into those for girls and those intended for married ladies. Each girl had to strictly observe the style and rules of wearing clothes. All types of ancient women's headdresses are listed and described below.
Headbands and ribbons
The traditional girl's headdress was not intended to cover the top of the wearer's head. He left quite a lot of hair exposed. From a very early age, girls in Rus' wore ordinary ribbons made of fabric.
At an older age, they had to wear another girl's headdress - a bandage (bandage). In some areas it was often called wilted. This element completely covered the forehead and was secured at the back of the head with a knot. As a rule, such headbands were created from birch bark, silk ribbons, and brocade. Their owners decorated their hats with glass beads, embroidery, precious stones and gold.
In the census of the property of the daughter of one of the Russian tsars, Alexei Mikhailovich, a “bandage strung with pearls” was mentioned. Often there were headbands, the forehead part of which was distinguished by a special decoration made in the form of some kind of figure or patterned knot.
whisk
Another type of ancient women's headdress is the crown (corolla). It came from a wreath, which was made up of different flowers. According to the beliefs of the ancestors, this dress protected from evil spirits.
The corollas were made from a thin metal strip, the width of which did not exceed 2.5 centimeters. Bronze and silver were also used for this. By appearance such a headdress was similar to a headband, but the only difference was the hooks for a ribbon or cord to tie the crown tightly at the back of the head.
Often the crown was decorated with patterns with teeth at the top. On big holidays, girls wore headdresses decorated with strings of pearls hanging along their cheeks - the so-called cassocks. This is exactly the decoration that Tsarina Evdokia Lopukhina wore at her wedding.
Warm hat
In the cold season, you could see hats on the girls’ heads, which in those days were called stolbuntsy. Of these, a long girlish braid fell onto the back, decorated, in turn, with a red ribbon.
Cleaning up after marriage
Ancient women's headdresses performed not only an aesthetic function - they served as a kind of indicator of both status and marital status beauties. As soon as the girl got married, this element of the outfit immediately changed. This happened for the reason that after marriage, all the beauty of the wife belonged only to her husband. Foreigners who visited Russian lands described the wedding custom as follows: during the celebration, the man threw a scarf over the head of his chosen one and thereby demonstrated that from now on he became her legal husband.
Scarf, or ubrus
This ancient women's headdress was especially popular with girls. It was called differently in different regions. Among the most common names: fly, towel, under-fly, basting, veil, and so on. This scarf consisted of a fairly thin rectangular cloth, the length of which reached a couple of meters and the width was about 50 centimeters.
One of the ends of the ubrus was always decorated with embroidery with silk threads, silver, and gold. It hung over the shoulder and was never hidden under clothing. The second end was intended for tying it around the head and pinching off the bottom of the chin. In the 10th-11th centuries, it was customary to place a beautiful set of jewelry items on top of such a scarf - hanging rings and all kinds of jewelry.
Some time later they began to make ubrus triangular shape. In this case, both ends were pinched off under the chin or tied on the top of the head with a curly knot, but this required a special skill that not every Russian woman possessed. Also, the ends could go down to the shoulders or back and were richly embroidered. This fashion of wearing scarves came to Russia only in the 18th and 19th centuries from Germany. Previously, the scarf simply clasped the girl’s neck, and the knot was located at the very top of the crown and was pulled quite tightly. This method was called "head". One of the 18th century contemporaries wrote that the expressiveness of the scarf was necessary in order to “elevate the beauty and give even greater color” to the faces of women.
How they hid their hair
When putting together their own headdress on ordinary days, women used podoubrusnik, or volosnik (povoinik). It was a small mesh cap made of thin material. This headdress consisted of a bottom, as well as a band, in which lacing was provided around the head - specifically so that the cap was tied as tightly as possible. The warrior, as a rule, was decorated with various stones and pearls, which women independently sewed onto the forehead area. Such a patch was unique and special, since each craftswoman took care of it and passed it on to her daughter, attaching it to her headdress.
The main purpose of the cowberry was to hide women's hair from prying eyes. There were also women who were too zealous, pulling down their clothes so that they practically could not blink. On top of the warrior in winter time Be sure to wear a hat or scarf. Beginning in the 18th century, these headdresses began to change and eventually took the form of a cap. Sometimes it was worn together with the ubrus, put on over it. It depended mainly on the beauty and degree of decoration of this element. Each woman treated her clothes and hats with trepidation, because they were the ones who spoke of her as a mistress and a faithful wife.
What married women wore: what is a brocade kichka
After a woman got married, she had to wear a special headdress - a kiku (kichka) - along with a scarf and a warrior. Now few people know what a brocade kichka is, but in those days it was a real privilege of married ladies. It is for this reason that the historian Zabelin called this dress the “crown of marriage.”
Kiku could be easily recognized by its horns or shoulder blade, which protruded directly above the forehead and was directed clearly upward. Horns had some connection with beliefs in protective power, since through them a woman was likened to a cow, which, as you know, was a sacred animal for our ancestors. The main function of the horned cat was to protect the newly-made wife and her child, and it also promoted fertility and procreation.
The headdress was worn over the warrior and consisted of a hoop that did not close at the back and was covered with fabric. This hoop looked like a horseshoe or a crescent. The height of the horns attached to the headdress reached 30 centimeters, and they were made exclusively from tightly rolled canvas. In addition to the front, the rear was also of great importance. It was made from fur or expensive material and was called a slap on the head. This element was always decorated elegantly, because it replaced a long girl’s braid. This contained quite rich embroidery, as well as a wide decorative pendant, on which long chains of plaques were attached. A special cover-cover was attached to the top of the kitty, which in the old days was called a magpie.
This is exactly what a married woman was supposed to wear. At the same time, she should have kept her head held high and taken her steps beautifully and softly. Thanks to this, the expression “to boast” appeared, which meant “to elevate oneself above other people.”
The koruna was created based on the type of kiki. It was a headdress for persons of the royal and princely families. The main difference between the koruna was its shape. It was a richly decorated crown that had to be worn over the ubrus. As a rule, they added to the decoration various decorations in the form of duckweeds, colts, pearl bottoms, and special fabrics impregnated with various odors were placed inside.
Kokoshnik
Many people are interested in the name of the ancient Russian women's headdress, which can also be seen on modern girls. Despite the fact that it is quite difficult to wear it due to its weight, our ancestors (women) found it only a joy to keep such a decoration on their heads every day.
The Russian folk kokoshnik got its name from the ancient Slavic word “kokosh”, which translated meant “hen”, “rooster”, “hen”. Its distinctive feature was the front part - the ridge. The entire Russian folk kokoshnik was made on a solid base, which allowed it to better stay on the head. The ridge rose high above the forehead and was visible from a fairly large distance. At the back, the Russian folk headdress was secured with ribbons and covered with fabric.
Despite the fact that initially the kokoshnik was the prerogative of only married women, after some time young girls began to wear it. But their top was already open.
This Russian folk headdress was covered with fabric or leather. It could be decorated with metal thread, beads, pearls, and bugles. A special blanket made of expensive patterned fabric was attached to the headdress. On top, as a rule, a veil or scarf was worn, always folded into a triangle.
Among ordinary people, the kokoshnik became widespread in the 16th and 17th centuries. He became an excellent replacement for the kitsch. Representatives of the clergy fought against the “Rogata” and categorically forbade visiting church there. They welcomed a more convenient, safer and beautiful option.
Hats
Starting from the end of the 16th century, during the transition from winter to spring, women, “going out in public,” wore a hat over the ubrus. It was made from felt of different colors and was quite similar to what Orthodox people wear when walking.
Fur hats
Vintage winter women's hats also include velvet hats trimmed with fur. On top they were made of fabric or glued paper. The hat itself was cone-shaped, round or cylindrical. It differed from men's hats by the presence of decorations - pearls, sewing, stones.
Since the hats were quite high, light fur or satin was placed inside them in order to retain heat. Women treated their attire very carefully. From some sources it is known that at the end of the season, the royal daughters had to hand over their hats for storage to a special Workshop Chamber. There they were placed on blocks and covered with covers.
Winter hats were made from different furs - fox, beaver, sable. For young girls, the squirrel or hare version was considered the ideal option. One of the few similarities with men's clothing was the name. Women's hats were also called “gorlatny”, which is why they were worn in several layers at once.
Treukh
Another magnificent headdress that women were able to successfully adopt from men is the triukh. Its top was covered with fabric, and the part in the frontal area was covered, as a rule, with sable. Such hats were decorated with lace or pearls.
Kaptur
An equally interesting winter hat called “kaptur” was especially popular among widows. It protected its owner’s head from the cold, because it looked like a cylinder with fur that covered both the head and face on both sides. A beaver hat was made, but the poorest had to wear sheepskin headdresses. It was necessary to wear a bandage on top.
Women's headdress. Magpie.
Magpie/ kitty, horns/ - a headdress for married women, consisting of several parts not sewn together, which were put on the head independently. The main items that together formed this headdress were the kichka, the magpie itself, the back of the head, the forehead, and the scarf. Additional - various decorations made of beads, feathers, ribbons, artificial flowers.
The kitchka was a soft canvas cap, on the front of which was fixed a solid elevation made of bast, wooden planks, birch bark, canvas glued or quilted several times, canvas rollers stuffed with straw, tow. At the back, the kitty was pulled tight, tightly fitting the head.The magpie, also called the crown, the binding, is the upper part of the headdress, a cover worn over the kichka. It was usually made of calico, silk, velvet on a canvas or chintz lining. Magpies were usually sewn from two to three pieces of fabric. Its front part was called brow, ochele, chelishko; the side parts are the wings, the back part is the tail. They were connected in such a way that the headdress took the form of a cap with a rectangular, oval top, or a top carved in the shape of horns. The wings, sewn with a headband and partly with a tail, had ties with which the magpie was attached to the head over the kitty. If the magpie's tail was short, then it was almost completely sewn together with the wings; if it was long, then a significant part of it went down to the shoulders. Along with magpies in the form of caps, magpies that were not completely sewn together were also common: only the headbands with the tail and the wings with the headband were connected. Such magpies, when spread out, resembled a bird with long tail and triangular wings spread out on the sides.
Rice. 3. Development of the image and symbolism of the kichka, from left to right: 1 - Veles in a horned and circle-shaped headdress with the duck star Makosha in the center; 2 - Egyptian god in a horned headdress and with a circle; 3, 4 - on the Egyptian fresco the horns turned into two feathers of Maat (Makoshi) with the sun inside; 5 - Russian kichka, Tambov province (19th century); 6 - fragment of the pattern; 7 - Scythian-Koban figurine from Dagestan (6th century BC); 8 - horned kichka - wedding headdress of a Nekrasovka Cossack woman (early 19th century); 9 - horned Makosh, Russian embroidery; 10 - Russian kitty
The Russian national headdress - kichka - also drew its symbolism from the star Slavic religious cult of the duck-Makoshi (constellation Pleiades), located on the head (neck) of Veles (constellation Taurus). The back of the head, also called the back of the head, the back of the head, the block, was a rectangular piece fabric, glued or sewn onto a solid base made of cardboard, birch bark, or quilted canvas. It was placed on the back of the head, covering the hair at the back of the head and part of the neck, and tied with ribbons around the pussy under the magpie. The drawings clearly show the development of the image of the Slavic god Veles, holding a Makosh duck with a nest on his head. In fragments 3 and 4, the horns turn into feathers (ostrich), which symbolize the Egyptian Maat (Russian Makosh). On the kitty (5) there is a pattern, which is presented on an enlarged scale in fragment 6. It is completely similar to the Egyptian two feathers and the sun between them. The oldest sculptural image of Mokosh is dated to the 42nd millennium BC. and found in Rus', in the village of Kostenki, Voronezh region. Therefore, we have the right to attribute both the origin and development of the cult of Mokosh in Rus' to the Slavs, and consider the Egyptian use of this Slavic cult of Mokosh-Maat as its continuation, brought to the Nile Valley by proto-Russian settlers. The Proto-Russians also brought to Egypt the cult of the Slavic god Veles-Baal, whose horns turned into two feathers in Egypt.
It was precisely this content, corresponding to Slavic religious mythology, that the kitchka carried. This Russian headdress imitated the horns of a cow, which symbolized the fertility of its owner. Young married Russian women wore a horned kitty, exchanging it in old age for a hornless one. Slavic married women for a long time (and to this day!) retained the method of tying a scarf, when its corner ends stuck out on the forehead in the form of small horns. They also imitated the horns of a cow and symbolized a productive period in a woman's life.
A merchant's family in the 17th century. 1896. A. Ryabushkin
Soroka (kichka, horns) - one of the most ancient Russian headdresses married woman. According to archaeological excavations, the magpie was worn in the 12th century and even then it was widespread throughout Russia. Usually the magpie consisted of the following parts: a quilt, a magpie, a back of the head, a forehead, and a scarf. Kichka is a round canvas cap; on its front, frontal side, a hard part made of bast (linden or elm bark), wooden planks, birch bark or other materials was attached. The upper part, rising above the cap, was called kichka (or “horns”, “sderiha”). They came in a variety of shapes: spade-shaped, semicircular and horn-shaped. Horns have long been a symbol of fertility; perhaps they carry the same meaning in the magpie.
The magpie itself was a long woven fabric that was attached to the pussy and went down to the back and shoulders. The back of the head is a fabric with a hard base, laid at the back to cover the hair at the back of the head. Browband - an embroidered strip that covered the forehead, tips of the ears and temples. A scarf was also tied over the magpie.
Second half of the 19th century. Spassky district, Tambov province, Russia.
The magpie is found in most provinces of Russia as a widespread women's headdress, which has very ancient roots. The Kargopol magpie can be immediately distinguished from any other by the peculiar shape of its headband, hanging over the forehead with a sharp protrusion. This protrusion is created by a pointed bottom. As a rule, most of the known species of magpies are soft, so under them they additionally wore a headdress of a rigid design, allowing them to maintain the shape of the headband. Under the Kargopol magpie, a kind of cap is put on with a hard “hoof” above the forehead, called “sderikha”. Sderiha plays the role of a warrior, collecting and pulling her hair, and her hoof serves as the basis for an elegant beaded headband
The “magpie” wedding headdress consisted of three parts: a kichka with small sharp horns, a back of the head and the “magpie” itself, which was heel-shaped. The magpie is an ancient headdress worn by Russian women. The basis of the wedding headdress of a Voronezh peasant woman is a kichka - a solid forehead part in the form of a horseshoe with large horns sticking up, lined with red. A piece of canvas is attached to it, the edges of which are gathered on a thin cord - a “hold”. The kichka is placed on the head at forehead level and the woman’s hair is carefully covered with canvas, then the fabric is secured to the head with a cord. The back of the head is covered with a backplate - a rectangular strip of velvet embroidered with gold threads, fixed on cardboard for rigidity, to the top and sides of which strips of silk fabric with ties at the edges are sewn. I cross them on the forehead and tie them around the horns several times, thus tightly fastening the kitty to the back of the head. And finally, on top of the horns they put a small magpie sparkling in gold, which crowns the entire structure. The main motifs of the gold embroidery ornament on the back of the head and along the top of the magpie are “trees”, similar to similar images on the sleeves of a wedding shirt.
The "magpie" pattern has 3 main parts - the headband, the back of the head and a special patch made from the main fabric, which lengthens the back of the head. The design has a rigid frame - a sewn-in cardboard strip 20 cm high. Ties, 5 cm wide, made of cotton fabric, are attached to the headband. The headdress is set on lining fabric. The sample is made of velvet fabric. The necklace is richly decorated with gold embroidery, colored rhinestones and sewn brocade braid. A braid of multi-colored beads is sewn on, and fringe is sewn along the edges of the headband. The back of the head is decorated with embroidery using the “gold embroidery” technique, the ornamentation is made in the form of plant motifs. Three lush tassels of red and green colors are sewn to the bottom of the sewn part of the back of the head. The decorative connection between the headband and the back of the head is two strips of gold braid.
Sometimes they write that “magpie” is part of the “kichka” headdress, and sometimes vice versa: “ Usually the magpie consisted of the following parts: quilt, magpie, back of the head, forehead, scarf.”.
koruna
The kika was worn over the warrior, and it consisted of a hoop, open at the back, covered with fabric on top. The hoop had the shape of a crescent or horseshoe. The height of the horns for kiki could reach 30 cm; they were made of wood or tightly rolled canvas. The back part made of expensive fabric or fur was called slap on the head, they decorated it especially elegantly, because it was he who replaced the braid that the woman had lost. Rich embroidery or a wide decorative pendant with long chains of plaques was placed here. A cover-cover called a blanket was attached to the top of the kick. magpie, he would later give the name to this composite headdress. In such attire, a woman should walk with her head held high, with a beautiful and soft gait, which gave rise to the expression “to boast,” i.e. rise above other people.
A type of kiki for persons of the princely and royal families was koruna. It was distinguished by its shape - a richly decorated crown, under which a headdress was worn. Duckweeds, a pearl hem on the forehead, and colts were added to the attire, inside of which they placed pieces of fabric soaked in “fragrances,” i.e. perfume.
A kokoshnik is a light fan made of thick paper, a metal ribbon or a crown, sewn to a cap or hairline; it consists of a retracted head and bottom, or a head and a hairline, with a descent behind the tape. The base was made of damask and velvet, calico on a solid base of glued or quilted canvas, cardboard. The top of the comb was decorated with ornaments: artificial or fresh flowers, brocade, braid, beads, beads, freshwater pearls(since the 16th century it was mined in Lake Ilmen), gold threads, foil, glass, and for the richest - precious stones. The back of the head was often covered with embroidery with gold threads. 
Had a fabric bottom. The kokoshnik was secured at the back with ribbons. Along the edges of the kokoshnik there could be ryasny (pearl threads falling on the shoulders), and the kokoshnik itself could be lined with a net (mesh) of pearls. When putting on the kokoshnik, they usually moved it slightly onto the forehead, and the back of the head was covered with a canvas backplate with an extension made of crimson velvet, secured with ribbons. Silk or woolen scarves were often worn over kokoshniks, tightly embroidered with an ornament of gold and silver threads - ubrus; a thin, light bedspread, decorated with embroidery, lace or braid - veil, haze, veil. The scarf was folded diagonally and pinned under the chin; a long blanket of muslin or silk was pinned under the chin or lowered from the top of the kokoshnik onto the chest, shoulders, and back.
Victor Vasnetsov. Portrait of V. S. Mamontova (in a one-horned kokoshnik)
The shape of the crest was different in different provinces: in the Kargopol district of the Olonets province, the kokoshnik was made in the shape of a cap with an elongated headband and blades covering the ears. A layer of chopped mother-of-pearl descended onto the forehead. The Vologda kokoshnik, called a collection, was distinguished by numerous assemblies over the headband. The Arkhangelsk kokoshnik had a rigid oval shape with abundant decoration at the top and a protruding headband that had no additional decorations. In the Novgorod and Tver provinces it was helmet-shaped.
“The shape of kokoshniks in different regions is quite diverse; as a rule, it was determined by the peculiarities of the tradition of styling hair, collected in a plait or in two braids: around the head, above the forehead, on the back of the head, on the temples, etc. Various types of additions and decorations were used blades, edges, back plates and other parts differed significantly in different regions of Russia, but they were all attached to a solid base - a kokoshnik.” 
Kokoshniks, from left to right: A - two-horned kokoshnik of the Arzamas district of the Nizhny Novgorod province; B - one-horned kokoshnik, Kostroma province; C - kokoshnik; D - kokoshnik, Moscow province, E - kokoshnik, Vladimir province, F - kokoshnik in the form of a cylindrical hat with a flat bottom (with a scarf) G - Double-comb, or saddle-shaped, kokoshnik (profile view)
One-horned kokoshnik.. They usually had a beaded or pearl net underneath, which was attached to the headband and covered the forehead almost to the eyebrows. They were common in the central provinces of European Russia - Vladimir, Kostroma, Nizhny Novgorod, Moscow, Yaroslavl - as well as in the provinces adjacent to them: Vologda, Kazan, Simbirsk, Perm, Vyatka.
Two-horned kokoshnik- kokoshnik, soft at the back with a high, hard headband in the shape of an isosceles triangle or crescent with sharp or slightly rounded ends lowered down to the shoulders. The scope of the headband could sometimes reach 60 cm. 
Princess Orlova-Davydova at a costume ball in 1903
Kokoshnik, sewn in the shape of a cone with an elongated front part. They were decorated with gold embroidery or solid “cones”, completely studded with pearls, located around the edge. Cones, according to archaic beliefs, personified the cult of fertility.
Kokoshnik in the form of hats with a high brim and a flat rounded top, decorated with gold embroidery.
In the form of a cylindrical cap with a flat bottom. They had small blades that covered the ears, the back of the head - a strip of fabric on a solid base, sewn at the back, and underneath - a pearl or beaded mesh that went down to the forehead to the eyebrows or slightly rose above it. The scarf was pinned under the chin or, crossing under it, tied at the back of the neck. They were common in the northwestern provinces of Russia: Olonetsk, Tver, Novgorod. Kokoshniks of the first and second types were also known in Siberia, brought by settlers. 
P. Barbier. Portrait of a young woman in a Russian sundress. 1817.
One-yard kokoshnik, which received its name from the place of residence among the single-palace dwellers of the Oryol, Tambov, Voronezh, Kursk, and Penza provinces, was close to this type. It did not have sewn-on blades, a back plate or a bottom; It was usually made from braid and put on a kichka. It was worn with a forehead protector in the form of a narrow ornamented strip of fabric tied around the head, with a back plate fastened to laces at the back of the head. Around the kokoshnik, in his opinion, a scarf folded with a ribbon was tied, the ends of which went down the back or were secured on the crown of the head, crossing at the back of the head.
Flat oval top, a protrusion above the forehead, blades above the ears and a solid rectangular back pad sewn on the back. It was distributed in the Kargopol district of the Olonets province, in the northeast of the Novgorod province.
Double-comb, or saddle-shaped “shelomok” - with a high rounded band and a saddle-shaped top with a slightly raised front part and a higher rear ridge. It was usually worn with a forehead - a narrow strip of ornamented fabric tied around the head, a backplate - a rectangular piece of fabric on a solid base, as well as a scarf folded in the form of a strip and laid over the headband. The ends of the scarf went down the back or, crossing at the back of the head, were tucked in at the sides. They were common in the Kursk province, the western districts of the Oryol province and in Russian villages of the Kharkov province.
Wearing traditions
Nikolai Ivanovich Argunov (1771-after 1829). Portrait of an unknown peasant woman in Russian costume.
It was made to order by professional craftswomen - “kokoshnitsy”, who had the skills of sewing with pearls, beads, gold thread and the ability to handle factory fabrics. The price of some products reached 300 rubles. banknotes, so kokoshniks were carefully kept in the family and passed on by inheritance.
Usually the kokoshnik was worn on holidays, on weekdays it was limited to wearing a warrior. Unlike the kichka and magpie, which were worn only by married women, the kokoshnik could also be worn by unmarried women (although some ethnographers dispute this statement). Kirsanova points out that “kokoshnik” over time began to be called a traditional headdress with a high headband and veil, even if it was worn by an unmarried girl.
The kokoshnik tightly covered the head, covering the hair, braided into two braids and arranged in a wreath or bun. "In the artistic system of Russian national costume The kokoshnik played a significant role, crowning the monumental forms of the festive women’s costume, accentuating the face, emphasizing the solemnity of those situations in which richly decorated kokoshniks were worn.” 
Unknown artist. Portrait of an unknown woman in a Russian headdress. 1769.
Known since the times of Ancient Russia, although the exact time of its origin is unknown. Already in the burials of Novgorod dating back to the 10th-12th centuries, there are some similarities to a kokoshnik: a solid headdress that sat low on the forehead and covered the head completely to the ears. In modern times, until the 1920s, it was preserved as part of the traditional ritual dress of the bride (the girl’s hairstyle was ceremonially replaced by a kokoshnik or kika). The young woman wore the pearl kokoshnik to the wedding after the wedding, wore it until the birth of her first child, and then only on holidays and special occasions. Poor families had to order a beaded kokoshnik, but appearing in one, say, on a wedding day was considered shameful and they had to borrow a “pearl” one from their neighbors for the duration of the celebration.
In the old days, girls prayed for their marriage on the day of the Intercession with these words: “Protection of the Most Holy Theotokos, cover my wild head with a pearl kokoshnik, a golden cuff!” In some areas, kokoshniks were worn only by newlyweds for three days after the wedding - this was typical for those areas where kokoshniks were already disappearing, being replaced by simple scarves or city hats.
In the 19th century existed among merchants, petty bourgeois and peasants, and in pre-Petrine Rus' - and among boyars. In the 19th century, it spread from the north of Russia to the south, displacing the magpie. At the end of the 19th century, in many provinces of Russia, kokoshniks as a festive headdress began to disappear, being replaced by another type of headdress: collections, warriors, tattoos, etc.
At the imperial court.
Empress Alexandra Feodorovna in a kokoshnik.
Expelled from the upper strata of society under Peter the Great, who forbade hawthorns to wear it by decree, the kokoshnik was returned to women's court costume by Catherine II, who resurrected fashion a la russe in the sense of the 18th century and returned it to fancy dress. The Napoleonic Wars, which caused a surge of patriotism, returned interest in the national costume (cf. the return of fashion for the mantilla in Spain). In 1812-14, red and blue Russian “sarafans” with an empire waist and filigree buttons in front came into fashion. Russian empresses also dressed this way.
In 1834, Nicholas I issued a decree introducing a new court dress, complemented by a kokoshnik. It consisted of a narrow open bodice with long sleeves “a la boyars” and long skirt with a train. Kokoshniks, combined with a low-necked court dress, remained in the wardrobe of ladies-in-waiting until the revolution.
In the 2nd half. In the 19th century, the rise of the historicism style resulted, in particular, in collecting Russian antiquities and caused a surge of interest in Russian costume. During the reign of Alexander II and Alexander III, many works were created in the pseudo-Russian and neo-Russian style, in addition, lavish theatrical productions on the theme of Russian history demonstrated the luxury of costume. The peak of this fashion was the 1903 Costume Ball in the Winter Palace, the guests of which were dressed in the fashion of the 17th century, in particular, in “Russian kokoshniks, often exaggerated in the “opera” style.” 
Women's headdress. Vladamir province of the 18th century. 
Women's headdress. Vologda province of the 18th century. 
Women's headdress. Kaluga province of the 18th century. 
Women's headdress. Tver province of the 18th century. 
Women's headdress. Central Russia. XVIII 
Golden dome - women's headdress. Kursk region. 18th century. 
Kaptur (women's fur headdress)Russian North XVIII 
Kichka and forty. Tambov province of the 19th century
Married woman's headdress warrior. D. K. Zelenin considered it common to all East Slavic peoples, having the same cut, but different names: Russian - howl, warrior, warrior, hairdresser, collection, I'm chatting, cap, case, cover, cover, shlyk, snag, chupirnik, whip; Ukrainian — ochipok, chippets, cap; Belarusian — chap, cap, circuit; Old Russian - lingonberry, howl. The uniform cut of these women's headdresses indicates their early origin. One common function is to cover the hair of a married woman.
The ceremony of putting on a warrior was one of the central moments of the wedding. The headdress associated with the hairstyle is its complement. Girls wore their hair open, braiding it in one braid. Y. F. Golovatsky, describing women's headdresses, noted that “ girls will never cover their hair, this carefully groomed beauty, except in bad weather or cold" On the contrary, a married woman had to walk with her head covered. Usually the hair was braided into two braids and tucked under a warrior - this is the main difference between a married woman’s hairstyle and a girl’s hairstyle. V. I. Dal quotes a proverb describing a woman’s hairstyle: “ Became a two-tailed braid. She went under the warrior and hid».
The bride's wedding lament also speaks of this change:
« Avdotya Mikhailovna cries over her light brown braid:
“Is it my braid, my blond braid!
Evening the girls braided this braid:
The merciless matchmaker has arrived,
She began to tear and throw this braid,
And tear, and throw, braid into two».
« Flash"hair was considered the greatest sin. N. I. Lebedeva wrote that in the Bryansk and Kaluga provinces many stories have been preserved that the appearance of a woman with “ open"The hair was terrifying.
Sometimes the warrior was used before the wedding (during matchmaking). " Matchmakers always took a worn-out female warrior with pins stuck into it to make it easier to fool the girl. If the outcome was successful, they would take care of it until the wedding, so that the matter would not fall apart».
The ritual of dressing a warrior was called differently: turn your head, twisting, encirclement, braiding, twist, amaze, still young. Sometimes the headdress was pre-blessed. " On the table on a platter lies either a magpie or a warrior covered with a scarf. The priest takes off the scarf and blesses the dress" Weaving took place in different ways. So, A. V. Tereshchenko gave several descriptions of this ritual. In the Nizhny Novgorod province, after the wedding, the godmother took the young woman to the vestibule of the church, and, crossing herself, braided her two braids, and then put on a warrior's coat. At a Little Russian wedding, this ritual was performed after dinner. The girls were unraveling the young woman’s braid, and the older matchmaker was already braiding it.” according to women's custom” and put on the ochipok, which the young woman took off three times and cried at the same time. In the Saratov province, two braids were woven by matchmakers: one by a matchmaker on the groom’s side, and the other by a matchmaker on the bride’s side.
Describing a contemporary wedding ceremony, this author pointed out that dressing the warrior took place at home after the wedding, two matchmakers braided the braids, and then put the warrior on the bride. N. I. Kostomarov described in detail " encirclement“, which took place during the festive feast, after the first course was served, the priest read the “Our Father”, and then the prayer to cover the head, the matchmaker asked for blessings from the mother and father of the bride, then a large piece of taffeta was stretched between the bride and groom. The matchmaker soaked the comb in a glass of honey and combed the bride, then curled or curled her hair and put a woman's headdress on her. In the Vladimir province " they turned their heads» at home at the moment when the guests sat down at the table. The bride was taken to a special room, where two braids were braided for her and a warrior and kokui were put on top. Several descriptions of this ritual among the Great Russians are given by P. V. Shane. In the Novgorod province " After the wedding ceremony, the newlyweds come to visit the priest. There the young woman's hair is combed like a woman's and she is put on a warrior's cap. Sometimes for fun wedding girls they will twist the bride's hair in knots so that she cannot untangle it, and only by giving the matchmaker money will they untangle the knots with her help" In the Smolensk province " at the end of the crown, they leave the church either to the sexton or to the lodge, where the young woman’s hair is combed: on one side the matchmaker braids the braid, on the other side the groom. Then these braids are wrapped around the head and the young woman is tied with a scarf, as women wear." Among Belarusians, the mother-in-law curled her daughter-in-law on the threshing floor; often these rituals were performed on a bowl or on a tub of rye. In the Kaluga and Bryansk provinces, the warrior was put on the bride immediately after the wedding in the church gatehouse.
In the village The girls' lover sang:
« Bind, matchmaker, bid,
So that your hands
Withered up to the elbows…»
In the village of Mestkovichi, when putting on a warrior, there were three stages. First - " carding» hair is young. At the same time they sang:
« Most pure mother,
Don't stand under the fence,
Come to our house
Help the matchmaker, scratch your head».
The second was associated with putting on the warrior, during which they sang:
« What we wanted
That's what we did
From the bowl - flat cakes,
Diapers made from flour,
From a girl to a young woman».
The third moment is the young man leaving the guardhouse, at which time they sang:
« Yesterday bunny, yesterday gray
I ran around the foothills,
Today is a bunny, today is gray,
It's on a platter.
Yesterday our Tanya
She was a girl
Today our Tanya
Young princess».
In the Irkutsk province, the bride, when her hair was braided and her head was covered with a scarf, lamented:
« And now they split the Russian braid into two,
And three of them braided their hair,
And the heads wrapped around the circle,
The golden kick was created
And they called him a young wife,
Young wife and hostess».
Thus, this ritual could be performed in different places (in the church gatehouse, in the refectory, on the porch, in the church building, at the groom’s house, etc.), this could be done by different people (most often a matchmaker, godmother, mother-in-law, the groom himself).
After this, the girl began to be called differently. So, G. S. Maslova wrote that after the spell they brought a mirror to the girl and said: “ Well, now you, my dear, are already a woman». A. V. Gura indicated that after the wedding and change of hairstyle and headdress, the bride received a new name, for example, young, young lady, young woman, pullet etc. This is demonstrated by the songs that were sung during the putting on of the warrior in the Kaluga province, and the lamentation of the bride in the Irkutsk province.
The custom of covering one's hair is motivated by " from within tradition" The most common one is that the girl passes into the power of her husband. There are some others too. For example, " If a married woman goes out into the hallway without a scarf on her head, the brownie will pull her by the hair into the attic", in addition, this can cause loss of livestock or crop failure. A witch walks with bare hair. In the Russian north, a malicious character in a conspiracy was called a woman-empty-haired woman: “ Save and save from the alien-haired girl, from the empty-haired woman, from dashing water, from dashing misfortune..." In general, characters of evil spirits were often represented with flowing hair - the Northern Russian Mokusha, mermaids, kikimoras, demons of disease (fever), death (White Woman), etc.
Researchers have explained this custom in different ways. So, D.K. Zelenin saw in this “ remnant of the previous face covering", a talisman against spells and, at the same time, an attempt by her husband " secure your property». N. I. Gagen-Thorn believed that covered hair is a symbol of the subordinate position into which a woman passes. Hair was hidden in order to protect the husband's clan from magical powers belonging to another clan (the wife's clan). A similar point of view was expressed by A. A. Potebney who saw in covering hair a loss girlish beauty and pride, as well as depriving the girl of some mysterious power. B. A. Uspensky wrote that the warrior is worn because “ on female hair the sun shouldn't shine" Hair is associated with the cult of Hair. In this ban he saw a reflection of the opposition between Perun and Volos. " The uncovered hair of a married woman provokes the wrath of heaven, just as Volos in the original mythological scheme provokes the wrath of Perun». A. K. Bayburin believes that in covering the hair of a married woman one can see a manifestation of a general tendency towards a gradual increase in restrictions at each new stage of life. Outwardly, this trend is most clearly manifested in clothing: a person gets dressed, his appearance changes along the line “ openness» — « closedness" At the same time, the nature of hairstyles changes (they become more artificial). Functions of the individual and his social roles become more defined, this requires external manifestation and consolidation.
Word warrior, howl, according to the etymological dictionary M. Vasmera, « this is what it says", its connection (taking into account the alternation of root vowels) with " twist" He brings the meaning of this word closer to midwife (midwife). The symbolism of actions associated with *viti can be described as the origin, development, increase of some good, and more broadly - as the beginning of a new structure. Serbian - for-viti often associated with the symbolism of the beginning, the birth of something, in a viti way- with symbolism of shelter, protection, where the Serbian warrior — « gift for newborn», revoj — « diaper" These things take on an additional meaning: they protect the child from evil spirits. Among the Russians, povoem was a piece of cloth used to remove a child from the font after baptism. *viti is associated both with the idea of human birth and with the creation new family. « Vitier (torsion)"is a folklore metaphor for the origin of life and multiplication. It is possible that the wedding of the bride was a symbol of her birth into a new social status. Marriage (at the mythological level) is interpreted as the death of a bride in one status and birth in another. It has already been noted that after changing the hairstyle and head covering, the bride begins to be called differently. Probably, this connection can explain the similar terminology denoting the birth of a child and the transition of a woman to a new life. social status (midwifery, warrior- women's headdress and Serbian warrior- diaper, povije- swaddle). This can also include the following: midwife And midwife. Weave - " give birth" and twist - " put on a military uniform" can be considered as terms describing " specific female behavior, both actants of this action can only be adult women" Another name for the ritual of putting on a warrior is twisting, it is similar to the name of the Yuletide game of wrapping the dead man and with the name of the mummers at Yuletide - Okrutniks. This ritual takes on the meaning of turning around, transforming into a being of a different nature. " The symbols in question are updated at critical moments when main character ritual changes its essential characteristics ».
Bibliography:
Agapkina T. A. Mythopoetic foundations of the Slavic folk calendar. Spring-summer cycle. M., 2000.
. Bayburin A.K. Ritual in traditional culture. St. Petersburg, 1993.
. Life of Great Russian peasants and cultivators: Description of materials from the ethnographic bureau of Prince V.N. Tenishev (using the example of the Vladimir province) Author-comp. B. M. Firsov, I. G. Kiseleva. St. Petersburg, 1993.
. Gagen-Thorn N. I. Magical meaning hair and headdress in wedding ceremonies of Eastern Europe. Soviet ethnography. 1933, No. 5-6. pp. 76-88.
. Golovatsky Ya. F. On folk clothing and decoration of the Rusins or Russians in Galicia and northeastern Hungary. St. Petersburg, 1877.
. Gura A.V. Bride (From the dictionary “Slavic Antiquities”). Slavic studies. 2001, No. 6. P. 72-74.
. Dal V.I. Proverbs of the Russian people. M., 2000.
. Zelenin D.K. East Slavic ethnography. M., 1991.
. Zelenin D.K. Women's headdresses of the Eastern (Russian) Slavs. Slavia. 1926, No. 2. P. 303-338. 1927, no. 3. pp. 535-556.
. Kostomarov N. I. Home life and the morals of the Great Russian people in the 16th and 17th centuries. Kostomarov N.I. Russian customs: Home life and customs of the Great Russian people. M., 1995. P. 5-181.
. Kuznetsova G.N. Women's headdress of Kozelsky villages. Living antiquity. 2002, No. 3. pp. 51-53.
. Lebedeva N.I. Folk life in the upper reaches of the Desna and in the upper reaches of the Oka (ethnological expedition in the Bryansk and Kaluga provinces in 1925 and 1926) Part 1: Folk costume, spinning and weaving. M., 1927.
. Levinton G. A. From Slavic comments to the Slavic ritual text. Slavic and Balkan linguistics: Kaparto-East Slavic parallels. Structure of the Balkan text. M., 1977. S. 325-348.
. Levinton G. A. Male and female text in wedding ceremony(wedding as a dialogue). Kunstkamera (Museum of Anthropology and Ethnography named after Peter the Great RAS): Selected articles. Comp. A. K. Bayburin, N. M. Girenko, K. V. Chistov. St. Petersburg, 1995. pp. 260-282.
. Levkievskaya E. E. Demonology of the northern Russian village of Tikhmangi. East Slavic ethnolinguistic collection: Research and materials. Rep. ed. A. A. Plotnikova. M., 2001. S. 432-476.
. Loginov K.K. Material culture and industrial and everyday magic of the Russians of Zaonezhie (late XIX - early XX centuries). St. Petersburg, 1993.
. Maslova G. S. Folk clothing in East Slavic traditional customs and rituals of the 19th and 20th centuries. M., 1984.
. Plotnikova A. A. Slav. *viti in an ethnocultural context. The concept of movement in language and culture. Rep. ed. T. A. Agapkina. M., 1996. pp. 104-113.
. Potebnya A. A. On the mythological significance of some rituals and beliefs. Potebnya A. A. Symbol and myth in folk culture. M., 2000. P. 96-269.
. Tereshchenko A.V. Life of the Russian people. Part II: Weddings. St. Petersburg, 1848.
. Uspensky B. A. Philological research in the field of Slavic antiquities (Relics of paganism in the East Slavic cult of Nicholas of Myra) M., 1982.
. Vasmer M. Etymological dictionary of the Russian language. T. 3. St. Petersburg, 1996.
. Shane P.V. Velikoruss in his songs, rituals, customs, beliefs, fairy tales, legends, etc. Vol. 1., no. 2. St. Petersburg, 1900.
. Zelenin D.K. Women's headdresses of the Eastern (Russian) Slavs. Slavia. 1927, no. 3. P. 545.
. Lebedeva N.I. Folk life in the upper reaches of the Desna and in the upper reaches of the Oka (ethnological expedition in the Bryansk and Kaluga provinces in 1925 and 1926) Part 1: Folk costume, spinning and weaving. M., 1927. P. 104.
. Lebedeva N.I. Folk life in the upper reaches of the Desna and in the upper reaches of the Oka (ethnological expedition in the Bryansk and Kaluga provinces in 1925 and 1926) Part 1: Folk costume, spinning and weaving. M., 1927. P. 104; in addition, there are descriptions of Zaonezh and Kozel warriors, see Loginov K.K. Material culture and industrial and everyday magic of the Russians of Zaonezhie (late 19th - early 20th centuries). St. Petersburg, 1993 P. 108; Kuznetsova G.N. Women's headdress of Kozelsky villages. Living antiquity. 2002, No. 3. P. 51.
. Zelenin D.K. Decree. op. 1926, No. 2. P. 305.
. Golovatsky Ya. F. On folk clothing and decoration of the Rusins or Russians in Galicia and northeastern Hungary. St. Petersburg, 1877. P. 26.
. Dal V.I. Proverbs of the Russian people. M., 2000. P. 479.
. Shane P.V. Velikoruss in his songs, rituals, customs, beliefs, fairy tales, legends, etc. Vol., no. 2. St. Petersburg, 1900. P. 589.
. Lebedeva N.I. Decree. op. P. 71.
. Loginov K.K. Decree. op. P. 108.
. Shane P.V. Decree. op. P. 667.
. Tereshchenko A.V. Life of the Russian people. Part II: Weddings. St. Petersburg, 1848. S. 39, 182, 527-528, 587.
. Kostomarov N.I. Home life and customs of the Great Russian people in the 16th and 17th centuries. Kostomarov N.I. Russian customs: Home life and customs of the Great Russian people. M., 1995. P. 139.
. Life of Great Russian peasants and cultivators: Description of materials from the ethnographic bureau of Prince V.N. Tenishev (using the example of the Vladimir province). Auto-stat. B. M. Firsov, I. G. Kiseleva. St. Petersburg, 1993. P. 254.
. Shane P.V. Decree. op. P. 504.
. Shane P.V. Decree. op. P. 601.
. Maslova G. S. Folk clothing in East Slavic traditional customs and rituals of the 19th and 20th centuries. M., 1984. P. 59.
. Lebedeva N.I. Decree. op. pp. 105-106.
. Shane P.V. Decree. op. P. 589.
. Maslova G.S. Decree. op. P. 56.
. Gura A.V. Bride (From the dictionary “Slavic Antiquities”). Slavic studies. 2001, No. 6. P. 72.
. Bayburin A.K. Ritual in traditional culture. St. Petersburg, 1993. P. 77.
. Zelenin D.K. Decree. op. 1926, No. 3. P. 315-316.
. Lebedeva N.I. Decree. op. S.S. 71.
. Levkievskaya E. E. Demonology of the northern Russian village of Tikhmangi. East Slavic ethnolinguistic collection: Research and materials. Rep. ed. A. A. Plotnikova. M., 2001. P. 432.
. Zelenin D.K. Decree. op. 1926, No. 3. P. 317.
. Gagen-Thorn N.I. The magical meaning of hair and headdress in wedding rites of Eastern Europe. Soviet ethnography. 1933, No. 5-6. pp. 79-80.
. Potebnya A. A. On the mythological significance of some rituals and beliefs. Potebnya A. A. Symbol and myth in folk culture. M., 2000. P. 151-152, approx. 55.
. Uspensky B. A. Philological research in the field of Slavic antiquities (Relics of paganism in the East Slavic cult of Nicholas of Myra) M., 1982. P. 169-170.
. Bayburin A.K. Decree. op. pp. 78-79.
. Vasmer M. Etymological dictionary of the Russian language. T. 3. St. Petersburg, 1996. P. 294.
. Plotnikova A. A. Slav. *viti in an ethnocultural context. The concept of movement in language and culture. Rep. Ed. T. A. Agapkina. M., 1996. pp. 106-107.
. Zelenin D.K. East Slavic ethnography. M., 1991. P. 325.
. Plotnikova A. A. Decree. op. P. 107.
. Agapkina T. A. Mythopoetic foundations of the Slavic folk calendar. Spring-summer cycle. M., 2000. P. 172.
. Levinton G. A. Male and female text in the wedding ceremony (wedding as a dialogue). Kunstkamera (Museum of Anthropology and Ethnography named after Peter the Great RAS): Selected articles. Comp. A. K. Bayburin, N. M. Girenko, K. V. Chistov. St. Petersburg, 1995. S. 265, 286.
. Levinton G. A. From Slavic comments to the Slavic ritual text. Slavic and Balkan linguistics: Kaparto-East Slavic parallels. Structure of the Balkan text. M., 1977. P. 394.
. Levinton G. A. From Slavic comments to the Slavic ritual text. Slavic and Balkan linguistics: Kaparto-East Slavic parallels. Structure of the Balkan text. M., 1977. P. 393.
. Bayburin A.K. Decree. op. P. 218.
Women's hats are the most important and obligatory part of everyday and festive Russian clothing. A headdress could tell a lot about its owner, i.e. it was a “talking” part of the national costume. Let's try to understand the rules of wearing and types of women's hats.
By the headdress it was possible to determine which province the woman came from, what her social status was, her approximate income, but most importantly, whether she was married or a girl of marriageable age.
The division in hairstyles between young unmarried girls and married women was very clear. A girl always wore one braid and always (in the warm season) exposed the top of her head and the braid itself, while a married woman had to braid two braids and at the same time hide her hair from prying eyes. In those days there was even such wedding ritual- a girl’s braid was unraveled and then remade into a special women’s hairstyle.
The girls' braids were decorated with ribbons, but the main beauty of a woman's hairstyle is long, shiny, healthy hair by which grooms could judge the health of a potential bride. A married woman's two braids symbolized a couple - husband and wife. A married woman's head should always be covered with a scarf or headdress, not allowing even a strand to fall out from under it.
It was considered a huge shame to goof off - i.e. remain bareheaded. Even if the cover was torn off accidentally, for example during a quarrel, the woman had the right to go to court to punish the offender.
Braids were unraveled only during magical rites, during childbirth or at the funeral of parents.
Vintage hats
A scarf on the head of a married woman, especially after the Baptism of Rus', was considered a symbol of female purity and nobility, obedience and humility before her husband and God.
It was also believed that a married woman demonstrated her dependence on her husband with a scarf, and a stranger could not touch or disturb her. The scarf gave a woman a feeling of protection, security, belonging to her husband, and also added femininity, modesty and chastity.
The main women's headdress for girls had a single base - a wreath (bandage, headband)
Koruna (koruna, hoop, chiltse, pochelok, duckweed, crown) - a Slavic maiden headdress, from the same series as the wreath
Kichka - a headdress on a solid base, was distinguished by its variety and imagination of the solution. Only by their shape are they distinguished between horned, hoof-shaped, spade-shaped, bowler-shaped, hoop-shaped, oval, semi-oval, etc.
Borushka (morhatka, morshen, collection) is a headdress for married women, belonging to the type of kokoshnik-collections. Soft hat embroidered with gold and silver threads
Soroka - an ancient Russian headdress for married women
Nametka (namitka) is an ancient traditional women's headdress of the Eastern Slavs. It is a strip of very thin white kuzhel fabric, tied in a special way around the head
Povoynik (povoy, povoyets from povovat; Ukrainian ochipok; Belarusian kaptur) - an ancient headdress of married women, which was a linen cap, sometimes with a hard headband, decorated with galloon, completely covering the hair, braided in two braids
Ubrus - part of a married woman's headdress - a towel, a rectangular cloth 2 meters long and 40-50 cm wide, richly decorated with embroidery
It was placed around the head on top of a podubrnik (a soft cap that covered the hair) and tied or pinned with pins.
Kokoshnik is the most famous women's headdress. True, in the form in which we are accustomed to seeing it (in the Snow Maiden, for example, with an outward braid) it is a modern invention. Kokoshnik in its original form - a cap on the head
One-horned kokoshnik is a rich headdress for a married woman; the hair at the back was hidden under a scarf. Embroidery, the number of jewelry and size showed the social status of the woman
The base of the kokoshnik was made of glued or quilted canvas or cardboard. On top, the base was covered with fabric and decorated with embroidery, foil, beads, precious stones, flowers, and pearls. The back of the head of the kokoshnik was often covered with embroidery.
The kokoshnik consists of a headpiece (a semicircle on the front side) and a hairpiece or bottom (a cap at the back). The kokoshnik was tied at the back with ribbons. Along the edges of the kokoshnik there could be pearl threads - ryasny, and in front there was a net of pearls - underneath.
Two-horned kokoshnik
One-horned kokoshniks (far right - with cones - the personification of fertility)
Kokoshnik is a festive headdress and it comes different types: one-horned, two-horned and saddle-shaped kokoshnik, as well as in the form of a hat with a flat bottom and a high brim
Vintage women's holiday outfits
