E. F. FURSOVA
Institute of Archeology and Ethnography SB RAS

17 Akademika Lavrentieva Ave., Novosibirsk, 630090, Russia

E-mail:mf11@mail.ru

Introduction

The specificity of Russian ornamental art lies in the fact that many centuries after the spread of Christianity, it has not lost the plot compositions of the times of Slavic paganism. However, the question of the genesis of many folk art motifs can hardly be considered solved, despite the fact that specialists in various fields of knowledge (ethnographers, art historians, archaeologists) periodically offer their own versions of the interpretation of compositions and their individual elements. It is quite obvious that it is possible to find out the origin of archaic embroidery plots and trace their connection with customs and rituals only if the available materials on the entire complex of spiritual culture phenomena dating back to different stages of the historical development of the Eastern Slavs are compared as fully as possible.

The materials obtained during the expedition research in the south of Western Siberia demonstrate the amazing persistence of the traditions of the spiritual and material culture of the East Slavic peoples and indicate a fairly wide distribution of ornithomorphic motifs in family and calendar rituals, as well as in the visual arts in this region. What is behind the popularity of "bird images" among Russian peasants of Western Siberia? To what extent does this reflect the ethno-cultural specifics of the population of the territory of "secondary" development?

The main sources for analyzing the above problems are two types of field collections. The first category includes handicrafts made by peasants of Western Siberia in the late 19th and early 20th centuries, primarily embroidery, house carvings, and paintings of spinning wheels found in villages and museums in the Ob region, Baraba, Kulunda, and Altai. The second source is recordings of conversations with informants, which made it possible to restore to a certain extent local complexes of calendar and family-wedding rituals.

Ornithomorphic symbols in customs and rituals

Ornithomorphic images in the traditional culture of the East Slavic peoples have repeatedly become the object of study of specialists. The attention of archaeologists was attracted by widely presented sets of amulets in East Slavic burial mounds of the VI-X centuries, including duck-shaped pendants that accurately convey the silhouette of a bird [Bulychev, 1899, p. 79; Sedov, 1982, p. 266-268, 291; etc.]. After V. V. Stasov [1894], who noted a strict relationship V. A. Gorodtsov [1926], B. A. Rybakov [1981], G. S. Maslova [1978], G. P. Durasov [1980], TA. Bernshtam [1982], O. A. Sukhareva [1983], A. V. Shishkin [1982], and A. A. Shishkin [1982] have addressed this problem to varying degrees. P. Kosmenko [1984], P. R. Gamzatova [2002], and others A. K. Ambrose was one of the first to notice the difference between the patterned details of women's clothing, where geometric patterns predominated, and the ornament on towels, which distinguished them from each other.-

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complex compositions [1966, p. 61]. Thanks to the long-term collecting work of ethnographers, considerable material has been accumulated that allows us to better understand the semantics of the ornamental art of needlework (towels) in the ritual life of East Slavic peoples.

Beliefs associated with the bird have proved extremely tenacious in folk folklore, especially in stories where the hero resorts to the help of birds for his release. Turning to the Siberian folklore of the 19th and early 20th centuries, let us recall the image of a drake robber who needed only a "spoonful of water" to swim out of prison (Potanin, 1864, p.152). The sacredness of ornithomorphic ornaments is confirmed by field materials collected on the territory of both European Russia and Siberia. "It is possible that embroidery performed the same role as incantation," wrote researcher G. P. Durasov (1980, p. 98).

Embroidered towels were placed on the icons in the red corner-opposite the entrance door ("hung on the Bozhnitsa"). They were hung on the Chariot either constantly, or on holidays and parents ' days (Figure 1). Among family celebrations, the wedding was distinguished by the greatest richness of traditional customs: women's needlework was an integral element of a number of rituals. "Mercy birds" and kissing birds were embroidered as a wish for young people to live in love and harmony, because heavenly marriage was conceived as the prototype of earthly marriage, and the wedding included sacraments containing God's blessing for the marriage union [Potebnya, 2000, p. 419]. Girls in Berskaya vol. Barnaul district, helping to prepare the bride's dowry, including towels, sang:

As on the grass - on the green ant,
Hey, there was a pigeon sitting with his little dove.
Oh, yes, with my darling.
And the dove has a golden head,
Hey, dove's got a gold-plated one.
And the pigeon has a gilded one.
Oh, it's made up of black silk!..

(written by the author from the old-timers of the village of Lebedevka, Iskitim district, Novosibirsk region).

Among the old-timers, the drake was mentioned in the songs that accompanied the bath ceremony on the eve of the wedding. When the bride was washed in the bathhouse, the girlfriends, watering the stove-heater, sang:

On fuel, on a pebble, the spleen plaits a braid,
Sera utitsa poloshitsa, krasna devitsa khoroshitsa...

(written by the author from A. N. Agafonova, Shemonaikha settlement, East Kazakhstan region).

When the bride's braid was untied, the girls sang about the bird "ptashechka", "swallow", who flew out of the"parent nest" early:

Oh, you little white-winged bird,
Why are you leaving the nest so early?
Why are you leaving so early?
I don't fly from the nest by myself,
I don't fly out on my own.
Ugovornichek came to me,
He spoke to me words of endearment...

(written down by the author from A. N. Agafonova in the same place).

A similar image of a girl bird that fluttered out of its parent nest early was present in the rite of" unraveling the braid " in many other ethnographic groups, for example, among the Old Believers of Vasyugan:

She sits, a swallow, on the mountain, on the mountain.
On a gray stone, sit tight, sit tight...

(written by the author from S. G. Stepanov, D. Bergul, Northern district, Novosibirsk region).

Among the Ukrainians of Kulunda, girls, inviting their girlfriends to a farewell evening-a bachelorette party, sang:

Oh, millet is like grass, and our Nadenka walks like a peahen
While I collected my little friend, the dark night came.
Oh, popa, Popa Gordii, don't call early in the week,
Call early on Saturday, lose your job, my friends...

(written by the author from V. N. Sviridenko, pos. Krasnozernoye, Novosibirsk region).

Fig. 1. Design of the red corner, Kuibyshev (ex. Kainsk) Novosibirsk region School Museum.

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In the Karasuk region. Matchmakers sang in the courtyard of the groom, who was going for the bride, Barnaul district:

Oi, shouted the eagle, sitting on an oak tree,
Ivan responded from his yard.
Oh, woe is me alone,
If I had Nadenka young...

(written in the same place).

Peasant women of the Ob region, Baraba, Kulunda, Altai and Vasyugan, when the bridesmaids brought a "bundle" from the bride, hung towels on the walls of the groom's house, and they hung during the entire wedding feast. Towels were also used to decorate the wedding train. When they went to "take" the bride, a friend or matchmaker was tied with a towel around the chest, the goers wrapped their hats with women's needlework. During the wedding, a towel was placed under the feet of those being treated. Even in the early twentieth century. pre-Christian beliefs largely determined the worldview of the Siberian peasantry, ornaments performed a protective function. According to V. A. Gorodtsov, sacred patterns on needlework accompanied family rituals, weddings, during which "brides were required to clearly prove their knowledge of religious symbols and the ability to reproduce them" [1926, p.35]. The towels and candles used at the wedding were kept for life, it was believed that they treat mental and some other diseases of children and adults. For example, in Oyashinskaya vol. In order to get rid of the so-called infantile (nervous seizures), the child was wrapped in such a towel and candles were lit.

"Bird symbolism" also permeated the calendar rituals of the Eastern Slavic peoples of the studied territories of Siberia. It was reflected in the Yuletide maiden divinations about the "mummers ' betrothed", in calls for spring to come as soon as possible. According to field materials, the villagers of the Ob region, Baraba, Kulunda and Altai often used birds as predictors of the future - there was a tenacious belief in the broadcasting abilities of roosters and chickens. Divination with the participation of these birds took place as follows: piles of salt, coal, millet were poured on the floor, water was placed next to it in a plate, a rooster or chicken was released and the bird's behavior was monitored. It was believed that if she first approached salt or coal, then the guessing girl would have a bitter life, if to water-the husband would be a drunkard, if to millet-to wait for a rich, economic groom. In general, many meanings were seen in the behavior of the rooster, and literally every movement of the bird had its own interpretation. In the Itkul region. In Cannes County, a rooster and a hen were usually brought in as a couple and their behavior was observed. If the birds began to fight, it was regarded as a warning about the pugnacity of the husband, if they clucked with each other, as a sign of consonant family life, etc.D. It was considered a bad omen if a rooster jumped on the girl's bed before the wedding.

Ornithomorphic symbolism is recorded in poems - "prophecies", considered benevolent, which were read out after the performance of deserted songs with the refrain "Elijah":

A falcon flies from the alley,
From the second sokolitsa
They come together and kiss...

(it was believed that the fortune-teller had a successful marriage)

Or:

The hen was burrowing
Under the king's window,
Dug a chicken
Golden ring

(the forecast coincided with the above)

(written by the author from M. Ya. Zagainova, Maslyanino settlement, Novosibirsk region).

Songs about "lebedushki" and "utushki" could be heard at the Christmas games of Siberian youth. For example, in round dances, two guys walked around in a circle, taking the girls they liked by the hand, while the rest sang:

At the bigwigs, the bigwigs
Two swans swim,
Two good swimmers.
According to this bottler...

(written by the author from A. P. Gutorova, D. Grigoryevka, Vengerovsky district, Novosibirsk region).

Here is the regional material on spring calendar rituals, which included images of birds. In some songs performed by girls on the Oiler during sledding, a loved one is called "golden-winged dove":

Oh, golden-winged, yes, my little darling,
Little darling, oh my God!
You why, yes why yes, to visit me
don't you fly, don't you fly?
Oh yes, is my soul, is my soul you
don't you know, don't you know?

(written by the author from A. N. Agafonova, Shemonaikha settlement, East Kazakhstan region).

By their nature, they are closer to the lyrical "maiden sufferings".

For Candlemas, old-timers and some migrant families made "birds" out of yeast dough and distributed them to very young children and teenagers. The children went around the village with treats and sang:

Spring-red has come
On twigs, on yoke
Viasna came, the warmth grew...

(written by the author from M. L. Skorobogatova, pos. Kyshtovka, Novosibirsk region).

At the end of the festivities, the pastries were eaten. Displaced Belarusians "called" spring, as a rule, in the Annunciation and Forty Martyrs. They are so-

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they also baked "larks" from the dough, with which the children "zagukali" spring, referring to it as to a living being. On Candlemas, caring Belarusian owners fed chickens with oats "from the right sleeve" (with the right hand covered with a sleeve), "so that the eggs were large" (E. M. Voroshkina, D. St. John's Wort, Toguchinsky district, Novosibirsk region).

Almost all Eastern Slavic groups believed that spring began on March 1, the day of Evdokia, or Evdoshka in Ukrainian. There were many signs and predictions associated with this day. In the Karasuk region. Ukrainians used to say: "If a chicken gets drunk on the doorstep (on thawed ground), it means that spring will be friendly and warm" (I. M. Miteyko, Veselovskoe village, Krasnozersk district, Novosibirsk region).
In the view of old-time peasants, the feast of the Annunciation (March 25) was equated with" first pascha":" What is the first day of Easter, what is the Blessing " (P. L. Baranova, Klyuchevaya village, Vengerovsky district, Novosibirsk region). This holiday provided for a strict ban on any kind of economic activity, primarily related to women's needlework. Actually, the ban determined the main content of the Christian holiday, so at any mention of it, informants repeat the phrase that has become sacred: "A bird does not build a nest, a maiden does not weave a braid" (V. E. Shmakova, Novoshmakovo village, Cherepanovsky district, Novosibirsk region). In families, out of fear of committing a sin and being punished for it, they carefully watched so that someone did not forget or violate the prohibitions. Spinning on a holiday was considered an extremely great sin; according to a belief recorded by A. A. Makarenko in the Yenisei Province, one disobedient girl was turned into a cuckoo as a punishment [1993, p. 51]. Siberian Belarusians believed that everything done on the Annunciation had no prospects, could not be developed, for example, a chicken will not hatch from a laid egg: "If Gus snes an egg and does not bring out a child." According to the recollections of elderly people, in Belarus, in connection with the arrival of birds, they went to "call" spring to the "big oak" and the stork sitting in the nest - the "bird of beads". In Siberia, invitation songs were sung for the Annunciation, and it was believed that swans would arrive on this day. The spring songs we heard were sung on the hills or outside the village: "God bless, God bless the spring of Zagukati!", "And spring is red, and Marianochka, ranechko drove the cows..." (Recorded from P. F. Klintsova, village of Zagukati). Kyshtovka, Novosibirsk region).

Ukrainians, like other Eastern Slavs, literally understood the well-known Annunciation warning, which they sounded: "Dewa kosy ne plete, crow khnezda ne vyut "(A. F. Shulik, village Veselovskoe, Krasnozersk district, Novosibirsk region). According to Ukrainian custom, housewives looked after poultry on this day so that an egg that was not laid on time could be thrown away or fed to chickens, since it was considered "unclean". "Even khus snese testicle - so discarded this testicle, it is unclean "(A. F. Shulik, village Veselovskoe, Krasnozersky district, Novosibirsk region). There is no doubt that this tradition was brought to Siberia from the Ukrainian ancestral homeland [Zelenin, 1914, p. 276]. It was believed that swans should arrive closer to March 22. The swan was a revered bird that miraculously appears despite any adverse weather conditions. "The swan before Blagoveshshen comes. Another time it was a blizzard, and the swan came. March 22-look - it will come anyway "(M. E. Romanok, Lotoshnoye village, Krasnozersky district, Novosibirsk region). In this case, in Siberia, the content of the well-known Ukrainian custom of waiting for the arrival of birds, but not storks, as, for example, in the Volyn province, but swans, has been preserved [Ibid.]. The meeting of swans is timed to coincide with the spring equinox and natural rhythms. Among Ukrainians, there is a legend about a girl who spun at an untimely time of the Annunciation and "became her": becoming a violator of the ban, she "began to cuckoo" - turned into a cuckoo (variant: a mermaid) (V. F. Karpenko, village of Yarki, Cherepanovsky district, Novosibirsk region).

In a number of districts of the Barnaul Uyezd, it was not customary for families of old-timers-chaldons to cook "birds" for the day of the Forty Martyrs, as the Orthodox holiday was popularly called " 40 Martyrs who suffered in the Sevastiysky Lake "(March 9). In Ordinskaya vol., for example, "birds" were baked by Belarusians (A. A. Khrapov, D. Chingis of the Ordynsky district of the Novosibirsk region). In the villages of Karasukskaya, Malyshevskaya, and Nikolaevskaya volosts, on the day of the Forty Martyrs, Siberians cooked"larks" from unleavened dough (E. I. Chichkanova, Chernokurya village, Karasuksky district, Novosibirsk Region)." Birds " were placed on high poles or distributed to children who were supposed to run around the village's surroundings, singing:

Larks! Come to us,
Bring us
Spring-red
On the toe, on the beard!

(written by the author from P. P. Koshkina, Novaya Kurya village, Karasuksky district, Novosibirsk region).

In Suzun, Malyshevskaya, and Ordinskaya volosts," larks " were also given to old people "to pray to God" (K. A. Burtseva, D. Fakel, Iskitimsky district, Novosibirsk region). Elderly informants recall that such ritual actions were aimed at "meeting spring"; however, according to some reports, the number of larks did not matter It had (E. I. Chichkanova, village of Chernokurya, Karasuksky district, Novosibirsk region), and for others it was strictly defined (K. A. Burtseva, village of Fakel, Iskitim district

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Novosibirsk region). In the Kainsky district, "sandpipers"in the form of" kolobok " birds were baked from an unpalatable dough smeared with vegetable oil. They were distributed to children who climbed onto the roofs of outbuildings and shouted: "Larks! Come to us... Coolies-spring! What did you come here for?...". After shouting a lot, they ate the "sandpipers". The tradition provided for sharing with all peers. Songs - "nicknames" differed: in some there was an appeal directly to "spring-red", and in others - when baking " birds "they asked the birds to"bring spring". The vesnyanki songs recorded by the old-timers of the Cannes district show similarities with similar Southern Russian ritual songs, the performance of which was accompanied by game moments [Slavyanskiye Drevnosti, 1995, p.184].

Migrants from the Volga region baked "larks" in the form of birds and laid them out on the roofs of their homes. Below, the children were singing loudly:

Coolies-spring!
What did you come here for?
On a twig, on a yoke,
On a rye sheaf,
On an oatmeal spike!

(written by the author from A. F. Lavrisheva, D. Minino, Vengerovsky district, Novosibirsk region).

After performing songs, "larks" were left on the roof, "so that the birds pecked". One of the informants recalled a case from her childhood when a dog ate a lark that fell out of her hands. Her parents explained to her that this was a good thing: "The dog ate the winter."

According to the ideas of the Old Believers-mounds, spring began in March with the day dedicated to the Forty Martyrs. By this day, "larks" or "k/x/resty" were baked from sour dough. Children met spring on elevated places, on the roofs of houses with appropriate songs that old people still remember today:

Larks, come! Bring the red spring!
We're tired of winter, I've eaten too much bread!
All the tow was twisted, all the straw was crushed! Oh-oh-oh!

(written by the author from L. O. Fedotova, Novoabyshevo village, Toguchinsky district, Novosibirsk region).

Russian migrants performed their own versions of songs-"zaklichek":

Larks, larks!
Where are your children?
For lyasom-spun kalyasom...

(written by the author from "Kaluzhanka" A. P. Kryuchkova, D. Paivino, Maslyaninsky district, Novosibirsk region).

The Belarusian peasants who lived in Siberia "called" spring, like the inhabitants of Belarus, on the day of the Forty Martyrs, or "Forty Sarats" [Belorusy, 1998, p.397]. They used white flour to bake figurines of birds and gave them to the children with a parting message: "Run kids spring call!". Kids running down the street shouted: "Magpie! A magpie!". In a playful way, they conducted a ritual game-dialogue, which looked something like this: "Well, what's your chain gone? Mine's gone!" The answer was usually affirmative: "Mine's gone!". After such a dialogue and assurances about the "egg production of birds", the pastries were eaten. However, the custom of baking 40 buns for this day, which were called zuzhinki, or cranes (Kh.S. Yermoshkina, village of Nadezhdinka, Northern district of Novosibirsk region), became more widespread. Belarusian women handed out figurines to children who ran down the street with buns, ate them themselves and treated others. According to the traditions that prevailed in Ukraine, transferred and preserved in Siberia, Siberian Ukrainians did not give the pastry an ornithomorphic shape, they were bagels or "chresty".

Ornithomorphic ornaments

According to G. S. Maslova, a prominent researcher of Russian folk ornament, the bird is one of the favorite and most common images of North Russian embroidery [1978, p. 57]. Perhaps this is due to the fact that the inhabitants of the Russian North felt much more dependent on ancient pagan deities than, for example, the population of the central regions (Makarov, 1986, p.20).

Typologically, the most archaic for the old-timers of the Ob region are planar images (representing a kind of top view) of soaring birds with outstretched wings (Fig. 2). There are images of birds that are close to cross-shaped figures; along the contour they resemble the well-known wood-chip birds in the Russian North-crosses, as well as figures in the form of 3). Similar patterns are embroidered in the technique of white pereviti: the bird's body, densely filled with stitches, stands out against the background of the discharged fabric. Judging by the samples viewed, each family was very adept at mastering the techniques of weaving and embroidery; in the mass peasant culture, people were not passive observers, but performers [Gromyko, 1986, p. 531].

Ornaments with profile images of birds are much more widely represented. Such a pattern was embroidered in the technique of a cross of varying degrees of density, which may indicate that it was previously executed in the form of a cross.-

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2. Towel decorated in the technique of white pereviti, late XIX century, Novosibirsk region. Iskitim Museum.

3. Towel, late 19th century, Ogneva Zaimka village, Cherepanovsky district, Novosibirsk region. Field materials of the author.

4. Towel, late XIX-early XX century, Bolshoy Bashchelak village, Charyshsky district, Altai Krai. Field materials of the author.

it was used in a different technique, most likely on a discharged fabric. According to V. P. Darkevich, the surface of Russian archaic embroidery resembles a sieve grid, the cells of which are often staggered with crosses - symbols of the sun and fire [1960, p. 13]. Patterns of this type are recorded by the author in the village of Bolshoy Bashchelak, Charyshsky district of Altai Krai (Fig. 4). Informant Tatyana Afanasyevna Polomoshnova, born in 1914, called the depicted birds geese, and her mother taught her to embroider them. In the embroidery pattern, the graphic quality, the buoyancy of the lines, the exact rhythm of black-red-white spots are striking. Texture is achieved due to the varying degree of filling of the canvas canvas with crosses. These majestic birds, called geese, have ornate tails, and on their heads a semblance of crowns, which allows you to see them as fairy-tale bird kings, "wild geese-swans", etc.

Crocheted inserts and/or towel ends have preserved images of both very old, schematic motifs ("peahens", "swans", "geese", etc.), and modified to enhance the realism of the image. On the samples where the ornament is crocheted, the figures are filled with dense "columns" (Fig. 5). In the ornament on a towel from the Ust-Tartass river. Cannes county" peahens " are located in a row, the two central large ones - with luxurious tails and tufts (crowns?),

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5. Towel, early 20th century, Zayachye village, Chanovsky district, Novosibirsk region. Field materials of the author.

6. Towel, late 19th century, Novosibirsk region. Hungarian Museum.

7. Towel, late XIX-early XX century, Kukarka village, Karasuksky district, Novosibirsk region. Field materials of the author.

8. Towel, late XIX-early XX century, Lebedevo village, Toguchinsky district, Novosibirsk region. Field materials of the author.

on the sides of them - smaller and less "fluffy". Above and below the drawing is framed with floral ornaments made in the cross technique (Fig. 6). Above are the initials T. N., denoting either the initial letters of the names of the bride and groom, or the initials of the craftswoman. Even higher up, the ornithomorphic figures are repeated several times: these are quite realistic images of roosters, between which "kissing birds", and again a profile schematic image of " peahens "as the top point of the built"bird pyramid". A trefoil "tree" is embroidered between the roosters, surrounded by V-shaped figures that allow you to see the same birds in them. There are two little men on each side, one with his hands up and the other with his hands down. This multi-figure composition is completed with a pair of floral ornaments. The warp threads are intertwined in the form of cells from which the fringe originates. Other versions of compositions with profile images were also known in the Ob region and Kulunda. On the ends of towels from the Karasuksky district of the Novosibirsk region. on each side of the stylized flowerpot tree are shown a "pava" (in contrast to the "classic" ones, they have shortened tails) and a "pavenka" - a motif characteristic of Zaonezhye embroidery [Maslova, 1978, p. 60]. Birds have high upturned wings, almost level with the head (Fig. 7). In the image of the tree, you can also see an anthropomorphic female figure with her hands raised high. Above this composition, a floral ornament is embroidered with red and black cotton threads. On some samples, the front and profile images of birds made in the white pereviti technique were simultaneously combined in the ornament (Fursova, 2002, p. 132).

Geese, ducks, and roosters with expressive mottled tails were depicted in the technique of the cross and its various combinations (Figs. 8, 9). According to Russian mythology, in the morning the rooster's cry evoked the sun, which awakened nature from sleep [Afanasyev, 1995,

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Fig. 9. Towel with a cockerel. ah - 1920 - 1930-2000s, village. Chistoozernoye, Novosibirsk region; b-late XIX-early XX centuries, Novosibirsk region. Horde Museum.

10. Painted spinning wheel, late XIX - early XX centuries. Museum of Chistoozerny district, Novosibirsk region.

11. "Bird symbolism" in the murals of ancient houses in Western Europe, Barcelona. Photo of the author.

p. 152]. The expressions "red rooster"," let the rooster fly " in the oral folk speech meant fire or arson. In Northern Russian iconographic embroidery, roosters were often depicted on the shoulders of the Queen of Heaven (Gorodtsov, 1926, p.33). People of the older generation recalled the events of long-past days, when they happened to be friends at weddings, with the words:" How many roosters I dragged in my life...". To save the honor of the newlywed, the young woman's shirt was sprinkled with the blood of a cock's comb.

Ornithomorphic patterns of carving of platbands and spinning wheel paintings in the considered regions of Western Siberia compositionally coincide with the ornaments of peasant embroidery (Fig. In general, this motif is universal: similar profile images of birds with flowerpots are still preserved in the paintings of ancient houses, for example, in the south of Western Europe (Fig. 11). Figures of birds in combination with "paradise trees" are present in illustrations of Old Believer books (teachings, lives) with captions: "But you have been deceived by the devil's envy, go and take communion," etc. (Figure 12).

Questions of the genesis and symbolism of the double-headed eagle image in Russian folk embroidery are presented below.

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12. Drawing from the Old Believer book of the XIX century.

13. Towel, late XIX-early XX century, Kukarka village, Karasuksky district, Novosibirsk region. Field materials of the author.

14. A typical Ukrainian towel from villages with a compact population of Ukrainians.

controversial: according to some researchers, this motif has ancient roots associated with the image of the "fire of heaven" (Durasov, 1980, p. 98); according to others, the image of the double-headed eagle came into Russian embroidery relatively late, in the XVII-XVIII centuries, and was formed under the influence of the official symbol (coat of arms) of the Russian state [Maslova, 1978, p. 70; Zharnikova, 1983, p. 89]. According to the materials at our disposal, the process of replacing ornithomorphic single-headed archaic images with two-headed ones, which is reflected in wedding towels, is more important for studying the dynamics of the development of this motif. However, in the period under study, it is not necessary to speak of this phenomenon as ubiquitous in Siberia, since the plot under consideration was introduced here by Russian immigrants (in the late XIX-early XX centuries) (Figs. 13, 14).

A source study analysis of the newly obtained material allowed us to conclude that the design of needlework objects collected in the territories of late development and dating from the middle of the XIX - beginning of the XX century preserved heterogeneous layers of ornamental motifs. There are archaic compositions that are typologically correlated with the ancient Russian images of the "goddess" with birds or only some birds, as well as a comparative one.-

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but innovative, more naturalistic and, accordingly, desacralized. This transformation of the bird image was accompanied by the addition of" bird images " with plant patterns, which later began to play a primary role in the composition. Such processes confirm the general trend illustrated by the example of the development of anthropomorphic embroidery compositions among the Siberian Old Believers of Vasyugan [Fursova E. F., Golomyanov, Fursova M. V., 2003, pp. 80-86].

Conclusions

Images of birds were an integral part of the traditional culture of the East Slavic peoples in Western Siberia. They were present at the performance of family and calendar rituals, they were addressed in the works of ritual folklore, they were saturated with ornamental compositions of women's ritual needlework.

In the family rituals of the Eastern Slavs in Western Siberia, the symbolism of bird images was extremely developed and multi-valued: a pigeon with a pigeon, swans - a love couple, a falcon, an eagle-images corresponding to the groom, a bird, a swallow, a peahen (among Ukrainians) - a courted girl, a drake with a duck that splashes in the river - a representation Birds embroidered on towels were part of the symbolic system of wedding rituals, "heavenly marriage". According to the materials, their images were associated with the magic of fertility (for example, the plot of peahens with peacocks). Images of birds in ornaments served as a talisman; cooing, facing each other birds, perhaps, were supposed to contribute to the establishment of friendly relations between the newlyweds, life in love and harmony. The image of a bird, according to many researchers, was an integral part of the heavenly world and its personification on earth: the presence of such a plot as a wedding symbol in needlework ornaments reflected the widespread idea that marriages are concluded in heaven (therefore, they could not be dissolved without good reasons). Embroidered compositions of geese-swans with a mirror-symmetrical opposition of the right and left sides, judging by the available materials, go back to the deep Indo-European antiquity, personify peace, harmony, and the fertility of the earth. The meaning of spells at the time under study was no longer clear to the craftswomen, but" faceless", not embroidered, without ornamental patterns, towels were not hung on icons, not brought to the church for the wedding, etc., but used only for the main purpose - as "utirki".

In calendar rituals, birds were attracted for divination, in folklore their images symbolized soothsayers, harbingers of events in people's lives, changes of seasons, etc. Russian old-timers of Vasyugan, Severnaya Baraba, immigrants from the Volga region, and Belarusians had and still remember ritual songs - "vesnyanki" with a mandatory appeal-as early as in the first third of the XX century.: "Spring is red..."(old-timers), "God bless..." (Belarusians)," Larks-duda..."," Larks come... " (Old Believers-mounds). In the studied areas of the Tomsk Province, birds (old-timers of Vasyugan), waders (old-timers of Baraba), larks (old-timers of Kulunda, Old Believers-mounds), sparrows (Ryazan settlers), tsepushki, magpies, cranes, zuzhinka (Belarusians), khrestami (Ukrainians, Old Believers-mounds), bagels (Ukrainians) were called ritual animals. cookies, which, in our opinion, indicates the addition of different variants of traditions at the time of the formation of names in the historical homeland, but not about their late origin [Sokolova, 1979, p. 76]. The" bird symbolism "of baking was associated with ritual songs-calls to the mythologized image of spring "to come" and the need to make its attribute; bread in the form of round bagels, buns were turned to agricultural-producing magic aimed at growing the future crop.

In conclusion, we emphasize the observation that the author has repeatedly noted: in the study area, in the conditions of a foreign cultural environment and remoteness from the metropolis, the preservation of the early layers of the culture of the Eastern Slavs in beliefs, folklore, and women's needlework took place. Images of surfactants, ducks, drakes, geese, swans, waders, cockerels, pigeons, falcons in ritual songs, embroidery, paintings of spinning wheels, carvings of platbands indicate their antiquity and an important place in the mythopoetic perception of the world by immigrants who left their ancestral lands for many thousands of kilometers. The predominance of pictorial "bird" motifs in a number of localities in the south of Western Siberia reveals the North Russian component in the traditional culture of Siberians, who undoubtedly came from the northern and central regions of Russia, the Volga region-the places where these patterns are most widespread. Some types of figurative ornaments (peacocks, double-headed eagles) were introduced by immigrants from Ukraine and Belarus. The unity of different areas of the spiritual life of the peasantry, thus, in the studied time was embodied in specific images of the surrounding world and manifested itself in calendar, family and holiday rituals, folklore, and applied arts.

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