Presentation for a lesson in local history (grade 7) on the topic: Komi - rituals. Presentation on the topic: "Traditional Komi settlements in the 19th early 20th centuries

Target: Formation of ideas about the life and life of the people komi

Tasks:

Continue to acquaint children with everyday life, utensils komi family; with creativity Komi people;

To give children information about the placement of pieces of furniture, cradles, stoves in the interior of the hut.

Introduce new Komi words: kerka, pach, labich, owls, pan, tuis

Expand horizons, develop mental operations, analysis, comparison.

Foster interest, respect and love for folk games.

Course of the lesson:

Q: Guys, you would like to know how our ancestors lived in the past. I suggest taking a trip in a time machine. Now we will go to our Komi Republic in the past time. Let's close our eyes and say: "One, two, three, turn around and immediately find yourself in the past."

(Children close their eyes, the teacher turns on the first slide, which shows a wooden, old house.) (Slide number 1)

Q: In ancient times, as in our time, every person had a home. Why do you think a person needs a home? (Answers of children)

Q: People built dwellings for themselves in order to hide from the bad weather, from wild animals, to warm themselves by the fire. We come home to rest and gain strength. And what could people use to build a house for themselves? (Answers of children)

Q: Right, guys. Long ago, people built their homes from wooden logs. And the house was called hut (by komerka)... Kerka was built by the whole village or street.

What are modern dwellings called? Houses, cottages

Let's take a look at the interior of the Komi hut. (slide number 2)

Guys, look, how is the hut different from your house?

Do you like to guess riddles? I will make riddles, and you are looking for a solution inside the hut.

1. Stands in the hut, everyone sits on it. (Shop - labich) 2. What a bird in which salt is stored. (Salt shaker - owls of doses) 3. She does not eat herself, but feeds all people. (Spoon - pan) 4. A birch bark boy, a cap instead of a hat. It helps people a lot, preserves all food. (Tues - tuis).

Guys, what can you store in a tuyeska?

What do you think was the most important thing in the hut?

5. Riddle: "Sleeps in summer, burns in winter, opens mouth, what is given - swallows"? In every Komi hut there is a fat Malanya, which feeds and warms. Bake.

That's right, it's an oven. (slide number 3). The stove is the heart of the house. Why do you think they say so? What was the stove for? The stove fed the family, heated the house, children and old people slept on it, (slide number 4) dried clothes and even washed. Will there be a Komi oven? Pach.

Let's take a look at the stove. (slide number 5). In the old days, the stove was located in the corner against the wall with front door... She occupied most of the house. The area near the stove was called "woman's place". Why do you think it was called that? In this place, the hostess cooked food, sewed, spun.

What do you think the hostess could cook in the stove? Cabbage soup, porridge, baked bread (slide number 6)

What do you think is a canopy? Each house had a vestibule. Where various household tools were kept. (scissors, scrapers, sieve, various tues, chest, etc.) (slide number 7)

The Komi people also loved to decorate their homes. And he decorated products with elements of Komi ornament. (slide number 8) Do you know the elements of Komi ornament? Let's play the game "Recognize and name the element of the Komi ornament."

Well done. You know a lot of elements.

Guys, how do you think people spent their free time, how they relaxed, had fun? They had neither a TV nor a computer then.

(Answers of children)

Q: Women sewed, knitted, men did. They also organized parties and entertainment. (slides 9 and 10), where they sang Komi songs, danced in circles, played different games. Let us and you and I play one very interesting game... This game is called: "Let's make friends." For this game we need to make two circles. One circle of boys, the other of girls. We also need 2 assistants, they will hold the scarf between two circles. To the Komi melody, you lead a round dance, as soon as the music stops, the assistants lower the scarf, the two who were under the scarf should say to each other polite words in the Komi language.

Guys, we had a little rest. Now I invite you to the table, here are pictures of Komi life. Let's play a game "What is made of wood and birch bark, what is made of fur and fabric"... Boys will collect items made of wood and birch bark in a basket, and girls will put in a box made of fur and fabric.

Well done, everyone did it.

The last game "Repeat" (slide number 11 with animation)(6 animations)

Is this a kerka? No, this is not a kerka

Is this owl doses? No, these are not owls of doses.

Is it a patch? Yes, it's a patch. Etc.

We played well, visited the past, but it's time to return to the kindergarten. Let's stand in a circle, close our eyes and say: "One, two, three, turn around and find yourself in the kindergarten."

Well, here we are back in Kindergarten... I really enjoyed traveling with you in a time machine. And next time we will go on a time machine according to Komi fairy tales.

Komi Sikt ... its history goes back centuries. It began with several huts somewhere in a clearing, recaptured from a forest, or on the banks of a river.

The construction of a residential building, turned today into a simple technical act, was performed for our ancestors deepest meaning... In ancient times, each person built housing for himself and his family himself - if necessary, he called relatives, neighbors, friends for help.

Our ancestors settled in wooded areas, along the banks of rivers and lakes. Komi wooden construction is a construction created by labor and genius of craftsmen.

For a long time, the Komi people understood and realized the amazing properties of wood and used it everywhere, both for the construction of housing and for the manufacture of various household items. Wood gives a special sense of life, acting as a conductor between man and nature. As a conductor of Cosmic energies, trees have a beneficial effect on a person's aura, and therefore on his health. It is the tree that has long been a symbol of Life, birth and its continuation.

In this work, we will investigate how the culture of building a Komi hut is arranged, in particular in the village of Nizhniy Voch.

Object of study is the building tradition of the Verkhnevychegodsky Komi village of Nizhny Voch, located along the upper Vychegda and Keltma on the Voch River.

Subject of study- Komi hut as one of the most significant manifestations of artistic and construction culture, an ancient, skillful and vibrant culture.

Target research work: describe the traditions of building a Komi hut, find out how they have survived today in the village of Nizhniy Voch.

Tasks:

1. To study the theoretical basis for the construction of a Komi hut.

2. Explore theoretical basis from the history of ethnography of the Komi culture.

3. Determine the main stages of building a house.

4. To study the peculiarities of building a hut in the village of Nizhniy Voch by collecting information, photographic documents.

5. Show the place and role of traditions and customs for building a house in modern society.

Relevance:

Wooden construction is one of the most significant manifestations of the artistic and construction culture of the Komi people, an ancient, skillful and vibrant culture.

The chosen topic is considered relevant, as it is a valuable source for studying the characteristics of the way of life of the Komi people, their ideology and mentality.

Currently, the construction of the Komi people, which is an interesting source for historical, sociological, linguistic research, has been little studied.

Hypothesis

The study of the building culture will help to get acquainted with the picture of the world of the Komi person, since they reflect time and a person, his social status and the spiritual world.

The culture of building a hut in rural community- this is a kind of meaningful visiting card of the village, its inhabitant, which plays a distinctive role, emphasizes the exclusivity, singularity, uniqueness.

Research methods:

Theoretical (studying the scientific basis; processing the received documents; decoding the material);

Practical (personal observations; conversation, interviews with informants).

Within the framework of the study, 7 informants were interviewed (age from 41 to 73 years) and records were made regarding the architectural and construction traditions.

The goals and objectives of the work determined its structure: the work consists of an introduction, main part, conclusion, bibliography, applications.

In the introduction substantiated the relevance of the study, formulated the goal and objectives of the work, indicated the hypothesis, methods of work.

Main part consists of 3 sections: 1. From the history of ethnographic study of the Komi culture. 2. Traditions of building a Komi hut. 3. The preserved traditions of building a house in the village of Nizhniy Voch.

In custody summed up the results of the research work.

In the list of used literature editions and sources used by the author are indicated.

Applications include a list of informants, photographic documents.

To view a presentation with pictures, artwork, and slides, download its file and open it in PowerPoint on your computer.
Presentation slides text content: The traditional house of the Komi-Zyryan, early. XX century Verkhozerie village, Udora region of the Komi Republic. 1990 http://pics.livejournal.com/varandej/pic/0010151d The most important thing in the hut is the oven. It gave people warmth, they cooked food in the oven, and mushrooms and berries were dried over it for the winter. The area near the stove was called the "woman's place". The "red corner" was always located obliquely from the stove. There was always a "heavenly" fire - an icon lamp - here. This is the most honorable place in the house. dear guest, here the father and son talked. http://altertravel.ru/professor/march_01_2008/photo_06.jpg http://www.evarussia.ru/upload/produkt/282/282_1.jpg Various household tools were kept in the hallway (on the left there are scissors for shearing sheep, scrapers for sanding logs, carding, sieve, rattle). All items belong to the villagers and were collected in the folk museum during 2005-2006. April 2006. Ust Vym. Winter half interior. Kitchenware. April 2006, Ust-Vym http://www.finugor.ru/files/images/IMG_1084.preview.jpg Winter half. All furniture is hand made by craftsmen from the village of Ust-Vym. In the next room, you can see the weaving mill, on which, in addition to woven fabrics, rugs were also made. 2006, Ust-Vym. http://finugor.ru/files/images/IMG_1088.preview.jpg http://fotki.yandex.ru/users/tadishheva/view/1392/?page=0 http://s41.radikal.ru/i094 /0811/6e/2dba258017a0.jpg http://www.altertravel.ru/images/367/2.jpg There are no partitions or separate rooms in the hut. Here and the kitchen, and the front red corner, and the hallway - under the road. The height of the log ceiling is striking (height from the floor is 3.3 m). Probably, the hut used to be a smoker, that is, it was heated "on black". Later, a white adobe stove was installed. It occupies almost a quarter of the hut volume. The area of ​​the hut is small, about 25 m2. However, she lived here big family- more than ten people, and everyone had their own place during work, lunch, sleep ... Komi-Perm hut "kerku" http://www.heritage.perm.ru/hohlovka/hohlov29.htm# The interior was created a peasant hut: a table covered with a tablecloth, on it - a dugout cup, a salt shaker - a duck, spoons. Nearby is a ripple on a birch pole. There is also a light, multi-colored belts, sashes. Kitchen utensils take a large place on shelves and benches. http://www.heritage.perm.ru/hohlovka/hohlov27.htm# http://www.heritage.perm.ru/hohlovka/hohlov30.htm# http://www.heritage.perm.ru/hohlovka/ hohlov31.htm # The main occupations of the Komi were agriculture and animal husbandry http://www.finnougoria.ru/upload/interier%20komi%20izby1.JPG Where to start drawing a Komi hut? Determine what you will portray: female half, red corner, male half, stove ... Think over the layout of the picture. Determine where in the picture there will be an image of the floor, ceiling, walls.

People's art: living things

Until the beginning of the twentieth century, women in every peasant family were engaged in patterned weaving, knitting and embroidery. And although they never considered their products as works of art, the clothes, tablecloths, towels, and mittens they made were truly beautiful.

From the early childhood girls were introduced to women's handicrafts, by the age of five or six they were given small children's spinning wheels on which they could spin flax, hemp, and wool. By the age of ten, mothers began to introduce their daughters to the secrets of weaving, strictly following the correct execution of ornamental motifs. Weaved on a wooden weaving mill "dura kyan", similar in design to the camp of the northern Russians. The patterns were quite intricate. Most often, the pattern was applied with red threads on a white background of a homespun cloth. Such patterns were used to decorate towels, tablecloths, hems, yokes and sleeves of women's shirts, and canvas stockings.

Photo by Evgeniya Kozmodemyanova

Usually women weaved patterns from memory, but sometimes they “removed” them from ready-made things or created new ones. They also wove rugs - "joj dura", which were distinguished by rich color saturation. Patterned belts used to tie up sundresses, men's shirts, outerwear were woven on special tabs - small square dies with holes in the corners. For the manufacture of wide belts, a conventional weaving mill was used. The belts, which were called donation belts, were especially elegant. They were woven from green, red, blue, yellow and pink wool and decorated with tassels. The bride presented these belts to the groom and his close relatives.

Knitted items made by Komi craftswomen are especially beautiful: stockings, gloves, scarves, mittens, sashes. They are richly decorated with ornamental patterns that varied by region, by gender and age. The material is sheep's wool, which women themselves spin and dye. Knitted products were necessarily part of the men's and women's suits, they also served as wedding gifts, which the young gave to new relatives.

Knitted clothes without patterns were very rarely worn, and there are reasons for this. In ancient times, ornamental patterns not only adorned things, but had mythological meanings, which have been largely lost today. It was believed that it is the pattern that gives life to things, without it the thing does not seem to exist. The pattern revives the thing, so a living thing not only saves a person from the cold, but also protects from evil spirits. And its purely everyday meaning is that knitting from several colored threads made patterned clothes thicker, and therefore warmer.

Embroidery was widespread only in the south of the Komi Territory among the Luz and Lett Komi. It was used to decorate hats, shirts, towels, and largely corresponded to ornamental motifs characteristic of weaving. The headdresses of women - magpies, "yur kurtad", embroidered with various geometric patterns, looked very beautiful and original. The magpie is a headband with a headband embroidered with multi-colored threads - a forehead, two "wings" - ties and a "tail" that covered the back of the head. The girl began to embroider such a headdress for her marriage, sometimes several years before. Among the Izhma Komi, embroidery with beads and gold threads was widespread. Beads were used to embroider headdresses of brides - "young", with silver and gold threads embroidered kokoshniks and collections, headdresses of married women.

The Komi, as a forest people, developed the art of woodworking. This kind of art was mainly practiced by men. The main decoration of the wooden hut was the "horse", "chibu" - the butt part of the oglupnya, a log that holds the gable roof together. “Chibu” - translated as “horse”, the ridge was carved in the form of a horse, and often a horse-bird, whose wings were the slopes of the roof. The oglupen could be decorated with deer, elk antlers, or a carved wooden towel.

The window frames of the hut were sometimes decorated with carved towels. On Vashka and Mezen, the pediments of houses were often painted. It could have been symmetrical patterns depicting two lions standing on their hind legs, geometric patterns, in the forties-fifties of the twentieth century on the pediments depicted Soviet symbols in the form of red stars, sickles and hammers.

The interior decoration of the house: red corner, planks, mortise shelves, doors, golbets - were decorated with simple carvings or paintings. Wooden cabinets, sofas, beds, benches, tables were made by the owner himself or by local craftsmen. These items were also decorated with traditional carvings or paintings.

You can still see pain in the Komi huts.shy wooden bowls in the form of a duck or a swan, buckets cut from burls and decorated in the form of a bird's head and tail. Until recently, almost every home kept a duck-shaped wooden salt shaker on the table, on the lid of which ducklings were carved. Such salt shaker ducks in the past were required element wedding dowry of the bride. The bride brought to the new house a salt shaker duck, carved by her father, as a symbol of future family happiness. The image of a duck is not accidental in applied arts komi, he is known for archaeological finds the Middle Ages, as well as according to the Komi legends about the creation of the world.

The art of wood carving was also used to decorate household items and tools. Among the traditional patterns on the carved details of the weaving mill, decorations in the form of solar signs - gear wheels with rays are especially interesting. Wooden boxes, pencil cases, spindles, boxes for needles were covered with carvings. Birch bark tuesques, boxes, salt shakers were decorated with cut and embossed ornaments.

Birch bark dishes were decorated with painting, depicting flowers on it. Painting in the form of flowers, branches, as well as horses and birds is found on spinning wheels. The painting on the Vychegda spinning wheels was distinguished by its originality: the leg was decorated with carved ornaments, and the entire surface was covered with a blue cinnabar background, on which the ornament was applied in the form of concentric circles, rosettes, spirals and zigzags.

The painting was done by professional masters, often local icon painters. Craftsmen gathered in artels and made painted spinning wheels, chests, wardrobes, sleighs, arches for sale. The Komi Territory had its own "centers" for painting. These are the villages of Toima and Verhozerie on Vashka, Otla and Luga on Vymi, Kerchom'ya and Vomyn on Vychegda, Izhma and Mutny Materik on Pechora. Artels of carvers and icon painters made iconostases with icons for the churches of the Komi region, painted icons for peasants, and these icons had high artistic merit. Some of them are decoration and pride National Gallery Komi Republic.

As for the picturesque design of the interior and furniture of the Komi hut, plant motifs (flowers, leaves) prevailed here, while geometric patterns on dishes and weaving tools. Plant motifs were also used to decorate chests and boxes. Painted Komi products were distinguished by the brightness of the pattern and the richness of colors, but already at the beginning of the twentieth century they were gradually ousted from everyday life. Wood carving is still preserved among the rural population of the Komi Territory.

"Excellent houses"

The Russian traveler and scientist II Lepekhin, passing in 1771 through the "Zyryansk settlement called the Ust-Sysolsky churchyard", wrote that "the houses in it are excellent." Ust-Sysolsk at that time differed little from other Zyryansk villages, so we can safely say that "excellent houses" have been characteristic of Komi villages and villages since ancient times.

Komi hut in the village of Ezholty, Ust-Vymsky district. Photo by Anatoly Peretyagin

Komi hut, kerka is a log building that unites living quarters and outbuildings into a single whole: a house-yard. A covered courtyard was adjacent to a residential building and was separated from it by a passage, a stable for cattle was located on the lower tier of the courtyard, and hay for animals was brought to the upper tier through a special porch.

The house was built of pine, but the lower crowns were preferred to be made of larch, which is less susceptible to decay. They raised the house high, up to twenty-one crowns, the underground reached two meters, and the windows of the village house were at the level of human height or higher.

Scientists distinguish two types of huts common among the Komi: Sysolsky and Vymsky.

Sysolsky was distributed along the Sysola, Upper Vychegda and Upper Pechora rivers. It is a square building, consisting of residential and utility parts, each with its own roof slope. The dwelling is divided into winter (howling kerka) and summer (moon kerka) huts and is united by an entrance through the canopy. It is adjoined by the frame of the courtyard (stan). The stove is in the back of the room, in the corner, and the mouth is facing the door. Nearby - the entrance to the underground, golbets (goboch vyv), polati. The front corner "En uv pelios", "God's corner", is located horizontally from the stove.

The Vymsky type was widespread in Vymi, Nizhnyaya Vychegda, and Udora. The residential part and the courtyard have the same roof. The residential part also consists of two huts, but the Russian stove is in the corner by the door and its mouth is turned to the windows of the side wall.

V " pure form These types of dwellings are now rare, and in the past, the owners often left the canonical forms. At the beginning of the twentieth century, living quarters began to be divided into rooms, separate huts for children were cut in the utility yard-shed, and the house often consisted of four or six living quarters. And on Izhma and Udor houses began to be built on two floors.

Folk costume: both cats and magpies

The Komi folk costume, similar to the clothes of the northern Russians, has a number of local variants or complexes - Izhma, Pechora, Udora, Vychegda, Sysolsky and Priluzsky. And if the male one is uniform throughout the entire territory, with the exception of the winter clothes of the Komi-Izhemtsy, then the female one has significant differences - in the cutting technique, fabrics, ornamentation.

Women had a word-of-mouth complex. It consisted of a shirt (döröm) and an oblique or straight sundress (sarapan, kuntei), a headdress, an apron and patterned stockings. The top of the shirt (sos) is made of pestrya (colored checkered fabric), kumach, the bottom (myg) is made of white canvas. The shirt was decorated with inserts made of fabric of a different color or an embroidered pattern (peelpon koroma) on the shoulders, a colored border on the collar and ruffles on the sleeves. An apron (vodzdöra) must be worn over the sundress. The sundress was girded with a woven and braided patterned belt (wön). The upper female work clothing was a dubnik or shabur (homespun canvas clothing), and in winter, a sheepskin fur coat. On holidays, they wore outfits from the best fabrics (thin canvas and cloth, silk fabrics purchased), and on weekdays they wore clothes made of coarser homespun materials. Purchased fabrics began to spread from the second half of the 19th century.

The headdresses of girls and married women were different. Girls wore headbands (ribbon), hoops with ribbons (head-bearer), scarves, shawls, married women- soft headwear (ruska, magpie) and hard collections (collection), kokoshniks (yurt, treyuk, oshuvka). The wedding headdress was a youthful one (a headless headdress without a bottom on a solid base, covered with red cloth). After the wedding, women wore a kokoshnik, magpie, a collection, and in old age they tied their heads with a dark scarf.

Mens clothing- this is a long, almost knee-length, canvas shirt for release, tied with a woven or woven belt, canvas pants (slack). Shirts-kosovorotki, which came into fashion at the beginning of the XX century, were much shorter - up to 70 centimeters.

Pants were worn with boots or low leather shoes “kӧti", Tucking the trouser legs into" gray chucks "(patterned stockings), tied under the knee with a patterned lace. A caftan and a zipun (sukman, dukos) served as outerwear. Outer working clothes - canvas overalls (dubnik, shabur), in winter - sheepskin fur coats (pasture, Kuzpas), short fur coats (dzhenyd pass).

Komi-Izhemtsy borrowed the Nenets clothing complex: "malichu" (deaf clothes of a straight cut made of reindeer fur, sewn with a pile inside, with a hood, long sleeves and with fur mittens sewn to them), "sovik" (deaf outer clothing made of reindeer skins with fur outside ), pimas (fur boots sewn from reindeer fur with a pile outward), etc.

Komi hunters used a shoulder cape (luzan, laz) during fishing - a rectangular piece of homespun cloth with leather sewn on top and a hole for the head in the middle.In front, it is waist-length, and at the back below the waist, a bag-pocket is attached to it with a hole for killed game. Luzan is girded with a leather belt with a hunting knife. The ax is hung in a special leather loop on the back. This very comfortable and practical clothing in the taiga has spread to neighboring territories and is still worn by the Russians of the Arkhangelsk region, Siberia, and woodcutters of Karelia.

Traditional clothes (pasköm) and shoes (kömkot) were made of canvas (döra), cloth (noi), wool (vurun), fur (ku) and leather (kuchik)

Ornament : "Encryption" from time immemorial

A pattern of rhythmically repeating pictorial motifs is the most common and characteristic shape decor at the most different nations, including the Komi. Ornaments were used to decorate buildings, tools, furniture, dishes and utensils, clothes; it was carried out in the technique of weaving, knitting, painting on wood, heels, embossing on birch bark, leather, wood carving, bone

The most common in folk art komi is geometric ornament which consists of various combinations dots, squares, rectangles, rhombuses, crosses, triangles, diagonal lines.

Komi ornaments are similar in style to those of neighboring peoples, scientists explain this by a common ancient basis. Similar ornaments adorned pottery of the so-called Andronovo culture, which dates back to the 2nd - early 1st millennium BC. Over time, each nation has developed its own type of ornament, characteristic only of this culture. But even within the people, there are differences in ornamental motives, so that by the pattern on the stockings or mittens it is possible to determine in which region of the Komi Republic they are connected. Moreover, it turns out that the patterns of the ornament on the stockings differ both for men - "man sir" - and for women - "baba sir".

Pattern names also have their own specifics. Some of them correlate with the names of various objects and tools: perna - "cross", saw pin - "saw teeth", uterus ser - "compass pattern", purt yiv - "knife edge", kuran pin - "rake teeth" and etc. Other names refer to animals and birds: osh paw - "bear paw", between sur - "ram's horns", kor sur - "deer antlers", gut ser - "fly pattern", mos sin - "cow's eye ", Black -" spider ". Finally, there are titles associated with flora: gray goats - "Christmas tree pattern", dzoridz - "flower", pysh tus - "hemp seed", etc.

Folk musical instruments: forest flutes and celestial violins

Komi folk music originates in those ancient times (I century BC - VIII century AD), when the ancestors of the Komi and Udmurts constituted one ancient Permian community. This is evidenced by the similarity of some melodic phrases in folk songs, lamentations, as well as the relationship of names denoting musical wind instruments class of flutes. These are probably the simplest species. musical instruments: after all, in order to create such a flute-pipe, it was necessary to cut off the stem of the angelica - on the Komi gum - so that the tube turned out to be closed, and cut a small longitudinal slit. From the pipe of kalya polian (literally a seagull-pipe), which village children still make, the path leads to a birch bark horn.

More complex are the so-called three-barreled flutes of the kuima chipsan (three-barreled whistle), which are played today by the chipanists from the village of Chernysh, Priluzsky district. Even more difficult are pipes polyanyas, a variety of multi-barrel flutes. The number of pipes in the set of such an instrument ranged from four to twelve, they were called that - quaita or okmysa of the poles, a six- or nine-barreled pipe-flute. Chipsans and Poles were played by women and girls during rest, haymaking, on the way to meadows or in the forest to pick mushrooms and berries, and in winter - at village gatherings.

There are many types of wind instruments: this is the chipsan siola - a hazel grouse whistle - which the hunter made from a spruce knot or a bird feather to lure a hazel grouse, this is a chipsan bucket - a willow whistle - a flute that was made from a willow branch in spring, these are various gums polyan - flutes from angelica. More complex were the bucket pupolyany, the willow pipe - a pipe made from a willow trunk with two or four play holes, as well as various buksans and polyany syumod - birch bark horns and pipes.

The invention of the sigudok - a three-stringed violin-type instrument - is attributed by the people to the heavenly god Yen himself. They say that in time immemorial, Yeon invented sigudek, but he could not make a soundit worked out. Then he turned to Leshem, and he taught his heavenly brother to rub the bow with spruce resin. This is how the inimitable sigudok sound was born. And if we digress from the legend, then sigudek is really ancient instrument... Archaeologists have found a fragment similar to a tool at excavations in Novgorod and dated it to the 10th century AD. NS. It is not in the set of modern Russian folk instruments, but the Komi have preserved it. Sigudek was the most significant instrument in Komi musical life. They played on it at home and in the forest hut of a hunter-fisherman, songs and dance tunes were sung to it.

The Komi also had other stringed instruments, such as, for example, the well-known balalaika. Homemade balalaikas were similar to the old Russians - with a flat-bottomed triangular body. The renowned balalaika master was a native of the village of Vylgort, Syktyvdinsky district, Semyon Nalimov (1857–1916), who made these instruments for Vasily Andreev, the organizer of the Great Russian Orchestra of Folk Instruments.

The brungan string instrument had a powerful sound, reminiscent of the ringing of large church bells. They did it simply: thick wire or vein strings were nailed onto the side wall of the golbets - a wooden extension to the Russian stove, and they played by striking the strings with a hammer.

In musical use, the Komi also had a whole set of drums. The most famous shepherd's pu drum is a wooden drum, a wooden pendant-plank, which was struck with two sticks. The Totshkod residents used a mallet to signal the gathering of artel people. The syargan rattle was used to drive away, for example, horses that had climbed onto other people's crops. The rattling bells of the merchants performed a magical function - they scared away evil spirits and predators from grazing domestic animals.

M.B. Rogachev © 1999

Due to the scarcity of sources, it is possible only in general terms to trace the evolution of the Komi dwelling in the early stages of its development. The oldest type the dwellings of the Komi ancestors were dugouts and semi-dugouts with an open hearth. Archaeologists distinguish four types of buildings for the Eneolithic-Bronze Age: log semi-dugouts, semi-dugouts of a pillar structure, polygonal tent-roofed semi-dugouts, and ground structures without pits (the latter are most characteristic of the Bronze Age). For the Ananyinsky and Glyadenov times, rectangular, slightly deepened into the ground, log structures (3-5 crowns in winter and one-flowered summer) with a hut-like overlap on poles covered with birch bark are characteristic (in some Glyadenov dwellings, pits from post structures were found). The development of this type of dwelling is the buildings belonging to the Vanvizdin culture (second half of the 1st millennium AD), apparently belonging to the direct ancestors of the Komi (Archeology 1997, pp. 268, 359, 427-428).

This is followed by a "gap" in our knowledge of the development of dwellings, due to the poor study of the settlements of Perm Vychegodskaya (X-XIV centuries). Perhaps the dwellings of the Permians were similar to those found on the sites of the Verkhnekamsk Rodanov culture of the same time, genetically related to the Permian Komi, rather large log buildings without a foundation, under a gable roof, without a ceiling and windows, with bunks along the walls and a hearth in the center. Outbuildings adjoined the dwelling: a barn and a barn.

Ethnographer L.N. Zherebtsov, based on the inventories of the peasant farms of the Yarensk voivodship office and other documents of the 17th-18th centuries, noted that in the Middle Ages, the development of Komi dwellings was under the influence of the northern Russians. On the similarity of the Komi and North Russian dwellings at the end of the 17th century. indicated in his notes Elected Ides. Apparently, the Komi took over from the Russians a three-part house, including a hut, a canopy and a crate (a room for storing household equipment, clothes, etc.), but the canopy did not receive the same development as in the Russian dwelling. Houses with two huts appear and soon become traditional (the second hut replaces the cage, "passing" to the household yard). Wealthy peasants had buildings of a more complex structure: "a mansion house and an upper room, two cages, including one opposite the upper room with a partition, the other opposite the hut." From outbuildings yards, barns, barns, baths are mentioned. Apparently, already in the eighteenth century. a complex of two living quarters (two huts or huts and an upper room) is formed, separated by a passage, in one connection with the household yard (Zherebtsov L. 1956, pp. 44-46).

And only extensive materials (descriptions of travelers, surviving buildings, etc.) of the 19th - early 20th centuries. allow you to get a fairly complete idea of ​​the various types of Komi dwellings, reflecting the different socio-economic situation of the owners, the features of the economic complex of various Komi groups, the influence of the neighboring Russian population. This brief overview examines some of the most common *.

The simplest type of dwelling, quite common in the 40-50s, but now extremely rare, is a hut with a corridor fenced off by a capital wall, under a lean-to roof. The stable was either absent or was built separately from the house. Such a house was typical for the poorest peasant families (Belitser 1958, p. 178). They are very similar to them, sometimes found today, with huts with attached entrance halls (in the form of a planked vestibule), covered with a common lean-to roof. But they cannot be attributed to this type. As a rule, these are the "remnants" of two-house complexes, from which one hut and a household yard were dismantled due to dilapidation or uselessness.

A very old type of house is a twin hut: two huts (one summer, the other winter), placed almost close to each other (at a distance of up to 1.5 meters), under shed roofs, forming a common gable roof. A canopy common for two huts is attached to the back and connects the residential part with the utility yard. It happens that both huts are summer huts, and the winter one is fenced off in the back of the building, occupying half of the household yard (under it, in the basement, there is a barn, where you can get directly from the living quarters). Another option: a three-walled utility yard is attached to residential huts, the entrance is cut through its side wall, and the space that serves as a canopy is only indicated by cut-outs. At present, twin huts are rare, mainly in Udora and in the Komi region (Zherebtsov L. 1971, pp. 58-60).

However, by far the most widespread, and not only in the Komi Territory, but also in the Russian North and Siberia, was formed in the 18th century. house-connection - two huts (warm and cold), "connected" by a passage, with a utility yard attached to one connection. Such a structure can be easily dismembered into separate elements, and over time, a hut that has fallen into disrepair can be replaced with a new one. There are buildings in which one part is a traditional four-walled hut under a pitched roof, and the other, newer, is a five-walled hut with a gable roof. Other elements can be added to the main structure if desired. In the middle Vychegda, for example, a small cold room is attached to one of the huts, but the household yard is not lengthened, and the result is an L-shaped building.

Architect I.N. Shurgin identified two types of communication houses, conventionally calling them "Sysolsky" and "Vymsky". The "Sysolsky" house is predominantly distributed in the southern regions of the Komi habitat - in Sysol and in the Komi region, as well as in the middle and upper Vychegda, but it is also found in Vymi. "Vymsky" house exists not only on Vymi, but also on Vychegda, Udora and lower Sysol. Both types have the same functional-planning structure, and, most likely, took shape at the same time. The difference is in the orientation of the facade relative to the roof. At the "Sysolsk" house, the living and utility parts have lean-to roofs, in the "Vymsk" one - each hut has a lean-to roof, extending over the adjacent part of the farm yard. In both cases, a gable roof is obtained over the entire building (Shurgin 1988, pp. 200-220).

One of the most common types of dwellings is a six-wall with a back street (a house with an average cold room), the distribution of which can be traced back to the second half of the 19th century. The middle room is located at the place of the vestibule near the communication house. It is smaller in size than the winter and summer huts, is connected by a passageway to only one of them, and sometimes serves as an additional room (more often as a bedroom), sometimes as a utility room (closet or workshop). The residential part of such a house is connected with the utility one through a passage, like a twin hut. In all likelihood, this type of house appeared as a result of the modification ("sliding" of the two main walls) of the twin hut. But it is possible that this is a changed house-connection of the "Vymsk" type, at least "the main distribution zone of the six-wall adjoins the places of localization of the Vymsk dwelling, penetrating into its environment" (Makovetskiy 1962, pp. 43-45; Shurgin 1990, p. 307).

Also in the second half of the nineteenth century. (on Izhma, probably much earlier), such ubiquitous nowadays types of dwellings appear as five-walled (four-walled frame, divided by a fifth capital wall) and six-walled cross (square in plan, divided into four parts by two major walls, intersecting under right angle). Five-walled walls are of two types: with a gable roof on the slopes and a utility yard, "connected" by the passage with the living part (like a twin hut) and with a four-slope roof on the rafters, not connected to the utility yard. The six-sided cross-pieces always have a four-pitched roof on the rafters and are not connected to the utility yard. In the five-wall, living quarters are traditionally divided into summer and winter. At the six-wall cross, one room replaces the vestibule, the second serves as a kitchen, and two rooms are living rooms (both heated). Currently, instead of a vestibule, a covered porch with a vestibule and a veranda is being built (in such a house there are three living rooms).

Both the five-wall and the six-wall cross appear in the Komi Territory in a "finished" form. The five-wall with a gable roof "came" from the neighboring Russian regions, where it was widespread for a long time. The appearance of five-walled and cross-shaped structures is associated with the city, where these types of houses as "model projects" began to be introduced with early nineteenth v. Accordingly, the first type of five-wall is more common in the village, and the second and the cross is more common in the city. Houses with a mezzanine are a peculiar kind of five-wall. There are houses where the light is fenced off in an under-roof space, with a window cut into the street, and houses with a "tower" - a small four-walled frame, "resting" on the ceiling.

Two-storey houses are typical only for the Komi-Izhemtsy and the neighboring Russians-Usttsilians. By design, they belong to the types already known to us. The most widespread is a two-storey five-wall (in the village of Izhma there is a house of this type built in 1781), which has two living quarters on each floor. At such a house, a canopy is built at the back of the residential part and connects it with the utility yard. Less often there are two-story communication houses (the entrance is arranged from the facade, through the vestibule, on the second floor, due to the premises above the entrance, three living rooms are obtained) and six-walls with a back street (a canopy, like a five-wall, is arranged at the back of the residential part, and on each floor it turns out three living rooms). Many of these houses can only be considered two-storey with some stretch, since the ground floor is equipped with a basement. A special group can be distinguished by a few two-storey mansions with a mezzanine of wealthy reindeer breeders and merchants (houses of Popov, Noritsyn in the village of Izhma, and others). They differ not only in layout, but also in decor.

In other areas, two-story houses were found only at merchants. In such houses, the ground floor in the basement was used as a retail space. Trade is associated with the appearance of two-story houses in a few villages where fairs were held. For example, from the end of the nineteenth century. two-story houses began to be built in the village of Vazhgort on Udora, where the big Epiphany fair was held. The peasants rented the lower floors for shops and warehouses to visiting merchants, and the upper ones were allotted for housing. Vazhgort houses differ from Izhma houses in that they are divided into three parts: the front summer half (five or six walls), then, through the entrance hall on the second floor, there is a utility yard, and wintering (the second floor is a residential one, and a stable is located on the first floor) (Zherebtsov L. 1971, S. 66-68).

Brief description of the main design features of the Komi traditional dwelling shows extreme rationality, adaptability to the harsh northern conditions (first of all, the preservation of heat and waterproofing) of its structure. With outward simplicity and unpretentiousness, the peasant house embodies the centuries-old experience of construction - it reveals many simple and ingenious devices and structures that contribute to the stability of the building, reliable fastening of its parts, etc. The main building material in the forest edge, of course, there was a tree. Only in Ust-Sysolsk could one find a few brick residential buildings. In the village, however, only churches were made of stone (at the beginning of the twentieth century - about half of all the temples of the Komi Territory) and, in some villages, administrative buildings and schools.

Houses were built from thick pine or larch logs (more often from decay-resistant larch, only the lower crowns were placed, which were most exposed to water). The usual number of crowns is 15-17 (along the pediment). The floors were laid at a height of 1.5-2 meters from the ground. The high basement, which is common for all northern houses, contributed to the preservation of heat and "raised" the residential part above the snow. " sazhen *: When two huts are set up, then they begin to build a canopy. They are made between the huts and are usually taken from the logs, attached, without special reinforcement and connections, to the ends of the log huts "- this is how the" Vymsk "house-link was built in the middle XIX century. (Avramov 1859, no. 42).

The houses were built "without any plans or foundations." However, constructions "on the seam" (the first crown is placed directly on the ground) were very rare. Usually the frame was placed on "chairs" (pine logs dug into the ground) or stones placed under the corners of the building. There were also combined options (it was believed that if the house is only on stones, it will be cold). Only in the second half of the twentieth century. houses appear on strip foundations.

The corners of the frame were cut into a "bowl" with a "release". Cutting "in the paw" was found in the city, and in the village they began to cut like this only in the last 30-40 years. Logs of a log house were necessarily laid with moss (for thermal insulation). Until the middle of the nineteenth century. the groove was cut in the upper part of the log, which was impractical, since water accumulated in the grooves and the frame quickly fell into disrepair. Later, they began to cut the groove in the lower part of the log, which is technically more difficult, but makes the building more durable. In some old buildings, there is a laying of the upper crowns with birch bark, which serves as a waterproofing (Zherebtsov L. 1971, p. 41). Only at the end of the nineteenth century. houses sheathed with planks and painted appeared (this innovation probably came from the city, where sheathed houses appeared in the first half of the 19th century). It was only in the second half of the 20th century that the cladding and painting of houses became a widespread custom.

The floors have always been doubled to keep warm. In the middle of the nineteenth century. they were laid "from whole logs, and on top of them - others from thick blocks split into two with special axes" (Avramov 1859, no. 42). Later, the floors began to be assembled from blocks hewn from both sides, tightly fitted to each other with the help of notches driven into the groove of the next block. A similar method was used to fasten the floor to the walls of the log house. But there was also another one: the log, to which the floor adjoins, is half-cut in order to fit the extreme block more tightly, and the floor is supported by joists (two of them must be placed close to the walls), placed perpendicular to the blocks.

In the surviving houses of the second half of the 19th century. there are ceilings made of whole or split in half logs (round part down). Later, they began to arrange ceilings from the same blocks as the floor, filling them with earth from above. The ceiling was attached to the walls with a cut-out, similar to the fastening of the floor. In the center, the ceiling rests on a thick round log - mat. Plakhs of the floor and ceiling were laid perpendicular to the entrance. Painting ceilings and floors oil paint- the phenomenon is rather late.

The usual number of windows on the facade is six (three in each hut). The five-walled and the cross usually had four windows. In the first half of the nineteenth century. the windows were cut down small (30x40 cm), and the middle window was always slightly larger than the extreme ones. They were made single-frame, without platbands. "Small fragments of dull glass are inserted into the frames of these windows, and, if there is a lack of them, the frames are covered either with a bull's bubble or with scraps of canvas soaked in cow lard; in winter, thin transparent ice is frozen in the windows from the outside for greater warmth" (Mikhailov 1852 , P. 322). In the surviving houses of the late nineteenth century. on Sysol, Upper Pechora, Upper Vychegda, one can find small drag windows above the stove (it is located at the wall opposite the entrance, with its mouth to the door, and the stove window served to illuminate the beds). At that time. already everywhere large (70x90 cm and more) mowing windows with two frames, but without shutters, were cut. Casement windows were very rare.

The entrance to the house was designed in different ways. In houses with an internal staircase in the vestibule, it is located at ground level and is formed by a small pavement of blocks and railings. The porches of the Izhma two-story houses were completely absent or were low. But more often the entrance to the vestibule was made at floor level, and a high porch led to it, very noticeable against the background of the monotonous, almost without decoration, facade of a residential building. Usually it is a platform, fixed on four pillars, to which a steep staircase leads. The porch was covered with a flat ceiling, a pitched or gable roof. They are distinguished by the originality of the porches of houses on Vymi: the lower landing and a steep staircase were covered with a shallow roof on pillars, and the upper landing had a ridge ceiling decorated with carvings. Similar porches are found on Udora, only without the lower landing. The decoration of the porch with a vestibule or veranda, which is widespread today, in the nineteenth century. not applied.

The roof was covered with a plank in two rows, and the planks were laid in a checkerboard pattern to ensure water tightness. To drain water in the gorge, a gutter or two paths were cut down (the second option is a later one). Tes was laid on a bed and pressed down on top with poles. The lower ends of the gaps rested against the gutter, fixed on the "hens", and the upper ends were fixed on the prince's log. With a pitched roof of two huts, the ends of the roofs often did not join, but went one under the other. This constructive technique was typical for "black" huts - smoke was drawn into the gap. With a gable roof, the ends of the gaps were pressed down from above with an ocholup - a log with a groove hollowed out in the lower part. A log with a butt was chosen for an oglupnya, from which a stylized figure of a duck or a horse was carved. The roof rafter structure, which is quite widespread today, had only "urban" five-walled and six-walled cross-pieces.

The traditional Komi peasant house, massive, made of logs that have darkened with time, is poorly decorated and therefore looks rather austere. In addition to booze, stylized figures of birds ended with "hens". Figuratively cut outlets and threads processed by notched carvings are much less common. In the houses of the late 19th - early 20th centuries. sometimes there are cornices and capping of roofs, window frames decorated with saw-cut carvings. It should be noted that the few decorative elements are distinguished by a significant plastic variety (Gribova 1980, pp. 32-51).

The internal structure of the Komi traditional house is in many ways similar to the North Russian dwelling. The original division of the premises into a hut, a canopy and a cage was already in the 18th century. it is replaced by a division into a winter hut, a canopy (they were used not only for access to living quarters and a utility yard, but also as a storeroom) and a summer hut (upper room), moreover, there could be several upper rooms, depending on the type of house. The kitchen very rarely stood out as an independent room. The main living room was the winter hut, "the Zyrian's always favorite resting place." As a rule, the owners did not live in the summer hut - it served as the front, guest part of the house. At the end of the nineteenth century. they began to install stoves in the summer hut, so that it only by tradition retained its name. But the summer hut remained the front part of the dwelling, with the exception of those cases when one house was "shared" by two families (families of brothers or the parental family and the family of a married son).

Undoubtedly, the most honorable place in the house was given to the Russian stove (Dutch stoves appear only at the beginning of the twentieth century, and then mainly in the city), according to the figurative expression of M. Mikhailov - "Zyryansk hell", which occupied "more than half of the room, which, by itself, without that it would be very spacious. " In the middle of the nineteenth century. on the upper Pechora and upper Vychegda, Vishera and Lokchim, adobe furnaces were still encountered (Belitser 1958, p. 186). But even at that time, in most houses, stoves were made of adobe bricks, made by the peasants themselves. The stoves were placed either on pillars or on a log frame and were raised above the floor. Bricks or stones filled with liquid clay were laid on a wooden base in several rows. On this basis, the walls and a hemispherical firebox were laid out, and the space between them was filled with small stones with liquid clay. On top, a stitch was made of clay with sand, on which the blocks of the couch were laid. The height of the furnace without a pipe reached two meters. Back in the first half of the nineteenth century. black ovens predominated (no chimney). However, M. Istomin in 1862 noted that "so-called black huts with smoke pipes in the Izhma village are not present at all". On Udora in the 70s. XIX century, according to the observation of John. Popov, “many of the huts are half black and half white. However, recently they began to build only white huts, preferring them to black ones, in order to avoid smoke and cold during the fire” (Istomin 1862, p. 137; Popov 1875, no. 89). The black ovens survived the longest in the upper reaches of the Vychegda, Vymi and Pechora.

The most common type of internal layout of the hut is Middle Russian, when the stove is located next to the entrance, the mouth to the front wall. In this case, the "red corner" (the most revered place in the house where icons are placed, there are a table and benches for joint meals) is located at the front wall, diagonally from the stove. Another type, found in the houses of the Upper Vychegda, Upper Pechora and Sysolsk Komi, is the stove is located at the front wall, with its mouth towards the entrance, and the "red corner" is located near the door. Apparently, "among the Komi, this plan arose completely independently, it is the most ancient plan in general and the oldest plan in a given territory, its origin is associated with the earlier Komi dwellings - a dugout and a semi-dugout, in which the door served as the only source of light" (Belitser 1958, p. 185). The location of the stove also determines the location of the golbets (underground under the living part for storing food and household utensils) and the beds. In the first case, the battens were installed above the door, and the entrance to the golbets was between the stove and the wall of the house; in the second, the battens were laid near the front wall of the house, opposite the entrance, and the entrance to the underground was located at the outer side of the stove. In the white huts, even with a stove, beds and golbets were not arranged.

Inner space the hut is clearly divided by the mother into "front" and "back". The guest, as a rule, remained in the front part and, without the invitation of the owners, did not go beyond the mother, into the back, family part of it. The space in front of the stove is considered the feminine part, the kitchen. It is distinguished by two beams, located approximately at a height of two meters perpendicular to the entrance (kitchen utensils were placed on the beams). Opposition to the stove was the "red corner" - the most honorable, family ritual place and place for a meal.

The interior of the peasant house is extremely simple, even ascetic. All furniture - a homemade large table in the "red corner", wall benches (mounted in a groove cut in the logs of the wall) and a small table by the stove. Shelves for household items were attached to the walls at the height of human growth. Clothes were kept in chests, and dishes were kept in a small box near the stove (counter). The family slept on the stove and the beds. The hut was lit with a torch fixed in a special metal holder.

In the late nineteenth and early twentieth centuries. elements of the interior of the "urban" dwelling are beginning to penetrate into the rural environment. Furniture includes beds, small tables, chairs, stools, handicraft wardrobes. Painting of walls, floors and ceilings, wallpapering of walls (preliminarily the logs of the inner part of the wall are trimmed) is gaining some popularity. Curtains appear on the windows, lithographs and photographs on the walls. Luchina is replaced by a kerosene lamp. But these innovations were characteristic of a small part of the rural population - the clergy and the intelligentsia, wealthy peasants, especially in the Izhma and suburban villages.

25 Clothes of Tatars and Bashkirs