Светлана Жарникова – The Distaff and the phallic cult (страница 12)

Severodvinsk painting was born much later. Some researchers look for its roots in northern icons, some start an old song about the “Novgorod” or “Moscow” influence, but not one of the venerable scientists has yet taken the trouble to directly compare the motifs of the Severodvinsk painting with the artistic traditions of the Old Believers, although the connection between them is undeniable and requires the most in-depth study.

Having scrupulously studied the smallest details of the Boretskaya, Puchuzhskaya and Nizhnetoemskaya paintings, the researchers ignored the semicircular arch traditional for the decoration of these spinning wheels, which was most often placed in the center of the blade, in the so-called “middle stave”. Of course, the motif of the arch could not be just random and clearly carried a certain semantic load.

Which one? In heraldry, the arch symbolizes the firmament, transformation, heroic victory. The image of the arch on the Boretsky, Puchuzhsky and Toyemsky spinning wheels exactly repeats the shape of the famous Vshizh bronze arches of the 12th century, which symbolized the universe and was placed on the church altar. And although the path of the sun across the sky on vshchizh arches was depicted in specific symbols (birds, circles, lizards, etc.), and in spinning arches only with the help of thick lines, their identity is still obvious.

Serious attempts to decipher the symbolism of the northern spinning wheels have so far been made only by B. A. Rybakov, V. M. Vasilenko and G. L. Malitsky. The rest of the researchers preferred to study folk art "in the context", using exclusively sterile laboratory methods and trying to look into the folk soul with a scalpel. Examining pieces of living flesh under a microscope and trying to reconstruct from them the image of a bird soaring in the sky is an absolutely fruitless task. It is not surprising that such methods never justified themselves and brought science more harm than good.

Some scientists even denied the originality of the North Russian folk art, diligently trying to find its "roots" in the cultures of other peoples or in the traditions of other regions. Of course, there were always analogues, and our unfortunate scientists immediately declared themselves to be the discoverers of new “influences”, completely not thinking about the fact that all Indo-European peoples once had one common culture and, as they became isolated, they broke away further and further from ancient roots, preserving in their ancestral memory the remnants of the former common Indo-European beliefs and ideas

The most ancient knowledge was consolidated in the word, ritual and symbol, the meaning of which was forgotten over time and with each generation became more and more mysterious and mysterious. The archaic patterns on North Russian spinning wheels are undoubtedly filled with the most invaluable information, which we will be able to decipher only if we manage to get closer to the ancient cosmological thinking.

Along with the spinning wheel, almost every peasant hut had a seamstress, the purpose of which is eloquently indicated by its very name: a female seamstress sat on the bottom and pinned the fabric to a low patterned column, which allowed her to conveniently stretch the cloth while sewing. It is noteworthy that in the only serious scientific work on the subjects of rural life - "Economy and Life of Russian Peasants" - not a single word is said about seamstresses. It is not mentioned in the recently published illustrated encyclopedia "Russian hut". Until now, none of the Russian museums has taken the trouble to prepare a separate exposition "Russian seamstresses". Moreover, in the entire history of Russian science, not a single article has been published devoted to this truly unique subject of peasant life.

By its design, the North Russian sewing machine resembles a small spinning wheel and differs from it only in the riser, which often has the shape of a swan's neck, a carved turret in several tiers, a milestone, horse heads and even a phallus. In my collection, there are more than 450 seamstresses who lived within the Vologda province. Some of them resemble real sculptural works. I am convinced that in terms of the degree of elegance of forms and subtlety of decoration, they fully deserve to become the subject of the most serious and comprehensive study.

Arkhangelsk region. 1948

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