way of life and the Buryat national costume is part of the centuries-old culture of the Buryat people. It reflects its aesthetics, culture, customs. Traditions in the national clothing of the Buryats are associated, first of all, with the nomadic harsh continental climate, with sudden changes in temperature. The national clothing of the Buryats is well adapted to the nomadic lifestyle. Long rides in the saddle required clothing that did not constrain the rider. Cattle breeding the choice of materials from which clothing was made. Fur coats were made from sheepskins, boots from leather, stockings from wool, etc. Wealthy Buryats made costumes from (sable, expensive Baikal seals, etc.), jewelry was made from silver. By clothing it was possible to determine the social status, place of residence of a person and clan (Bulagats, Ekhirits, Khoris, Khongodors). fabrics and furs movement was determined mainly

Traditional Buryat men's clothing is presented in two types: degel (winter robe) and terlig (summer). The main material for winter clothing was sheepskin, which was covered with velvet and other fabrics. made of cotton fabric, and the festive one made of silk and velvet. In turn, degels have two floors: upper (gadar hormoi) and lower (dotor hormoi), back (ara tala), front, bodice (seezhe), sides (enger). A man's robe was usually made from blue, sometimes brown, dark green, or burgundy fabrics. Mostly Everyday degel was sewn. The main decor of men's outerwear was on the chest part of the upper coat (enger), where three multi-colored stripes were sewn. The bottom is yellow-red (hua ungee), the middle is black (hara ungee), the top is varied: white (sagan ungee), green (nogon ungee) or blue (huhe ungee). The original version was yellow-red, black, white. This division by color later formed the basis for the formation of the clans (omog) Huasai, Khargana, Sagaanguud. A mandatory attribute of a man's robe were belts, varied in material, manufacturing technique and size.

The decoration of the Buryat national costume. The men's costume was complemented by two elements - a knife (“khutaga”) and a flint (“khete”). Initially, things had a utilitarian meaning, but became elements of costume decor. During this time, the scabbard and the handle of the knife were decorated with embossing, gems and silver pendants. The flint looked like a small leather bag with a steel chair attached to the bottom. It was also decorated with embossed patterns. They carried a flint and knife on their belts. plaques

Women's national costume Women's clothing consisted of a samsa shirt and umde pants, over which they wore a degel robe. with the transition from one age to another, with a change in position in society, family, and strictly corresponded to the woman’s age. Clothes changed according to the rules. Girls wore long terligs or winter degels, girded with fabric sashes that emphasized the waist. At the age of 1415, girls changed their hairstyle and the cut of their dress, which was cut off at the waist, and a decorative braid covered the seam line around the waist. The girl's suit was missing a sleeveless vest. When girls got married, they braided two braids, in accordance with the rite of uhe zahaha (“hair braiding”). Close relatives of the groom and bridesmaids gathered to perform this ritual.

Women's jewelry was more elaborate. These included rings that were worn on each finger, sometimes even in several rows, and bracelets on both hands, and earrings, and temple rings, and chest jewelry. The latter consisted of many silver medallions, which could be square, triangular or round. They put prayers in them, which served as a talisman.

The national costume not only reflects belonging to a particular people or ethnic group, but also combines the culture of this people. His way of life, traditions and identity.

The national costume of the Buryats is no exception and clearly demonstrates the way of life and way of life that has been characteristic of this people for many centuries.

Buryats live in the territory of Siberia - the Republic of Buryatia, the Irkutsk region and the Trans-Baikal Territory. History also knows that there are extensive Buryat settlements in Inner Mongolia of the People's Republic of China, Mongolia, and Manchuria.

The Buryat costume is akin to many costumes of the Mongol-speaking and Turkic peoples. The Buryats have long been nomads, engaged in cattle breeding and hunting, and lived in the harsh Siberian climate. This largely influenced the presence in the national costume of many elements that give comfort and freedom of movement, practicality and all-season use.

At first, available materials were used in the Buryat costume - sheepskin, fur (arctic fox, fox, sable and others), natural leather, wool. Later, with the emergence of trade relations, silk, velvet, cotton, and jewelry made of stones, silver, and gold were added to the costume.

There are also tribal differences in the Buryat costume. Conventionally, the Buryats are divided into eastern and western clans relative to Lake Baikal. The traditional religion of the Buryats - shamanism and Lamaism (Buddhism) also contributed their own shades.

Buryat men's national costume

The traditional men's degel in the form of a robe with an upper side and a lower side was girded with a silk sash, a leather belt, decorated with silver and stones. Degel - the winter version of the robe was made of sheepskin, trimmed with fabric on top - silk, velvet. The summer version was called terlig - thinner, without insulation. Everyday degels were sewn from cotton fabric.

The male degel was necessarily decorated with three multi-colored stripes on top, called enger. Each color had a special meaning: black - fertile soil, blue - the color of the sky, green - earth, red - cleansing fire. The stripes of the Enger had a clear arrangement according to color, the upper stripe could be different according to belonging to a particular clan or tribe - the Enger was located in steps on the chest.

• The collar was shaped like a stand-up, the robe itself was not tight-fitting and allowed freedom of movement.
• The sleeves of the degel or terlig were one-piece for protection from winds and cold. The robe was fastened at the side with buttons. The number of buttons and their location also had a sacred meaning - the top three buttons on the collar brought happiness, on the shoulders and in the armpit - a symbol of wealth, the lower buttons on the waist were considered a symbol of honor. The buttons were made of silver, coral, and gold.
• The sleeve had a cuff - turuun (hooves) in the form of a cone. In cold weather, the cuff turned away and protected the hands. The front part of the cuff was decorated with embroidery and patterns symbolizing the number of livestock and prosperity.
• The length of the robe was such as to cover the legs when walking and riding a horse. In addition, one could lie down on one floor of the degel and hide on the other during migrations.

Under the degel or terlig a cotton shirt and pants made of leather or fabric were worn. A mandatory element of a man's suit was a belt. It was made from different materials and had different lengths and widths, and was decorated with stones and silver buckles. A knife, snuffbox, and other accessories were worn on the belt.

Women's national costume Buryat

Women's costume has undergone changes with age. Girls wore ordinary degels and terligs with a sash until adolescence.

With the onset of 13-15 years, the cut of the dress changed - it became cut off at the waist, and a braid was sewn onto the seam on top - a tuuz.

With marriage, a sleeveless vest was added to a woman's suit. It could be short in the form of a vest or long, depending on belonging to a particular clan. The front edges of the vest were decorated with ornaments, embroidery, contrasting ribbons or braid.

The undershirt was made of cotton, and trousers were also worn.

The most complex system was women's jewelry. In addition to traditional earrings, rings, bracelets and neck jewelry, Buryat women also had others - temple rings, chest jewelry, elegant belts, coral beads, and silver pendants. Some clans had shoulder decorations, side belt pendants, hair decorations, and amulets. Women's jewelry showed not only their clan affiliation, but also the family's wealth and social status.

Buryat women's jewelry was made of silver with stones made of coral, amber, turquoise and other natural stones. Silver jewelry had filigree forging in the form of national ornaments and patterns.

Headdress

Both men and women were required to wear a headdress. Headdresses were varied and varied among different genera.

Among the Western Buryats, the headdress had the shape of a cap, trimmed along the lower edge with fur. The top was made of velvet or other fabric, decorated with embroidery, coral beads, and braid. Fur was used from otter, deer, lynx, and sable.

They also wore hats like ear flaps made of fur with long pile - foxes, arctic foxes.

The Eastern Buryats had a cone-shaped headdress with a high crown and bent edges. Also popular was a hat in the form of a yurt or hill with a sharp end decorated with a bead or tassel - most characteristic of the inhabitants of Buryatia and Mongolia.

Headdresses also differed according to the geography of residence - Khorinsky, Aginsky, etc.

The Buryat headdress was a symbol of the sky, vitality, and a respectful attitude towards it was brought up. It was impossible to throw him to the ground, step over him, or treat him with disrespect.

Shoes

Buryat shoes were boots made of leather and felt on a flat sole with toes turned up. Curled toes were designed not to harm the earth and living beings when walking.

Both men and women wore such shoes. Shoes made of genuine leather were comfortable, hygienic and practical. Shoes were decorated with embroidery on the top or with contrasting stitch threads in the form of ornaments and patterns.

Winter boots were insulated with sheepskin fur and wild animals. Winter options are also presented in the form of high boots.

The summer version of the shoes was made of horsehair with flat soles.

Modern Buryat costume

Modern stylization of the national costume is extremely popular in Buryatia. Stylizations of degel of different lengths are used, in the form of evening dresses and outerwear. The original cut of the sleeves, collars, with inserts with enger - a stepped pattern of colored stripes, and cuffs are used.

Fabrics also deserve attention - silk, satin with patterns and textured embroidery, intertwined with silver and gold threads, traditional bright colors - blue, red, green, yellow, turquoise.

In modern fashion, stylizations of the Buryat costume in the form of an evening dress, blouse, coat, embroidery with ornaments, traditional patterns are popular, satin ribbons and braid are used for decoration. Silver jewelry with corals, turquoise, and agate are actively used.

In everyday life, you can increasingly see stylized national shoes in the form of UGG boots, high boots, and boots. And also hats with fur in the national style in combination with genuine leather and suede.

The traditional Buryat costume is worn on major national holidays - Sagaalgan (White Month - the onset of the New Year according to the lunar calendar), Surkharban (summer sports festival), at theatrical performances, religious holidays, and welcoming guests of honor.

Modern models of wedding dresses in the national style are becoming increasingly popular. Many artists use the national Buryat costume for their stage image.

As you know, Siberia is not the most densely populated part of Russia. Despite this, a large number of peoples who spoke a variety of languages ​​lived here for centuries. Among the Mongol-speaking peoples of Siberia, the Buryats are considered the most numerous. According to one version, their name comes from the words “bu”, which translates as “gray-haired” or “ancient”, and “oirot” - forest people. So it turns out that the Buryats are an ancient forest people with a special culture, traditions and spirit, which are most clearly reflected in the Buryat national costume. It is not only practical, but also filled with symbols and signs that serve as the key to understanding the entire culture of this amazing people.

A little history

We can judge what the Buryat costume looked like in ancient times only from the descriptions of travelers and diplomats who lived in the 17th - 18th centuries. There are no earlier written sources.

Some information can be obtained from ancient tales. For example, in the epic “Geser” it is mentioned that sable skin spoke of the nobility and wealth of its owner, and by the ornaments and decorations on the belt one could tell about the position in society of its owner.

The first descriptions of the Buryat national costume were left to us by the Russian ambassador to China N. Spafaria. From him we learn that in the 17th century. In Buryatia, cotton fabrics from distant Bukhara and China were popular. At the same time, clothes began to be made here from Russian and European fabrics.

At the end of the 17th century, Evert Izbrant Ides, a Dutch merchant, who in Russia was nicknamed Elizariy Elizariev's son Izbrant, was sent to head the Russian embassy to Beijing. Returning from the trip, he wrote a book about his journey, where he described in detail the winter and summer national clothing of the Buryats, as well as their headdress. Other travelers also wrote about the Buryats. And in the 19th century, scientists and researchers began studying them.

Peculiarities

The Buryats are a nomadic people living in a harsh climate. It was these two factors that determined what their national costume became. So, the average Buryat in those distant times spent the whole day in the saddle, and therefore clothes should not have bothered him. It protected from the winds and kept me warm in the cold. The Buryats were mainly engaged in cattle breeding, and therefore they sewed from what was at hand - leather, wool, fur. Silk and cotton fabrics were bought from neighboring peoples.

The Buryats lived over a large territory, at a considerable distance from each other, and therefore each clan had its own characteristics in costume. Sometimes the differences were quite significant.

Colors and shades

Robes - the main element of Buryat clothing in the old days, were sewn from blue fabrics. But there could be exceptions. Sometimes they were made of brown, burgundy or dark green material.

The men's robe was decorated with a special quadrangular side "enger", which had not so much a utilitarian as a symbolic meaning. Enger consisted of colored stripes, the top of which was supposed to be white. Later, when Buddhism began to spread among the Buryats, they began to make it golden yellow.

Among the Buryats, each color has its own symbol. Black is earth, home and homeland, red is fire and vital energy, blue is sky.

Fabrics and cut

As we mentioned earlier, the Buryats led a nomadic lifestyle and were engaged in cattle breeding. That’s why they made their clothes from skins, wool and fur. Cotton fabrics and cloth were bought at fairs that took place in Irkutsk, Kirensk, Nerchinsk, Kyakhta and other cities.

Since winters in Buryatia are harsh, the suit has winter and summer options. To sew a winter robe, which was called “degel,” they used sheepskin trimmed with velvet. The summer casual robe (“terling”) was made from cotton fabrics, and the festive robe was made from silk.

Robes were cut without shoulder seams. They fastened at the side. This protected from strong winds and warmed better. The length of the robe had to cover the legs both when walking and when riding. In addition, such a long robe could easily become a camp bed if necessary: ​​they lay down on one floor and covered themselves with the other.

Varieties

The Buryat national costume, like any other, had its own variations depending on the gender and age of its owner. As children, boys and girls were dressed the same. They wore straight robes similar to men's. The peculiarity of the men's robe was that it was not cut off at the waist, i.e. was direct. The sleeves were sewn on with raglan. Such a robe was always belted.

With age, my hairstyle changed. In childhood, girls and boys had one braid on the top of their head and the rest of their hair was shaved. At the age of 13-15, girls stopped shaving their hair and, after it grew back, they braided it into two braids at the temples. This was the first obvious difference between a girl and a boy. At the age of 15-16, girls were given a special “saazha” decoration on their heads. This meant that she could be approached.

After the wedding, the newlyweds had two special braids braided. Her clothes also changed. The set of clothes for women included a shirt (“samsa”), trousers (“umde”) and a robe. The women's robe, unlike the men's, was a skirt and jacket sewn on a waist. This robe was fastened with special buttons - “tobsho”. The sleeves gathered at the shoulders. All married Buryat women always wore sleeveless vests.

Accessories and shoes

The men's suit was complemented by two elements - a knife ("hutaga") and a flint ("hete"). Initially, these things had a utilitarian meaning, but over time they became elements of costume decor. The sheath and handle of the knife were decorated with embossing, gems and silver pendants. The flint looked like a small leather bag with a steel chair attached to the bottom. It was also decorated with plaques with chased patterns. They carried a flint and knife on their belts.

The Buryat costume is part of the traditional culture of the people. It reflects religious, magical, ethical and aesthetic ideas, the level of spiritual and material culture, relationships and contacts with other national cultures.

Traditional Buryat men's clothing is a robe without a shoulder seam, winter - degel and summer with a thin lining - terlig. The Trans-Baikal Buryats and Mongols are characterized by swinging clothing with a wrap around the left hem to the right with one-piece sleeves. The deep scent provided warmth to the chest, which was important during long horseback riding. Winter clothes were made from sheepskin. The edges of the degel were trimmed with velvet, velvet or other fabrics. Sometimes degels were covered with fabric: for everyday work - cotton, elegant degels - silk, brocade, semi-brocade, comb, velvet, plush. The same fabrics were used to sew elegant summer terlig.

The most prestigious and beautiful were considered fabrics woven with gold or silver - Chinese silk azaa magnal - patterns, images of dragons were made of gold and silver threads. In most cases, the robe was made from blue fabrics; sometimes the color of the robe could be brown, dark green, or burgundy. The collar of the robe was most often made in the shape of a stand; the edges were bordered with brocade braid (summer terligs), winter ones - with the skins of lambs, otter, and sable.

The main decoration of the robe was on the chest part of the upper floor (enger). The degels of the Agin Buryats were characterized by a wide stepped enger, decorated with three rows of sequential stripes of velvet. If the overall tone of the robe was blue, which symbolized the color of the sky, which protects and patronizes man, then the upper stripe was green - flowering earth, the middle stripe was black velvet - fertile soil that nourishes all life on earth, the lower stripe was red, a symbol of fire , cleansing everything bad and dirty.

The one-piece sleeves of both summer and winter men's robes were complemented by cuffs - “turuun” (hooves). They could be removable or tailored as an extension of the sleeve. In cold weather, they were lowered, replacing mittens. In warm weather they are raised and serve as decoration. The front part of the cuffs was made of velvet, fur, and brocade. The cuffs symbolized cattle - the main wealth of the nomads. The design of the cuffs in the form of hooves meant “the spirit, soul, strength of my cattle is always with me, with me.”

From one to three silver, coral, and gold buttons were sewn onto the collar. The next buttons were sewn on the shoulders, under the armpit and the lowest one - on the waist. Buttons were considered sacred.

The top buttons were considered to bring happiness and grace. During prayers and rituals, the buttons on the collar were unfastened so that grace could enter the body without obstacles.

The middle buttons regulated the number of offspring, honor and dignity.

The lower buttons were symbols of the fertility of livestock, the material wealth of the owner

According to the views of the Buryats and Mongols, a person’s longevity depended even on how buttons were fastened.

The canonical scheme of putting on and fastening - from bottom to top - starts from the shoes, then moves to the robe, while the buttons are fastened from bottom to top, and the hat is put on last.

Undressing is the reverse process. The right side of the body and clothing is sacred; From the right side, health, wealth, grace enters the body, and exits from the left side. The right hand gives, takes everything, the left hand is the giving hand.

There were peculiar rules when putting on the sleeves of a robe. Men put on the left sleeve first, then the right; women, on the contrary, put on the right sleeve first, then the left. This was explained by the fact that a man, entering a yurt, walks from the left side to the right (counted in relation to the entrance), and a woman - from the right side to the left. This custom was strictly observed during wedding ceremonies. Men's dressing gowns were made without pockets; Having girded themselves, they carried a bowl, tobacco pouch, pipe and other necessary accessories in their bosoms.

The belt served as a kind of corset, because during long horseback riding, the back and waist received additional support and were protected from colds. The belts could be knitted, woven from sheep's wool in dark colors, and were wide and long in size. By the beginning of the 19th century, such belts were no longer made, but silk and semi-silk factory belts were used, which were bought from Chinese traders. The most expensive, rare and therefore prestigious was considered a sash made of Chinese silk with a rainbow pattern.

The tradition according to which a belt was mandatory for men dates back to ancient hunting life. A leather belt with a deer tooth and the claws of a hunted animal was intended to help the hunter. Similar belts have been preserved and are found among the taiga Evenks.

The belt that children wore over their clothes was once also associated with an ancient custom and, according to Buryat beliefs, was supposed to protect children from evil spirits. From birth, the life of Buryat children was surrounded by protective measures in the form of magical ceremonies and rituals in order to preserve their life and health.

A belt is one of the sacred additions to a suit, a symbol of male honor and dignity. Nomads have proverbs: “Even though he’s bad, he’s still a man; even though he’s stupid, he’s still a knife”; “If you lift and support a man, he will be your support; if you push him, he will become a burden to you.” The belt played an important role in rituals. It sometimes became a way of expressing one’s attitude towards a person.

The ancient custom of exchanging belts was an act of establishing a friendly alliance or twinning, or as part of an elaborate script with ritual actions on the occasion of marriage unions. Those who exchanged belts became friends, brothers-in-arms or matchmakers. Often a brother-in-law became taller than his relatives. Often, when establishing twinning, they exchanged not only one belt, but a whole set of belts, including a knife in a sheath, a snuff box, sometimes a saddle and even a horse. Considering that these objects were made or decorated with precious stones and metals, their material value was great. The descendants, observing the custom, treated their fathers' brothers-in-arms with respect and showed them filial respect and reverence.

Certain prohibitions were associated with belts. Having taken off your belt, be sure to tie it in the middle with a knot and then hang it high on a nail or hook. The belt must not be thrown to the ground, stepped over, cut off, or torn off.

A knife and a flint, most often in pairs, were necessarily included in the equipment of men. The knife and sheath could be given as a gift in gratitude for some service or act as an exchange of gifts. The primary utilitarian function of the knife - as a weapon of defense, as an object necessary for meals with meat dishes - was supplemented over time with a new function - decorative: the knife became an object for decorating a costume.

The Buryats have long had a custom - at the birth of a son, the father ordered a knife for him, which he passed on to his son, thus it was passed down from generation to generation. If the belt is considered a symbol of male honor and dignity, then the knife is the repository of his soul, vital energy. It was impossible to transfer the knife to other persons, especially strangers.

Flint is a paired item with a knife - a flat leather bag, to which a steel chair is attached at the bottom. The front side of the flint was decorated with silver plates with chased patterns, among which zoomorphic, floral and geometric ones predominated. Tinder and flint stone were stored in a leather wallet, with the help of which sparks were struck and fire was made. Therefore, flint as a source of fire is one of the sacred objects in men’s equipment; they wear it just like a knife, on the belt, forming a triad - belt, knife and flint.

Both older men and women used tobacco. Elderly men and old people smoked fragrant tobacco imported from China, women used snuff, which was stored in snuff boxes. Buryat men's pipes were made of 2 types - with a long stem made of jade, "variegated" wood, which was also delivered from China, and short ones, which were made by local master minters. Smoking pipes for Buryats are an item that performs not only a utilitarian function, but is also of great importance in various rituals. Even if a man did not use tobacco, he was required to have a pouch of tobacco and a pipe with him, which he could treat to his interlocutor.

The headdress of both men and women was well adapted to the living conditions of nomads, and, in addition, performed symbolic functions. The Buryats wore different headdresses, which clearly showed regional differences. Traditional hats were sewn by hand, and store-bought ones were also worn.

In the Irkutsk region, the most common hat was a cap-shaped cap made of kamus, trimmed along the lower edge with lynx fur. They also wore hats made from otter. The round top was made of velvet, the lower cylindrical field was made of otter skins. Otter fur is expensive and very wearable, which is why they are sometimes worn today. This hat was considered elegant and festive.

Women wore “bizga” or onboard malgai hats. The top was made from a piece of fabric folded into soft folds. A circle of cardboard covered with fabric was sewn in the center, and the crown was trimmed with braid. Instead of braiding, flowers, leaves made of velvet, silk, brocade, and dyed feathers were sewn onto wedding hats.

Several types of hats were most popular.

The most ancient, one-piece, one-seam headdress with headphones, and a semicircular protrusion covering the neck. It was sewn from black or blue thick cloth.

The traditional “32-fingered hat” of the southern Buryats with a high conical crown and bent brim. The fabrics used were predominantly blue. A top in the form of a ball made of a piece of cedar covered with fabric was sewn onto the top of the crown, or an “ulzy” knot was tied from thick cords of fabric. A red silk tassel made of twisted cords or silk threads was tied to the pommel. The trim of the winter hat was made from the fur of lynx, otter, and fox. The number 32 corresponded to the number of 32 deities of Sundui. There is another explanation for the number of lines 32 - “32 generations of Mongol-speaking peoples.” Such hats with vertical stitches were worn by lamas, old women and boys if they were going to be sent to the datsan.

The Khori-Buryat headdress was sewn with 11 horizontal lines - according to the number of 11 clans of the Khori Buryats. On the headdress of the Agin Buryats there were 8 lines - according to the number of 8 Agin clans.

The Tsongolian hat is distinguished by a rounded low crown, a relatively wide band, widening above the middle of the forehead.

A headdress for a Buryat or Mongolian is an object endowed with special sacredness.

The shape of the headdress is hemispherical, repeating the shape of the sky, the surface of the yurt, the outlines of the hills and hills typical of the territory of Buryatia and Mongolia.

The cone-shaped shape resembles the contours of mountains - the abode of spirits, masters, deities. The cap is topped with a hemispherical silver pommel with a red bead symbolizing the sun. Red silk tassels flow down from the bottom of the bead - a symbol of the life-giving rays of the sun. Brushes also symbolize vital energy. The verbal formula that expresses the full symbolism of the top of the headdress sounds like this: “May my family multiply like the rays of the golden sun, may my life energy not dry up and flutter above me.”

The headdress contains symbols of 5 elements: fire, sun, air, water and earth. Vertically, the symbols of the upper world are the sun, the middle one is the mountains, and the lower one is the earth. Therefore, hats could not be thrown on the ground, stepped over them, or treated carelessly. When performing various rituals associated with offering treats to the spirits of the area, mountains, rivers, when meeting guests or conducting wedding ceremonies, the Buryats always wore hats.

Children's clothing for girls and boys was the same, because... Until the period of maturity, the girl was looked at as a pure being, as a man was considered, therefore, her costume retained all the elements of a man's costume. Girls wore long terligs or winter degels and girded themselves with fabric sashes. Upon reaching maturity at 14-15 years old, the cut of the dress and hairstyle changed. The dress was cut off at the waist, with decorative braid covering the seam line around the waist. The girl's suit was missing a sleeveless vest.

The hairstyle was varied, which always served as a sign of a person’s belonging to a certain age period. Girls wore one braid on the top of their heads, and part of the hair at the back of their heads was shaved off. At the age of 13-15, the braid on the top of the head remained, the rest of the hair was grown and two braids were braided at the temples. At the back of the head, 1-3 braids were braided from the remaining hair. This hairstyle signified the girl’s transition to the next age level and was the first sign that distinguished her from boys. At the age of 14-16, a heart-shaped metal plate was fixed on the crown of the head. Matchmakers could be sent to a girl with such a sign. At the wedding, the girl’s hairstyle was changed and two braids were braided.

Women's clothing had its own characteristics. The women's costume indicates their clan membership. A woman's wedding dress was worn over the dress, leaving the front open, and the hem at the back had a slit. They sewed an outfit from cloth and brocade. If in the men's robe the age periods were emphasized by the color of the fabric, and the design remained the same for all ages, then in the women's robe all age periods were clearly distinguished by the cut and design of the robe and hairstyle. The Buryats have a proverb: “The beauty of a woman is in front, the beauty of a house is in the back.” This proverb did not appear by chance and is connected with the fact that the front part of a woman’s suit was made of expensive, elegant fabrics, and the back was made of less expensive ones. This was most likely caused by a shortage of expensive fabrics.

Married women's outerwear was cut off at the waist. An elongated bodice with deep armholes reaching to the waist, a simple form of decoration of the bodice neckline, a not very deep fold of the left hem onto the right, a direct connection of the bodice and hem was characteristic of the clothes of the Hori-Buryats. Women's summer robes were most often made from blue lace; the seam line was covered only in the front with decorative braid.

In the clothes of a woman - the keeper of the hearth, the successor of the family, rounded shapes predominate: puffed sleeves on the shoulders, a lush hem gathered at the waist. When decorating, golden-yellow materials played a big role - various shades of smoky fur, sheepskin, and camus.

The clothing of older women was characterized by simplified forms and decorations. Elderly women sewed everyday robes from cheaper fabrics and darker shades; the sleeves became less elaborate. The sleeveless vest was retained as an addition to the suit.

A sleeveless jacket was a mandatory addition to the costume of a married woman in all areas of residence of Buryat clans and tribes. The hem of the sleeveless jacket was wide, the hems overlapped each other. Coins were sewn along the edge of the front, around the neckline, and around the armhole. Their dignity and quantity depended on the material well-being of the bearer. Sometimes round mother-of-pearl buttons or round metal plaques were sewn on instead of coins. Sleeveless vests were worn over dresses and fastened with one button at the collar. Sleeveless vests performed the ancient magical function of protecting the mammary glands and spine. The same was the role of a woman in the family as the keeper of the hearth, the continuer of the family. The absence of a sleeveless jacket in a girl’s suit is explained by the fact that while she is in her parents’ house, she does not perform these functions. And only wedding and post-wedding rituals transfer her to another age category - mistress of the house, mother.

The main purpose of a woman in the Buryat family and society was to give birth and raise children. Only when creating a family leading to the appearance of children is it possible to fulfill this role.

On holidays, a woman’s costume was complemented with a large amount of jewelry. Coral earrings were placed in the ears of a newborn girl, which, according to legend, served as a talisman against dark forces. The older she got, the more decorations complemented her outfit, but after the wedding their number began to decline, and by old age the Buryat woman’s attire became completely modest.

Coral kokoshnik hats are interesting. Their base was carved from birch bark, covered with velvet or silk, and corals, often complemented with amber and lapis lazuli, were sewn onto the front side. Several low corals hung along the circumference of the kokoshnik, and from its temporal parts long bundles of coral threads fell onto the girl’s shoulders. Women's braided jewelry is numerous. At the ends of the braids, figured plates with a bright red coral in the center were tied. For these purposes, Russian, Chinese, and Japanese silver coins were often used, which were carefully set into a silver ring decorated with a notch.

Common types of women's breast decorations include amulets. They contained miniature leaves with the text of a Buddhist prayer, conspiracies against illnesses and accidents, as well as images of Buddhas and lamas.

Buryat shoes differed from European ones in their cut; in addition, they also performed symbolic functions. The soles of Buryat boots have a smooth shape, and their toes are curved upward. This was done so that when walking a person could not disturb Mother Earth or harm the living creatures that lived in it.

Currently, Buryats mostly wear European costume. But on holidays, family celebrations, and religious services, they sometimes wear national costume. Recently, the clothes sewn by local craftsmen have increasingly used motifs and elements of national clothing. National clothes are also sewn for sale as souvenirs, as well as for giving to guests. Most often these are hats and gowns, sashes and other attributes

In Buryat and Mongolian ornaments, geometric patterns are widely used, the leading motifs of which are: alkhan khee (hammer ornament), sheremel sherdegey khee (pattern of a quilted mattress), ulzy (wickerwork), khas (swastika), circle.
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Alkhan hee
The ornament with the name “alkhan khee” is called hammer, since “alkha” means hammer in both Buryat and Mongolian languages. The variations of the hammer pattern are very diverse, but in essence it is a pattern identical to the classic Greek meander. “Alkhan khee” among Mongol-speaking peoples expresses the idea of ​​perpetual motion. In the old days, only especially valuable objects were decorated with hammer ornaments

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“Ulzy” braiding (endless knot) is an ancient ornament symbolizing happiness, prosperity, and longevity. This is a very revered and widespread pattern, it has many variations, but the most common is the 10-eye “ulzy”. It is depicted as a checkered or curvilinear weave in the center of the decorated object, sometimes woven with floral patterns. This sign can be depicted on any object made of metal, wood, or soft material, if the master wants to express the idea of ​​good wishes.
Ulzy is considered to be of Indian origin. In Buddhist art - a mystical diagram, one of the eight Buddhist sacrifices, meaning an endless cycle of rebirth in the human world.
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“Arc hee” circle has its own symbolic expression in the cultures of all nations, since the original circle was the disk of the sun, and everything was built according to this model and likeness. The ancient pre-Christian sign of the wheel is the sign of the Sun.

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A circle is the only line that has neither beginning nor end, and all points are equally distant from the center. The center of the circle is the source of endless rotation in time and space. The circle represents the sky as opposed to the square of the Earth.
In Buryat-Mongolian art, the image of a circle is found very often on metal products - quivers, men's and women's jewelry, on ritual clothing, and in furniture painting.
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It's a circle, but with swastikas.

"Has" swastika. A word made up of two Sanskrit roots: the noun “good” and the verb “to be” or “to consist”, i.e. "welfare", "well-being". Another interpretation of the word is the Sanskrit “su” - the sun bird and the deity of the seasons Astika. The ancient solar sign is one of the most archaic signs - an indicator of the visible movement of the Sun around the Earth and the division of the year into four seasons. Fixes two solstices: the summer and winter-annual movement of the Sun, including the idea of ​​the four cardinal directions. This sign, centered around an axis, contains the idea of ​​​​movement in two directions: clockwise and counterclockwise. Rotating clockwise represents masculine energy, counterclockwise represents feminine energy. At the same time, it has a moral characteristic: movement along the sun is good, against the sun is evil. The right-handed swastika is perceived as a sign of dominance over matter and control of energy. In this case, the flow of physical forces is held back, “screwed in” in order to control the lower forces.
A left-sided swastika, on the contrary, means unscrewing physical and instinctive forces, creating an obstacle to the passage of higher forces. Such a swastika is presented as a symbol of black magic and negative energies. As a solar sign, the swastika serves as an emblem of life and light. Sometimes it is identified with another solar sign - a cross in a circle, where the cross is a sign of the daily movement of the Sun.
The swastika was known in different parts of the world as a symbol of the four main forces, four cardinal directions, elements, and seasons. Another name for the swastika is “gammadion” which means it consists of four Greek letters “gamma”, the first letter in the name of the Earth goddess Gaia. In this case, it is considered not only as a solar symbol, but also as a symbol of the fertility of the Earth. In India, the swastika has traditionally been viewed as a solar sign - a symbol of life, light, generosity and abundance. In the form of a swastika, there was a wooden tool for producing sacred fire. Found wherever there are traces of Buddhist culture, it was carved in many temples, on rocks, stupas, and on Buddha statues. With the spread of Buddhism from India it penetrates into China, Tibet, Japan, and Siam. In China and Tibet it is used as a sign of all the deities who were worshiped in the Lotus school. Two curved, mutually truncated fragments of a double helix are known in the form of a swastika, expressing the symbolism of the Yin-Yang relationship. In Mongolia, rock and cave paintings dating back to the Bronze Age depict khas. Genghis Khan wore on his right hand a ring with the image of a swastika, into which a magnificent ruby ​​– the sun stone – was set.