Slavic amulets and their meaning - how to choose an amulet or make it yourself with photos and videos

Almost all Slavic amulets can be made with your own hands using simple tools. Our ancestors were very fond of manual labor, and various magical symbols were of great importance in their lives. At the same time, almost always all amulets, talismans and amulets were made independently.

In the article:

Making Slavic amulets yourself - a little theory
Do-it-yourself Slavic amulets - varieties
How to make a Slavic amulet with your own hands

Embroidery in the old days

Folk embroidery is a good example of using ornaments in everyday life. Previously, embroidery was almost the only way to decorate light outerwear, festive shirts, scarves, white canvas sundresses, hats, tablecloths, towels, curtains, wedding valances and hand-made amulets.

According to some assumptions of our ancestors, we can conclude that embroidery decorated mainly those parts of clothing through which unclean forces could penetrate the human body. This is where the main meaning of ornament and embroidery comes from - to protect, to protect. A similar protective pattern was used to embroider the hem, cuffs, collar and neckline. The fabric was considered impenetrable to evil spirits, since various protective ornaments were used in the manufacturing process. This is exactly how the amulets of the ancient Slavs were made.

For embroidering amulets, preference was given to red threads - this color was given an absolutely special meaning. However, shades were also used, for example: poppy, brick, currant, scarlet, cherry and lingonberry.

Ancient embroidery was done using counted stitches, where the threads of the fabric are counted for each stitch. The design was not transferred to the fabric, but only its size and location were outlined. The most popular and widespread stitches were “casting”, “painting” and “counted satin stitch”.

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The practice of using textile designs for medicinal purposes is well known in folk culture. The use of the simplest ritual signs (cross, etc.) is widespread in the practice of Russian witchcraft (Maksimov S.V. Unclean, unknown and godly power. - St. Petersburg: Poliset, 1994; Toren M.D. Russian folk medicine 19 - beginning 20 centuries; Popov G.I. Russian folk medicine (in the book: Toren M.D. Russian folk medicine and psychotherapy. - St. Petersburg: Litera, 1996), and ideas about the reasons for decorating clothes vary from the scientist “amulet ” to the common folk “so that your head doesn’t hurt.”

In the northern regions of Russia, such popular names for embroidered women's shirts as “healing”, etc. are noted. It is possible that the origin of the name is connected not only with the peculiarities of the cut of the shirt made of solid (uncut) linen, but also reflects the magical properties that this clothing was endowed with. There are numerous known facts of the use of clothing in magical rites of healing sick people. Thus, many rituals of “washing away” the disease in a bathhouse, pond, or the ritual of “baking” a sick child ended with putting on a new shirt - usually an embroidered one. The widespread belief in the healing power of patterns at the end of the 19th and beginning of the 20th centuries. forces us to assume the presence of an objective energy-informational effect of the ornament on the human body, regardless of the latter’s conviction and faith in its effectiveness.

The presence of such an effect is confirmed by simple experiment. We placed samples of an aqueous solution of a light-degradable dye (methylene blue) of the same concentration on different parts of the ornamental composition of the hem of a woman's shirt from Vologda so that bright sunlight fell evenly on them. After three weeks, different degrees of lightening of the solution placed on different parts of the pattern were visually clearly observed.

The search for a possible mechanism of action of folk textile patterns of a geometric type forced us to pay attention to the so-called “rule of equal size of background and pattern,” which ancient masters strictly observed somewhere before the turn of the 15th-16th centuries, and which is still preserved in the techniques of braided weaving belts and hand-knitted clothing in the Russian North. It consists of the following: the area of the background (“Earth”, in the terminology of the Smolensk region) and the pattern (“Sky”) of the symbol must be equal. Technologically, this execution of the pattern was ensured by appropriate threading of the warp threads onto the bobbin (thread). reed or mugs (plates); the technique of braided weaving on crosses, folk embroidery “in a set”; hand knitting with a beginning of 3 background loops per 3 pattern loops. Upon careful examination of such patterns, the observer experiences the effect of three-dimensional vision (observation by Ph.D., Academician of MADENM A.N. Komissarov).

Trying to understand the mechanisms by which this effect occurs, we discovered patterns in the proportional relationships between the parts of the pattern. They are associated with the rule of equal size of the background and pattern and allow you to objectively compare symbols of different shapes with each other.

They are best illustrated by the oldest technology for making textile ornaments - hand weaving. When the master works on tablets, thread or on the one that appeared in the 8th-9th centuries. In the reed, the pattern is stratified into upper and lower horizons, from which the ornament is woven in the middle space. It seems to illustrate the connection of two principles in the third (“Heaven” and “Earth” in the world of people?). In this case, a cellular structure appears in both the upper and lower horizons, and in the middle space - a truncated image of ornamental symbols. In the pattern design, the technological planes of “Earth” and “Sky” are expressed in a sequence by changing the colors of the background and pattern. The linear horizontal distance between each repeating point of an ornament, called its repeat in the technology of making a pattern, can be represented as a series of rhythmic impulses of one or several durations, such as a lattice. It is convenient to call it a rhythmic series, characterized by a certain frequency.

If we imagine this series in the form of circular (spherical) pulses of a certain magnitude (amplitude), the relative positions of their centers are related to each other according to the law of the Golden Section. Their graphic image looks like a spiral with a consistently and rhythmically changing distance between the turns, the total diameter of which determines the energy power of the pattern. Sections of impulses, the boundaries of which, as a result of their rhythmic repetition, coincide, form the actual shape of the ornamental symbol. Thus , the rhythmic series and its spiral structure reflect the proportional relationships within the form of the symbol. They are determined by the outline of the characters and do not depend on their size, thickness and distances between them (subject to the rule of equal size of the background and pattern). The structure of the rhythmic series is laid down by the trajectory of the pattern and is physically embodied in the manufacture of an ornamented product due to microdifferences in the distances between the levels of threads on its surface. Thus, the shape of the symbol only highlights certain sections of the rhythmic series, which are nothing more than superimposed fragments of the boundaries of individual vibrations - impulses that make up the spiral.

Depending on the depth of the horizon being viewed, one and the same rhythmic series can give different outlines of such areas and thereby determine different forms of visible elements of the ornament. Doubling, tripling (etc.) of the rows of a pattern, adopted in the weaving technique and being the principles of the formation of a border-type ornament, create a complex rhythmic field in the form of a skeletal grid, from which an almost infinite number of patterns can be isolated.

The characteristics of the rhythmic series are for the most part common to several types of ornament, united by one functional purpose.

Interesting observations can be made by regional comparison of rhythmic series and types of patterns with local geoclimatic conditions.

Thus, the use of the swastika (yarga, konika) - a symbol that has an original rhythmic sequence with a hexagonal lattice, is becoming widespread in places abounding in lakes, forest swamps, and underground water veins. A typical example is the Kasimov district of the Ryazan province, where all kinds of swastikas literally covered folk clothing from head to toe. This region is characterized by anomalous geodynamics, and due to the composition of the earth’s rocks, it has an increased natural radiation background. There is a geological region called the Oksko-Tsninsky swell located here. It is characterized by thick coal deposits and limestones with developed karst (underground voids) [Dvorov I.M. Natural resources of the Ryazan region. - M.: Nauka, 1965. - P. 41 - 43]. Its territory practically coincides with the distribution area of the famous swastika ponies, unique and characteristic only of this region.

S-shaped meander ornaments also seem to be characteristic of territories within which a large number of geological anomalies are known: the boundaries of the zone of widespread S-shaped compositions in folk clothing are close to the boundaries of the Kursk magnetic anomaly. The same is true for the Kola Peninsula.

We were able to trace the presence of identical fragments of the rhythmic field in patterns made on various parts of women's clothing and towels in different places of the Kaluga region, geographically distant from each other. The fragments set a specific rhythm, apparently characteristic of a given region and, presumably, associated with the geoclimatic characteristics of relatively large areas.

45% of all patterns known to me that existed at the end of the 19th - beginning of the 20th centuries. on the territory of the Perm region, contain a characteristic rhythm of 6 - 3 - 6 - 9; The vast majority of patterns in the Arkhangelsk region include the rhythm 9 - 3 - 3 - 3 - 9. The latter can be traced in 13% of cases in the Perm region. Apparently, these facts reflect the presence of some common geomorphological structures. According to our observations, each region is characterized by the presence of a specific rhythmic component in the rhythmic field of patterns characteristic of its territory.

It can be assumed that the rhythmic series of the pattern of folk clothing is an oscillatory circuit that coordinates the natural fluctuations of both the electromagnetic field of a person as a whole, and individual internal organs, with the electromagnetic field of the Earth (and through it, possibly, with the electromagnetic fields of the Universe as a whole). It is formed by a combination of a certain number of spherical vibrations, which, as a rule, have the same amplitude, but different frequencies and directions (toward and away from a person). The contours are mutually harmonized, as a result, a harmonic oscillation of a certain frequency appears, expressed by a pattern, and the nodes of the newly formed lattice are organized according to the principle of the golden section.

This multiplicity is a kind of “sieve”, after passing through which electromagnetic vibrations of a certain frequency change their characteristics to more harmonious and favorable for the human body.

When making a pattern using traditional methods, the exact distances between the nodes of the “lattice” (centers of vibration), while generally maintaining the proportional relationships between them, are determined by the thickness of the weft thread for belts and braid or the thickness of the warp thread for braided patterns.

The use of thread as a basic unit, whose thickness varies in each specific case, makes the principles of making patterns of Russian folk clothing similar to the canons and measuring systems of ancient Russian architecture. These systems ensured “the proportionality of the parameters forming them to some kind of implicit... irrational size” (Chernyaev A.F. Gold of Ancient Russia. - M.: Belye Alvy, 1998. - P. 83). As a result, the occurrence of resonance phenomena destructive to the human body was excluded and the constant reproduction of favorable ri was ensured. Likewise, patterns live in pulsating rhythms according to the laws of the golden ratio, which simultaneously describe both the rhythms of human radiation and the rhythms of geomagnetic fields.

In fact, rhythmic rows and fields were often depicted in folk weaving in their pure form : as circular lattice fields on towels and tablecloths. Researchers usually cannot unambiguously interpret their meaning. They are popularly known under the names “paints”, “frost”, “spider” or “Native Land” (Belarusian).

Sometimes such a simple vibrating “lattice” frames the edges of a large pattern or belt, sometimes it itself is the depicted object. The rhythmic series has its effect on the human body at the point where the point overlap changes, changing the static electromagnetic field, and also due to the fact that the edges of clothing form a closed ring around the limbs, neck (collar, sleeves) and the body itself (belt, hem). A closed vortex space appears around a person, which, according to kinesiologist O.V. Deeva can have a detrimental effect on certain types of microflora that are hostile to humans. Apparently, it is no coincidence that belts in folk tradition were tied only by wrapping them around the body 2-3 times. In addition to general territorial rhythms, we have identified a number of specific rhythmic series of vibrations intended for placement in the zone of the belt, shoulder, head, hem, which have characteristic typical features.

primarily has such features . Its initial rhythm contains the proportions of the golden section, and the size (amplitude) of its rhythmic spiral, it would seem, is not strictly defined. It seems to pulsate in a numerical sequence, being both minimal and infinitely large, and any whole number - a point, a gap between these extremes - like a new life ripening in the womb of a future mother. But these dimensions always form the proportions of the golden section. Sometimes this rhythm is included as an additional vibrational spiral in the central part of some ornamental compositions, the purpose of which is to symbolically increase what is already available (harvest, prosperity, etc.).

Speaking about the “young woman’s pattern,” it is impossible not to touch upon the topic of prenatal correction of the fetus and the possible regulation of childbirth through the use of textile patterns on the poneva. As you know, the classic Russian poneva consisted of three stitched panels, the width of which was determined by the technological capabilities of the weaving mill and was approximately the same throughout Russia. The number of “eyes” on each poneva panel was strictly regulated depending on the woman’s reproductive capabilities: 14-12 for young women; 10 - for a married woman; 8 - for a soldier or widow; 6 - in a woman of post-childbearing age.

We assume that the frequency of the resulting rhythmic series influenced the female body, helping to cope with the problems inherent in each of these ages.

The rhythmic field of ornamental compositions on funeral objects and those associated with the cult of ancestors in general is distinguished by a sharp asymmetry in the magnitude of impulses in different parts of the pattern. They combine two or three rhythmic spirals of different diameters (oscillations with different amplitudes are used). At the same time, all other patterns that have the same connections include spirals with different rhythms, but the same diameter (oscillations with the same amplitudes).

The rhythmic series of folk patterns are built primarily on the basis of alternating rhythms of 3, 6, 9, 15 units of measurement, corresponding to the thickness of the linen weft thread. In more complex and large-scale compositions, rhythms of 18, 21, 24, 27, and sometimes 36 units appear. The first four values (3, 6, 9, 15) correspond to the average values of the electromagnetic frequencies of the human brain - alpha, beta, delta and theta rhythm. Most of the rest have analogues in the wave structure of the Solar System and the Universe. Modern bioresonance therapy uses induction therapy with frequencies of brain currents, which is characterized by the ability to stimulate self-regulation of the human body as a result of the “learning effect” that occurs during the influence of induction fields on individual parts of the human brain [Gotovsky Yu., Kosareva L. et al. Exogenous bioresonance therapy fixed frequencies. - M.: Imedis, 2001. - P. 33]. It is possible that folk ornamental compositions have a similar effect.

According to research by specialists, a frequency of 15 Hz corresponds to the frequency of the largest control center of the human body, the solar plexus (ibid., p. 61), while a rhythm of 15 units is characteristic of a number of folk patterns used when decorating belts.

It is no less noteworthy that the frequency signals of spontaneous bioelectrical activity of healthy and diseased organs of the human body differ in symmetry: the disease is characterized by asymmetric signals, which corresponds to the practice of using folk patterns with the asymmetric structure of the rhythmic field described above to decorate products associated with the world of ancestors and the funeral cult ,.

Using the DiaDENS therapeutic device (manufactured in Yekaterinburg, Russia) using the Voll method, we measured changes in the BAT potentials responsible for the state of certain meridians (control and measuring points) before and during contact with drawings of folk ornaments of that area of the human body that adjacent to the organ associated with the meridian being studied. To exclude the psychosomatic influence of the pattern, the studies were designed in such a way that the subjects could not see the tested patterns.

Measurements showed the ability of specific patterns to normalize the BAP parameters of individual meridians and, therefore, have a beneficial effect on the functioning of the associated internal human organs. Thus, the maximum difference between the device readings before and during the application of the “hooks (swans)” pattern in the projection of the upper part of the lungs and bronchi was in one case forty units - from the value “final organ degeneration” to “normal”. This area of the human body in a women’s folk costume is covered by parts of the shirt called “poliki” and “mantle”, for the decoration of which this particular pattern was often used.

Repeated application of the image of a vibration series characteristic of the “swans” pattern to the same zone, instead of the pattern itself, gave a similar effect with a difference in stimulation of ten units: thirty instead of forty, confirming the decisive factor of the rhythm of the rhythmic series.

The rhythmic pattern of the “swans” pattern is a combination of a rhythm of 3 and 9 units: three rhythms of 3 units, one of 9 units. In bioresonance therapy, frequencies up to 4 Hz affect the blood, lymph, muscles and skin; and the frequency of 9.4 Hz is used by IMEDIS for the treatment of the upper respiratory tract. One can only guess how coincidental the popular name of this pattern is “swans” - after all, birds in the popular imagination have long symbolized the element of air, which a person breathes with the help of the same lungs.

The observed effect of normalization of BAT parameters always showed a strict correspondence between the place of the pattern in the ornamental composition of a folk costume and the area of its influence on the human body.

Thus, the ornamental complexes of women's headdresses consist of combinations of rhythms of 6 and 3 units, and the latter are repeated many times. These rhythms correspond to the frequencies of sleep, trance and stimulation of imaginative thinking of the human brain (delta and theta rhythms), and the frequency of 6.3 Hz in the practice of bioresonance therapy is used to influence the parasympathetic and central nervous system

According to the diagnosis of the mentioned kinesiologist O.V. Deeva, these patterns have a beneficial effect on the functioning of the brain; and our measurements of BAP parameters show that under the influence of the drawing there is an effect of normalization of values at the points of the hypothalamus - the center of autonomic regulation of the human body.

It is characteristic that the effect of a pattern on the organ corresponding to it always has a harmonizing character and does not depend on the state of the pathological process in the organ or meridian (exhaustion or overexcitation): in any case, the BAP potential readings are normalized to a certain average level.

According to our data, groups of patterns with characteristic rhythmic series are clearly identified that control the functioning of the central nervous system, lungs, heart, liver, gastrointestinal tract, as well as the solar plexus area. Not a single case of negative impact of folk ornament on the body of the subjects was recorded.

The properties of the pattern are determined by the frequency of the rhythmic series. However, which organ (group of organs) or meridian the pattern will have a positive effect on is partly related not only to the frequency parameters and rhythm, but also to the shape, and perhaps, to the proportions of the pattern.

Thus, variants of the “hooks” pattern have the same characteristics of the rhythmic series, but only the “Swans” variant has a harmonizing effect on the respiratory organs. The second pattern is associated with the state of the human immune system as a whole; it has a moderate irritating effect on the pericardial meridian. Again, residents of the Russian North consider it a sign of fire, depicted on women's clothing.

The swastika also has a sharply stimulating and sometimes irritating effect on the meridians (at least outside the boundaries of the geoclimatic zones in which it was widespread).

The connection between the form of a folk ornament, its rhythmic sequence and the territory of distribution deserves special attention , but, unfortunately, data on the nature of changes in the details of patterns in nearby areas is extremely scarce. So far it is possible to trace only the presence of specific rhythmic components in the rhythmic field of folk ornament, available within, for example, the former Kaluga province; but a serious interpretation of such specifics is not yet possible due to the lack of necessary information.

During the experiment on measuring BAP potentials using the Voll method, we encountered the following indicative fact: the tested textile pattern, characteristic only for the territory of historical Scandinavia (there are very few such exclusively “local” patterns in general) and having an unusual original series, did not manifest itself in any way in relation to to subjects living in central Russia. The only recorded fact of the “activity” of this pattern when applied in the area of the solar plexus occurred in a person... whose ancestor was a Scandinavian who moved to Russia in the 17th century.

The vibrations that make up the rhythmic series have a polar direction, which can be symbolically described as the mutual direction of the forces of Heaven and Earth, male and female, Reveal and Navi - the conditional “plus” and “minus” perceived by sensitive people. As a result of the rhythmic alternation and overlapping of two principles, the directions of the flows of these forces of a complex configuration, intertwining and diverging in different ways, should arise; which is partly reflected by the shape of the pattern. The slightest changes in its internal correspondences disrupt the rhythm of the rhythmic series and, consequently, the spatial configurations of forces. Is this why the rule of equal size of background and pattern was so strictly observed in folk culture, ensuring the stability of this series? We can say that rhythm not only sets the general shape of the symbol, but also controls the energy flows of the simplest multi-polar energies and structures their interaction.

So, the rhythmic series of the ornament determines its appearance and frequency modulation characteristics. We perceive the external image visually. As mentioned above, geometric folk textile patterns have a three-dimensional effect.

Stereo perception (3D vision) is based on the ability of the visual system to accurately determine the position of an object in space due to the fact that the retina receives two different signals about one point.

According to a number of data from modern studies in the field of psychology, this ability to see is determined by the genetic characteristics of the biochemical composition and structure of the cells of the human brain and nervous system that conduct nerve impulses - neurons, that is, the generic biological code (DNA) of a person.

But the symbols of a folk ornament, made in compliance with the rule of equal size of the background and the pattern, have a specific rhythm that sets a certain rhythmic wave during its visual perception and transmits it along a chain of neurons to various parts of the visual cortex of the brain. Each of its sections processes incoming signals of different impulses in a certain order, which makes it possible to manifest different reactions in the body. At the same time, any light wave makes oscillatory movements in a certain frequency range, which affect the cell, its structures, as well as the human genome.

Depending on the range of frequencies occupied, wave oscillations of different amplitudes occur, which resonate with individual sections of DNA and the genetic code of a given individual as a whole. The structure of DNA contains a genetically transmitted (ancestral) memory, which has a specific reaction to certain types of excitation. If its structure contains similar parameters of information-wave processes, it will be possible to respond to a given stimulus, as a result of which unexpressed genes from the individual’s gene pool can be activated. As a result of this impact on the ancestral genetic program, the ancient genetic (“ancestral”) visual memory will “awaken.” Therefore, when observing such a pattern in a three-dimensional image, various additional symbols appear to the observer, the appearance of which depends on the genetic ancestral memory of the person looking (observation by A. N. Komissarov). From very ancient symbols (up to the images used by our ancestors during the Stone Age), related in meaning to the pattern in question, in people who have retained the genetic ancestral characteristics of the nervous system and, as a result, often personal individuality; to any random set of graphic images in an observer with weak “ancestral memory”, blurred genetic characteristics of the genus.

At the same time, the rhythmic structure of a folk ornament and the proportions of the GS, embedded in the form of its individual symbols, have the ability to smoothly physically transform the genetic characteristics of neurons (and, consequently, all human DNA) in the same way as any source of wave oscillations does when influencing different structures of the cortex brain. Similar studies were carried out with a sound wave and, based on their results, conclusions were drawn about the connection between the structure of DNA and the rhythmicity of wave oscillations of any origin [Garyaev; Chirkova, S.107 -113; Crawl]. In addition, persistent neuro-peptide connections are created in the cerebral cortex, which are responsible for this area of information for the rest of life, creating a persistent holographic image in the cerebral cortex. Thus, observing a folk pattern will harmoniously change the physical characteristics of a person, revealing his hidden qualities. This change is reinforced by the tactile frequency-modulation effect of the rhythmic series of ornaments that occurs when wearing ornamented folk clothing

But a folk textile ornament is folk because it reflects national, tribal, and finally, physical characteristics characteristic of a group of people living in certain geoclimatic conditions, in order to ensure survival in which a human individual acquires certain physical and biological characteristics and psychological standards of social behavior. They form the images (archetypes) that determine the characteristics of folk ornament - both physical rhythmic and frequency components, and their figurative and philosophical understanding. Consequently, by visually observing folk ornamental compositions, we not only constantly maintain our psychological, personal identification with a given clan and nation, we do not just maintain our ancestral memory - we, in the literal sense of the word, physically transform our genes (DNA), maintain our biological characteristics representative of the clan, age, national team.

This transformative effect of visual perception is supported and reinforced by the tactile frequency-modulation effect of the “decoration” of folk clothing. This means that, observing in our environment products decorated with folk ornaments, wearing folk clothes or clothes with elements of folk decor, we physically preserve our genetic, national, generic characteristics and standards of behavior, regardless of what the genetic composition of our blood is. Moreover, we gain the opportunity to gradually, over time, acquire those genetic characteristics that, for some reason, we personally (our family) were completely lost, but were originally present in our nation or collective living compactly in a given area; and were aimed at solving the problem of survival in its special conditions: from physical condition (health, possibly appearance, physical and biological characteristics, etc.) to psychological stereotypes and characteristics of behavior, and possibly that higher principle of a person, which is called spirituality .

What if the violation of the principle of equal size of the background and pattern by the 19th century (meaning the emergence of rhythms of the ratio of background and pattern 3-5, 5-6, 3-3-1-3-3, etc.) did not simply reflect the processes destruction of ancestral memory, but was it justified due to the changed characteristics of DNA at that time? For example, to ensure resonance with the new genetic characteristics acquired by that time to ensure the process of preserving some key genetic characteristics of the nation.

A natural question arises about the source of this kind of knowledge in ancient times. During the discussion with interested researchers and practitioners, several versions that are currently equivalent were born.

The simplest and most natural way to obtain information about wave oscillations is to observe their analogues in Nature. These are circles scattering across the water from a stone falling into a lake, or craters left on the sand into which a stone also falls. Several simultaneously fallen or thrown stones could give a general idea of vibration fields and spirals (suggested by Ph.D. N.N. Speransky).

It is also possible that the reason is probably the previously widespread but now lost ability of our ancestors to directly perceive (or even see) electromagnetic fields and the wave picture of the world. Today, similar abilities are possessed by migrating birds and animals that navigate their travels along the power lines of the Earth’s electromagnetic field. The very first ornamental compositions , built according to the rule of equal size of the background and pattern on the surface of pottery (pit-comb ceramics, etc.), date back at the earliest to the Neolithic era - the time when man was finally formed as a species and a social being. In addition, the force structures of the electromagnetic field can be directly observed on the surface of the Earth. We are talking about the so-called interference grid, which manifests itself in the form of geobiological networks (Hartmann, Kurri, etc.). The understanding of such structures, which in one form or another were undoubtedly taken into account in the everyday life of people of the past, could form the basis not only of ornamental compositions, but also of calendar systems that have a rhythmic structure similar to electromagnetic oscillations and associated with them (proposed by S.E. Ermakov). It is probably no coincidence that in the practice of folk culture, exceptional importance was attached to the connection with the Earth - the Mother-nurse.

In search of a source of such knowledge, we made drawings of the ancient diagram of the structure of the Universe given by A. Ivanchenko. As a result, two matrix diagrams were obtained, reproducing the basic forms of symbols of folk textile patterns and associated with the Russian folk agricultural calendar. They are characterized by ease of construction, memorization and reproduction; the use of the principles of GS and the similarity of parts to the whole, similar to compositions in the ornament of a folk costume.

The tradition of ornamentation of folk clothing embodies the mechanism of correction of a person and his interaction with the entire environment, and in this regard, we can talk about the existence of a correctional system of influence “Man - The World Around Us”, the basis of which is the rhythmic structure and proportions of the shapes of the ornament symbols, built on the basis of gold sections.

Regular use of folk textile ornaments allows us to help solve many painful problems of our time : improve physical health, develop human adaptation mechanisms to unfavorable changes in the situation on Earth, physically preserve the ethnic group in modern conditions, etc. The study and knowledge of the patterns of the physical and psychological impact of folk ornament on a person makes it possible to meaningfully control the course of his physical, spiritual, national and historical development.

Author Severyanin

What is the essence of the amulet

The name fully corresponds to the essence and calling of any amulet - to protect and protect a person from any adversity. In other words, the amulet should protect the owner from illness, failure, damage or the evil eye. Among other things, homemade amulets can protect a person from any effects on the emotional sphere, soul or psyche. They will perfectly protect a person from love spells, severe depression, the imposition of someone else’s will and suggestions from the outside.

Therefore, magical objects became amulets, which over the course of several centuries proved that they could protect and protect people from unfriendly forces. The amulets are very diverse - they can be bracelets, patterns stylized as symbols of the patrons of the family or ancient deities, beads, decorations on trim, shutters, windows, above the gate, roof or porch of the house.

Today, the skills of our ancestors in everyday defense have been almost completely lost. The disappearance of constant reliable protection turns us into quite easy and defenseless prey for the unwanted influences of dark forces, and we are not even able to notice it. But this could have been avoided if we had, for example, made a talisman for the doll with our own hands. Then you wouldn’t have to seek help from doctors so often, complaining of headaches, general malaise, irritability, weakness or insomnia.

They always carried the “Wisher” doll-amulet with them. Having sewn a new ribbon or button to it, they asked for a wish to be granted, while making a wish in a whisper, in her ear.

The “Ten-Handed” amulet doll helped to keep up with housework, raise children, etc.

Bereginya doll: meaning and history

The names of almost all Slavic traditional motankas indicate what they were used for. The meaning of the Beregini doll can also be understood by its name. This amulet doll was made to protect the family nest from squabbles, troubles and lack of money.

Bereginya is the main protective doll in the house.

Beregins, like other rag dolls, were made only by women. Men were not allowed to help and were not allowed to observe the process. It was believed that the presence of male energy could negatively affect the amulet and dispel the interweaving of female emotions and thoughts embedded in the talisman.

Mothers made cloth protectors for newborns to protect their babies from evil spirits. Such a talisman was placed in a cradle. The motanka distracted the attention of dark forces from the child, taking all the negativity onto itself and served as his first toy.

When the children grew up, the women passed on to them the ability to wind Bereginya. But only girls were taught this. Having reached 12 years old, the little ones made their first doll. If it turned out well, it was hidden in a chest along with the rest of the dowry.

Often these dolls were passed down by inheritance. Having absorbed the love of a mother, such a doll became a powerful amulet for her children and for all subsequent generations. These dolls were disposed of only in the most extreme cases - when they were completely falling apart from old age.

How do amulets work?

First of all, the impact of amulets is directly related to the color of a person’s aura. Thus, by putting on a talisman of the correct color, we gain the opportunity to painlessly and quickly remove energy breakdowns in the aura, which may well be dangerous to life or health.

It remains to understand which amulets can really be useful. Naturally, the most powerful are your personal amulets, passed down by inheritance: rings, rings, beads, earrings or any other thing that brings happiness. Typically, such items are more often passed down through the female line and much less often through the male line - in the form of a belt buckle or knife. If your family did not have such a practice, and therefore similar amulets for the home are not observed, then you will have to make them yourself.

In this case, let's consider the most effective and simplest remedy - protective embroidery. It is best to embroider figures that have a traditional protective meaning: the silhouette of a rooster, a dog, a fairy-tale bird with a woman’s face, a horse and flowers. These symbols have been around since the times of pagan gods who were friendly and protective of people. This option is especially suitable for protective appliqués and embroideries on children's clothing, since it is more convenient for the child than heavy bracelets, rings or beads.

In general, there is such a rule: a really strong amulet cannot be bought. It must be found among those things that were passed down in your family by inheritance.

However, this happens quite rarely. But any tradition needs a founder, doesn’t it? So why don’t you create a talisman yourself, so that it can then be passed on to your descendants, be they children, grandchildren or great-grandchildren?

What time can you embroider?

The time of embroidery of Slavic amulets is associated with the lunar calendar . Depending on what kind of amulet is being created, the time for starting work is selected.

Children's amulets - 2 lunar days.
Symbols of Veles - from 4 to 6 days.
Makosh, woman in labor, wedding man, Ladinets and Molvinets - the tenth day of the waxing Moon.
Overcome the grass - embroidered only on the waning Moon.
From the evil eye and damage - they begin work exclusively on the 21st day of the lunar calendar.

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If you start working on other days, the item will still be protective, but not as strong . Even if a mistake was made in the start date of embroidery, you should not be too upset.

Materials for embroidering amulet

Cotton

For constant protection from damage and the evil eye, choosing cotton threads is more suitable.

Linen

Linen brings peace and works best if you use ancient patterns and symbolism, such as trees, the sun, birds and stars.

Wool

Those who have already been touched by evil will be well protected by wool, as it can close gaps in energy. It is best to perform embroidery with wool in the area of the solar plexus, neck, lower abdomen, heart, in other words, where the main chakras of people are located.

Usually the silhouettes of those animals that you like are embroidered with wool, and somewhat less often - fruits and trees. It is not recommended to embroider stars and birds with woolen threads. But the sun is quite suitable, because it can protect you from darkness and cold on your life’s path.

Silk

Silk, in turn, is a great help in various difficult situations related to work and career, as it maintains clarity of thinking.

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Mistakes in making amulets

You should not embroider several protective patterns of different purposes and materials on one thing. It is preferable to choose a separate item from your wardrobe for each embroidery, otherwise such a talisman will bring energetic confusion instead of the desired result.

Remember, you should not use threads of different materials in the same pattern.

It is important to take into account that protective embroidery must be smooth, without knots. Knots can break the necessary energetic connection between the embroidery and its owner, making it difficult for the smooth and correct flow of energy.

Making magical talismans

To make Slavic amulets at home, you need to follow some rules. Only in this case will the talisman work exactly as expected.

Many people buy ready-made talismans, explaining this by lack of free time. Making a talisman for your home is not difficult: no expensive materials are required, and production will take little time. And if you also involve children in this process, the benefit will be double: the amulet will become truly family-friendly. Children will gain invaluable experience passed on from generation to generation.

Rules to follow:

You cannot start making amulets and amulets during the waning moon. Everything touched by magical items made at this time will melt and shrink, like a celestial body.
The creation of magical objects should be approached as a special event - in a good mood, with desire.
Symbols and places for their location must be selected in accordance with their purpose.
Talismans in the house should always be kept clean. Otherwise, their energy may change to negative.
Purchased amulets must be kept for 12 hours where they can be filled with solar energy. To give them magical properties they are fumigated with incense.

Choosing the location of protective embroidery

Circular - they are also traditional, embroidered on the sleeves, collar, hem, and belt.

All the rest are non-traditional and perform various protection functions:

protecting the baby from troubles - the silhouette of a rooster or horse, embroidered with black or red thread; for older children, for example, schoolchildren - a violet-blue color scheme that protects against mental fatigue;
protection of the sphere of relationships (love) - cross-shaped and circular patterns embroidered with orange-red threads;
successful business management in any field of activity - golden-green or blue embroidery.

What are the most powerful amulets for the home?

Faces are icons made of solid material, created to attract Patrons.
Churas are stone or wooden figurines for glorifying the family.
Panel - embroidered with ornaments, signs, with artifacts, decorated with horseshoes.
Amulet – worn by household members and pets. Made from clay, wood, thread.
Embroidered pictures, images and stories of the Gods.
Dolls - you can use the bright magical “God’s Eye”, “Bird of Happiness” made of cedar, spruce, fir wood.
Weathervane in the form of a rooster or horse.
Symbols of the Sun on shutters and trim.

Types of ornaments

The emergence of ornament dates back to a time when the advent of writing was still far away. This is confirmed mainly by the fact that ancient man, who dug dugouts for himself, dressed in the skins of killed animals and warmed himself by the fire, necessarily decorated most household items with various ornaments. On the tools and clay vessels of people of that time, you can see the simplest patterns: wavy and straight lines, dots and diamonds.

It is quite difficult to read such signs, but scientists are diligently unraveling these mysteries.

Everyone knows that in ancient times man was a hunter. Of course, he knew that the main strength of the animals lay in their tusks - real weapons in the fight for life. The tusk itself or its cut was depicted in the form of a diamond. This sign contained power and strength. It is for this reason that ancient people painted it on surrounding objects and their own bodies.

Diamonds running over each other were a sign of good luck, fertility and successful hunting. The man asked the Earth, Sun and Sky for good luck and cast the necessary spells so that his fields would be productive. To do this, he had to repeat patterns.

Besides:

horizontal lines symbolized the earth;
the points between the lines are grains thrown into the ground;
wavy lines - water;
oblique lines are a symbol of rain crossing the road to the sun.

In ancient times, masters often painted signs symbolizing the sun - solar signs. Over the millennium, the sun has received a huge number of variations in the image, among which there are various types of crosses, whether in a circle or without it. Some similar crosses, outlined in a circle, resemble images of a wheel, and this is not just so: people saw that the sun moved across the sky like a fiery wheel. The celestial body, or rather its eternal movement, was designated by a swastika, a hooked cross, denoting not only the sun, but also a wish for well-being. Most often it can be found on northern embroidery on shirts, towels and in swearing weaving.

Old ornaments can tell us many secrets. Unraveling the meanings of symbols, we understand that this language of symbols conveys to us the attitude of our ancestors to nature. The masters drew the necessary spells in the form of an ornament, asking nature for protection, protection and mercy, bowing before its power. After this, the people with special care selected and preserved those signs that contributed to abundance, goodness, luck and a good harvest.

Do-it-yourself Slavic amulets - varieties

As mentioned above, amulets and methods of creating them could differ radically. Embroidery played a very important role in Slavic culture, even after the transition to Christianity. This was a traditional activity for all girls and women. At the same time, each pattern had its own deep meaning - every thread, every stitch was important. There were separate days on which embroidery could be practiced, and the set of rules was incredibly large. The simplest ones, for example, say that embroidering patterns on men's clothing should have taken place on “men's” days of the week - Monday, Tuesday and Thursday, and women's - on Wednesday, Friday or Saturday. On Sunday, as an important church holiday, it was not customary to embroider.

Wood carving occupied an equally important place in the life of our ancestors. Almost all houses and pieces of furniture were created exclusively from wood. There were legends about the skill of Slavic carpenters - even now you can find buildings that have lived for half a millennium, having been erected without a single nail. At the same time, each person sought to decorate his home, however, almost all ornaments also carried a certain protective meaning. Thus, doorposts were always decorated with protective symbols to discourage thieves from the house.

Decoration of the Slavs 9-11 centuries.

Blacksmithing and jewelry making were practically not separated among our ancestors. Even village blacksmiths knew how to make not only simple and crude tools, but also delicate products with precious stones. Rings, pendants and chains are found in the burials of various cultures that existed on the territory of Rus' several thousand years before the present time. At the same time, blacksmithing in itself was in many ways considered a magical craft, the secrets of which are not revealed to everyone, and many blacksmiths were not only respected, but even feared, since it was believed that the one who incurs the wrath of the blacksmith would offend Svarog, the god creator Therefore, it often happened that blacksmiths settled on the outskirts so as not to disturb their fellow countrymen again.

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These three crafts were the basis of protective magic, with their help it was possible to create almost any magical object, however, there were countless other methods and arts. Charms could be simple dolls, things found in the forest or on the shore of a pond, and even ordinary brooms.

Traditional symbolism used in embroidery and amulets

Signs

A square (less often a rhombus), divided by a cross into equal four parts (plowed field) or having dots inside (sown field) - signs of fertility and earth.
A wavy line is a sign of the element of water, where underground waters, “heavenly abysses” and rivers are depicted as horizontal stripes, and rain as vertical stripes.
Krada , also known as lattice, is a symbol of the element of fire. Krada is a funeral or sacrificial pyre.
Gromovnik , depicted as a six-pointed cross in a hexagon or circle, is a sign of thunder (Perun) - a military amulet or amulet against lightning.
Kolokres (a cross outlined in a circle) is a symbol of the sun, a sign of closure, and scares away evil.
Another sign of fire is the cockscomb with seven protrusions.
Kres (komoi or straight equilateral cross) is the sign of the god of fire Aguni.
Horn of plenty - corresponds to the name, i.e. symbolizes wealth.
The month is the sign of the moon. Lunar pendants were often made.
Yarga . Otherwise - swastika, bracelet, Kolovrat. There are different versions of the outline of Yarga - the sign of the Sun, the sun gods Khorsa and Dazhdbog. Based on the direction of rotation, the sign of the light is distinguished - the sun of Yavi and the sign of the dark - the sun of Navi. Reveal - beneficial, creative Power; Navi is a destructive Force. According to Slavic myths, after sunset the Sun illuminated the Underground (Nav), hence the name. There are two interpretations for determining the direction of rotation of a sign; The traditional one is this: the ends of the beams are bent against the direction of rotation.
A tree (usually spruce) is a symbol of interconnection and long life.
Spiral - wisdom; if the color combination is blue-violet - secret knowledge. The strongest aversion sign for shadow entities is if the color is white, black or red.
Triangle - man; especially if accompanied by dots or circles on the top side. Symbolizes communication between people.

Deities

Makosh is an image of a woman with her palms raised, but if her palms are down, it’s Lada . They are often shown flanked by deer. These amazing goddesses are identified with the northern constellations Ursa Minor and Ursa Major. Previously in Rus', the constellations were called Losin.

Image of the goddess Makosh

Goddess Makosh in embroidery

Living things

Raven is a sign of death and wisdom, Veles.
The snake is a sign of wisdom, earth, Veles. Connected with the Lower World.
The bull is the sign of Veles.
The bear is also a sign of Veles.
Tree is a sign of the Universe (World Tree), as well as a sign of fertility and life.
The rooster is the sign of Oguni, fire.
The horse is a sign of the Solar Gods and a sign of the sun.
The pig is a sign of abundance and fertility.
The wolf is the sign of Yarila.
The swan is a sign of winter, death, Mary.
A moose or a deer (important) is a sign of women in labor and Goddesses of fertility.
The goat is a sign of fertility and fertility.
Eagle is the sign of thunder, Perun.
The cuckoo is a sign of life, Alive.
Falcon is a sign of Aguni, fire. There is a theory that the “trident” (the coat of arms of modern Ukraine and the Rurikids) is a stylized image of a flying falcon.

Color solutions for making amulets

The colors of the amulet are directly related to the protection of one specific human chakra, out of the seven existing ones.

For those located at the very bottom, in the coccyx area, which is responsible for the musculoskeletal system, rectum and genitourinary system, the color is red .

Orange is ideal for the second chakra, located just below the navel and responsible for the kidneys and sexual energy.

The third (solar plexus area) is suitable for yellow , as for the area where vital energy is centralized, which also controls all organs in the abdominal cavity.

The heart chakra, the fourth chakra, requires green because it is responsible for the heart, arms, spine, lungs and emotions.

It is important to pamper the fifth throat chakra, which is responsible for the organs of hearing, breathing, skin and throat, with blue , because it is also responsible for human creative potential.

For the “third eye” (sixth) zone, which deals with intellectual abilities - blue .

The seventh chakra (crown), which is the link with God and the Higher Powers, is purple .

What do these colors mean?

Red - fire, heavenly fire, blood (symbol of vitality).

Black is earth.

White is associated with a sense of sacredness, light, purity (White King, White Light), while also being the color of mourning and death.

Golden - sun.

Green - life, vegetation.

The color purple is practically never found in Russian embroidery.

Blue - water, sky.

What does Slavic symbolism mean?

The amulets of the Slavs are endowed with their own individual meanings and properties:

Altar boy - means the unity of the people.
Svarozhich is the Slavic protection of human life from evil and death.
The Godman is the personification of infinite power for honest people.
Agni is a symbol of comfort, protecting buildings from fires, endowing a person with wisdom.
Znich – longevity, a source of strength, endless energy.
Ratiborets is a symbol of courage, bravery, fire.
Rysich - protection of religious structures, family amulet.
Wedding - protection of newlyweds from anger, resentment, family amulet.
Duniya – family unity, child protection.
Kolovrat is protection from higher powers, protection from evil.
The heavenly boar is the power of wisdom, the connection between past and future life.
A torch is an assistant in revealing the essence of existence.
Svitovit is a talisman and helps in the birth of strong children.
The swastika is a symbol of world renewal.
Solard – fertility and generosity of the Earth.
Vseslavets - saving a home from fire, and a family from war.
Volot – the arrival of strength to a person.
Svyatoch is a symbol of illumination and purity at the same time.
Perunitsa is a harbinger of victory.
The black sun is a person’s spiritual connection with ancestors and descendants.
Lada Star – faith, decency, justice.
Ognevitsa is a women's amulet against the evil eye, other people's hostility, and conspiracy.
The Cross of Svarog is a symbol of Svarog, as a worship of God.