As a result of assembling an ordinary “flat” puzzle, a picture of unprecedented beauty appears, which can later be glued together and hung in a frame as a decoration on the wall, for example, or simply photographed as a keepsake and then disassembled. But the result of spending time in the company of a three-dimensional puzzle is a completely full-fledged three-dimensional object that can carry not only aesthetic, but also some kind of functional load that is useful in everyday life. In other words, a three-dimensional puzzle is a kind of non-banal constructor, from which you can make only one completely specific subject. And, of course, one should not forget that the shape of each detail of such a “constructor” is quite pretentious and unique - the puzzle does not cease to be a puzzle just because the volume is added to the composition. The most popular materials for making 3D puzzles are plastic and wood; both of these materials are not too expensive, they lend themselves well to processing, and the final figure turns out to be (usually) very pretty.

Among the voluminous puzzles, products under the Crystal Puzzle trademark stand apart: these puzzles are made of translucent “squeaky” plastic that is pleasant to the eye, as a result, the assembled Crystal Puzzle figures look very impressive! Yes, and create with your own hands children's jewelry, key chain, Christmas tree toy or a piggy bank (!) is often much more exciting than laying out another mountain landscape or reproducing a portrait of a unicorn at sunset.

However, the assembly of three-dimensional mosaics has its own specifics, which it is desirable to follow. Firstly, the elements of many Crystal Puzzle puzzles are not initially packed in a bag, but are attached to the frame (in a similar way, false nails are often sold) - that is, in order to start the process of creating a vending figure, the puzzle segments themselves should be separated from each other, and it would be good to do this with the help of some manicure tweezers, otherwise there is a high risk that plastic burrs will remain on the components, which will seriously impede docking. Secondly, one should take into account the fact that the puzzle particles should be attached to each other in a certain order - otherwise the missing detail simply cannot take its rightful place. Well, of course, you should not immediately start with complex geometric shapes on a large number of elements: you can first practice on something simple - like an apple for fourteen parts. Although, in fairness, Crystal Puzzle attach very sensible cheat sheets to their products, so the puzzle will come together anyway.

And you can always find the use of such translucent plastic souvenirs: hearts and "diamonds" can be used as pendants, a wonderful keychain will come out of the already mentioned apple, a swan or an Egyptian pyramid will look great on a shelf - just as interior elements, but what to do with a charming pig with a slot for coins on the back - everyone decides for himself.

It is also worth noting that the figures released under the Crystal Puzzle trademark perfectly fit together without any glue, so if you don’t hit the assembled puzzle with a hammer, then this “designer” by itself will never fall apart.

3D Crystal Puzzle (crystal puzzle)three-dimensional puzzle made of translucent plastic. After assembly, you will get a beautiful shiny figure that will serve as a wonderful decoration for the interior, in the light the puzzle details shimmer like a magic crystal from a fairy tale, hence the name of these puzzles - crystal puzzles!. Assembling a puzzle is a very interesting and exciting process, once you start putting the pieces together you won't be able to stop. After all, it is so exciting to find its place for every detail and to see how gradually disparate pieces add up into a single figure! But the finished figure is only later, and at first you have a whole bunch of various details and it’s completely unclear what to do with them.

The first thing I advise everyone to do is to lay out all the details on a flat surface, it is important not to lose the smallest pieces and the so-called "pins" without which your entire puzzle will not hold. Of course, it is better to start collecting crystal puzzles with items that have the least details (the size of the figure will be the same, but the details themselves will be larger and it will be easier to fold them). These puzzles include (there is with light and without), (there is with light and without) and puzzle. It is also relatively easy to assemble symmetrical puzzles, such as, and

Having laid out the parts, first of all find the extreme parts from which you can start the assembly - this can be the tail or vice versa of the nose of the animal, the upper part of the head, the top of the tower or the outer face of the cube, etc. And then by selection or simply by looking at the details, you can guess which part should be next. It is important to remember that each piece has its own special place in the puzzle and it will be very difficult for you to place the piece in the wrong place.

So, the first step is done and you have already put several parts together, do not forget, the puzzle pieces must fit snugly against each other without gaps, otherwise at the end of the assembly you will not be able to fasten the puzzle and it will simply fall apart. By connecting a few pieces you will begin to understand the principle of the puzzle and the more pieces are connected, the easier it is to assemble the rest.

At the end of the assembly, you just have to fix the resulting figure with the included hairpin or some final part that helps to hold the whole structure together. If there is an LED in the kit, don't forget to place it in the center of the structure during assembly (usually this leaves a small cavity in the center of the figurine, the same size as the LED).

Here are the basic principles of assembling a 3D crystal puzzle:

• parts are assembled in layers;
• every detail has its place;
• puzzle pieces should fit snugly together
• if the assembled figure has cast parts (ears, paws, tail, fins, etc.), do not forget to insert them into their proper places during the assembly process, otherwise you will have to disassemble the puzzle
• at the end of the assembly, the puzzle must be fastened with the final part holding the entire structure

The modern gaming industry surprises users with a large number of new products. One of these are 3D puzzles, which are much more difficult and exciting to collect.

There is a huge amount different types such toys that have different level difficulties. Angry Birds Crushes will allow you to be transported to the world of the famous game by collecting each hero at home.

Main characteristics

3D puzzles are a bit like a regular puzzle, but they are much more complicated and at the output you get not a flat picture, but a three-dimensional product, which is some kind of hero. It is much more difficult to assemble such structures, since they consist of several layers.

The complexity of such puzzles depends on the type of toy and its design. Before you start assembling parts, you must definitely read the instructions in order to have a minimal idea of ​​​​the assembly sequence, as well as understand the principle.

If, nevertheless, you decided and purchased such a toy, do not despair if you see a lot of details packed in a box. With the right approach, everything is not so difficult.

The puzzle assembly algorithm can be characterized by several steps:

• First of all, it is advisable to study the instructions. Then lay out the parts on a flat surface so that they are visible. You can also sort them a little by size and type.
• It is recommended to start the assembly with large parts, which can be part of the body (ear, tail, part of the head, etc.). The principle of installation is quite simple, so you will immediately understand what and how to attach.
• Once you've found a specific piece to start with, start looking for the next one. Based on the drawing and details, find the desired product and attach it to the one found in advance. All parts should be pressed very carefully so that in the future the structure is assembled easily and does not fall apart. So step by step, assemble each subsequent part. After a few steps, the figure will already begin to take shape, and then you will be able to find the details faster and faster.

At the very end, in some puzzles, with the help of a special hairpin, the entire structure is fastened together. Also, don't forget to put the molded parts back in place, and in toys with LEDs, place them inside the structure.

Collecting 3D puzzles is a very exciting activity that will help warm up your brain and become your favorite pastime.

3D puzzles Crystal Puzzle look in the video:

Russian folk costume- a phenomenon unique in the history of world culture, not only for its high artistry, but also for its amazing multivariance, which has no analogues in the world. Formed over a vast territory over a long period of time and influenced by such factors as the geographical environment, the proximity of Slavic and non-Slavic peoples, socio-economic conditions, traditional Russian clothing has established itself in many forms, while maintaining some common features. Gradually, three main types of costume emerged - with a pony, with a sundress, with a skirt.
Surviving ethnographic examples of clothing mid-nineteenth- the beginning of the 20th century testify to the processes that took place in this area material culture with the development of capitalism. The folk costume underwent changes - either partial, while continuing to retain some archaic features, or complete, when the old forms practically disappeared. The development of the cotton industry in Russia, as well as otkhodnichestvo - the work of peasants in cities - influenced the change in the traditional costume, unifying it and bringing it closer to the urban one. Villages located near cities and craft centers and involved in commodity-money relations quickly switched to clothes made from factory-made fabrics, while in purely agricultural areas, the vitality of ethnographic relics was preserved, due to the natural nature of economic activity.
In the Belgorod region, formed as a result of the connection of the southeastern part of the Kursk region and several western regions of the Voronezh region, there was almost the entire range of types of costume that has developed in Russia. The concentration of diverse forms of folk clothing in the Belgorod region is primarily due to historical features settlement of the region.
With all the diversity of the traditional everyday culture of the Belgorod region, it showed similar features characteristic of both the all-Slavic and all-Russian and South Russian cultures. Shirts with polykami, checkered loinclothing, "horns" of headdresses, ornaments in the form of ribbons are present to one degree or another in the clothes of all East Slavic peoples. The predominance of black in ponies and sarafans, their bright decoration with tiers of ribbons and carpet embroidery, and multi-component headdresses can be considered typically southern Russian.
The Ukrainian influence, due to the large number of Ukrainian villages in the region, also affected the Belgorod costume. Russian peasant women adopted individual details of clothing, embroidery, and jewelry.

Shirt

Predominant on the territory of the Belgorod region were shirts with straight (rectangular) shoulder inserts - poliks. Oblique (trapezoidal) shoulder inserts, which in general were widely used in the southern provinces, were encountered here as an exception.
The shirt consisted of a camp - the upper part, usually made of thinner linen, and the lower part - a base of coarser linen, sewn on and torn off as needed. In contrast to the more northern regions of Russia, shirts here were rarely sewn from linen, mainly used hemp homespun fabric (zamashka).
In villages with highly developed weaving, shirts were woven using the white-on-white multi-shaft weaving technique with a relief pattern in the form of squares, stripes and other geometric shapes. With the spread of cotton fabrics in some villages, sleeves or the entire shirt were sewn from chintz, muslin, calico, and satin. The more affluent used the atlas. Men's shirts in the region were of two types - tunic-shaped, widespread in all districts of the region, and with straight poliks sewn on the weft, which are rarely found among Russians. The latter lived in the basin of the Tikhaya Sosna and Potudan rivers, as well as in the village of Rogovatoe, Starooskolsky district.
Shirts with straight stripes in cut almost repeated women's, but were not divided into loom and base, but were solid. Wide sleeves one and a half canvases were gathered on a narrow lining, a collar with a straight cut in the middle of the chest was tied with a ribbon threaded into slotted loops. The decor was located on the shoulders, along the hem, collar and cut.
A tunic-shaped shirt consisted of a central panel folded in half, to which narrow sleeves, sometimes beveled to the wrist, were sewn, and two side panels, which were often replaced by four oblique wedges. Similar shirts had an oblique cut at the collar (kosovorotka) with a button closure, but there were also straight cuts - mainly in Ukrainian villages, less often - in Russian ones. Tunic-shaped shirts were decorated along the hem, the edges of the sleeves, the stand-up collar and the fastener strap with embroidery or a woven pattern.
An obligatory element of both men's and women's shirts were gussets - diamond-shaped or rectangular inserts made of calico or printed chintz, sewn into the sleeve and side panels of the shirt.
A shirt is the most archaic type of folk clothing; many rituals and beliefs are associated with it. Decorating a shirt was an important and responsible matter, because it performed not only and not so much an aesthetic, but above all a sacred, protective function. AT late XIX- at the beginning of the 20th century, it was often the shirt that continued to carry ancient traditions, while other elements of the costume had already lost their ancient features.
The decor in the shirt was located on the most important, according to the ideas of our ancestors, areas - the collar, hem, at the wrists, that is, where there are holes into which negative energy can penetrate - “ devilry". The strengthening of these areas with amulets, among which solar signs predominated, has been an immutable law for centuries. Many researchers associate the ornamentation of the forearms with magic that awakens and strengthens the vitality necessary for the agricultural people. In addition to solar signs, symbols of fertility and the tree of life were placed on the forearms.

Ornament

Ornamental art, the foundation of the foundations folk art, reached its highest development in the South Russian costume, an important part of which is the costume of the Belgorod region.
The economic backwardness of the peasantry and the dominance of subsistence farming until the beginning of the 20th century, and in some places even longer, contributed to the preservation of the archaic features of the everyday life in Belgorod villages and the prosperity of such crafts and types of needlework as weaving, embroidery, lace-making, brought to perfection by craftswomen in the art of making suit. Embroidery was especially developed with its boundless variability and harmony of ornamental compositions.
The color of Belgorod embroidery was dominated by red, the combination of black and red was also traditional. Embroidery with black wool, which is common in the eastern regions of the Belgorod region, is unique both for South Russian clothing and for Russian costume in general. It is one of the most ancient both in terms of technique (set) and based on linear-geometric ornament.
In the vast majority of Belgorod villages, plant-geometric and floral ornaments, made with a cross or counting stitch. The spread of such embroidery occurs at the end of the 19th century in parallel with the oblivion of the innermost meaning and ritual significance of the symbols of archaic ornaments. In Russian villages bordering on Ukrainian ones, they willingly adopt the tradition of the latter to decorate shirt sleeves with very realistic roses, cornflowers, carnations, and even vases with bouquets. Perhaps the decorative flashiness of bright black and red colors played a role here. floral patterns, a certain clarity of motives, in contrast to the complex abstract geometric shapes of ancient ornaments. new tradition was fueled by the widespread use of cheap Brocard soap, on the wrappers of which were printed patterns for embroidery, developed professional artists in Russian style.

Poneva

Poneva is one of the most ancient details of the Russian costume. This is confirmed by both archaeological materials and the presence of forms similar to poneva among other Slavic peoples.
Once widespread in Russia (except for the northern regions), to XIX century poneva was preserved only in the South Russian costume, often coexisting with a sundress and a skirt.
In ancient times, poneva was unsewn pieces of woolen fabric, fastened at the waist with a belt. The evolution of the poneva led to the appearance of several of its types, the most common of which were swing (not sewn in front) and “deaf”, which existed in the Belgorod region. "Deaf" ponyova was sewn from three panels of checkered homespun wool and one narrow, often black panel - stitching.
Poneva, unlike later types of clothing, had a ritual significance. She symbolized coming of age and was put on at the moment of puberty, making it clear to others that a girl could be married. popular consciousness began to associate with the difficult female share, with the loss of girlish freedom.
The decor also emphasized the magical function of this type of clothing. The ponies of women of childbearing age were most magnificently decorated, symbols of fertility predominated among the ornamental elements.
In the ponies of the late 19th - early 20th centuries, woven and embroidered patterns, applique from purchased fabrics, ribbons and braids were used as decor. One of the most beautiful is considered to be ponevs, embroidered with a garus of rich, contrasting colors, which existed in the villages of Alekseevsky, Krasnensky and Krasnogvardeisky districts of the Belgorod region, complete with a black-patterned shirt.

Sundress

The victorious march of the sarafan across Russia was helped by the “out-of-class” nature of this type of clothing in pre-Petrine Russia. Appearing much later than the poneva (and, first of all, in cities), the sundress pushed it into the category of rural, less prestigious clothing. Sundresses came to the Belgorod region along with people from Moscow and other Central Russian lands, while Tula, Oryol, Ryazan settlers, as well as descendants of the indigenous population of the region, wore poneva.
Almost all types of sarafans existed on the territory of the region: deaf tunic-shaped, oblique in many varieties, straight (round), as well as a sarafan-dress made of factory-made fabric, which was usually called "Sayan".
A tunic-shaped sundress as a girl's clothing existed in Voronezh villages with a pony complex.
Skewed and tunic-shaped sundresses in the Belgorod region were sewn from black homespun “hair”. They were rarely decorated with embroidery; the main decorative elements were satin and woven patterned ribbons, braid, brocade, and braid. In some villages, an apron, short or long, was put on a sundress.

Belt

Just like ponevs, sundresses were girded with long striped homespun sashes. This type of girdle was dominant, although there were many other varieties made different ways: on the camp, on the berdyshka, on the boards, on the thread, on the fingers, on the fork, on the knitting needles.
In Kursk villages, purchased "Korean" belts made of fine soft yarn were often used - wide, striped, more restrained colors than homespun ones. They were bought at a fair near the Korean monastery near Kursk, which gave them their name. In almost all corners of the Belgorod region, except for the Oskolye, they wore plain factory-made belts with colored stripes along the edge. They tried to decorate them with embroidery, lace, ribbons, sparkles. Solid and patterned, decorated with tassels, fringe, brocade, beads, belts served as an additional color accent in both women's and men's suits.
Many rituals and customs associated with the belt testify to its magical significance for the Russian people. The belt accompanied people from birth to death, being considered a strong amulet, and only with the death of the old way of life, with the advent of new forms of clothing, the belt ceased to be an obligatory part of the costume.
Some of the most beautiful patterned belts are found in the Oskol region.

Skirt

The fact of the appearance of a skirt complex in the South Russian costume is associated by researchers with the resettlement of the service class from the Polish-Lithuanian borders to the southern regions and dates back to the 17th century. A shirt with a large turn-down collar, a homespun striped, checkered or plain skirt, a vest and an apron - clothes that have practically nothing to do with the Russian costume. However, it was able to take root over a rather vast territory and even influence areas with a pony complex, where sometimes one can find both a striped skirt and a waistcoat, the latter not only in women's, but also in men's attire.
The skirt complex underwent some changes by the end of the 19th century. Skirts made of factory-made fabrics in many villages were replaced by homespun ones. Accordingly, the style has also changed - the skirts have become more lush, decorated with frills. In one suit, details from different times were combined: a skirt, a vest and an apron made of factory fabrics, a shirt made of homespun canvas with embroidery, and a hand-made belt. Further development skirt complex led to the loss of all the old details. This was facilitated by the urban fashion, which penetrated the village and gradually undermined the old traditions. The place of the shirt is occupied by a jacket, usually made of the same fabric as the skirt - such a suit began to be called a "couple". He came to the taste of the peasants, firstly, with his urban appearance, and secondly, with the fact that he got rid of exhausting manual labor.
The "couple" gradually replaced all types of homespun clothes in the village and marked the end of the patriarchal way of life. Only in single-dvorce villages, especially in the Voronezh-Belgorod region, old clothes were carefully kept, putting them on for holidays and weddings.

Headdress

One of the most interesting and mysterious components of the folk costume is the headdress. All kinds of kokoshniks and magpies that existed in Belgorod villages are sometimes as little similar to each other as they are to headdresses in other regions of Russia. Many of these dresses can be considered the result of local creativity. However, there are common details in them, a certain fundamental principle that allows them to be attributed specifically to Russian and, more broadly, to Slavic costume.
The most ancient headdresses that survived until the 20th century in the South Russian costume were the magpie and the kokoshnik, and, as a rule, each set of clothes had its own dress: a magpie was worn with a pony, a kokoshnik was worn with a sundress and a skirt. There were also exceptions - in the villages of the Shebekinsky district, a magpie was put on for a sundress. However, sometimes this is just a matter of terminology, because both the magpie and the kokoshnik in Belgorod villages were often called similar saddle-shaped forms. Both those and others are complex multi-component structures related to the so-called kitsch-shaped headdresses. They consisted of a kichka, a magpie (kokoshnik), a pouch (pouch), and sometimes also a forehead. Kichka is the basis of a dress, a canvas quilted in several layers, which is given a certain shape. There were spade-shaped, hoof-shaped, in the form of a hoop and others, but the most archaic was the horned one. A piece of canvas with ribbons was sewn to the horns - “hair”, “chupok”. The kitchka was put on a knot of hair at the top of the head, “the hair covered the knot and was tightened around it with ribbons.
The horned kichka, which in ancient times was an independent headdress and unequivocally testifies to the imitation of animal horns, dates back to the times of totemism, to the culture of primitive hunters of the Neolithic era. The Orthodox had a deer (moose) cult. Mother - heavenly Elk was considered the progenitor of all things, protecting from all troubles. In the human community, the personification of Losikha was a woman, which was emphasized by a horned headdress. Associated with the idea of ​​fertility, which is especially important for farmers, the horned headdress miraculously lasted in the folk costume for an entire era. In its "pure" form - that is, in the form of horns - it survived until the 20th century in the costume of some districts of the Ryazan and Tambov provinces, in a modified form - throughout the south of Russia. The horns were masked with soft covers - magpies and hard caps - kokoshniks. Most likely, this happened under the pressure of the church, which tirelessly fought against the pagan "demonic" attire. Hats often outwardly did not repeat the internal “horned” design at all, sometimes only hinting at it. The stubborn preservation of horns in the headdress was explained by the echoes of the age-old belief in magic, which, according to the peasants, helps procreation.
A magpie or a kokoshnik was put on a kichka, and sometimes a turban-shaped bandage was wound from a towel (rushnik) or a scarf. The headpiece might have been absent in the headdress, but the butt pad was an invariable detail.
The back of the head was either a “tail”, which was a drop of beads (“lower”), cords with tassels or ribbons, or a trapezoidal fabric structure wrapping the head from behind. In many kichko-shaped headdresses, by the end of the 19th century, “tails” were either already absent, giving way to a nape made of fabric, or coexisted with it in one headdress. In the villages of the Rakityansky and Ivnyansky districts, there was a butt plate in the form of a short blade on a solid base.
Magpies on the territory of the Belgorod region were saddle-shaped or oval, partially or completely on a solid base of glued canvas or cardboard. Based on the materials of ethnographers, it is known that the magpie, which at first represented unsewn pieces of fabric, gradually acquired the form of a soft three-dimensional covering with the front part - the "brow", the side "wings" and the back part - the "tail". The transitional form was a partially stitched magpie, which existed in the village of Korobkovo, Staro-Oskolsky district (now part of the city of Gubkin). Magpies, which retained some features of the prototype, existed in some villages of the Krasnogvardeisky district and in the village of Rogovatoe, Staro-Oskolsky district. With a hard headband and a square back, the bottom and sides of these magpies are soft, lined with satin or canvas.
The further evolution of kichko-shaped headwear went either towards the fusion of all components (including kichka) and the formation of a kokoshnik on a solid base, or towards the transformation of a magpie cover into a cap, also most often hard, as part of a kichko-shaped headdress. The mutual influence of kokoshniks and magpies on the territory of the region has led to the fact that it is rather difficult to classify them.
Kokoshniks and magpies at the end of the 19th - beginning of the 20th century in many villages were forced out or coexisted with caps, warriors and various headdresses made of scarves. The name "bonnet" sometimes meant headdresses that were completely different in cut from the cap itself - a round soft hat that fits the head, to high hats that look like a kokoshnik.
The most common type of headdress in the villages of the Belgorod region was a scarf. Sometimes it was used to make turban-like bandages, which continued the tradition of ancient towel garments, but more often they were tied in the most ordinary way.
Scarves were also replaced by old girlish headdresses - crowns, foreheads, bandages, which at the beginning of the 20th century were almost never found in Belgorod villages. Perhaps they left everyday life due to the fact that they did not have such a ritual significance as women's dresses, moreover, scarves were beautiful, comfortable and, most importantly, fashionable.
In the villages where skirts were worn, there were kokoshniks in the form of round caps and warriors, covered with a scarf on top. However, here, faster than in other regions, ancient forms gave way to scarves and shawls.

Outerwear

Outerwear in the villages of the Belgorod region developed in the same direction and did not have cardinal differences. All kinds of zipuns, plane trees, as well as fur coats, in essence, were similar to each other in cut and decor. As a rule, these were clothes narrowed at the waist with an uncut back with wedges inserted at the sides, or cut off at the waist (round or along the back) with a lower part made of wedges or gathered. Zipuns were sewn from homespun cloth, and varieties such as chinarka, poddyovka, holodayka and others were exclusively from factory fabrics and were often decorated with ribbons and machine-made stitching. There were also robe-like clothes made of homespun wool in the villages - khapun, robe - worn over zipuns and fur coats in winter.

Shoes

Shoes among the Belgorod peasants reflected ethnic and social differences. In Ukrainian and some single-dvorce villages, they wore exclusively leather shoes, in the rest of the single-dvorce villages, although they used bast shoes, but mainly as work shoes. For the holidays, they wore coarse leather shoes made by local shoemakers (“boots”, “shoes”). They were almost the same in shape - open, with a round toe, stacked heels and a loop on the back, into which a frill was threaded to secure the shoes on the leg. Women's boots were rare among Russians and were borrowed from Ukrainians, for whom they were familiar shoes.
In many Russian villages, bast shoes were the main footwear. Here they wore, with rare exceptions, the so-called "Moscow" bast shoes of oblique weaving with a round head. A festive variety is “hand-written” or, as the Belgorod peasants called them, “fractionated”, “with whisks”, “with a garus” bast shoes made of small puk, in which the head was decorated with a woven pattern. Chuni (frilled bast shoes), woven or knitted from hemp ropes, were worn as pets.
At the end of the 19th - beginning of the 20th century, urban-style leather shoes came to the village - all kinds of "Romanians", "hussars", "schiblets". Especially popular were "Romanians" - high boots made of soft leather with lacing. They took care of the most public holidays, and only wealthy villagers could afford to wear such shoes on weekdays.

Decorations

A special theme in folk costume is jewelry. Here, as in embroidery, the Russian woman showed a lot of invention and artistic taste. In addition to glass beads and ornamental stones, Belgorod peasant women used coins or their imitation in combination with beads (“monisto”), mesh beaded necklaces (“cushion”, “soul warmer”, “mesh”), crosses, icons, amulets on tapes. In the villages of the Voronezh-Belgorod region, "mushrooms" were worn - circles and semicircles on a braid, embroidered with shlenka, gold threads, beads. This region is characterized by back decorations similar to “mushrooms”, as well as decorations reinforced at the back on the belt. In the villages located in the basin of the Pena River, ribbons with a textile pattern, fastened to a cord and put on like a cape, were used as back decorations. It is quite possible that back decorations are the next stage in the development of such a detail of kitsch-shaped headdresses as the “tail”.
In the design of the costume, peasant women imitated the bright plumage of birds, emphasizing the connection of the feminine with goodness, light, the sun - what the birds personified in the Slavic worldview. traditional clothes with a deep incantatory and protective meaning of ornaments, with headdresses associated with animal magic, speaks of the spiritual closeness of the Russian peasant and ancient Slavic cultures, the basis of which was harmony with nature, awareness of one's inseparability from it. Russian peasant costume was an important link in the system of folk artistic culture. Inextricably linked with the way of life of the peasantry, it was the most important component of rituals and holidays.

One of the most diverse and interesting in Russia. Belgorod folk costume, folk clothes - this is an example of a work of art, it has retained its originality, despite the influence of the Tatar Byzantine traditions. Women's folk clothes have been better preserved, since in the village women were more conservative than men.

Observance in the countryside also contributed to the preservation of the Slavic basis in the Russian folk costume. The Belgorod folk costume, like the Russian folk costume as a whole, did not escape the influence of various factors: geographical, socio-economic, etc. Neighborhood with non-Slavic peoples certainly left its mark on various forms of clothing.

The development of society, the state, scientific and technological progress also contributed to the change in the folk costume, making changes to it. While retaining some common features, the Belgorod folk costume was distinguished by a variety of forms and variations (for example, the folk costume characteristic of the people was more influenced by Ukrainian culture). The historically established neighborhood of Ukrainian villages was reflected in the Belgorod costume, Russian peasant women borrowed Ukrainian details of clothing and jewelry.

Ritual clothing was usually more archaic. Funeral clothes are often holiday costume. Shirts with rectangular inserts - poliks prevailed on the territory of the Belgorod region. The shirt was the most archaic type of clothing; it continued to carry ancient traditions. Decoration, decoration of the shirt was given Special attention. The Belgorod folk costume combined almost all types of sundresses, which were girded with sashes.

Since the 17th century, a skirt complex has taken root in the region, which later underwent a number of changes. Each set of clothes had its own headdress. Main headwear in the folk costume there were magpie and kokoshnik, horned kichka, later replaced by a variety of headdresses from scarves. A headdress made of scarves at the beginning of the 20th century dominated the Belgorod folk costume.