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“Counted Thread” Magazine September 1985 HONORING TRADITION ©by Lin Vandenberg Many teachers, and occasionally COUNTED THREAD, have admonished their students and readers not to change the colors of ethnic embroidery patterns. Little clarification had been given, however, of the reasons behind this seemingly steadfast rule. Some embroider ers, not realizing how important this point can be, have stiched with a fairly free hand and possibly dealt a serious blow to the future survival of an often endan gered tradition. “Tradition” is the key word here. We are attempting to preserve traditions handed down from those who have gone before us, traditions entrusted to our care to be passed on to those who will come after us. Many tradi tions are in danger of extinction, some through changes brought on by industrialization, many through political circumstances and a deliberate attempt to annihilate a civilization and any traces of its cultural identity. In either case, much of what has taken generations decades and centuries to create may be lost if not recorded by us now. In this respect, we must see ourselves, not merely as individuals stitching lovely patterns, but as a living part of history, taking our turn as guardians of a very rich heritage. This, the first reason for not chang ing the colors of ethnic patterns is that we must pre serve as perfectly as possible the work from ancestral hands. The second reason for not changing colors is related to the first. These patterns come to us; therefore, they are not our own. They are “on loan,” so to speak, and should be treated with respect. In the same way that it is not acceptable to go to a friend’s house and switch the sugar with the salt, it is unacceptable to switch colors or alter patterns of another culture’s needle arts. If one plans to reproduce a textile from another country, one must remain within the boundaries of acceptability of that culture. If color combinations do not appeal to us, it is due to the fact that we find ourselves in unfamil iar territory. We are the product of our culture and are accustomed to colors that have surrounded us since childhood. In the same way, others have experienced different surroundings and have developed different tastes. With study and exposure to what was once new, we can acquire these different tastes and with time will feel more comfortable with a new sense of beauty. What is it that makes a set of colors acceptable to one culture and not to another? Social mores, religion, ancient beliefs or superstitions that one may not even be aware of, physical environment, political life, emo tions, man to man and man to nature relationships all play a role in determining color preferences. It is interesting to observe these relationships in dif ferent parts of the world. The white pulled and drawn thread familiar to norhtern Europe (where snow exerts a major influence) bursts into brilliant color in tropical Mexico; the embroideries of western Ukraine are gener ally multi-colored and bright, reflecting the colors of mountain wildflowers and the drama of afternoon thun dershowers, whereas those of eastern Ukraine turn to soft pastels like the blue of a clear open sky and the golden brown of ripening grain. Colors change meaning depending upon the culture in which they are found or the shade used: black is highly regarded in Spain as being dignified; in parts of easern Europe it symbolizes oppression and death. In some areas, a dull yellow denotes death, putrification; a golden yellow, good for tune. Needless to say, one does not want to run the risk of confusing any of these! Colors and patterns often become even more closely linked to their creators. For example, a belt worn on an Estonian national costume can identify the wearer’s origin right down to the specific town from which he or she hails. Obviously, any change in the color or altera tion of the design would entirely obliterate this connec tion. The importance of maintaining ethnic colors as they are lies in the close identification of the pattern with its place of origin. This gives a sense of history, a feeling of belonging, proudly, to an identifiable group, to a long chain or people of the same villiage or area who share one’s way of thinking, relating, feeling, being. For many who live in exile, whose culture is under attack, this identification with the homeland is strong. The sight of one of their beautiful embroideries faith fully rendered brings back memories of people and pla ces they may never see again. With so much involved, it a jealous brother who feared for his place on the throne. Borys and Hlib, faithful to their Christian convictions, accepted death rather than destroy their brother. Due to the lack of documentation, it is impossible to investigate the role women had in the Christianization of Ukraine. Sporadically there is mention of women, particularly from the princely times, who build churches, supported monasteries or became nuns. The western countries of Europe were more apt to record the input which women had in their religious development. In Ukraine this was not the case. The lack of information could also be due to the fact that records were destroyed in an almost repetitive manner by the onslaught of Polovtsian and Tartar hordes which swarmed over the country with regularity. It is unfortu nate that, barring modern history, our knowledge of women of influence in the church and religious life of our nation, is insignificant. Looking back on our history, we are very limited as far as facts are concerned, but rather must operate on suppositions and deductions. (The above is a free translation of Sister Sophia Senyk's article in Ukrainian, which is published in this issue.) Видання C оюзу Українок A мерики - перевидано в електронному форматі в 2012 році . A рхів C У A - Ню Йорк , Н . Й . C Ш A.
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