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THE UKRAINIAN MUSEUM — A CULTURAL EXPERIENCE Mary B. Kelly, Professor of anthropology at Tomp- kins-Cortland Community College in Dryden, NY re cently wrote a book entitled “Goddess Embroideries of Eastern Europe” (Northland Press of Winona, 1989). It is a beautiful book, rich in photographs, illustrations and text tracing and detailing the mysterious images of the ancient goddess, which have become an integral part of folk art of Ukraine and its neighboring countries. An important source of information for the book was Lubow Wolynetz. The Ukrainian Museum’s Director of Education. Mrs. Wolynetz has worked with Prof. Kelly on numerous occasions which resulted in exhibits that prominently featured examples of Ukrainian folk art. The Museum’s collection of textiles was extensively explored by the author. Perhaps the images of the god dess on the textiles — ritual cloths, costumes — served as an inspiration for this project. It is interesting to note that the introduction to the book is entitled “Walking with Berehinia." Its first para graph reads: “Leafing through a catalog from the Ukrai nian Museum in New York, I first saw the name of the ancient goddess Berehinia. I had picked up the material earlier in the week, and now, riding south on a train, I settled down to read: An outstanding young girl was selected to be the Perehinia (Berehinia). She was wrapped in red scarves and led around the village. The villagers would walk behind her and softly sing or talk to her. In her upraised arms the Perehinia carried wooden spoons with which she made various movements. If the girl was not very tall she would stand on a young man’s shoulders and steady herself by holding onto rakes that were carried by the men at her side. A wreath of flowers was placed on her head. Although the cult of Berehinia has been completely forgotten and the custom of leading Perehi nia remains vague remnant of the old harvest ritual, the goddess Berehinia has found a place for herself on the ritual cloths from Krolovets. (Wolynetz, 12).” Prof. Kelly goes on the explain how her interest was peaked concerning this subject and her “three year quest for the answer” to the source of the image of the goddess. “ In the Soviet Union, in Ukraine, in Rumania and Hungary and finally in libraries and museums all over the United States and Canada I followed a trail of research and documentation...” CiODDESS EMBROIDERIES OF EASTERN EUROPE In the following paragraph Prof. Kelly gives credit where its due. “Maria Shust, Director of the Museum (Ukrainian Museum), kindly showed me Ukrainian Easter eggs with the Berehinia symbol. A talk with Lubow Wol ynetz, the author of the article I had read, produced more information. Born into a Ukrainian group noted for its folk art, Wolynetz told me of life in the Hutzul area of the Carpathian mountains, where their art and way of life have preserved many ancient forms and motifs. I hoped to find a remnant of the ancient goddess Berehi- nian there.” The title page of this book features a photograph of a traditional Ukrainian ritual cloth (embroidered by Lubow Wolynets), embroidered with black and red thread, showing a very abstract, repetitive image of the goddess. The Museum’s copy bears the author’s signa ture and the message: “To the Ukrainian Museum with heartfelt thanks for their assistance in the research for this book.” Cont.: UKRAINIAN MUSEUM VISITOR’S BOOK "The pysanky workshop is an excellent introduction to the Ukrainian tradition of Easter Eggs. I enjoyed the class and will continue to appreciate your customs. ” "Thank you for providing so much information about the symbolic background of the eggs and the details of each part of the folk costumes. The stringlinking of the egg designs to geographic regions is very clear and ingenious. And the handiwork itself is breathtaking!” 26 ’’НАШЕ ЖИТТЯ”, ЛИПЕНЬ-СЕРПЕНЬ 1989 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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