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poured some whiskey into the large dish where the dough was to be mixed. This was to insure that the korovai would be filled with happiness. Only then did the women begin their work of kneading, baking and decorating this elaborate wedding bread. Their work was accompanied by songs. Since the korovai embodied magical powers directed expressly at the young couple, the ingredients of this bread also had to come from sources with magical characteristics. The formula for this wedding bread was as follows: — the water for the korovai had to come from seven wells, the flour, which was milled in seven mills had to be poured from seven sacks. The grain from which the flour came had to have been grown in seven fields for a period of seven years. The eggs that were used had to come from seven young, white chickens, the salt from seven wagons, butter had to be made from the milk which stood in seven butter churns in seven different houses. The milk had to come from seven cows. While working, the korovai bakers sang songs ask ing God’s help in this task. The korovai was made up of three parts — the bot tom, middle and top. The middle of the bread was circled by a braid made of dough. Coins or eggs were placed in the middle of the korovai, and baked in the dough. The top of the wedding bread was decorated with various shapes made of dough — the sun, moon, birds. Acorn and pine cone shapes were also frequently used. In addition to the korovai, other wedding breads were also baked such as the dyven, which was a round bread with a hole inside. There was large pine cone shaped bread and many smaller ones, as well as many dough birds, which were given as gifts to the guests. While the korovai was in the oven, the bakers danced with the starosty and sang ritual songs to help the wed ding bread rise well and bake perfectly. When the bread was baked, it was cooled and placed on embroidered ritual cloths, then decorated with aromatic herbs and periwinkle. Sometimes the leaves on the periwinkle were guilded and the cones were painted red. Another important part of the wedding preparation was the “maiden’s eve.” The modern day “shower” in the United States is a derivation of such an ancient rit ual celebrating a young woman’s departure from maid enhood. During this event the bride’s friends and her mother made a hiltse or viice, which was the tree of life. This was a small tree or the top of one, such as a pine, a cherry, or apple. Sometimes such a tree was made of dough. It was then decorated with ribbons, herbs, apples, feathers, nuts and flowers. In some regions candles were attached to the branches and lit. According to ancient myths the life of an individual, his or her future and fate was tied to the tree of life. It was therefore very important to make this tree for the young couple and to decorate it with specific objects which would bring them good luck. The items used to enhance the tree had various symbolic meanings. Periwinkle signified youth and chas tity; sweet basil was the symbol of virginal innocence; stalks of grain meant wealth and life; guelder rose sym bolized beauty, innocence, passion; mint was the sign of handsomeness in a man, also the symbol of virginity; hops symbolized a wedding and a worry—free life; rue meant a woman’s beauty; apples stood for fertility; red color in ribbons was the symbol of life and good luck. і. їжакевич. До вінця. 1893. The wedding. I. Izhakevych. 1893. 20 “НАШЕ ЖИТТЯ”, ЧЕРВЕНЬ 1992 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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