Our designers have thoroughly studied the ornamentation on the samples. The vintage Kosachs’ items featured a distinctive symbolism – the tree of life, which represents the past, present, and future. It is one of the most symbolic elements of the Ukrainian rushnyk. This embroidery embodies the ancient and meaningful heritage of the Ukrainian people. The tree needed to be symmetrical and have at least three tiers. The number of tiers depended on the information the owners wanted to sew into the rushnyk.
Three levels represent the holy trinity, happy, peaceful family life; four levels represent the realization of ideas, family welfare and prosperity; five levels represent the embodiment of creative ideas, spiritual values; six levels represent unity with God, spiritual and physical perfection; seven levels represent access to the invisible worlds, the secrets of the universe.
The Kosachs’ rushnyks depict a four-tiered tree with intertwining flowers, stars, and buds, and a bezkinechnyk (an ancient ornament, a wavy line with no beginning and no end is a symbol of endless life) along the edge of the old rushnyk. The stars and represent harmony, stability, prosperity, and life. The buds – the beginning of life. Embroidered flowers represent happiness, love and fertility.
The symbolism inherent in the rushnyks tells about the rich traditions of the family, its customs and aspirations, imprinting a story on a smooth canvas with each stitch.
Edelvika has been inspired to recreate those ornaments. Our designer, Olha Sosnytska, shares her impressions and nuances that arose in the process of recreating the patterns with machine embroidery: “This work was special for me, I realized that my task was not only to create a design and convey the authenticity of the patterns and stitches of the old rushnyks of the Kosach family, but also to preserve family values and carry on the history that is priceless.”
Olha also talked about the four important stages of design development and transferring it to the canvas, it was important to “start well and finish well,” so the focus was paramount. At the first stage, the main emphasis was on embroidery along the edge of the rushnyk. Looking at the patterns of the original product, the embroidery designer tried to reproduce the traditional type of stitch, its shape, and size as much as possible.
The second stage was to create the embroidery of the middle part of the rushnyk. The difficulty was to adapt the designed pattern to our equipment and make the embroidery continuous. We used a “manual” machine embroidery stitch, which required a lot of time. The third, special stage was the reproduction of the “tree of life”.
On the Kosachiv rushnyks, the patterns of flowers, branches, stems, and buds were of different shapes and sizes, so it was important to convey all the elements as they were in the original version. This part of the rushnyk required considerable effort to perfectly transfer the original ornament to the new canvas. It was at this stage that two sides of the towel were embroidered simultaneously. And the third and final stage was stitching together the embroidered rushnyk.