Lithuanians love bread. Learn the best recipes ranging from dark, dense ryes to moist potato breads.
The original linocut print titled "Farewell to Lithuania". This artwork centers a couple in traditional Lithuanian clothing standing in front of a stylised countryside One out of ten prints in total. Due to prints being handmade, there are little variations in each making them unique. Dimensions: 30*40 cm (12*16 inches) Odeta Tumėnaitė-Bražėnienė (born in 1964) is Lithuanian folk artist, creator of paper-cuttings and graphics. Had 100 personal exhibitions in different countries. She has won many awards like : · In 1999-2000 nomination for First Degree State Award · In 2001 and 2015 Award of Culture and Art of Utena district · In 2005 the title of Creator of Art · In 2006 the Person of Merit of Utena · In 2007 awarded as the best folk artist in fine arts of Lithuania, the Golden Wreath · In 2009 and 2014 was awarded by Prize of Lithuanian Ministery of Culture In 2016 was named the Most Successful Certified Artisan in Lithuania Published 5 books : The album of her paper-cuttings “Karpiniai” (“Paper-cuttings”), 2004 Poetry book “In the Shadow of Angel”, 2006 “Mokomės karpyti“ (“Learning to Cut”), 2008 “Margučių marginimas Aukštaitijoje („Decorating Easter Eggs“), 2012 "Popierinės užuolaidėlės" ("Paper Short-Curtains"(text is in English as well)), 2014 "Karpiniai Kaledoms" ("Papercuts for Christmas") 2016
Shaking off a hangover on a crisp Sunday morning kick-about with the boys; dunking a perfect basket on a court raked with the long shadows of a high-summer sunset; obliterating Janet from HR in a ‘friendly’ after-work squash game/grudge-match. These vignettes, I am assured by those who participate in such wholesome activities, capture both the ...
Ethno traces the roots of our Baltic culture, with intricate tonal symbols traditionally used by our Pagan ancestors to keep you balanced and in harmony. Inspired by unique Baltic ethnographic patterns, it's perfectly oversized and promises to keep you twice as cozy. Fluffy, fuzzy and impossibly warm, Ethno's prolonged sleeves are the final cherry on top. Designed as part of our collaboration with our fav Lithuanian designer, Eglė Žiemytė. Age group adult Gender female Google product category 212 Between image content Just like this knit which uses alpaca wool in natural alpaca shades. No chemical dyes. Sourced from social farms in Peru. Between image title Act natural Btf info content For this knit we partnered up with a family-owned knitwear factory in Šiauliai, a small town in Northern Lithuania. The factory is run by Daiva who opened the factory 25 years ago with her husband Redas. Today, Daiva employs around 20 women from the local community, including her daughters, Gabija and...
Lithuanians love bread. Learn the best recipes ranging from dark, dense ryes to moist potato breads.
This is a post to help tourists and visitors to Lithuania choose something to bring home. I took these pictures at a crafts fair during a song and dance festival. So, let's embark on a tour of Lithuanian arts and crafts! First of all, there are many shapes and sizes of clay works. The most popular ware is a jug. You can not only keep food products in them but also use as vases or just decorative elements. This photo and the one below come under the name of Vytautas Valiušis Another item that none true Lithuanian household can do without is a woven basket. We have a strong tradition for gathering forest fruit (berries, mushrooms) and so there cannot be too many baskets. Baskets in this photo by Sigitas Juknevičius label. May your cat travel comfortably:-) Wooden artwork is done very skillfully and our cross-making activity is on the UNESCO heritage list for immaterial heritage, so that tells something, right? We call such carvings "Rūpintojėlis"-"He who takes care of". This is basically Jesus in contemplation. It is put up in trees or chapels to protect houses. By Romanas Vagnorius. These wooden jewellery boxes are made in the old fashion of dowry chests for brides. Each region had their decorative elements. An innovative away for a slicing tray. Sigita ir Aivaras Norbutai, www.laiptas.lt A barrel exhibited under Vitalijus Striuogaitis name. By Stasys Cemnickas. This peg is the size of my hand :-) These were originally used to decorate spinning wheels, now decorative elements in their own right. By Edmundas Akulauskas. If you are looking for original, one-of-the-kind, framable gifts, why don't you take a look at paper clippings? They come in different colours and arrangements, some can be done to order. By Laimutė Fedosejeva, www.laidi.info Woven and knitted items of clothes are another tradition. Yet again, each region had their own colour set and patterns. Woven garmets by Aldona Valkauskienė By Sigita Milvydienė. Sashes mean protection. Ironware is another field that has retained many traditional details. These can be used to decorate your house facade. The design pattern mixes Christian and old pagan elements: a shape of a cross is decorated with the elements of sky, like a young moon or rays of sun. Done by Juozas Stankevičius. A special knitwear field is mittens and socks. Yes, you can buy these even in the hottest summer. Most often done from pure wool. Linen comes as a very old traditional material though today it is being imported because our linen plant industry is, unfortunately, quite dead. The following three photos show works by Genovaitė Varaneckienė. Hay straws also come handy in our arts and crafts. Different decorations can be made from them. Such "hanging gardens" used to be given during weddings for the new family. Certified to Roma Gudaitienė. Ah, but what about the jewellery? Traditionally it is made from amber, but today you can buy many items from silver or brass based on old pagan patterns that have been uncovered in excavations. Along with items of above mentioned crafts you can take some food. If you happen to come during a fair, you will see such traditional fair candies: Other food that has reputation for quality and good taste include brown bread, goat's milk cheese, beer, chocolate, and honey. Attention, certified items of cultural value bear one of these signs: Now some tips where you can buy such traditional Lithuanian arts and crafts: * Pilies and Didžioji Streets are lined with stalls of sellers and there are many galleries in Vilnius, especially in the Old Town. Not sure where it is? Click for a map: http://goo.gl/maps/K3zh *some crafts have their private studios where they also hold workshops. Many are listed here: http://www.vilnius-tourism.lt/en/turizmas/lankytinos-vietos/dailieji-amatai/ *fairs and festivals usually have a selection of artists. Events can be browsed by date here: http://www.vilnius-events.lt/en Certified craftspeople and artists can be found in this database: www.tautinispaveldas.lt That's it for now. Thoughts, questions and comments are more than welcome. Ele
Hello all, Today i am going to talk about the costume and woven ornament of the Vilnius region. Not all sources even recognise such a region, which had me wondering where it came from. After a bit of research, i found out that this is a historical region, being an administrative province which predated the establishment of the independant state of Lithuania in the 20th cent. Here is a good article on the history of this region. http://en.wikipedia.org/wiki/Vilnius_Region Here is a map showing the Vilnius region, which is sometimes divided between Dzukija and Aukštaitija. As i said before, some of my sources do not recognise this as a region, and Jurkoviene and Kulikauskiene in particular do not illustrate any costumes that resemble these at all. Tamošaitis writes that because of their proximity to the capitol, and the clothing of townspeople and aristocracy, "Their costumes therefore were characterized by a more ornate appearance in the cut, colors, and patterns than costumes found elsewhere in Lithuania" and "Those of the Vilnius region were easily distinguisable by the exceptionally beautiful patterns, colours, cut, and style of their clothes." In the south and east of the province especially were large numbers of Poles, Belorussians and others, the various nationalities tended to live each in their own local areas. Here are a few examples of the Vilnius costume as presented by V Palaimas. This costume is a favorite of those who took traditional Lithuanian hand weaving for clothes and other textiles and developed it as a national art form in the 20th cent. Here is a set of clothing woven by Anastasia Tamošaitiene and presented to princess Diana of The United Kingdom on the occasion of her wedding. You can clearly see the exceptional care, planning and artistry that went into the weaving of every single piece of this outfit. For the same reason, this costume is very popular among amateur dance groups and Lithuanian musem exhibits, especially in the Lithuanian Diaspora. Here are some examples. [These are images i found on the web, if anyone would like me to remove any of these images, or to include information about the origin of, or the people in, these images, please contact me and i will be glad to oblige] It would be very difficult not to be impressed by the elaborate pattens, tasteful compositions and striking colors of these outfits. The basic article of dress is the chemise, which has the usual cut for Lithuania, with narrow shoulder bars on top of a single piece, front and back. The bottom half was typically made of coarser material. The festive sleeve is fuller than the daily, and is gathered on top at the seam with the body. The festive chemise has woven ornament on the shoulder pieces, collar, cuff, front opening, and lower sleeve. Sometimes the ormament is made by hemstitching. On festive chemises, the collar and cuffs sometimes have triangular points or ruched woven ribbon sewn on for added interest. Here is a graph of the design on the sleeve in the photo immediately above. The skirt was full, and either woven in a small plaid, as in Dzukija, or with horzontal stripes, sometimes with cats paw or other designs woven in, sometimes over vertical ones, or with horizontal bands of patterned ornament, which are also foud in eastern Aukštaitija. For those of you who weave, i will quote a passage from Tamošaitis [I do not, myself weave, and only vaguely comprehend, lol. This author constantly refers to weaving techniques] "Twill or satin striped skirts woven from wool on linen were unlike the skirts of any other area. The linen warp was striped and threaded on four shafts in a straight draw. The background of the skirt was of a plain weave, while the stripes were woven in twill or satin with homespun wool. The stripes on the visible side of the cloth appeared raised and distinct; as a result, the skirt did not seem checked, but horizontally striped." The aprons were elaborately woven with bands of ornament, wider and denser at the bottom, and narrower and sparser towards the top.The same was true of those skirts which had horizontal patterned bands. The aprons were commonly woven from linen, or at least with a light colored background. Red and blue seem to be the commonest colors used overall. Peruse the various images to get an idea of the diversity of designs used. Note also the textures inserted between the ornamental bands. The sashes are typical for Lithuania, wide, patterned in pick up and other techniques, usually with supplemental weft fringes inserted near the ends. The bodice was made of handwoven cloth to complement the colors of the skirt and apron. The most common cut has a plaston in a solid color inserted behind the bands in the center front. Sometimes the bodice has a plain straight front closure. Usually it has pentagonally shaped lappets around the waist, but sometimes has a frill with pleats spaced about the same distance as the width of the lappets. See the various images. The most common headgear in this region for girls is the karuna, made of a hoop of birchbark, and later, cardboard, with pattened ribbon sewn on the inside and outside, one or more rows of trianges sewn on to the top, of the same material or different, and often edged with tatting or crochet. Pattened woven ribbons were attached to the back. The following three photos show a karuna in various stages of preperation by Vida Rimas. The headcloth, or wimple, nuometas, is worn in this region as it is in Aukštaitija, but it is smaller in this region, resembling the one worn in Latgalia. It is always heavily ornamented on the ends, and commonly has a frontpiece resembling the karuna sewn on, or a wreath resembling the karuna worn over it. Originally this would have been a seperate piece worn underneath. The nuometa with a frontpiece sewn on, front and back. The nuometas attached to a karuna. The difference is that the hair is covered. The nuometas worn with a seperate wreath over it A schematic showing how the wreath was made, again very similar to the karuna. Ornament on the ends of one nuometas. The linen wrap, panuometis was also worn in this region, and also highly ornamented The costume was completed with necklaces of amber or coral or glass. Footwear consisted of knitted socks, with shoes, moccasins, clogs, or shoes woven of birch or linden bark. Moccasins in this region were also highly ornamented.They also wear slippers looped, knitted or crocheted of linen strings, as in Dzukija. Thank you all for reading. I hope you have found this interesting and maybe have an inspiration on how to use some of these designs or concepts. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004
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Hello all, Today i am going to talk about a specific costume of southern Selonia. I already did one posting on Selonian costume from the north of Selonia. The costume i will describe today straddles the Latvian - Lithuanian border, being found in Nereta district, Augšzeme Province, Latvia. .For location see this link. http://en.wikipedia.org/wiki/Nereta_municipality And Biržai district, Aukštaitia Province, Lithuania. Check this link for location. http://en.wikipedia.org/wiki/Bir%C5%BEai This costume resembles those of Lithuania more than it does those of Latvia, but it has some distinct characteristics. You may recall a map i included in my last posting showed an ethnic Lithuanian presence north of the border in this area. I cannot verify that, but the costumes are clearly from the same tradition. Here are two examples of the costume of the Nereta district, a married woman and back view And an unmarried girl. And here are a couple of examples of costumes from the Biržai district. A single girl. A young married woman with a cradle.[note the elaborately woven skirt] And a museum exhibit. These images are all from different sources so the quality varies quite a bit, i'm afraid. The distinctive piece of this costume is the chemise, which is typical neither of Latvian nor of Lithuanian Costume. The chemise is made of two seperate fields for the front and back, and there are two wide inserts sewn onto the shoulders which contain horizontal woven ornament in red. Both Latvian and Lithuanian chemises typically have a narrow bar over the shoulders with the front and back generally cut in one piece. The cut of this region is much more typical of Slavic costume, in fact if i had seen one of these chemises without knowing its provenance i would have identified it as being from Polissia, on the Ukrainian/Belorussian border. The second distinctive feature is red woven ornament placed vertically on the body of the sleeve. This feature is also not typical of either country. One could speculate that these features owe their existance to the old Selonian tribes. Here is the cut of the chemise of this region. Here are some closeups of chemises on the Latvian side. This is the shoulder insert and upper sleeve of one chemise. The collar of the same chemise. This is the shoulder piece and upper sleeve of another chemise. This is the shoulder piece of yet another chemise, the shoulder piece being attached with a decorative open stitching, the upper sleeve being at the right side of the image, and the body of the chemise at the bottom. The woven stripes would display horizontally on the upper arm. Here are two examples from the Lithuanian side. If you look at the images above, you will see that most show a plaid skirt, each woven in a different design based on red, green and other colors. Another part of the costume is a sash, either inkle woven, or very commonly hand braided. It also includes a linen apron, plain woven, or woven with a pattern, with red ornament at the hem, woven or embroidered or both. It may also be edged with bobbin lace or fringe. Here is a closeup of the apron shown in the first image. Here is a closeup of another apron from the Latvian side. Here are closeups of two aprons from the Lithuanian side. You will recognize this apron from the three part image of the museum exhibit above. Both of these examples have a patten woven into the entire apron. Two more linen components of this costume include the married woman's headcloth or 'wimple', called 'galvasauts' in Latvian and 'nuometas' in Lithuanian. The ends were ornamented with similar designs as the chemise and the apron. Often the two ends had different designs. There are various ways of tying this garment, as you can see above. The last garment, visible in the first image, is the rectangular linen wrap, called 'snatene' in Latvian and in Lithuanian 'panuometis' if made of one panel and 'drobule' if made of two panels joined together lengthwise. These also had ends ornamented in the same way as the aprons and chemises. They were sometimes woven of linen and wool for cooler weather, but the elaborately decorated Villaine so typical of Latvia is found neither in this region, nor in the rest of Lithuania. If you examine the images above, you will see that the Lithuanian images show two different cuts to the bodice, or 'liemene'. The last two images show a very basic cut, round neck opening, made of four pieces, sewn to the waist, and unjoined below, the bottom edges of the four pieces forming four lappets that extend to the hips. This is a common cut which is found all over Lithuania and Belarus. The first of the images shows a quite different cut, extending only to the waist in back but having two short extensions on the front. This cut is only found in western Aukštaitia, and in prints by Palaima and others, this is shown as the bodice typical of Aukštaitia. It was made of various materials, home woven as well as velvet or brocade. If the latter was the case, it was edged by metallic galoon. Either way it was fastened down the front with a chain laced through metal eyes or hooks. A couple images of this costume from the Lithuanian side. Note that this outfit has the horizontal ornament on the shoulder inset, but has horizontal ornament on the lower sleeve, instead of vertical. The various images show necklaces of glass or amber, typical of the entire Baltic region, but the girl wearing this bodice is also wearing a silver necklace of hollow beads and dangles, similar to those worn in neighboring Zemgale and by the Finnic peoples. These are also not found in other regions of Lithuania. The 'karuna' or crown shown in two of the Lithuanian images above is made of a wide piece of commercially produced galoon, lined and fastened around the head, by itself in the first image, and combined with a bow made of a wide commercially produced ribbon in the second. The Latvian girl is photographed with a 'vainags' typical of eastern Latvia, with beaded decoration on red cloth. Thank you for reading, i hope you have found this interesting and perhaps inspiring. I intend to work my way through the various provinces of Lithuania unless i get a request to research another area first. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: Source Material: Velta Rozenberga et al, 'Latviesu Tautas Terpi III Zemgale, Augszeme, Latgale' [Latvian National Costumes III Zemgale, Augszeme, Latgale], Riga, 2003 N. Kalashnikova, 'National Costumes of the Soviet Peoples', Moscow, 1990 Ilze Zingite, 'Latvian National Costumes', Riga, 2000 J. Sudmalis, 'Cimdu Rasti' [Mitten designs], Riga, 1961 Aija Jansone et al, 'Ieteikumi Latviesu Tautas Terpu Valkatajiem', Riga, 2002 AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004
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Hello all, Today i am going to talk about the costume and woven ornament of the Vilnius region. Not all sources even recognise such a region, which had me wondering where it came from. After a bit of research, i found out that this is a historical region, being an administrative province which predated the establishment of the independant state of Lithuania in the 20th cent. Here is a good article on the history of this region. http://en.wikipedia.org/wiki/Vilnius_Region Here is a map showing the Vilnius region, which is sometimes divided between Dzukija and Aukštaitija. As i said before, some of my sources do not recognise this as a region, and Jurkoviene and Kulikauskiene in particular do not illustrate any costumes that resemble these at all. Tamošaitis writes that because of their proximity to the capitol, and the clothing of townspeople and aristocracy, "Their costumes therefore were characterized by a more ornate appearance in the cut, colors, and patterns than costumes found elsewhere in Lithuania" and "Those of the Vilnius region were easily distinguisable by the exceptionally beautiful patterns, colours, cut, and style of their clothes." In the south and east of the province especially were large numbers of Poles, Belorussians and others, the various nationalities tended to live each in their own local areas. Here are a few examples of the Vilnius costume as presented by V Palaimas. This costume is a favorite of those who took traditional Lithuanian hand weaving for clothes and other textiles and developed it as a national art form in the 20th cent. Here is a set of clothing woven by Anastasia Tamošaitiene and presented to princess Diana of The United Kingdom on the occasion of her wedding. You can clearly see the exceptional care, planning and artistry that went into the weaving of every single piece of this outfit. For the same reason, this costume is very popular among amateur dance groups and Lithuanian musem exhibits, especially in the Lithuanian Diaspora. Here are some examples. [These are images i found on the web, if anyone would like me to remove any of these images, or to include information about the origin of, or the people in, these images, please contact me and i will be glad to oblige] It would be very difficult not to be impressed by the elaborate pattens, tasteful compositions and striking colors of these outfits. The basic article of dress is the chemise, which has the usual cut for Lithuania, with narrow shoulder bars on top of a single piece, front and back. The bottom half was typically made of coarser material. The festive sleeve is fuller than the daily, and is gathered on top at the seam with the body. The festive chemise has woven ornament on the shoulder pieces, collar, cuff, front opening, and lower sleeve. Sometimes the ormament is made by hemstitching. On festive chemises, the collar and cuffs sometimes have triangular points or ruched woven ribbon sewn on for added interest. Here is a graph of the design on the sleeve in the photo immediately above. The skirt was full, and either woven in a small plaid, as in Dzukija, or with horzontal stripes, sometimes with cats paw or other designs woven in, sometimes over vertical ones, or with horizontal bands of patterned ornament, which are also foud in eastern Aukštaitija. For those of you who weave, i will quote a passage from Tamošaitis [I do not, myself weave, and only vaguely comprehend, lol. This author constantly refers to weaving techniques] "Twill or satin striped skirts woven from wool on linen were unlike the skirts of any other area. The linen warp was striped and threaded on four shafts in a straight draw. The background of the skirt was of a plain weave, while the stripes were woven in twill or satin with homespun wool. The stripes on the visible side of the cloth appeared raised and distinct; as a result, the skirt did not seem checked, but horizontally striped." The aprons were elaborately woven with bands of ornament, wider and denser at the bottom, and narrower and sparser towards the top.The same was true of those skirts which had horizontal patterned bands. The aprons were commonly woven from linen, or at least with a light colored background. Red and blue seem to be the commonest colors used overall. Peruse the various images to get an idea of the diversity of designs used. Note also the textures inserted between the ornamental bands. The sashes are typical for Lithuania, wide, patterned in pick up and other techniques, usually with supplemental weft fringes inserted near the ends. The bodice was made of handwoven cloth to complement the colors of the skirt and apron. The most common cut has a plaston in a solid color inserted behind the bands in the center front. Sometimes the bodice has a plain straight front closure. Usually it has pentagonally shaped lappets around the waist, but sometimes has a frill with pleats spaced about the same distance as the width of the lappets. See the various images. The most common headgear in this region for girls is the karuna, made of a hoop of birchbark, and later, cardboard, with pattened ribbon sewn on the inside and outside, one or more rows of trianges sewn on to the top, of the same material or different, and often edged with tatting or crochet. Pattened woven ribbons were attached to the back. The following three photos show a karuna in various stages of preperation by Vida Rimas. The headcloth, or wimple, nuometas, is worn in this region as it is in Aukštaitija, but it is smaller in this region, resembling the one worn in Latgalia. It is always heavily ornamented on the ends, and commonly has a frontpiece resembling the karuna sewn on, or a wreath resembling the karuna worn over it. Originally this would have been a seperate piece worn underneath. The nuometa with a frontpiece sewn on, front and back. The nuometas attached to a karuna. The difference is that the hair is covered. The nuometas worn with a seperate wreath over it A schematic showing how the wreath was made, again very similar to the karuna. Ornament on the ends of one nuometas. The linen wrap, panuometis was also worn in this region, and also highly ornamented The costume was completed with necklaces of amber or coral or glass. Footwear consisted of knitted socks, with shoes, moccasins, clogs, or shoes woven of birch or linden bark. Moccasins in this region were also highly ornamented.They also wear slippers looped, knitted or crocheted of linen strings, as in Dzukija. Thank you all for reading. I hope you have found this interesting and maybe have an inspiration on how to use some of these designs or concepts. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004
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These 15 buildings look like they were designed with evil in mind.
Shaking off a hangover on a crisp Sunday morning kick-about with the boys; dunking a perfect basket on a court raked with the long shadows of a high-summer sunset; obliterating Janet from HR in a ‘friendly’ after-work squash game/grudge-match. These vignettes, I am assured by those who participate in such wholesome activities, capture both the ...
