Ornament of Tripolie ceramics (Eneolithic)
Vologda lace
Before we turn to the materials of those cultures that replaced Trypillian and Yamnaya in the Bronze Age, i.e. to the Corded Ware cultures that emerged on the basis of the cultures of Corded Ware: Tshinetsko-Komarovskaya and Abashevskaya, Srubnaya and Andronovskaya, I would like to note that, paradoxically, many ornamental motifs characteristic of Tripillya and disappearing in subsequent genetically related Trypillian cultures survived until the 20th century no changes in the products of the North Russian peasant women. In this respect, the Vologda lace of the 19th century, or rather its peasant version, not designed for urban consumers, is of exceptional interest. In this form of folk art, a geometric layer coexisted at the same time – rhombuses, jibs, swastikas, meanders, and smooth, rounded meander combinations, almost absolutely identical to those of Tripoli.
The basis of the ornament in such lace, which is performed to decorate the ends of towels and valances of wedding sheets, is a dense, up to 1 centimeter wide, ribbon, very often saturated red, which, whimsically wriggling, builds a pattern, and, above all, a meander pattern. It is interesting that such a decorative solution is typical only for North Russian, and in particular, for Vologda lace (Table 3).
