See Ivan Bilibin, “Narodnoe tvorchestvo russkogo severa,” in Mir iskusstva (St. Petersburg: 1904), vol. 12, no. 6, pp. 267-302 (album of photographs) and 303-18 (text).

See Ivan Bilibin, “Narodnoe tvorchestvo russkogo severa,” in Mir iskusstva (St. Petersburg: 1904), vol. 12, no. 6, pp. 267-302 (album of photographs) and 303-18 (text).)| false
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See M. N. Shmeleva and L. V. Tazikhina, “Ukrasheniia russkoi krest’ianskoi odezhdy,” in Russkie: Istoriko-etnograficheskii atlas (Moscow: 1970), pp. 89-123, for a systematic summary of peasant costume; L. N. Molotova and N. N. Sosnina, Russkii narodnyi kostium (Moscow: 1984); I. Ia. Boguslavskaia, Russkoe narodnoe iskusstvo (Moscow, 1984); and the State Historical Museum handbook, Russkii narodnyi kostium (Moscow: 1982).

See M. N. Shmeleva and L. V. Tazikhina, “Ukrasheniia russkoi krest’ianskoi odezhdy,” in Russkie: Istoriko-etnograficheskii atlas (Moscow: 1970), pp. 89-123, for a systematic summary of peasant costume; L. N. Molotova and N. N. Sosnina, Russkii narodnyi kostium (Moscow: 1984); I. Ia. Boguslavskaia, Russkoe narodnoe iskusstvo (Moscow, 1984); and the State Historical Museum handbook, Russkii narodnyi kostium (Moscow: 1982).)| false
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Isabel Florence Hapgood, Russian Rambles (Boston and New York: 1895, reprint New York, 1970) p. 256.

Isabel Florence Hapgood, Russian Rambles (Boston and New York: 1895, reprint New York, 1970) p. 256.)| false
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See Efimova and Belogorskaia, Russkaia vyshivka i kruzhevo, pp. 11-19, plates 1-28. Stasov, Russkii Narodnyi Ornament: shit’e, tkani, kruzheva one of the first studies of embroidered ornament, covered historical development, regional styles, and four basic types of motifs: geometrical, forms from the plant world, animals and birds, and human figures.

See Efimova and Belogorskaia, Russkaia vyshivka i kruzhevo, pp. 11-19, plates 1-28. Stasov, Russkii Narodnyi Ornament: shit’e, tkani, kruzheva one of the first studies of embroidered ornament, covered historical development, regional styles, and four basic types of motifs: geometrical, forms from the plant world, animals and birds, and human figures.)| false
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Shmeleva and Tazikhina, “Ukrasheniia russkoi krest’ianskoi odezhdy,” p. 94.

Shmeleva and Tazikhina, “Ukrasheniia russkoi krest’ianskoi odezhdy,” p. 94.)| false
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Shmeleva and Tazikhina, “Ukrasheniia russkoi krest’ianskoi odezhdy,” p. 93. The “white-eye” style meant the following arrangement of threads: one red, three white, two· green, three white, one red; the “red-eye” pattern was three red, two white, four red, three green, two red, three white.

Shmeleva and Tazikhina, “Ukrasheniia russkoi krest’ianskoi odezhdy,” p. 93. The “white-eye” style meant the following arrangement of threads: one red, three white, two· green, three white, one red; the “red-eye” pattern was three red, two white, four red, three green, two red, three white.)| false
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Shmeleva and Tazikhina, “Ukrasheniia russkoi krest’ianskoi odezhdy,” p. 106.

Shmeleva and Tazikhina, “Ukrasheniia russkoi krest’ianskoi odezhdy,” p. 106.)| false
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Zharnikova, “Some Archaic Motifs,” pp. 3, 5. See G. S. Maslova, Ornament russkoi narodnoi vyshivki, kak istoriko-etnograficheskii istochnik (Moscow: 1978).

Zharnikova, “Some Archaic Motifs,” pp. 3, 5. See G. S. Maslova, Ornament russkoi narodnoi vyshivki, kak istoriko-etnograficheskii istochnik (Moscow: 1978).)| false
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Kalmykova, Narodnaia vyshivka tverskoi zemli, pp. 31-32. On earlier embroidery, see T. Manushina, Khudothestvennoe shit’e drevnei Rusi v sobranii Zagorskogo muzeia (Moscow: 1983).

Kalmykova, Narodnaia vyshivka tverskoi zemli, pp. 31-32. On earlier embroidery, see T. Manushina, Khudothestvennoe shit’e drevnei Rusi v sobranii Zagorskogo muzeia (Moscow: 1983).)| false
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Efimova and Belogorskaia, Russkaia vyshivka i kruzbevo, pp. 22-23 and nos. 112-115, 121.

Efimova and Belogorskaia, Russkaia vyshivka i kruzbevo, pp. 22-23 and nos. 112-115, 121.)| false
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Hapgood, Russian Rambles, p. 284.

Hapgood, Russian Rambles, p. 284.)| false
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