The Udmurt Ritual Belt “Zar” and Its Tripartite Composition: A Semantic Inquiry

Introduction. In the contemporary, rapidly changing world, the process of globalisation inevitably leads to the erosion of ethnic distinctiveness and the unique features of individual cultures. Consequently, the examination of national traditions and cultural values acquires particular significance. This article examines the semantics of the tripartite composition of the Udmurt ritual belt, known as the “zar”. Primary focus is given to the social processes reflected in mythological narratives and folk art, including so-called “textile folklore” – the patterns of traditional embroidery. The aim of the research is to analyse the semantics of the embroidered composition of the “zar” ritual belt. Materials and Methods. Traditional costume and its ornamentation possess a semiotic nature; consequently, this study employs a semiotic approach, which entails three analytical aspects: syntactics, pragmatics, and semantics. The historical-genetic method was utilized to examine the phenomenon within its historical development, alongside methods of aesthetic anthropology, which investigates the meaning-generating functions of art. Results and Discussion. The tripartite composition featuring a central female figure constitutes one of the fundamental ornamental schemas in traditional applied arts. This schema is characterized by a central figure flanked on both sides by two secondary ones. To reveal the profound semantics of this composition, the author turns to the dawn of human history, a period when the archetypes that later formed the basis of universally prevalent mythological, folkloric, and ornamental narratives were first germinating and taking shape. The stages in the formation of the dual-clan organization – the first human community – are examined. It is precisely this “social substance” that is reflected in the symbolism of the tripartite composition. Conclusion. This article examines the ornamental scheme and narrative depicted in the three-part composition traditionally embroidered on the ritual belt known as a zar. The research will prove valuable to historians, ethnographers, art historians, and those with a general interest in folk art. The findings can be utilised in the preparation of general works on the history and theory of Finno-Ugric folk art, the development of specialised courses on Udmurt ethnography and traditional art within educational institutions, the creation of museum exhibitions, and the design of contemporary apparel featuring ethnic motifs.