A Symbolic Universe in Embroidery: The World Tree in Slobozhanshchyna Embroidery
In the rich world of Ukrainian embroidery, one of the most profound and meaningful symbols is the Tree — the “World Tree” or “Tree of Life.” Its presence on ritual towels (rushnyky) and traditional garments is not merely decorative; it is a deeply rooted expression of ancient beliefs about the structure of the universe and the interconnectedness of all living things. This archetype has persisted since Neolithic times, evolving in form but preserving its essential meaning.
Scholars trace the origins of the Tree symbol to the Neolithic era. One of the most compelling archaeological finds supporting this theory is a ceremonial axe carved from deer antler, discovered on August 28, 1962, during peat excavation near the village of Dudarkiv in the Boryspil district of Kyiv region. The object, likely dating to the 2nd millennium BCE, features a striking depiction: a possibly inverted tree surrounded by around ten animals — horses, pigs or sheep, predators such as wolves or dogs, and a serpent. Solar symbols also appear, and on the reverse side are figures of a man, a woman, and a bird. This vivid imagery reflects a vision of the cosmos as a system comprising three interrelated realms: the heavens, the earthly world, and the underworld.
In Scythian times, this cosmological model became more refined. A reconstruction of the World Tree created by staff of the archaeology department of the M.F. Sumtsov Kharkiv Historical Museum presents this symbolic structure clearly. The top of the tree represents the divine sphere, the middle section — the human and animal world, adorned with various objects such as bells, shells, feathers, and teeth — symbolizes the earthly realm, and the roots or lower part correspond to the underworld, often visualized as a pair of bronze serpents. The Tree thus embodies the unity and continuity of all three worlds, expressing a vision of endless life cycles and spiritual balance.
Among ancient Slavic peoples, the beginning of new life was traditionally associated with female figures, linked to the pagan cult of the god Rod and his female companions, the Rozhanytsi — ancestral spirits of fertility and protection. Over time, the female figure in embroidery underwent a symbolic transformation, taking on a tree-like shape. This evolution gave rise to the term used by ethnologists: “tree-woman” or “flowerpot-woman.” This image became a personification of Mother Earth — blooming, fruitful, and life-giving.
The archaic village embroidery style later absorbed the influence of urban plant-themed ornamentation, which altered the visual expression of the Tree. In some cases, it was replaced by a double-headed eagle or even a stylized church. Yet despite these transformations, each generation of embroiderers contributed their own interpretation and stylization, giving rise to familiar images — the embroidered trees we remember from childhood on our grandmothers’ towels, which adorned the walls of village homes.
The World Tree has many names and variations in folk traditions: Tree of Life, Tree of Fertility, Tree of Love, Tree of the Center, Tree of Ascent, Heavenly Tree, Tree of the Edge, Shamanic Tree, Mystic Tree, Tree of Knowledge — even the modern genealogical tree reflects this ancient concept. These names reveal the Tree’s role as a universal model of the world, one that has guided the organization of human societies across both the Old and New Worlds.
This symbol is central in Ukrainian folk embroidery, especially in rushnyky. Among the more than 410 ritual towels preserved in the collection of the M.F. Sumtsov Kharkiv Historical Museum, nearly 80 feature the motif of the Tree or a closely related image, such as the eagle or bird — figures often associated with the Tree and its cosmic significance. These artifacts, created and used in villages across Slobozhanshchyna, represent a rich local tradition within the broader cultural heritage of Ukraine.
In contemplating the World Tree in Slobozhanshchyna embroidery, we are not merely observing folk art. We are entering into a conversation with a millennia-old tradition — one in which needle and thread trace the outlines of the universe itself, weaving together sky, earth, and spirit.