Volyn is an ancient historical region in the basin of the southern tributaries of the Pripyat River and the headwaters of the Western Buh in the northwest of modern Ukraine. It lies between Podolia to the south and Polesia to the north, the Western Buh to the west, and the upper reaches of the Teteriv and Uzh rivers to the east. Volyn encompasses the modern Volyn and Rivne regions, the western part of Zhytomyr, and the northern parts of Ternopil and Khmelnytsky regions. In a broader sense, Volyn can include the southern part of the Brest region of Belarus and the eastern part of Lublin Voivodeship in Poland.

It seems as if time has stopped here to relish the ancient grandeur of these lands. Centuries-old forests, blue-eyed lakes, and lush meadows have inspired many generations of Ukrainian artists. Volyn has become the cradle of Western Ukrainian culture, a treasure trove of customs, traditions, and crafts. This land has inspired a whole galaxy of famous Ukrainians, including legendary figures such as the writer, folklorist, and public figure Olha Drahomanova-Kosach (who wrote under the pseudonym Olena Pchilka), the writer, doctor, and educator Modest Levytsky, the writer and journalist Ulas Samchuk, and the co-founder and activist of the Slavic-Ukrainian Kyiv association "Cyril and Methodius Brotherhood" Mykola Kostomarov, among others. And what about the unforgettable legends and mysteries of Lesya Ukrainka's "Forest Song" or Yurko Pokalchuk's "Lake Wind"?

Returning to history and ethnography, the modern Volyn region has been home to tribes such as the Dulebes, Volynians, Buzhans, Luchans, and Berestyans since ancient times. From their times, we have inherited incredible legends, unique folklore, unparalleled architectural achievements, and the works of unknown folk craftsmen. Among the most interesting archaeological finds in Volyn and Polissia are carved wooden ornaments from the Neolithic period (5000-1800 BCE). Pieces of pottery found in these areas are also richly decorated with distinctive patterns, reflecting the echoes of ancient and unique cultures in more modern artifacts and handicrafts. These ancient messages to descendants include patterns such as "herringbone," "diamonds," "triangles," "squares," and "crosses."

These patterns are also reflected in the clothing of Ukrainians after the Rus' era. Volynians adorned themselves with these characteristic ornaments during the Lithuanian Principality, under Polish nobility, and under Moscow's oppression. People preserved these ancient authentic symbols from generation to generation, cherishing the knowledge of their understanding and interpretation. Just 100 years ago, clothing could easily replace a passport. The nature of the attire, its specific elements, accessories, colors, and ornaments unmistakably indicated a person's social and financial status, regional affiliation, marital status, and whether they were in celebration, mourning, or fasting. It also inevitably confirmed its appropriateness for certain holidays or events, as ritual clothing was mandatory for significant events in a person's life, family, or community.

For centuries, folk craftsmen created the culture of Ukrainian attire, consciously and unconsciously using a unique, native, and cherished language of symbols. All types of clothing and their decorations had their own techniques of execution. These techniques involved specific patterns depending on the fabric, its density, the size of the canvas, and more. The choice of the ornament's rhythm, the frequency of stripe alternation, the harmony and relationship of ornaments to each other and to the base color were also considered an art.

In the exhibition, one can see archaic clothing from the late 19th to early 20th centuries, as well as clothing from the interwar and postwar periods of the 20th century. It is easy to see that they differ significantly in the fineness of the fabric, the quality of the threads, and the types of ornaments. Older outfits are characterized by their originality and archaism, while at the beginning of the 20th century, floral ornaments, which also have their hidden meanings and fascinating histories of origin, were actively used.

In conclusion, we would like to separately remember and honor the valor of the warriors who resisted in these lands during the liberation struggle of the first half of the 20th century. Without this, our story about Volyn would be incomplete.