Jewish embroidery in the territory of modern Ukraine is not a myth and not an attempt to “invent a Jewish vyshyvanka.” It is a complex layer of culture where synagogue textiles, home rituals, women’s headwear, kippahs, bibs, belts, and festive clothing were intertwined with the history of Galicia, Podolia, Volhynia, Kyiv, Bukovina, and other regions.
Every year on the third Thursday of May, Ukraine and the world celebrate World Vyshyvanka Day. The history of Vyshyvanka Day began in 2006 at the Yuriy Fedkovych Chernivtsi National University.
Today, Vyshyvanka Day is celebrated not only in Ukraine. Ukrainian communities abroad, embassies, cultural centers, volunteers, schools, universities, public organizations, and people who cherish Ukrainian tradition join in. Vyshyvankas are worn in Europe, North America, Australia, Israel, and other countries.
After 2014, and especially after Russia’s full-scale invasion of Ukraine in 2022, this day gained even deeper meaning. For many people, the vyshyvanka became not just beautiful clothing but a symbol of dignity, resistance, memory, and the right of a people to remain themselves.
Why this issue is important right now
When in Ukraine they talk about embroidery, the first thing that comes to mind is the vyshyvanka. A shirt, ornament, regional patterns, family memory, festive clothing, symbolism of the land, kin, and resistance. In recent years, the Ukrainian vyshyvanka has become not only a cultural symbol but also a public language of identity.
However, on the same lands, Jewish communities lived for centuries. They existed in cities, shtetls, craft quarters, near fairs, synagogues, fabric markets, workshops, and houses of learning. Galicia, Podolia, Volhynia, Kyiv region, Bukovina, southern Ukraine — all these regions were not only Ukrainian but also Jewish spaces of memory.
And here arises a question that usually remains in the shadows: did embroidery exist in Jewish traditional art in the territory of modern Ukraine?
The answer is yes, it did exist. But precision is important.
It was not a “Jewish vyshyvanka” in the simple and direct sense, as a separate national shirt, completely analogous to the Ukrainian shirt. Jewish embroidery more often lived in another space: in synagogue textiles, Judaica items, home rituals, festive fabrics, headwear, bibs, belts, kippahs, dress trims, skirts, vests, and separate costume elements.
It must be honestly stated right away: this text is not an academic monograph and not a museum inventory catalog. NAnovosti writes in a popular science format, understandable to a wide audience. Therefore, one should not demand from such an article the language of a closed dissertation. But a beautiful legend instead of facts cannot be created here. The task is different: to carefully gather the picture and show that Jewish embroidery on Ukrainian lands was a real cultural phenomenon.
How Ukrainian and Jewish embroidery traditions influenced each other
When talking about Jewish embroidery on Ukrainian lands, it is important not to imagine the two traditions as completely isolated worlds. Jewish communities lived alongside Ukrainian, Polish, Romanian, Armenian, and other populations of the region. They bought fabrics at the same markets, ordered work from local craftsmen, traded materials, saw neighboring costumes, festive items, church and home textiles.
Therefore, influence was almost inevitable. But it needs to be understood carefully.
The Ukrainian vyshyvanka was primarily a clothing tradition: shirt, sleeves, collar, chest part, hem, regional ornament, connection with the village, family, ritual, and local identity. Jewish embroidery more often concentrated in another space — in the synagogue, prayer textiles, festive accessories, women’s bibs, kippahs, ataras, belts, and decorative costume details. So the contact was not in one tradition completely copying another, but in them living side by side and partially using a common craft environment.
What the Jewish tradition could take from the local environment
In regions like Galicia, Podolia, and Volhynia, Jewish craftsmen and craftswomen did not exist outside the local visual culture. They saw Ukrainian geometric ornaments, plant motifs, color combinations, embroidered shirts, rushnyks, festive fabrics. Through the market, neighborhood, orders, and craft contacts, these elements could influence the taste, composition, and technique of Jewish textile items.
But this does not mean that Jewish embroidery simply “became Ukrainian.” It adapted external forms to its own tasks. If in the Ukrainian vyshyvanka the ornament often lived on the shirt and denoted regional, family, or ritual affiliation, then in the Jewish environment a similar decorative energy could transition into a parochet, atara, women’s bib, kippah, festive cap, or belt.
Thus, not a copy was created, but a translation of the ornamental language into another cultural system.
What the Jewish tradition added to the overall textile culture of Ukraine
Jewish embroidery brought its own symbols and meanings into the overall Ukrainian cultural landscape: the crown of the Torah, lions of Judah, menorah, Magen David, Tablets of the Covenant, Hebrew letters, dedicatory inscriptions, dates according to the Jewish calendar, names of donors.
Even when similar materials or similar techniques were used — velvet, brocade, gold embroidery, appliqués, beads, pearls, metallic threads — the meaning of the item remained Jewish. A parochet did not become just a beautiful curtain. An atara was not just a decorative strip. A women’s bib was not a direct analogue of the Ukrainian vyshyvanka. These items lived within the Jewish religious, family, and communal logic.
Here the main point is visible: Ukrainian and Jewish traditions could intersect at the level of fabric, technique, color, market, and craft, but they retained different functions.
Why it is impossible to talk about simple borrowing
The phrase “Jews adopted the Ukrainian vyshyvanka” sounds too crude. It simplifies the complex history of neighborhood.
It is more accurate to say this: Jewish communities on Ukrainian lands existed within a common decorative-applied environment. They could perceive local ornamental solutions, use the same materials, turn to similar techniques, and work alongside Ukrainian craftsmen. But the result was not a “Jewish vyshyvanka” in the direct sense, but a Jewish textile language: synagogue fabrics, Judaica, ataras, kippahs, bibs, belts, festive caps, and costume elements.
That is, the influence was not mechanical, but cultural. Not “copying the shirt,” but the neighborhood of traditions, exchange of craft techniques, and adaptation of the visible world to one’s own memory, faith, and ritual.
Modern reverse process
Today, there is also a reverse movement. Ukrainian craftsmen and designers can turn to Jewish symbolism, combining the silhouette of the Ukrainian vyshyvanka with the Magen David, menorah, lions, grapevine, Hebrew letters, or motifs of Jerusalem.
But this is no longer a historical reconstruction of an ancient “Jewish vyshyvanka.” It is a modern cultural gesture — an attempt to show that Jewish history was part of Ukraine, not an external addition to it.
Therefore, the correct conclusion is this: Ukrainian embroidery and Jewish embroidery on Ukrainian lands were not the same tradition, but they existed in a common space. They could influence each other through materials, craftsmen, markets, ornaments, and festive culture. At the same time, each retained its own meaning: the Ukrainian vyshyvanka as a sign of folk and regional identity, Jewish embroidery as a language of Judaica, prayer, family memory, and communal textiles.
Two lines of Jewish embroidery: Judaica and everyday life
Jewish embroidery in the territory of Ukraine is conveniently viewed through two large lines.
The first is decorative-religious, that is, Judaica. These are synagogue and home-ritual items associated with the Torah, prayer, holidays, Shabbat, Passover, weddings, family memory, and communal gifts.
The second is everyday and clothing. These are costume elements, headwear, accessories, bib inserts, belts, kippahs, festive caps, collars, dress trims, skirts, corsets, men’s and children’s vests.
The most reliable field is precisely Judaica. Here we are talking about items that are better preserved in museum collections and more often appear in descriptions: parochets, Torah mantles, kaporets, ataras, tefillin cases, matzah bags, covers, chuppah, tallits, and kippahs.
The clothing line also exists, but it is more complex. There are fewer sources, attributions are more subtle, and the temptation to call all this “Jewish vyshyvanka” is too great. Therefore, caution is needed here: Jewish embroidered clothing existed, but a separate canonical type of “Jewish vyshyvanka” does not yet have such strong evidence.
Synagogue textiles: the heart of Jewish embroidery
The most vivid and best-documented manifestation of Jewish embroidery is synagogue textiles.
In the Jewish tradition, fabric could be more than just decoration. It became part of the sacred space. A parochet covered the Torah ark. A mantle protected the scroll. A cover on the bimah accompanied the reading of the Torah. An atara adorned the tallit. A case or bag for tefillin was associated with personal prayer practice. A matzah bag was part of the festive world of Passover.
In this sense, embroidery was not a decorative trifle, but a way to express respect for the sacred.
What items were used
In the synagogue and home-ritual tradition, various types of textiles were encountered:
- parochet — curtain before the Torah ark;
- kaporet — upper decorative part or valance of the synagogue curtain;
- mantle / torah mantle — cover or mantle for the Torah scroll;
- cover on the bimah;
- atara — decorative strip for the tallit;
- cases and bags for tefillin;
- matzah bags;
- festive covers;
- chuppah;
- Sabbath fabrics, including covers for challah;
- kippahs and separate elements of prayer clothing.
In different regional and museum descriptions, names may differ, and some terms are sometimes conveyed differently. But the system itself is clear: embroidered and decorated textiles served the synagogue, home, holiday, and prayer.
The creation of such items was often done by women, especially in the home and communal environment. At the same time, for individual items, authorship is far from always known: museum cards more often preserve the date, place, type of item, or name of the donor than the name of the craftswoman.
Techniques and materials
Jewish ritual textiles on Ukrainian lands could be very rich in execution. Velvet, silk, brocade, gold and silver embroidery, metallic threads, appliqués, passementerie, beads, pearls, sequins, fringe, decorative patches were used.
In Kyiv and Galician items, brocade, velvet, gold and silver thread, sequins, paper backing under embroidery, strips of complex metallic thread work are recorded.
Sometimes expensive fabrics received a second life. Old fragments of brocade, elite clothing, imported fabrics, or decorative strips could be reassembled into a synagogue item. This did not diminish its significance. On the contrary, in the Jewish tradition, the beauty of the item could become part of fulfilling the commandment — a respectful adornment of the sacred.
Symbolism: crown, lions, menorah, birds
On Jewish embroidered fabrics, stable motifs were found: the crown of the Torah, Tablets of the Covenant, lions of Judah, deer, birds, menorah, Magen David, hands of the kohanim, plant garlands, vases with flowers, pomegranates, rosettes, palmettes, wreaths, paschal lamb.
Equally important are inscriptions. These could be Hebrew letters, dedications, names of donors, dates according to the Jewish calendar, biblical or liturgical formulas.
Here the ornament was not “just a pattern.” It combined beauty, faith, memory, communal status, family donation, and connection with the text.
Galicia, Podolia, and Volhynia: space of cultural contact
Jewish embroidery in the territory of Ukraine was not formed in isolation.
It was a layer of culture at the intersection of Jewish canons and the decorative-applied art of Ukrainian lands.
Galicia, Podolia, and Volhynia are especially important. In these regions, large Jewish communities lived, craftsmen worked, fabric markets existed, fairs were held, fashions changed, techniques spread, different visual languages met.
Galicia provides the richest and most noticeable corpus. Lviv, Sasyv / Sasov, Zolochiv, and other shtetls are associated with parochets, torah mantles, ataras, tefillin cases, kippahs, brusttukh, Yom Kippur belts, and other items.
Podolia and Volhynia are important as regions of dense Jewish life. Here the topic requires further work with museum funds, photo archives, family albums, and local collections. Weak digital visibility does not mean the absence of tradition. Many items may not have been preserved, not digitized, or listed under too general names.
That is why in a popular science text, one can speak confidently about the tradition itself, but cautiously about the details of specific regional costumes.
Sasyv and the technique of shpanyer arbet
A special place is occupied by Sasyv in the Lviv region. It is associated with the technique of shpanyer arbet / spanier arbeit — a special metallic thread work where gold and silver threads, lace strips, decorative modules, plant and geometric motifs were used.
This technique is important because it connects synagogue textiles and clothing.
It was used for ataras, kippahs, women’s bibs, festive caps, collars, cuffs, belts, vests, dress and skirt trims.
Rosettes, flowers, rhombuses, heart-shaped motifs, elements reminiscent of “fish scales,” plant forms were encountered. This is not only the synagogue, but a visible festive culture: what a person could wear, show at a celebration, pass on in the family, preserve as a status item.
Everyday embroidery and clothing: was there a “Jewish vyshyvanka”?
Now the most sensitive question: can we talk about a “Jewish vyshyvanka”?
If by vyshyvanka we mean precisely the Ukrainian national shirt with a stable regional ornament system, then talking about a full Jewish analogue is still risky. In known digital catalogs, there is almost no separate type of “Jewish embroidered shirt” from the territory of modern Ukraine.
But if we speak more broadly — about embroidered clothing and clothing elements — the Jewish tradition is well confirmed.
These were women’s festive caps, kippahs, brusttukh / brustikhl — bib inserts, belts, jacket collars, ataras, caps, dress trims, skirts, corsets, men’s and children’s vests.
In the Ashkenazi tradition of Eastern Europe, the costume often maintained restraint. Decorativeness could concentrate in separate details: headwear, bib, belt, festive insert, metallic thread trim.
Bib instead of shirt
Particularly interesting is the brusttukh / brustikhl — a women’s bib or insert. It could cover the front part of the blouse and become the main decorative element.
The Ukrainian vyshyvanka carries the ornament on the shirt itself. In the Jewish Galician costume, a similar visual function could be transferred to a separate bib. This is a different principle of clothing, but it is also connected with the embroidered surface, body, and public image.
Therefore, it is more accurate to speak not of a direct “Jewish vyshyvanka,” but of Jewish forms of embroidered costume, where the ornament lived in accessories and decorative inserts.
Restrained colors and local influences
There is reason to say that in the clothing of Jewish communities in Eastern Europe, restraint and modesty were valued. Embroidery might not always be bright: monochrome solutions, white on white, black on black, restrained blue-white combinations were encountered.
The question of the influence of Ukrainian ornaments is especially interesting, but it cannot be presented crudely. In regions of dense neighborhood of Jewish and Ukrainian communities, the influence of the local decorative environment was natural: fabrics were bought at the same markets, craftsmen lived nearby, motifs circulated through fairs, clothing, household items, craft.
However, the formula “Jews simply adopted the Ukrainian vyshyvanka” oversimplifies reality.
It is more reliable to say this: the Jewish population could perceive local techniques, geometric ornaments, color solutions, and craft techniques, but adapted them to their own cultural, religious, and everyday needs.
Kyiv trace: museums, seizures, and preserved fragments
Kyiv is the second important node after the Galician massif.
In the museum collections of Kyiv, Jewish fabrics have been preserved, some of which ended up there in the 1920s-1930s after Soviet seizures from synagogues. This is a painful page of history: religious items were torn from the living communal space and turned into museum “cult objects” or “fabrics.”
But it is precisely thanks to museum storage that some items did not disappear completely.
In the Kyiv corpus, parochets, Torah mantles, chuppah, tallit, tefillin, kippahs are mentioned. Parochets with brocade, velvet, gold and silver thread, sequins, and complex embroidery construction are especially important.
The Kyiv trace shows: Jewish embroidery in the territory of Ukraine is not limited only to Western Ukraine. Galicia provides the richest material, but the capital and central lands are also important for understanding the museum fate of Judaica.
Bukovina, Chernivtsi, Sadgora, and southern Ukraine
Bukovina should not be turned into the center of the entire topic, but it cannot be excluded. Chernivtsi, Sadgora, and Bukovinian Jewish communities provide important evidence of synagogue textiles, rich parochets, and a special urban culture.
At the same time, the digital corpus on Bukovina is weaker than on Lviv and Kyiv. This speaks not so much about the lack of tradition as about the problems of preservation, description, and digitization.
The south of Ukraine, including Odessa, also requires a separate discussion. There, Jewish culture developed in a different urban, commercial, and port environment. For the topic of embroidery here, additional museum and archival searches are needed, especially for home textiles, clothing, and family collections.
Museums and modern heritage preservation
Today, traces of Jewish embroidery and Judaica can be sought in museum collections in Ukraine and beyond. Important are the Lviv collections, Kyiv funds, collections on the history of Jewish communities, as well as museums working with Ukrainian folk costumes and decorative arts.
In this topic, the Museum of the History of Jews in Ukraine in Dnipro, the Ivan Honchar Museum in Kyiv, Lviv museum funds, specialized Judaic centers, and projects related to Jewish crafts and memory are often mentioned.
NAnews — Israel News | Nikk.Agency considers this topic not as museum exotica, but as part of the overall Ukrainian-Jewish history. For the Israeli audience, this is especially important: many families in Israel have roots in Ukraine, Galicia, Podolia, Volhynia, Kyiv, Odessa, Chernivtsi, Berdychiv, Medzhybizh, Brody, and dozens of other places where Jewish life was part of the local landscape.
And if today a person in Israel asks whether there was Jewish embroidery on Ukrainian lands, it is not an idle question. It is a question about family memory, about lost items, about what disappeared along with shtetls, synagogues, and pre-war communities.
Modern hybrid vyshyvankas: new memory, not old reconstruction
In modern Ukraine, there is an interest in hybrid forms: Ukrainian vyshyvanka is combined with Jewish symbols — the Star of David, menorah, lions, grapevine, Hebrew letters, motifs of Jerusalem.
This is an important phenomenon, but it needs to be understood correctly.
The modern “Jewish-Ukrainian vyshyvanka” is not necessarily a reconstruction of an ancient Jewish costume. More often, it is a new artistic work with identity. It says: the Jewish history of Ukraine was not an external history. It was an internal part of this land.
Such a synthesis can be very powerful, especially after 2022, when Ukrainian and Jewish memory were again linked through themes of war, destruction, resistance, exile, and return to roots.
But the past and the present need to be separated. Historical Jewish embroidery is primarily Judaica, ritual textiles, and individual clothing elements. The modern hybrid vyshyvanka is a new cultural gesture.
Why this topic does not argue with Ukrainian vyshyvanka
The discussion about Jewish embroidery does not take anything away from Ukrainian vyshyvanka.
On the contrary, it makes the Ukrainian cultural map deeper.
Historically, Ukraine has been a space of many peoples. Ukrainians, Jews, Poles, Romanians, Armenians, Germans, Crimean Tatars, Greeks, and other communities created a complex fabric of the region. Sometimes they lived separately. Sometimes side by side. Sometimes in conflict. Sometimes in close craft and trade contact.
Ukrainian vyshyvanka is a powerful symbol of Ukrainian identity.
Jewish embroidery on Ukrainian lands is another layer. It does not have to resemble vyshyvanka to be important. It speaks of the synagogue, the home, prayer, celebration, the woman-craftswoman, family gift, craft environment, fabric that could be passed on, remade, saved, or lost.
These traditions can be studied side by side, without forcibly mixing them.
What can be confidently asserted
First: Jewish embroidery on the territory of modern Ukraine existed.
Second: it is most reliably confirmed in synagogue and ritual textiles — parochets, Torah mantles, kaporets, ataras, tefillin cases, matzah bags, coverings, chuppahs, festive fabrics.
Third: the clothing line also existed. Embroidery, metal thread trim, beads, pearls, and decorative elements were found in kippahs, women’s caps, brusttukh/brustikhl bibs, belts, collars, dresses, skirts, bodices, men’s and children’s vests.
Fourth: it is premature to speak of a full-fledged “Jewish vyshyvanka” as a separate stable analogue of the Ukrainian national shirt.
Fifth: it is not only possible but necessary to speak about the Jewish culture of embroidered textiles and embroidered clothing elements on Ukrainian lands.
Conclusion: not a myth, but a lost layer of culture
The existence of embroidery in Jewish traditional art on the territory of modern Ukraine can be confidently asserted. This embroidery did not always look as the modern reader, accustomed to the image of Ukrainian vyshyvanka, might expect.
Its main forms are parochets, Torah mantles, ataras, matzah bags, festive coverings, kippahs, bibs, belts, caps, clothing trim. Its materials are velvet, silk, brocade, gold and silver threads, beads, pearls, appliqués, metal thread work. Its symbols are the Torah crown, lions, menorah, Star of David, birds, deer, flowers, pomegranates, Hebrew letters, and dedications.
It was a culture of fabric, memory, and commandment.
It lived in the synagogue, in the home, at celebrations, in women’s needlework, in the workshop, in the shtetl, in the city, in the family. A significant part of this culture was destroyed by the Holocaust, Soviet confiscations, the dispersal of collections, and the loss of communal memory.
But the surviving items and descriptions allow us to see the main thing: Jewish embroidery on Ukrainian lands was not an accidental detail, but part of a large tradition.
It should not be called a “Jewish vyshyvanka” without reservations. But its existence cannot be denied.
The correct formula sounds like this: on the territory of modern Ukraine, there existed a developed Jewish culture of embroidered ritual textiles and embroidered clothing elements, connected with Judaica, everyday life, festive costume, craft, and the multinational history of Ukrainian lands.
It is this formula that restores dignity to the topic: without myth, without simplification, but also without oblivion.
Some interesting links on the topic
Below is not a complete academic list, but a working selection of links that can be used as additional support for the topic of Jewish embroidery, ritual textiles, and clothing elements on the territory of modern Ukraine. URL check: 22.05.2026.
The Lviv corpus is the best documented. It is precisely for Lviv and Eastern Galicia that there are state item cards, scientific publications with illustrations and descriptions of parochets, kaporets, tallits, ataras, women’s bibs, and Sasyv metal lace available in open access. Kyiv is represented differently: not so much by separate museum cards, but by educational-museum PDFs with captions for specific items, including a tefillin case and a Megilat Esther in a silver case. For Dnipro, it is currently easier to find official fund publications and Instagram posts in open access than full inventory cards.
It is important to consider the limitation of sources: the state register of museum funds of Ukraine operates unstably and is unevenly filled. Therefore, the absence of an item in the open catalog does not mean that such an item is not in the funds.
Lviv corpus: parochets, kaporets, tallits, ataras, and bibs
One of the main sources for the topic remains the Museum Fund of Ukraine, where item cards related to Jewish ritual textiles and clothing elements are published.
Parochet — a curtain for the Torah ark. This is one of the key items of synagogue textiles, important for the discussion of Jewish embroidery and decorative Judaica.
https://museum.mcsc.gov.ua/collections/parohet-105179
Kaporets — the upper decorative part or curtain associated with the Aron ha-Kodesh. Such a link is useful for explaining that Jewish embroidery often lived not in clothing, but in the synagogue space.
https://museum.mincult.gov.ua/collections/kaporet-105231
Tallit / talles gadol — a prayer shawl. For our topic, it is important not only as a religious item but also as part of the textile culture where decorative elements and ataras could appear.
https://museum.mincult.gov.ua/collections/talit-tales-gadol-153391
Atara — a decorative part of the tallit. Such items help show the connection between prayer practice, fabric, ornament, and Jewish traditional art.
https://museum.mcsc.gov.ua/collections/atara-skladova-do-talesu-gadolyu
Women’s Jewish bib — a particularly important example for the topic of embroidery on clothing. It shows that the Jewish decorative tradition could manifest not as a separate “Jewish vyshyvanka,” but as an embroidered or decorated costume element.
https://museum.mcsc.gov.ua/collections/nagrudnik-zhinochiy-vreyskiy-107499
Fragment of a women’s Jewish bib — another important card for a careful discussion about women’s clothing, decorative inserts, and Galician Jewish costume.
https://museum.mcsc.gov.ua/collections/nagrudnik-zhinochiy-vreyskiy-fragment-105275
Men’s Jewish kippah from 1990 with a menorah and the inscription FIROU. For the historical part, this is not an early example, but for the section on modern heritage and continuation of tradition, such a link is useful.
https://museum.mincult.gov.ua/collections/ubir-golovniy-cholovichiy-vreyskiy-kipa-1990-r-91659
Scientific publications on the Lviv collection and the Sasyv tradition
For more serious argumentation, not only item cards are important, but also articles where these items are considered in the context of Jewish art in Ukraine.
PDF on Jewish art in Ukraine, where there are parochets, kaporets, and Torah mantles from the Lviv collection. The captions to the illustrations include specific dates: 1690, 1698, 1800, 1808, 1819, 1848, as well as the 19th–20th centuries. This is one of the most useful links for the historical part of the article.
Article by Natalia Levkovych in “Visnyk LNAM” about Jewish lace ataras. It is important for the topic of Sasyv and the technique of Sasyv metal lace from the second half of the 19th — first third of the 20th century.
https://visnyk.lnam.edu.ua/visnyk/2022/48/nataliya-levkovych-59-66
Another article by Natalia Levkovych — about women’s bibs of Eastern Galicia from the 19th century from the collection of the Museum of Ethnography and Artistic Crafts in Lviv. This is an especially valuable link for the topic “embroidery on clothing,” because it takes us beyond synagogue textiles.
https://visnyk.lnam.edu.ua/visnyk/2022/49/nataliya-levkovych-15-25
Kyiv block: tefillin case and Megilat Esther
The Kyiv line is still less represented in the form of separate open cards, but there are museum-educational PDFs with specific items and captions.
In the PDF, a tefillin case from the late 19th century and a Megilat Esther in a silver case from the second half of the 19th century are recorded. These items are not necessarily embroidery in the narrow sense, but they are important for a broader discussion of Judaica, ritual items, and the material culture of Jews in Ukraine.
Dnipro: Jewish national costume from the museum’s funds
For Dnipro, more fund publications and social media posts are currently available in open access than full inventory cards.
Publication of the Museum “Memory of the Jewish People and the Holocaust in Ukraine” about the Jewish national costume from the museum’s funds. It is important for the modern reader because it shows: the topic of Jewish clothing in Ukraine is not limited to theory, it is also present in museum communication.
https://www.instagram.com/p/DYmokfrCDKM/
…
Ukraine is looking for workers, Israel shows a model: migrants cover only 0.1% of market needs - June 5, 2026
- Новости Израиля
Trump promises a finale with Iran: deadline, Pakistan, and a deal that is not yet in place - June 5, 2026
- Новости Израиля
The Kishinev pogrom: In 1903, the central authorities in Russia wanted Jewish blood to be shed, and that is exactly what happened. - June 5, 2026
- Новости Израиля