Into the ornaments of “Tavryka” were “woven” grasses and flowers, fish and curling waves, and the provider-matula. With these patterns the mazalnytsi and the mistresses of houses wished for themselves and for the whole family a good harvest, generous plenty from the garden, the plot and the household, well-being, and health from the nature around them. Ornamental compositions were not packed tight: between the elements much air was kept, and also lightness and a lace-like quality.

One should also take into account that different kinds of decorative and applied art are closely bound to one another, even if the ways of working the materials differ. Ornaments, symbols, subjects and schemes of compositional structure are very similar. So, in studying the ornament of embroidery or ceramics, one may suppose that a similar compositional structure could have existed in Tavrian painting as well. The centripetal placing of Trees of Life and flower vases, and the ribbon arrangement of motifs in crosswise bands in the embroidery of rushnyky and in the painting of ceramics, is an example of a compositional scheme used widely not only in the South but across almost the whole of Ukraine. That is why such a placing of elements in Tavrian painting is held to be natural and fitting.