The вишиванка or 'vyshyvanka' is the traditional Ukrainian embroidered linen shirt which forms part of the national costume typically worn on special occasions, but now increasingly as a part of everyday dress as a gesture of respect for Ukraine's culture and history and a symbol of resistance. Vyshyvankas are usually embroidered with a combination of six main colours of Ukrainian embroidery: white, black, red, blue, yellow, or green, and the patterns differ from region to region even  village to village.

This tapestry, 'Wedding' (1969, National Museum of Decorative Art of Ukraine) by Ivan and Maria Lytovchenky) was made during a period of revival for Ukrainian arts when unofficial art flourished. While Soviet Socialist Realism remained the official style, traditional folk themes which were identifiable with nationalism were not safe subjects. Today, works like this resonate with Ukrainians who are once again fighting to protect and assert their culture.

This week on the Post we celebrate Ukrainian persistence, resistance, and beauty. As this website says, "Ukrainian culture is experiencing [a] powerful reevaluation", especially in the spheres of folk art and textiles which have always endured under occupation. Too much has been lost already; Maria Prymachenko (1909-97) whose whose art is "expressive and consistently advocating for peace", but much of her work in the Ivankiv Historical and Local History Museum was lost in a Russian attack. This is Our Army, Our Protectors (1978). 

Crocuses can be forced in pots to be brought indoors and they make beautiful, if short-lived, windowsill arrangements. This is Crocuses and Daffodils in Pots (1929, private collection) by Christopher Wood (1901-1930). 

The crocus has also inspired more organic designs, such as this tapestry, 'Crocus, blå' (1946), by Swedish textile artist Ann-Mari Forsberg (1916-92) for the Märta Måås-Fjetterström workshop which is still producing her designs. (Coincidentally, Marta Måås-Fjetterström also designed a more stylised 'Crocus' tapestry in 1930.) This "playfully inventive" wall hanging is in several museum collections, including the V&A. 

In One Woman's Year, Stella Martin Currey describes the Crocus vernus or spring crocus as 'enduring cheerfully as they do in the most uninspiring conditions'. It is this affection for the small flower that made Clarice Cliff's vibrant, hand-painted Art Deco 'Crocus' design of 1928 so immensely popular.

Dorothy Whipple is one of the best writers on Spring. In all her books and short stories, she revels in fresh air and small flowers: snowdrops, celandines, violets, catkins and more. We are led like characters such as Jane in High Wages who enjoys striding out over the hills, and Ellen who gardens in Someone at a Distance. There is a very telling moment in They Knew Mr Knight when Freda stops to admire crocuses before going into the Knights' house - and a different direction to her life. This is a c1932 fabric by Arthur Sanderson & Sons Co, which is in V&A