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Section 3. Study of art
Section 3. Study of art
Allamuratova Xurliman Nurullaevna, Academic lyceum near Nukus State Pedagogical Institute 2nd course student, the department foreign languages. E-mail: [email protected]
Karakalpak national clothes differences
Abstract: In this article said about karakalpak national clothes which is worn in the past centuries and difference between karakalpak woman’s and men’s clothes which is worn in the weddings and daily life.
Keywords: Kiymehsek, kokkoylek, saukele, tobelik, shapan, a’rebek, shekpen, jegde, haykel.
Karakalpak people are distinctive with their ancient history, unique customs and traditions, language and culture that constantly attract the attention of the world community thanks to the depth of content, vivid images, national spirit and philosophy.
Kiymeshek
Nowadays, exhibited samples of national clothings are considered to be the model for the revival of the material culture and traditions. In the past karakalpak men and women wore national clothes. It is connected with their tradition. We tell some of them as example.
Kok-koylek
Such elements of an ancient clothing as “kiymeshek”, which is a unique type of women’s headdress, with embroidered chest part, attract an attention of an audience a great deal. Kyzyl-kiymeshek was worn by young women, and ak- kimeshek by older ones.“ Kok-koylek”, which is unique with its peculiar system of ornament
“sauyty nagys”, was regarded as a traditional wedding and festive dress. [1, 92-93]
The Karakalpak ko’k ko’ylek was an ankle-length, long-sleeved, unlined woman’s tunic-style dress. The entire front of the dress was intensively decorated with geometric cross-stitch embroidery, as was the bottom part of the sleeves. The back remained undecorated.
Jegde
The dress was hand-tailored from narrow strips of indigo-dyed home woven cotton bo’z, called by the Uzbeks matar. These were sewn together side by side to make the body of the dress and the sleeves. The body had a single central front panel and no shoulder seams. The collar was round and had a narrow and deep vertical opening at the front, a style normally reserved for women of childbearing age to facilitate breast-feeding. There were lower side vents for ease of movement and sometimes a pocket. In some cases the edges of the collar, lower hem, side vents, and cuffs were finished with a narrow strip of red textile. Furth more Karakalpak “jegde” was an unlined mantle, which was worn draped like a cloak but was placed over the head rather than the shoulders. It had very long false sleeves, which were folded so that they hung down behind the back where they were fastened together at the cuffs by a short cord.
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Karakalpak national clothes differences
A Karakalpak woman dressed in a qizil kiymeshek and a jipek jegde. The jegde was normally only worn outside of the home. It permitted a woman to go about unveiled, but to retain some modesty by being able to use the side of the cloak to shield her face from male onlookers. There were three main types of Karakalpak jegde: the jipek jegde worn by young married women or by girls of marriageable age; the aq j egde worn by mothers and middle aged women; and the kempir jegde worn by elderly women.
Saukele
Women’s hats called “saukele” and “tobelik” were mystiques findings for historians and according to ethnographers, resemble the helmets of ancient am-azon-massagets whose echo is believed to be the epic “Kyryk-kiz”. Saukele is covered with red cloth and richly decorated with pattern metal buckles and pendants, colored stones and beads. Tobelik was worn over saukele. Jewellery, especially silver jewellery, formed an essential part of a Karakalpak woman’s costume [2,105-106].
Tobelik
It was worn by all levels of society. Traditional costume of a Karakalpak bride, with a’rebek nose-ring, soyaw sirg’a earrings and a dramatic hay’kel breast decoration. Moreover the Karakalpak term for a nosering is “a’rebek”. A’rebek were one of the few items of Karakalpak jewellery that were usually made of gold. A’rebek were very common in the northern regions of Karakalpakstan at the end of the 19th century.However by the end of the 1930s women had stopped wearing them even in the rural areas. They were often decorated with a spiral shaped curl of gold wire and sometimes incorporated stones such as coral or turquoise. They were worn in the right nostril and were described by the type
of stone they contained — thus a piruza qasli a’rebek was a turquoise stone nose-ring while a marjanli qasli a’rebek was a coral stone nose-ring. Besides that Karakalpak term for earrings is “sirg’a”. At the turn of the 19th century there were many different types of sirg’a, the most impressive and ancient of which was probably the halqapli sirg’a. This decoration consisted of a pair of earrings connected to each other by a chain or necklace from which were suspended numerous pendants.The description halqapli seems to mean circular and refers to the necklace component.
Ha’ykel
There are various spellings of this including halqali, qalqali, and halqanli. Apart from the sa’wkele, the “ha’ykel” is probably the most impressive single item of Karakalpak jewellery. It is a breast decoration, generally of silver and sometimes gilded, with carnelian or coloured glass inserts. A Karakalpak woman wore a dramatic ha’ykel along with an oramal and a jipek jegde [2, 107].
It should be noted that Karakalpak embroidery on red, black and white blackgrounds is done with looped-chain-stitch on the cross.
Shekpen
Karakalpak men’s traditional headdress is a “shogirme”-a hat made of sheepskin. Also Karakalpak man’s “postín” is a heavy and bulky sheepskin overcoat, worn with the skin facing outwards and the fleece facing inwards. The outer sheepskin facing of the coat is dyed a light yellow colour and the outer edges — consisting of the collar and front panels and the coat bottom and the cuffs — are decorated with narrow strips of black or brown astrakhan pelt. These strips are bordered on the outside face of the coat with a band of striped, usually red, cloth which is often made of silk. A large triangular
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Section 3. Study of art
amulet, made from the same striped cloth and known as a jawirinsha decorates the back of the coat, just below the collar. The long woollen fleece is often exposed along the front and bottom edges of the coat and around the collar and cuffs. Obviously the inner fleece means that the coat requires no lining. The Karakalpak “shekpen” is a long-sleeved overcoat or khalat made from homewoven camel wool cloth, or shal, which is normally light beige to mid brown in colour. It has a fairly straight cut, is nearly always unlined, and has no pockets.
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Shapan
The front of the coat is overlapping and unfastened, while the collar is narrow, standing up behind the neck but lying flat on the chest at the front. There are low-
er vents in each side seam for ease of movement. The top underside of each sleeve usually has an opening rather than a gusset, the edges of which are sometimes finished with piping. As regards to decoration the outer edges of the collar, front openings, lower hem, side vents, and cuffs are finished with raspberry red silk jiyek. Often the inside edges of the front and bottom are lined with a narrow strip of Khivan or Bukharan adras or other brightly coloured cloth. Some shekpen are decorated with modest amounts of embroidery around the lower side vents and the collar. The Karakalpak man’s “shapan” is a lined, long-sleeved coat or khalat, which is normally quilted with cotton interlining. It is most commonly made from local alasha, a narrowly striped cotton textile with a polished finish, usually lilac, blue, or purple in colour. The front is overlapping with no means of fastening and there are two lower side vents for ease of movement. There is a narrow collar, which is raised at the back but lies flat on the chest at the front. There is sometimes a single pocket. The edges of the coat, including the cuffs, are finished with a braid of raspberry red jiyek, which is woven directly onto the coat by hand [1,90-91].
Reference:
1. Tlewmuratov M, Berdiev J, Tlewmuratova Qaraqalpaqstan tariyxi. - N.: Bilim, 2014.
2. Kamalov S, Saribaev QQaraqalpaqstan tariyxi. - N.: Qaraqalpaqstan, 2004.
Lupovskaya Khristina Pavlovna, Moscow, Tretyakov Gallery, Senior Researcher E-mail: [email protected]
“Lead us to the truth, the good, and the tea table”
(the unknown collage of artist Varvara Bubnova)
Abstract: This paper describes the unknown work of artist Varvara Bubnova related to the short period of her life шт Moscow, which depicts her colleagues in the Department of Ancient Manuscripts and Early Printed Books of the State Historical Museum.
Keywords: Varvara Bubnova, Vyacheslav N. Shchepkin, Martha V. Shchepkina, Mikhail N. Speransky, State Historical Museum, Shchepkin family collection
Луповская Христина Павловна, Государственная Третьяковская галерея, старший научный сотрудник
E-mail: [email protected]
«Веди нас к истине, к добру, а также к чайному столу» (неизвестная страничка творчества художницы В. Д. Бубновой)
Аннотация: В статье описывается неизвестная работа художницы Варвары Дмитриевны Бубновой, относящаяся к короткому московскому периоду её жизни. На коллаже изображены её коллеги по Отделу древних рукописей и старопечатных книг Государственного исторического музея.
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