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Mythological beliefs on national jewelry of Khiva
мировой войны, что в свою очередь стимулировало появление новых работ.
Таким образом, можно констатировать, что «Фишеровская концепция» вызвала широкий резонанс не только среди западногерманских исследователей, но и мировых. В отечественной историографии работа автора получила всесторонне рассмотрение в трудах К. Б. Виноградова [1] и Ю. В. Дунаевой [2], также в статьях ишимского историка С. Н. Синегубова [3, 11-14; 4, 124-131]. Однако, точка зрения Ф. Фишера затрагивающая тему исключительно «германской ответственности» получила и шквал
критики. Итогом такой политики стало стойкое «непринятие» взглядов историка в среде «консерваторов». В числе ярых оппонентов автора можно выделить выше упомянутого историка Г. Риттера, а также исследователя Г. Шоллгена [13]. Впрочем, «Фишеровская концепция» имела и немало последователей, что в последствии вылилось в появление отдельного направления исторического исследования, посвященного проблемам флотской политики Германской империи и получившего название «школа Фишера», так или иначе стимулировавшего интерес историков к данной теме.
Список литературы:
1. Виноградов К. Б. Буржуазная историография Первой Мировой войны. Происхождение войны и международные отношения 1914-1917 гг. - М., 1962.
2. Дунаева Ю. В. Исследование Ф. Фишера о Первой мировой войне и европейская историография. Перспективы. -М., 2014.
3. Синегубов С. Н. Англоязычная историография германо-британского морского соперничества начала XX в.//ХХ111 Ершовские чтения: Межвуз. сб. науч. ст. Ч. II. - Ишим: ИГПИ им. П. П. Ершова, 2013. - С. 11-14.
4. Синегубов С. Н. Особенности западногерманской историографии военно-морской политики кайзеровской Германии в конце XIX - начале XX вв.//Вестник ИГПИ. История. - 2013. - № 2. - С. 124-131.
5. Dehio L. Gleichgewicht oder Gegemonie. - Krefeld, 1948.
6. Fisher F. Die Neutralität Englands als Ziel deutscher Politik 1908-1914. - West Berlin, 1983.
7. Fisher F. Griff nach der Weltmacht: Die Kriegszielpolitik des Kaiserlichen Deutschlands. - Düsseldorf, 1961.
8. Fisher F. Krieg der Illusion. Die deutsche Politik von 1911-1914. - Königstein, 1978.
9. Hubatsch W. Die Ara Tirpitz. Studie zur deutschen Marinepolitik 1890-1918. - Göttingen, 1955.
10. Ritter G. Staatskunst und Kriegshandwerk. - Munchen, 1964.
11. Rohver J. Kriegsschiffbau ind Flottengesetze um die Jahrhundertwende. - Düsseldorf, 1972.
12. Schak K. Der Beginn des deutschen Schlachtflottenbaues 1897-1900. - Munchen, 1981.
13. Schöllgen G. «Fisher-konroverse» und Kontinutatsproblem. - Freiburg, 1981.
14. Stadelmann R. Die Epoche der deutsch-englischen Flottenrivalitat. - Laupheim, 1948.
Rakhmonova Yulduz, the Candidate of Historical Science, Urgench State University, Khorezm, Uzbekistan E-mail: Guzal7212@gmail.com
Mythological beliefs on national jewelry of Khiva
Abstract: This article explains the history of ancient Khorezmian jewelry in Khiva and peoples’ beliefs on them. The social, cultural and national importance of the decorations and patterns of them are described in detail. By this article the author tries to explain the content and purpose of wearing jewelry in ancient Khorezm.
Keywords: jewelry, Khorezm - one of the regions ofpresent day Uzbekistan, “takhiya” - a Khorezmian national skull cap designed with beautiful metal scales, “djigha” - a symbol of bird, jewelry item for headwear of governors, “osma duziy” - a jewelry item containing three teeth of wild animals, “tumor” - amulet worn round the neck with pendent which has the lines of Quran in it, “huyi par” - a feather of eagle-owl hooked on takhiya, “Ichan Kala” -the inner city in Khiva where the residence of Khorezmian shahs situated, “feruza” - a precious stone which is in turquoise color, “Shabaka” - the most popular technique ofjewelry making, “Falkol Ark” - the residence of shah.
The ancient mode people’s applied art are very significant in studying the history. For instance the diversity of women’s jewelry, the decorations were not only the presentation of love, respect and kindness to them but also they are considered as the valuable source for us to study the history.
These pieces of art inform us about the period of time and place, professional skills of master designers, also, economic and spiritual state of the owners of jewelry, sentiment, inter relations of social classes, in general, social, mental, economic, even political scene of the certain period. In 19th century, the
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Section 3. History
Khivian jewelers’ profession developed dynamically. Jeweler’s profession developed dynamically. Jeweller’s polished gold, silver items with delicate stones and glass.
In 18th century sixties, there were 12 jewelers in Khiva, at the beginning of 19th their number increased to 60. There were separate jewelers inhabiting places in Khiva who dwelt by making jewelries. The jewelries were made of gold, silver, bronze, cuprum and polished with gold-bearing water. The precious stones such as pearl, emerald, color glass, onyx were used. These precious stones were brought from India, Iran, Egypt and other Eastern countries. Local people considered each stone acquiring magic feature and believed that they would bring happiness, solidarity, protect from evil spirits, and even some stones were believed to strengthen the heart, and cure from certain disease.
Jewelers used national-traditional techniques in designing jewelry items. In Khivian jewelry designing, such creative methods as pressing, tinning, stone fastening, fine designed “shabaka” were widely used.
In decorations ornaments with chain, beads, stone and in the shape of metal pressed leaves (usually on head wearing of local people preserved up to the 20th century) were mostly used, “pomegranate seeds”, “apple blossom”, “round patterns” were designed.
In Ichan-kala museum preservation 200 Khorezmian jewelry items have been preserved up to nowadays. There were several groups ofwomen’s jewelry which were worn on head, breast and waist. One of the items of head jewelry was “tumor” (amulet) which was hooked on takhiya (skull cap). The word “tumor” in Uzbek originated from Arabic “duo” (means prayer to God, wish for a good outcome). Usually a chapter from Quran was written on a piece of paper and put into “tumor” in order to protect a person from evil eyes and troubles. Silver and turquoise or “feruza” were used to decorate “takhya” and jewelry was polished with golden water. The peculiarity of Khorezmian skull caps (takhiya) is that its top surface is
flat and designed with ribbons, and with circumference. The “takhiya” was decorated with gold, silver and cuprum scales and “huyi par” (eagle owl’s feather) on one side only.
“Osma duziy” or “wing hang” was an ornament worn on forehead which contained three teeth ofwild animals. “Osma duziy” which has been preserved in Ichan-Kala museum fund belonging to the 19th century had coral, turquoise designing stone patterns.
“Takhiya Duziy” is the complex of Khorezmian jewelry designing peculiarities.
It covered the skull cap totally, these covering metals (mostly scales were fastened) took the shape of cap naturally. The head decorative item “djigha” was the symbol of ruling power or governor of the country. In “Chronology of Khorezmian shahs” the scriber Bayoniy wrote the following lines “Amir Tura came to Filhol Ark and became Khan and wearing a fur-hat with djigha, sat on the throne”. The term “Djigha” was connected with the symbol of bird. The birds were always considered as the symbol of governors and his patronage, and defender. Besides, the primitive beliefs of local peoples traced its ancient history in jewelry. Owl, eagle-owl, eagle and falcon feathers were believed that they would protect people from evil spirits and devil.
In eastern countries by wishing health and prosperity to the governor, on his headwear the “djigha” was hooked with the feather of a bird. But in Khorezmian shah’s crown or head wear there were no feathers it was more simple than others.But, djigha on women’s and children’s head wears were used with feather. On wedding day, djigha was hooked on girls’ “takhiya’s”.
As a conclusion to our view point we would like to mention that the jewelry items coming from century to century, from generation to generation have been preserved as the precious piece of history, also we must mention that nowadays a lot of youth especially girls and women are interested in the ornament, patterns of traditional design of the national jewelry.
References:
1. Azizxojayev A. Khiva ming gumbaz shahri. - Tashkent: “Sharq”, 1997. - P. 83.
2. Ichan kala muzey qo’riqhonasi fondi. KP 580-583, KP 129.
3. Bakhodirkhon Abulghozi. Shajarai turk. - Tashkent: “Chulpon”, 1992. - P. 131.
Usanova Ksenia Yurievna, Moscow State University, Graduate student of the Department of History E-mail: uusanova@mail.ru
Evolution of political lapel pins in presidential campaigns in the USA (1948-1972)
Abstract: The work presents the evolution of visual technologies in political advertising on the example of lapel pins. Their traditional and innovative forms are revealed.
Keywords: evolution, visual advertising, political lapel pins, design, psychological effect.
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