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43these funds, accumulated and improved. Curative practice was not a profession of a narrow circle of people, but was the property of all. Remedies and methods of their use were characterized by mass character and diversity: "the whole nation, everyone could be initiated into the secrets of treatment, everyone could apply their medical experience and knowledge" [8, p. 97]. This can be explained by the fact that the life of the Kazakh people was inextricably linked with cattle breeding. Over the course of many centuries, its own specificity has developed, which differs sharply from the methods of its conduct with other peoples, and is therefore endowed with originality and independence.
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TRADITIONAL CLOTHES OF KAZAKHS FROM THE COLLECTION OF THE CENTRAL STATE
MUSEUM
Yermekbayeva A.
Phd student. Al-Farabi Kazakh National University, Kazakhstan, Almaty
Abstract
The article discusses the traditional clothing of the Kazakhs from the collection of the Central State Museum of the Republic of Kazakhstan as one of the basic components of the life support system of the ethnic group. Mainly the article reveals headdresses and underwear of women and men. Preference was given to the so-called anthropomorphic principles.
Keywords: Traditional Kazakh costume, functions of clothes, ethnographic collections of Central State Museum of the Republic of Kazakhstan.
Clothing takes a special place in the material culture of the people and reflects its centuries-old history. The Kazakh folk costume reflects the ancient traditions associated with their ethnic history, economic, social and climatic conditions.
A unique manifestation of the material culture of the past is the Kazakh folk costume, created under the influence of living conditions in the steppes with their sultry summers, with piercing winds, frosty winters, large differences in daytime temperatures. It reflected the aesthetic ideals of the people, their lifestyle, social equivalents. It is distinguished by a distinctive originality and played a role in preserving and strengthening the ethnic identity of the people.
The study of Kazakh clothing, as well as any area of national life, is closely connected with the study of a number of important problems of the history and culture of the Kazakh people. Clothing occupies a special place in the material culture of the people, reflecting its centuries-old history. Changing under the influence of new economic and political living conditions of the people, clothing steadily preserves a number of ancient features in the forms, details of cut and jewelry, the identification of which provides material for studying the specific history of the people and their culture [1, p.59].
The traditional costume of the Kazakhs has long been an object of study of ethnographic science. The
Kazakh folk costume reflects the ancient traditions associated with their ethnic history, economic, social and climatic conditions. As an object of study of ethnographic science, it was reflected in A.Kh. Margulan [2], H.A. Argynbayev [3], U. Dzhanibekov [4], N.Zh. Shakhanova [5], in numerous articles of Kazakhstan ethnographers. Particular value is the monograph written by Zakharova and Khodzhaeva "Kazakh national clothing of the XIX-early XX centuries."
The costume of the people of Kazakhstan throughout its history has constantly changed, like any other phenomenon of culture and life. However, it retained elements related to the traditional past, bearing ethnic lines that had developed in the process of historical development of the people.
As in any other culture, the clothing of the Kazakhs in a traditional society performed several functions. The main pragmatic function of clothing is to protect a person from the effects of the environment. But, besides this, the traditional costume also played the most important "identification" function: by the way and what the person was dressed in, it was possible to determine not only his gender and age, but also his social status, gender affiliation.
Kazakh traditional clothes, which reflected the aesthetic tastes of the people, the way of life in the past, social relations, pronounced originality. The total number of traditional Kazakh clothes in the collections of
the Central Museum is 371 storage and exhibiting units (I must say that these data were presented in 2009, at the moment this figure is more than the units shown), the chronological range of existence that covers the period from XVIII to mid XX. With a certain degree of conventionality, we can say that the process of forming stock and expositional collections, in particular, Kazakh clothes, and the Central State Museum of the Republic of Kazakhstan consists of two stages: Orenburg and Almaty itself. According to available data, out of all 371 items of various types and types of Kazakh clothes, the Orenburg stage of adding up the museum's stock and exposition collections accounts for only 8 storage and exhibiting units [6].
A few words about the history of the museum. The Central State Museum of the Republic of Kazakhstan (Almaty) is the oldest and largest museum not only in Kazakhstan, but also in the entire Central Asian region. The composition of the organizational foundations of the Central Museum of Kazakhstan dates back to the 30s of the XIX century and has an almost two-century history. The museum's stock collections include about 300 thousand items.
The foundation of the first collection of the Central State Museum of the Republic of Kazakhstan was based on the collection of the Orenburg Museum. The creation of the museum in the city of Orenburg in 1831 can be considered the time of adding up the stock and expositional collections of the leading museum of Kazakhstan. The first museum in the city of Orenburg was founded in 1831 by the Orenburg military governor, adjutant general Pavel Petrovich Sukhtelen. In July 1929, the Central Regional Museum of Kazakhstan completely moved to the city of Almaty, and in the same year on July 13, a meeting of the museum council decided to rename the Central Regional Museum of Kazakhstan to the Central Museum of Kazakhstan.
Subsequently, the Central State Museum, in its formation and development, experienced tangible events and, as one of the main cultural, educational and scientific institutions, made an invaluable contribution to the development of the republic. Having survived the Orenburg, Kyzyl-Orda, Alma-Ata periods and having achieved certain results in the study of archaeological, ethnographic and geographical wealth of the region, he introduced the public to the history of the country. The museum has seven main stationary halls, the diverse collections of which allow you to get a visual representation of the history and culture of Kazakhstan from ancient times to the present: "Hall of paleontology and archeology", "Hall of historical ethnography", "Kazakhstan during the 2nd World War, the culture of diasporas" , "Modern Kazakhstan", "Open Fund", "Museum of Anthropology", " Khludov Hall" Since 2006, the museum has been operating with the official status of a research organization, which served as a new impetus for improving both research and cultural and educational work.
Describing in a short form the history of this museum, I wanted to explain why the indicated 8 units of Kazakh traditional clothing are assigned to the collection of the Orenburg Museum. And besides, I want to
note that 371 units of storage and exhibiting of a collection of traditional clothes in fact are represented in such a small number of countries. Director of the Central State Museum, the famous scientist ethnologist, professor Nursan Alimbay explains the above collection of low-quantity traditional clothing of Kazakhs by the fact that, at the end of the 19th - 20th years of the 20th century, Kazakhs, being in the orbit of the strongest and permanent socio-economic, cultural, historical and political influences and domination of the Russian Empire, began to actively use products, including various types of factory-made clothes. As a result, a number of species (especially the so-called mass types of hats, outerwear, underwear, shoes) have lost their former practical expediency and relevance. Secondly, he notes that many elitist types and types of clothing of nomads (festive, ritual, ceremonial) stored at home were mercilessly destroyed in the second half of the 1920s and 1930s [6, p.11]. Similar data were given in the works of Zakharova and Khodzhaeva. They wrote that as Russian capitalism penetrated the Kazakh steppe, Russian goods, including fabrics, began to displace Central Asian products. At the same time, factory fabrics supplanted home-made fabrics, which was associated with the general process of developing the marketability of the Kazakh economy and the destruction of its natural character [7, p.32].
In general, Kazakh national clothing is simple. Fur trim, applique, embroidery, widespread use of all kinds of jewelry give her elegance. The material base for writing this article was the scientific catalog "Traditional Kazakh costume", which is the first volume of ethnographic collections of the head museum of the republic, characterizing almost all aspects of the traditional way of life of Kazakhs. Also there was widely used scientific literature, covering the most diverse aspects of traditional clothing as a special historical and ethnographic category.
The most expressive and distinctive part of the traditional costume is the headgear, since they play a leading role in the identification function of clothing. In headgear, both age and gender and territorial differences are most stable. Kazakh hats are divided into two groups: men's - hats of various shapes and sizes and married women - bedspreads and a turban (female turban), and both are made of white fabric. Girls wore hats of the same type as men. The headgear of a young woman combined the features of one and the other group - a solid (felt) hat and bedspread [1, p.208].
In the collections of the museum from the traditional clothes of the Kazakhs, there are two units of ceremonial men's hats - murak. In relation to such ceremonial and ritual purpose of the headdress as the murk, the Kazakhs had a rather clear and tough order that had developed over the centuries: only one category of nomadic society had the exclusive right to wear the muruk - representatives of the especially privileged estate of the torah (khans and sultans) considered direct descendants of Genghis Khan on the paternal side [6, p.20].
The upper headdresses of the Kazakhs were diverse. In summer they wore light felt hats (kalpak)
and a hat with a fur edge (borik), in winter they wore fur hats of a special cut (tymak).
Kalpak (felt hat with brim) - a hat made of thin felt was widespread in Kazakhstan. They sewed it mainly from white felt, sometimes when felting crushed chalk was poured into the felt to enhance whiteness [1, p.210]. In the museum fund there are 5 units of kalpaks that were acquired during an ethnographic expedition. The authors of the article "Kazakh hats (local classification experience)" Zakharova and Khodzhaev distinguished three options for tailoring a kalpak. The first is cut in the form of a semicircle, with one seam extending from behind. The lower part was cut from the sides and turned away as fields. The second option: the kalpaks were sewn from two identical halves, resembling an anchor in shape, the tulle was high, narrow, with a rounded crown, and the semi-lunar edges that were not sewn below were greatly expanded, they were bent, forming fields. The third cut is made of four identical wedges of a triangular shape [1, p.210].
The wedding headdress of the girls, sukele, was rich and beautiful. This is a tall hat trimmed with expensive fur and decorated with silver, sometimes golden curly plaques, inlaid with precious stones, with temporal pendants made of coral and pearl strings [4, p. 42]. The main parts of saukele are taj (crown), tobe (crown), kulak bau (ear lobes) and artky bau (rear lobes). A separate inner hollow part of the sukele, worn with it, is called a «zere».
In the past, sukele was the bride's mandatory headdress. They prepared it in advance, and he was already in the dowry of the girl. Sukele determined the social position of the girl and was her dowry, which, however, irrevocably passed to the husband's family, remaining at the disposal of this family [7, p.111]. And in the collections of the Central State Museum of Republic of Kazakhstan there are 6 units of women's wedding hats purchased from different regions of Kazakhstan.
The most versatile and common type of Kazakh hat is borik, which men wore all year round. The basic cut was the same throughout Kazakhstan. A hat with a fur band with the same name was worn by girls. In form, it did not differ from the male. The top of a girl's borik is decorated with owl feathers or various tassels [1, p.212].
Body garment, which is includes dresses, shirts and pants. Wearable women's clothing in the XIX century consisted of a shirt that served as a dress at the same time, and pants. The dress shirt (koylek) was made from different fabrics. Light cotton fabrics slit on his everyday shirt. In the XVIII and early XIX centuries dresses were blue and red colors.
By the end of the XIX century and at the beginning of the twentieth century there was a new cut dress, which gradually completely replaced the old one. The dress was detachable, with a bodice, and a skirt cut-off at the waist. The bodice was sewn in an old tunic-like fashion, the width of one piece of cloth, and a straight, very wide skirt was sewn to it, assembled in an assembly or laid in a fold [7, p.81].
Rich women sewed dresses from silk, satin, velvet and they did not differ in a special cut. In the late XIX - early XX century dresses were often decorated with
rows of silver coins or special plaques, plates with patterns.
Dresses with decorations were worn only by girls and young women up to thirty years old. Older women considered it indecent to wear a dress with embroidery and silver. The elderly wore clothes without decorations. An exception was the chest patch - onir [7, p.84].
The complex of men's clothing of the Kazakhs was very stable. For many centuries, the types of material, cut elements, clothing decorations changed, but the basic composition and principles of cut remained almost unchanged. Social differences in clothing were also primarily manifested in its material and workmanship.
Men's clothing consists of a body shirt and trousers, upper shoulder overalls and harem pants and harem pants usually tucked into boots.
Directly on the body, a man wore a shirt and pants. In the XVIII - early XIX century kazakhs used to wear overalls "zheide". In the XIX century there was some changes in tailoring zheide. In some regions, the name "zheide" was renamed to "koylek". The shirt and dam-bal are considered among the Kazakhs lower underwear [7, 34].
The classification of the symbolic functions of the costume can be built on a different principle. For the criterion of difference, one can take not the specifics of a person's practical activity, as was done above, but the qualitative originality of a symbol. Each type of symbol can, in one way or another manifesting itself in a culture, perform a special function due to its specificity. From this point of view, the question of whether the costume or another cultural phenomenon is the bearer of one or another symbolic function becomes secondary.
And in the end, I wanted to show the identification of Kazakh national clothes, in particular men's and women's costumes, as a harmony of traditions and innovations in ethnic culture, distributing this according to an anthropomorphic principle from the collection of the Central State Museum of the Republic of Kazakhstan. The material database for writing this article was the scientific catalog "Traditional Kazakh costume", which is the first volume of ethnographic collections of the head museum of the republic, characterizing almost all aspects of the traditional way of life of Kazakhs.
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