National patterns of Dagestan for embroidery. “Take a closer look at my pattern. Activities and traditions

Details are very important

The traditional clothes of the Dagestani peoples are so diverse that by the details of the costume it was possible to determine not only what nationality a person belongs to, but even what aul. Moreover, the outfit could speak of the age, status and material condition of its owner. However, this applies mostly to women's outfits than to men's, which were much more monotonous, and differed from other traditional attire of the peoples of the Caucasus only in certain details, ornaments and other subtleties. In addition, it is the traditional female Dagestan outfit that has retained its archaism and originality.

Dagestan is more than 70 nationalities - Avars, Andians, Botlikhs, Godoberins, Karatins, Akhvakhs, Chamalals, Baguals, Tindins, Khvarshins, Zunzibs, Ginukhs, Didois, Bezhtins, Lezgins and many others. Each of them has its own language, culture, traditions and original costumes. However, despite the fact that each people had its own peculiarities in clothing, they were united by many basic things, such as, for example, a tunic-like shirt, a scarf, a chukhta, a turban, as well as a long beshmet, which was also extremely popular with many Dagestani nationalities. Ornament and embroidery were of great importance in women's outfits. The patterns were most often of a protective, sacred meaning, or served as a simple decoration, depicting trees, branches, leaves, birds, animals, and more. Festive rich outfits were abundantly embroidered with silver, gold, precious stones or pearls. Women's costumes among many Dagestani peoples were often replete with various ornaments - bracelets, rings, metal belts, coins, badges, etc.

About color

The colors of traditional Dagestan outfits also had a symbolic, ritual meaning. Despite the seeming variegation, white, black and red dominated in clothes. White was most often used in festive, usually wedding, clothing. Moreover, both women and men. Red meant wealth and prosperity, and black had a kind of magical meaning, symbolizing connection with ancestors and protection. Many peoples of Dagestan preferred black as the main color. Women, especially the elderly, wore dark-colored clothing. Young, unmarried girls could wear bright elements of clothing - red, green, orange, blue, etc.

Everyone has a little bit of their own

An important unifying principle in all Dagestan costumes is layering. A woman's headdress alone could consist of several parts, not counting the jewelry, which constituted an important part of the whole image.

So, among the Avars, one of the most numerous indigenous peoples of Dagestan, the women's outfit was rather complex in design. Almost every piece of clothing had a specific meaning. The tribal differences of the Avars, the peculiarities of their formation in the territory of Dagestan influenced the emergence of a large number of variants of the female costume. Khunzakh Avars, for example, did not wear massive headdresses or many adornments on them. Their suits were quite lightweight and comfortable. While other Avars wore heavy sashes that girdled women's dresses. The length of these belts could be up to 3 meters. Most women wore dresses sewn to the figure with wide sleeves and narrow arm ruffles. In an elegant Avar costume, a special forehead plate with hanging silver coins was put on a headdress under a headscarf. Some Avars, especially from the village of Andi, wore amazing saddle caps, which were stuffed with sheep or goat hair - this tradition has been preserved among the Avars since ancient times.

Keywords

ORNAMENT / ETHNO-TERRITORIAL VARIETIES OF ORNAMENTS / GEOMETRIC ORNAMENT / PLEETENKA / EPIGRAPHIC ORNAMENT / KUBACHIN DECOR / WORLD PICTURE / MENTALITY / DEFILE OF RELIGIONS / ORNAMENT / GEOMETRICAL ORNAMENT / POINT OF VIEW / MENTALITY / RELIGION

annotation scientific article on art history, the author of the scientific work - Magamedova Aminad Akhmednurievna

The ornament was originally used in various types of decorative and applied arts in Dagestan. Under the influence of Zoroastrianism, pagan symbols of various kinds of solar signs, vortex rosettes, cruciform figures, etc., as well as images of a horse, rider, tulpara (winged horse) and birds were popular. With the adoption of Islam, starting from the 16th century, in the art of Kubachi and Dagestan, in general, there is a displacement of pictorial subjects and an increase in ornamentalism. The assimilation of classical Arab-Muslim culture, a kind of "renaissance of medieval Arab culture", played a significant role in the formation of the Dagestan ornament. The Dagestan ornament is a stylized floral one, with many leaves, buds and flower heads. Three of its ethnoterritorial varieties are distinguished: Kubachin, Lak and Avar. Kubachin decor It is distinguished by its high technique of execution, a variety of techniques and complex, delicately designed ornamentation. Basic ornamental compositions kubachin decor: "Tutta", "markharai"; "Tamga". The medieval heritage of Dagestan is represented by architectural structures, memorial monuments and products of applied art, decorated epigraphic ornament... Most of the inscriptions are made in the late Kufi style; there are also inscriptions in the Suls script. Since the end of the 15th century, the naskh handwriting in combination with floral ornaments has been widely used. The ornament reflects the changes taking place in society and declares in a stylized form a legitimized picture of the world. The displacement of adaptive-activity models is accompanied by graphic reinforcement of a new picture of the world and the declaration of new features of mentality. The layering of motives makes it difficult to trace the sequence of the development of the symbol and the path of its distribution. On the other hand, the change in styles makes it possible to judge the development of consciousness, about the ascent from the mythological level of consciousness to the abstract level. The plastic embodiment of the word and giving it a spatial volume are carried out. Ornament in the form of graphemes of one kind or another reflected and reflect religious beliefs and the actual picture of the world of the ethnic group. Modeling the world in symbolic forms, the ethnos develops activity models for its development and appropriation, fixes and transfers generalized experience in graphemes.

Text of scientific work on the topic "Cultorogenesis of symbolic forms: the formation of the Dagestan ornament"

MAGAMEDOVA Aminad Akhmednurievna / Aminad MAGAMEDOVA

Saint Petersburg, Russia. St. Petersburg branch of the Russian Institute of Cultural Studies.

Sector Leader, Candidate of Philosophy

Russia, St. Petersburg.

St. Petersburg Branch of the Russian Institute for Cultural Research.

Head of Department. PhD in philosophy.

CULTOROGENESIS OF SYMBOLIC FORMS: FORMATION OF DAGESTAN ORNAMENT

The ornament was originally used in various types of decorative and applied arts in Dagestan. Under the influence of Zoroastrianism, pagan symbols were popular - various kinds of solar signs, vortex rosettes, cruciform figures, etc., as well as images of a horse, rider, tulpara (winged horse) and birds. With the adoption of Islam, starting from the 16th century, in the art of Kubachi and Dagestan, in general, there is a displacement of pictorial subjects and an increase in ornamentalism. The assimilation of the classical Arab-Muslim culture, a kind of "renaissance of medieval Arab culture", played a significant role in the formation of the Dagestan ornament.

The Dagestan ornament is a stylized floral one with many leaves, buds and flower heads. Three of its ethnoterritorial varieties are distinguished: Kubachin, Lak and Avar. The Kubachi decor is distinguished by high technique of execution, a variety of techniques and complex, delicately designed ornamentation. The main ornamental compositions of the Kubachin decor: "tutta", "markharai"; "Tamga".

The medieval heritage of Dagestan is represented by architectural structures, memorial monuments and products of applied art, decorated with epigraphic ornament. Most of the inscriptions are made in the late Kufi style; there are also inscriptions in the Suls script. Since the end of the 15th century, naskh handwriting in combination with floral ornaments has been widely used. The ornament reflects the changes taking place in society and declares in a stylized form a legitimized picture of the world. The displacement of adaptation-activity models is accompanied by graphic reinforcement of a new picture of the world and the declaration of new

traits of mentality. The layering of motives makes it difficult to trace the sequence of the development of the symbol and the path of its distribution. On the other hand, the change in styles makes it possible to judge the development of consciousness, about the ascent from the mythological level of consciousness to the abstract level. The plastic embodiment of the word and giving it a spatial volume are carried out. The ornament in the form of graphemes of one kind or another reflected and reflect religious beliefs and the actual picture of the world of the ethnic group. Modeling the world in symbolic forms, the ethnos develops activity models for its development and appropriation, fixes and transfers generalized experience in graphemes.

Key words: ornament, ethnoterritorial varieties of ornament, geometric ornament, braid, epigraphic ornament, Kubachin decor, picture of the world, mentality, defile of religions

Cultural History of Symbolic Forms: The Genesis of Daghestan Ornament

Key words: ornament, geometrical ornament, point of view, mentality, religion

For centuries Dagestan has been subjected to political, ideological and religious influences: the invasion of Tamerlane, the flourishing of the Khazar Kaganate, Arab expansion, the reign of the Persian king Khosrov I and the active expansion of missionaries of various confessions. The increased interest in this region is due to its geopolitical attractiveness. Highways passed through the territory of the North Caucasus

The Great Silk Road, one of the highways of which originated in ancient Samarkand: the Caucasian Silk Road through Khorezm, skirting the Caspian Sea, crossed the steppes of the North Caucasus and headed to Tskhum. From this city, trade caravans went to the capital of the Byzantine Empire - Constantinople. Another main line ran from the Lower Volga region along the western coast of the Caspian Sea through Ka-

CULTURAL GEOGRAPHY

MAGAMEDOVA Aminad Akhmednurievna / Aminad MAGAMEDOVA

| Cultogenesis of Symbolic Forms: Formation of Dagestan Ornament |

Figure: 1. Triangular-notched carving of the XVI-XVIII centuries: 1 - Dagestan; 2 - Georgia.

spian Iron Gates - Derbent, southward to ancient Albania and Parthia, connecting the northern and main routes of the Great Silk Road. Another route connected Byzantium and South Kazakhstan through Derbent and the Caspian steppes1. So, under the influence of multidirectional political and economic forces, a picture of the world of the peoples inhabiting Dagestan was formed.

The formation of the ethnic picture of the world of the highlanders was influenced, among other things, by religious beliefs. On the territory of Dagestan in the 1st century A.D. e. Christian missionaries preached. Representatives of Catholicism, Orthodoxy, Monophysitism and Christian heresies exerted a significant influence on the autochthonous population. Christian missionaries freely preached in this territory until the 15th century, and the number of adherents of the Christian religion was quite large2. Medieval sources contain information about the followers of Zoroastrianism and describe the traditions and customs of the followers of Mazdeism on the territory of Zirehgeran and Derbent3. Judaism was introduced to the territory of Dagestan by exiled Jews from Rome and Persia4. The Arabs, Seljuks and Mongols took an active part in the development of the North Caucasus. For 15 centuries, the Islamization of Dagestan5 was carried out, but at the same time islets of the Christian, Jewish faith, as well as interspersed with pagan beliefs, have survived.

The culture of the mountaineers was a "melting pot" in which the autochthonous culture was enriched with the introduced ideas and forms. In moments of historical "challenge", thunder

1 See V. A. Radkevich. The Great Silk Road. - M, 1990; Petrov A.M. The Great Silk Road. - M, 1995; Akhmedshin N. Kh. Secrets of the Silk Road. - M., 2002.

2 Khanbabaev K.M.Christianity in Dagestan in the IV - XVIII centuries // http: // www.ippk.rsu.ru/csrip/elibrary/elibrary/uro/v20/a20_21.htm

3 Mammaev M.M.Zoroastrianism in medieval Dagestan // http: // dhis.dgu.ru/relig11.htm

4 Kurbanov G. Historical and modern aspects of Judaism in Dagestan // http://www.gorskie.ru/istoria/ist_aspekt.htm

5 Shikhsaidov A.R. The spread of Islam in Dagestan // http: //

kalmykia.kavkaz-uzel.ru/articles/50067

the decay of ethnic culture and the death of an ethnos, its survival was ensured by the flexibility of the consciousness of the highlanders and the ability to restructure the picture of the world, to the ability to form new adaptive-value models of mastering reality. Official written sources reflected significant events: military campaigns, battles, missionary activities. On the contrary, the processes that were directly related to everyday life did not find their reflection. We can trace the transformation and processes that are significant for everyday experience, in particular, in the artistic activity of a person. For Dagestan, one of the most significant artistic phenomena is ornament.

Ornament is one of the most ancient types of human visual activity, a significant element of the symbolic space of culture. Presumably, the ornament appeared around X ^ X thousand years BC. e. and was a combination of geometric shapes in various combinations, complemented by zigzags, strokes, stripes. Through the grapheme, a person for the first time expressed his perception of the world around him, modeling it in symbolic forms, mastering and appropriating it6. The ornament demonstrated the spontaneous attitude of a person to being and at the same time the content of forms of consciousness. Graphemes have shown enviable style stability for millennia. Ariel Golan believes that ornament acts as a pre-written way of fixing concepts and ideas, that it forms the symbolic space of culture7.

“There is always something archaic in a symbol. Every culture needs a layer of texts that serve as archaic functions. The thickening of symbols is usually especially noticeable here. This perception of symbols is not accidental: their core group, indeed, has a deeply archaic nature and dates back to the pre-literary era, when certain (and, as a rule, ele-

6 See Svasyan K. A. The problem of the symbol in modern philosophy. - Yerevan, 1980.S. 143.

7 Golan A. Myth and Symbol. - M .: Russlit, 1993.S. 7.

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MAGAMEDOVA Aminad Akhmednurievna / Aminad MAGAMEDOVA

| Cultogenesis of Symbolic Forms: Formation of Dagestan Ornament |

mentar in the descriptive sense) signs were folded mnemonic programs of texts and plots stored in the oral memory of the collective ”8.

Graphemes were not homogeneous in nature. Among them, they distinguished those that indicated the right of ownership, and those that performed the magical function of a talisman. Graphemes, designed to have a certain effect on the world around them, have over time turned into an ornament. The most ancient layer of the autochthonous culture of the region is represented by geometric ornamentation, which was widespread in the mountains of the Greater Caucasus.

This type of ornament is found on ceramics, carved wooden products, in architecture. From the II millennium BC e. Until the beginning of the 20th century, geometric ornament prevailed in remote mountainous areas, the so-called Inner Dagestan. This type of ornament was placed on the facades and architectural details of the residential floor of the house in order to protect the inhabitants of this house. “Some of the plots, decorations and elements of ornamentation of a clearly magical incantatory nature performed at one time the role of conspiracies for prosperity or amulets from evil. Our distant ancestor was reassured and pleased by the sight of these amulets, and from here, from this joy, the feeling of the beautiful was born ”9.

The feeling of security was formed by the aesthetic joy of acceptance, which was later probably supplanted by the awareness of the sacred and familiarity with the heavenly world. Geometric ornament to this day worries about the symbolism that is significant for the ethnos, therefore it is used today to decorate the facades of houses and ceramics.

“Samples of the age-old local, original style of architectural ornament of Dagestan are so characteristic that they are immediately recognized among other examples. Its distinctive features: irregularity of the general composition; geometric pattern; large, clear elements, each appearing separately, without being connected, woven with others; deep, luscious carving on the plane. One of the characteristic features of this ornamentation is the absence of rapport, that is, the rhythmic arrangement of identical elements. In the Gorno-Dagestan ornament, the image consists of figures that are compositionally independent not only in their drawing, but also in their position. The compositions are composed of different motives, and located freely in relation to each other. The ornament consists of a set of simple shapes: rosettes, squares, triangles, crosses, zigzags, spirals, etc. "10.

For a resident of a remote mountainous region, the symmetry looked deliberate and did not reflect his ideological attitudes. The highlander's picture of the world was dominated by naturalness and emotionality. Features of archaic ornament have been preserved on the walls of the mosque. Tsnal, buildings in the village. Kvalanda, etc. The demand for geometric ornament in Inner Dagestan is explained, firstly, by the fact

that the settlements of Inner Dagestan were not subjected to such a powerful influence of the culture of Western Asia as the coastal regions; secondly, by the fact that the main consumers were autochthonous peoples; thirdly, because of the relative geographic isolation, the ornament continued to be perceived as an instrument of influence, as a magic weapon. Geometric ornament in demonstrative asymmetry and freedom of arrangement of elements is consonant with the Neolithic culture of Europe and Western Asia, and the actual area of \u200b\u200bgeometric ornament coincides with the area of \u200b\u200bthe complex of ancient cult symbols.

8 Lotman Yu.M. Symbol in the system of culture // Symbol in the system of culture. Proceedings on sign systems XXI. Tartu, 1987.S. 11.

9 Rybakov BA Applied art and sculpture // History of culture of Ancient Russia. T. 2.M.-L., 1951.S. 399.

10 Golan A. Myth and Symbol. - M .: Russlit, 1993.S. 240.

Figure: 2. Carved stone in the wall masonry. S. Machada, Dagestan.

“... in the style of the architectural ornament of Dagestan, two different origins appear: the technique of its execution belongs to the artistic traditions of the ancient Indo-Europeans, while in the principles of composition, the faded line continues almost everywhere, going back to the aesthetics of another cultural layer, to the spiritual world of Neolithic farmers. Compositionally, the decorative art of Dagestan is indeed the last phenomenon of the Neolithic aesthetics. The most striking examples of this aesthetics are the art of Tripolye-Cucuteni culture and the art of Ancient Crete ”11.

Wickerwork also belongs to the archaic ornament. Braiding in the form of a flat two-plane thread was most often used to decorate architectural details. The pattern is formed due to the interlacing of ribbons arranged in the form of circles, squares, rhombuses, zigzags, stripes. Carvings of the "braid" type covered the front planes of windows and doors, support pillars with a trapezoidal capital, grave steles. As well as the geometric ornament, the "braid" plays the role of "amulet" and, perhaps, is demonstratively revealed or hidden from prying eyes. The localization of the braid covers Tabasaran, Agul, the southern part of Kaitag, Gidatl. It is difficult to determine the time when this type of ornament appeared on the territory of Dagestan. Popular in Byzantium, it appeared in Dagestan ready-made and was adopted from the culture of Transcaucasia around the 12th century. It is the XII century that the carved wooden

http://simvolznak.ru

MAGAMEDOVA Aminad Akhmednurievna / Aminad MAGAMEDOVA

| Cultogenesis of Symbolic Forms: Formation of Dagestan Ornament |

CULTURAL GEOGRAPHY

pillars of the mosque with. Richie 12. Comparison of the Kaitag-Tabasaran ornament with the Georgian and Armenian ones demonstrates striking similarities in the uniformity of the composition structure and in the details of the drawing.

Figure: 3. Braid thread in Dagestan: 1 - the usual type of window frame in Tabasaran; 2 - a fragment of a carved partition in Gidatl.

The appearance of plant ornament in the territory of Dagestan is associated with the transmission of Muslim culture to the mountainous region. This type of ornament is characterized by the depiction of stylized plant forms. The ornamentalist modifies the natural forms of the plant, conforming them to the laws of symmetry. The most common forms of floral ornament: acanthus, lotus, papyrus, palm trees, hops, laurel, vine, ivy, etc. Floral ornament was formed in Mesopotamia and Iran in the Bronze Age, and had a significant impact on the applied arts of Europe and the Caucasus. Spreading from the 16th century on the territory of Dagestan, the floral ornament replaced the geometric one. The Kubachi masters were the first to adopt the Middle Eastern tradition. Significant role in the formation of the Dagestan

12 See Golan A. Myth and Symbol. - M .: Russlit, 1993.S. 240.

174 | 4(5). 2011 |

floral ornament was played by the assimilation of the classical Arab-bo-Muslim culture, a kind of "renaissance of medieval Arab culture."

There are three ethnoterritorial varieties of the Dagestan floral ornament: Kubachin, Lak and Avar. The Kubachi decor is distinguished by a high technique of execution, a variety of techniques and complex, delicately designed ornamentation. The main ornamental compositions of the Kubachi decor are "tutta", "markharai", "tamga".

"Tutta" translated from Dargin means a branch or tree and is a symmetrical, usually vertical structure, the axis of which divides the decorated surface into two equal halves. The basis of the composition is a stem with symmetrical lateral leaves, where pairs can differ in length and degree of curvature. The base is covered with a dense network of flower heads, leaves, etc. In a number of compositional constructions of the tutta, the axis is guessed due to the symmetrically located ornamental design. This type of decor is considered the most complex type of ornament13.

Figure: 4. Kubachi ornamentation: a) composition "tutta"; b) the composition "Markharai".

According to P.M. Debirov, the dynamic tutta decor is created due to the contrasting movement of two pairs of curls. "The first pair forms a spiral movement, the second pair moves towards the first and forms a heart-shaped figure with its movement, pointing downward."

The decor "markharai", translated from the Dargin language as a thicket, is compositionally not symmetrical and can develop in any direction, filling a space of any shape. “The base is luxuriantly and densely equipped with“ heads ”overgrowing from a complex rhythmic network of stems, creating a very evenly saturated ornamental fabric. It often has no top, no bottom, no beginning, no end, it can

13 Astvatsaturyan E. Weapons of the peoples of the Caucasus. The history of weapons. - M., 1995.S. 72.

14 Debirov P.M.The origins of floral ornament // Narodnoe

decorative and applied art of Dagestan and the present. - Makhachkala, 1979.S. 40.

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MAGAMEDOVA Aminad Akhmednurievna / Aminad MAGAMEDOVA

| Cultogenesis of Symbolic Forms: Formation of Dagestan Ornament |

Fig. 5. A set of silver dishes. Composition "markharai". Kubachi. Second half of the 20th century

grow and develop in different directions ”15. The plasticity of the “markharaya” allows filling a space of any shape with decor. Quite often the decor "markharai" is used in combination with "tutta".

"Tamga" is a large closed-loop medallion. Depending on the shape of the product, it can approach a circle, oval, rhombus, square, rectangle. The inner field of a tamga is usually filled with small curls, heads, leaves of plants in a tutta or mar-kharai decor.

Floral ornament as a new direction of surface decoration is being formed and developed simultaneously in different regions: Transcaucasia, Central Asia, Muslim countries of the Middle East and the North Caucasus, enriching with autochthonous culture. “Floral ornament, as an important component of artistic culture, is as organically inherent in the Islamic art of Dagestan as it is characteristic of the art of the peoples of the Near and Middle East. The Dagestan masters contributed to the development of ornamental motifs of the plant style, as well as the epigraphic, ribbon, geometric and other types of patterns. Over the centuries this type of ornament has been improved, enriched and perfected by many generations of craftsmen. At the same time, the ornament acquired a "handwriting" characteristic of a particular historical era, that is, features of style and ethnic originality. For many centuries, add

15 Shilling E. M. Kubachins and their culture. M. - L., 1949.S. 107.

there were local features of plant ornament - Kuba-Chinskiy, Lak, Avar, etc. The plant ornament in all its inexhaustible variety of motifs and compositional constructions found and now finds wide application in the most various types of decorative and applied and monumental decorative art of Dagestan. ...

Another type of Dagestan floral ornament is the Lak ornament. The Kazikumukh period (up to the 70s of the XIX century) is characterized by an ornament, the pattern of which represents stems with rosettes symmetrically diverging in different directions, pointed petals with leaves, buds, curls of a very bizarre pattern. Stylized bird heads were woven into the plant base of the Lak ornament. In the period when the Lak masters began to leave the borders of Dagestan, they began to use ornamental compositions "kuradar", "murkh-nakich", which were stylistically very close to the Kubachi decors "tutta" and "markharai". The composition "kuradar" represents twisted and intersecting stems, whose petals and leaves are turned into the spiral. This type of ornament was carried out using the technique of deep engraving interspersed with rosettes, petals and leaves. "Murkhar" was a symmetrically located drawing in the center of which there was a rod of small rosettes or buds, made in niello with a white drawing. On both sides of the rod there was a spiral

16 Mammaev M.M. Islamic art of Dagestan: the formation and

characteristic features // Islam and Islamic culture in Dagestan. -

M .: Publishing house "Vostochnaya literatura" RAS, 2001. P. 91.

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MAGAMEDOVA Aminad Akhmednurievna / Aminad MAGAMEDOVA

| Cultogenesis of Symbolic Forms: Formation of Dagestan Ornament |

Fig. 6. Silver service. Composition "tamga". Kubachi. 1980 year

but twisted stems with petals and leaves facing inward a spiral17.

The third type of Dagestan ornament, the Avar ornament, is similar to the Kubachin and Lak ones. The Avar floral ornament is distinguished by two features: firstly, a very deep sampling of the background, thanks to which the ornament stood out against a dark background, and secondly, the fact that many elements ended in a curl with a small circle at the end18.

Weapons, jewelry and decorative details were decorated with floral ornaments. Floral ornament, as well as other types of ornament, performed four main functions, which were formulated by Josef Vydra:

Constructive, supporting the tectonics of the subject and influencing its spatial perception;

Operational, facilitating the use of the item;

Representative, enhancing the impression of the value of the object;

17 See Gabiev D.-M. C. Metalworking of varnishes. - Teaching notes of the Dagestan branch of the USSR Academy of Sciences. NIYAL them. Tsadasi. T. IV. - Makhachkala, 1958.

18 See Kilcheskaya E. V. Avar jewelry art. Art of Dagestan. - Makhachkala, 1965.

Psychic, providing symbolic impact 19.

In medieval Dagestan, following the countries of the Near and Middle East, Arabic calligraphy is becoming a widespread type of surface decoration. Researchers of the medieval art of the East rightly note that “highly developed calligraphy, which was not only a letter of religion, but also poetry, philosophy, science, was regarded as an art and occupied an honorable place among its other types. Having achieved unusual subtlety and grace in the use of various complicated handwritings, calligraphy turned into one of the forms of ornament that played a significant role in the art of the Muslim Middle Ages ”20.

The epigraphic ornament has become widespread in the form of aphorisms, sayings from the Koran, good wishes, inscriptions of historical content applied to ceramics, metal products, carved wood, stone and bone, artistic fabrics and carpets, weapons, as well as religious and civil architectural structures. Lettering from intricate

19 See Voronchikhin N. S., Emshanova N. A. Ornaments, styles, motives.-Izhevsk: Publishing house of the Udmurt University, 2004. P. 17.

20 Kaptereva T.P., Vinogradova N.L. The art of medieval

current. M., 1989.S. 14.

MAGAMEDOVA Aminad Akhmednurievna / Aminad MAGAMEDOVA

| Cultogenesis of Symbolic Forms: Formation of Dagestan Ornament |

CULTURAL GEOGRAPHY

ligatures of Arabic letters, woven into ornamental compositions, were used for artistic decoration of memorial monuments in the form of vertically placed stone slabs. Late kufi was one of the main types of decorative handwriting. On the territory of Dagestan, there are inscriptions made in the handwriting of suls, and since the 15th century, the handwriting of naskh in combination with floral ornament has become the most popular21.

Figure: 7. A grave monument from the village of Kalakoreish. Combination of epigraphic and floral ornaments. 783 / 1381-1382 g.

An overview of the types of ornaments known and common on the territory of Dagestan will be incomplete, if not to mention the zoomorphic style. Despite the displacement of images of living beings by Islamic ideology, the masters who worked in the Middle Ages enriched epigraphic compositions with images of animals, birds and fantastic creatures. “Often, pre-Islamic pagan symbols, which had existed in folk art for a very long time, were also included in the decor of grave monuments - various kinds of solar

21 See Mammaev M. M. Islamic art of Dagestan: formation and characteristic features // Islam and Islamic culture in Dagestan. - M .: Publishing house "Vostochnaya literatura" RAS, 2001. P. 93; Shikhsaidov A. R. Epigraphic monuments of Dagestan. M., 1984.S. 346-347; Gamzatov G. G. Dagestan: historical and literary process. - Questions of history, theory, methodology. Makhachkala, 1990.S. 226.

signs, vortex rosettes, cross-shaped figures, etc., as well as images of a horse, rider, tulpar (winged horse) and birds. On men's tombstones, images of cold weapons and firearms, gazyrs, shoes, a jug for ablution were also carved, and on women's tombstones - combs, scissors, various decorations, etc. "22.

As examples of products that have preserved the zoomorphic style, one can cite the Kubachi stone reliefs of the XIV-XV centuries, on which images of living beings - animals, people or birds, are carved along with Arabic inscriptions and floral ornaments; the tympanum of a two-span window of the 14th century, now kept in the State Hermitage. with the image of a lion attacking a wild boar; a stone tombstone in the form of a semi-cylindrical or "chest-like" sarcophagus of the 13th - early 14th century. with various pictorial subjects from the village of Kalakoreish; carved doors of the Kalokoreish mosque of the XII-XIII centuries. other. Despite the fact that, starting from the 16th century, under the influence of Islam, the development of the art of Dagestan proceeded along the line of increasing ornamentalism and the gradual displacement of pictorial subjects, it should be noted that each subsequent ornament does not completely replace the previous one. For example, a Balkhar ceramic vessel of the early 20th century contains archaic graphemes, which refer to the symbolic series of archaic culture. The presence of archaic symbols on the vessel of the 20th century is explained by the fact that in Balkhar, making ceramics is the prerogative of women who act as keepers of tradition and strive to preserve the symbolic space of everyday life.

A large two-handed vessel "kakwa" is molded on a potter's wheel and decorated with engobe painting in white and red colors. The vessel is decorated with an ornament that has ancient roots and serves as a talisman. The painting of the vessel demonstrates the coexistence of the introduced painting technique with the dominance of graceful floral ornamentation and archaic, in which geometric ornament dominates in a combination of solar signs, fringes, rhombuses, zigzags, etc.

The most convex part of the body is decorated with a rhombus. The center of the composition can be interpreted in two ways: either as a solar sign inscribed in a rhombus - a symbol of the sun, fire, warmth, life, or as a symbol of an object in need of rain. On the one hand, he is credited with the role of a talisman that guarantees high-quality firing, on the other, he declares a picture of the world.

A rhombus in combination with curls, as well as a number of similar curls radiating from the center with a belt, forms the main ornamental composition - the Tree of Life. The sacred tree of life symbolizes the source of vitality and fertility. Under the rhombus there is an element typical for the whole “Old Balkhar” - “baba”. The semantic load of the ornament is traditional - it protects the contents and the vessel itself.

The main pattern above and below is framed by ornamental belts, which together form a clear vertical division into three ornamental zones. The shoulders and neck of the vessel are decorated with a light wavy border of white-angled painting. The body is decorated with a three-part composition,

22 Mammaev M. M. Islamic art of Dagestan: formation and characteristic features // Islam and Islamic culture in Dagestan. - M .: Publishing house "Eastern Literature" RAS, 2001. P. 91.

MAGAMEDOVA Aminad Akhmednurievna / Aminad MAGAMEDOVA

| Cultogenesis of Symbolic Forms: Formation of Dagestan Ornament |

CULTURAL GEOGRAPHY

Figure: 8. Two-handed vessel "kakva". The village of Balkhar. The beginning of the twentieth century.

carried by an engobe of two colors - white and red. The upper ornamental belt contains a rain grapheme. On this vessel, the sign of rain is included in the cloud, declaring not just a symbol of a cloud, but a rain cloud that should pour out onto the earth and give it water. Since Neolithic times, the cloud sign has been considered a symbol of the sky goddess23. In the process of simplifying the drawing, the semi-ovals were transformed into triangles, and the zigzag and wavy lines were replaced by shading. Consequently, the lower belt of the Balkhar vessel, as well as the upper belt, contains the symbolism of the goddess of heaven. The three-part division used in Balkhar ceramics has ancient roots and reflects the picture of the world of our ancestors: the world consists of three parts: the heavenly world, the terrestrial world and the underworld. The base of the body is decorated with a wide belt consisting of two ornamental stripes with oblique shading and a wavy line24.

An attempt to read the graphemes applied to this vessel leads to the following conclusions:

23 A. Golan, Myth and Symbol, Moscow: Russlit, 1993, p. 16.

24 See http://keramika.peterlife.ru/keramikahistory/keramika_history-32.

Layering of various ornamental styles;

Preservation of the archaic layer of consciousness;

Declaring ethnic constants in household items made by women;

Preservation and transmission of the ethnic picture of the world in everyday life.

“... the sacred sphere is always more conservative than the profane one. This increases the inner diversity, which is the law of the existence of culture. Symbols represent one of the most enduring elements of the cultural continuum. Being an important mechanism of cultural memory, symbols transfer texts, plot schemes and other semiotic formations from one layer of culture to another. Constant sets of symbols that permeate the diachrony of culture to a large extent take on the function of unity mechanisms: realizing the culture's memory of itself, they do not allow them to disintegrate into isolated chronological layers. The unity of the main set of dominant symbols and the duration of their cultural life largely determine the national and areal boundaries of cultures ”25.

In conclusion, it should be noted that the ornament reflects the changes taking place in the society and visualizes the legitimized picture of the world in a stylized form. The displacement of archaic types of ornament coincides with the historical process of the displacement of the hunting civilization by the civilization of agricultural culture. The symbols of the hunters are replaced by the symbols of the farmers, and they, in turn, are replaced by the symbols of herders. The displacement of adaptive-activity models is accompanied by graphic reinforcement of a new picture of the world and the declaration of new features of mentality. Layering of motives makes it difficult to study the sequence of development of the symbol and the way of its distribution.

On the other hand, the change in styles allows one to judge the development of consciousness, the ascent from the mythological to the abstract level. Geometric ornament and braiding, archaic styles of ornament, reflect the mythological level of consciousness. The floral ornament introduced in the Middle Ages together with the ideology of Islam demonstrates the formation of a religious worldview. The emergence and ubiquity of the epigraphic style produces a hermeneutic turn, expressed in the abstraction of key concepts. The plastic embodiment of the word and giving it a spatial volume are carried out. The ornament in the form of graphemes of one kind or another reflected and reflects religious beliefs and the actual picture of the world of the ethnic group. Modeling the world in symbolic forms, the ethnos develops activity models for its development and appropriation, captures and transfers generalized experience in graphemes.

25 Lotman Yu.M. Symbol in the system of culture // Symbol in the system of culture. Proceedings on sign systems XXI. Tartu, 1987.S. 12.

Annotation.

This work is a study of the folk crafts of our Dagestan. The work studies the ornament of the language, reveals the meaning and essence of the pattern in ancient times.

This work contains informational material that can be used in the lessons of biology, history, history of Dagestan, KTND, Derbenology studies and after school hours

CONTENT

I Introduction ……………………………………………. ………………… ..... 3

II Main part:

1.Knot to knot ………………… …………………………………….… 4

2. Kubachi silver: the wisdom of jewelers and the shine of the cold.

metal ………… ............................................. ............................................. 6

3. Lezginka ……………………………………………………… ..… ..7

III Conclusion. ……………………………………………………............nine

IVLiterature ……………………………………………………… ..… .10

V Appendices ……………………………………………………… ..… .11

Introduction

Do not rush to own the caskets of gold

And chased-white sabers!

Dream of owning golden hands

Who did it all!

Rasul Gamzatov

Traditional folk crafts are evidence of the ancient and long history of the peoples of Dagestan, part of their cultural heritage. However, this is not only the most important part of the national culture, but also the enormous potential of the republic's economic development. Therefore, the study of the territorial organization of crafts allows both to understand the features of these most important areas of cultural and economic activity, and to outline ways of their preservation and further development at the level of modern requirements, especially during the formation of market relations and the formation of the tourist and recreational industry.

Dagestan in translation from the Turkic means "country of mountains", this region is also called "a mountain of languages". Ethnographers say that Dagestan can be safely called a country of unique folk crafts. This circumstance significantly distinguishes the Dagestanis from other Caucasian peoples. In Dagestan, almost every nation specializes in the manufacture of certain products of artistic handicrafts, and for many centuries they have achieved great success in their manufacture.

Purpose of study folk crafts of Dagestan.

Relevance revival of traditional art in Dagestan.

Novelty communication ornament with plant and animal images.

Object of study ornament used in folk crafts.

Chapter I Knot to knot

Carpets are the spell of the East. For many centuries, the carpet served as a table and bed, was a good gift and a rich dowry. The Dagestani peoples considered it the most reliable amulet. They knew that the carpet not only creates an atmosphere of warmth and comfort in the house, but also is able to protect the home from evil spirits. The fact that the carpet really has magical powers, you begin to believe, considering its hypnotic amazing ornament. And although today the knowledge of what this or that pattern hides is irretrievably lost, a special beautiful combination of colors and the traditional ornament of a man-made carpet still bring a special energy to the house, have a magical effect, attract happiness and good luck 1 .

Ornament as art, as a symbol, originated at the very dawn of human history and, therefore, can be considered one of the most ancient forms of human self-expression.

It is polysemous and deep in nature, because it is based on symbols and signs. Some magical beliefs are usually associated with them - that the image of an animal or plant has protective functions: it can give protection, ward off bad influence, and be the patron saint of a person.

The carpet is part of the interior, and is practically inseparable from the everyday portrait, which shows the rather widespread use of carpets in everyday life. 2

The first mention of carpet weaving on the territory of modern Dagestan, according to ethnographers, dates back to the 5th century BC. This information belongs to Herodotus

People's poet of Dagestan Rasul Gamzatov believed that the art of carpet weaving in Dagestan and the wonderful masters living in it is eternal ...

So, conjuring, you weaved a carpet of Blooming alpine meadows,

For a thread, choosing a thread in thought. Ancient legends and beliefs. 3

And the carpet bloomed to the flower flower,

Artisans inserted sacred symbols characteristic of their culture into household items of any nation. Sometimes they visually repeated the original, and sometimes these symbols were transformed in such a way that it is difficult for us to see the original meaning in them.

Application.

Your age………….

Which carpets do you prefer and why (handmade or factory made)? ................................... .................................................. ....

……………………………………………………………………………………………………

Whose silverware do you prefer?

Kubachinsky …………………

Modern …………………

What folk crafts are you familiar with …………………………… ..

Can you dance lezginka ………………………………………

Photographs of exhibits from two rooms of the Hermitage dedicated to the art of the Dagestani village of Kubachi. Now this village is known for its craftsmen, art metalworking specialists. But in the Middle Ages, the villagers were famous for their skillful stone carvers.
The reliefs from the village of Kubachi are very interesting; they are almost never found in other regions of Dagestan. And they are very similar to similar images in the cities of the Seljuk Sultanate in Asia Minor, I posted their photos before and. There is a legend in the village that their ancestors came here from Rum, i.e. from Asia Minor, from the Rum Sultanate, created by the Seljuk Turks. All architectural details, decorated with carvings, from the village of Kubachi date back to the 14-15th centuries. It can be assumed that the Rumians appeared in the mountains of Dagestan after the defeat of the Rum Sultanate by the Mongols, just in the 13-14 centuries. Perhaps immigrants from Asia Minor tried to hide from the Mongols in the remote mountains, at the same time (about 1305) the first evidence of the penetration of Islam into Kubachi appeared. At the moment, these reliefs are poorly researched, and there is no clear opinion about their origin.

It is not known from which structures these fragments of architectural decor were taken. When they were discovered in the 19th century by researchers from Russia, all the stones were already reused, and were built into residential buildings. But the tradition of making stone reliefs in the village of Kubachi turned out to be very persistent, images of the 16th and even 19th centuries are known, having a style similar to the stones of the 14th century.

But most of the reliefs date back precisely to the 14-15th centuries.

An interesting fragment, on the left are fighting heroes, in the center are flags and a shield with some kind of "bird" symbolism, on the right a warrior shoots back, this is the so-called Parthian shot, which was used by all nomads.

The Seljuks also brought their main symbol to Dagestan - the two-headed eagle. In addition to the village of Kubachi, he is not found anywhere else in Dagestan.

In addition to the stone reliefs, bronze cauldrons remain in Kubachi, they also date back to about the 14th century. True, it has now been proven that some of them could have been made earlier, and not in Dagestan, but in Iran. This is evidenced by the names of the masters who cast them. For example, Kazvini, a native of the Iranian city of Qazvin, Marvazi is a man from Merv, Tusi is a man from Tus. But there were still boilers cast in the Kubachi village.

A warrior shooting a bow into the sun occupied by evil four-legged)

Dancing people.

Figures, apparently, lions, or some kind of feline, with long necks. The lion, along with the two-headed eagle, was an important symbol of the Seljuk Sultanate.

These cat heads have survived only separately, it is not known to which figures they belonged.

Figures of deer from the village of Kubachi, 16th century.

These fragments show the stylistics of Byzantium, Iran, and even China.

The dragon or snakes curling in rings are very characteristic characters in Seljuk art. Similar dragons were used to decorate entrance doors, for example, the famous Serpentine Gate, the main entrance to the Aleppo citadel.

Mustached people dance with drinking horns. Islam took root in the Caucasus for a very long time, the pagan mountaineers resisted until the 19th century. Therefore, the general drunkenness here was not surprising.

The facade of the house of Akhmad and Ibrahim in Kubachi (after the drawing by N.B. Baklanov, circa 1925). It can be seen that the architectural elements with reliefs were located very chaotically, which proves their secondary use.

And an interesting fragment with stone carvings, made in the 1870s. Here we see the snake fighting of the main character and a woman in a dress that is more characteristic of Russian culture. At the same time, the aesthetics of the Middle Ages is preserved. It's as if the masters of the Rumsk Sultanate were trying to portray the characters of Russian folk tales and the young ladies of the Russian Empire of the 19th century.

Boiler lid, late 19th century. Kubachi.

Silver buckle from the village of Kubachi, late 19th century. It is precisely such silver jewelry that Kubachi glorified in our time.

My posts on the museums of the world.

Carpet weaving is one of the oldest arts in the world. Even Herodotus, in his writings, mentioned the use of carpet products among the peoples of the Caucasus. The Great Silk Road passed through Derbent, which contributed to the development of crafts in Dagestan. This is how the art of carpet weaving developed in the region for many centuries.

Using

Carpets served a wide variety of functions.Babies covered the cradles special carpet covers,carpets for brides gave as a dowry (the bride had to weave a carpet for her future husband),carpets were used and in funeral rites. Them covered the clay floor, insulated stone walls dwellings and even replaced furniture in the House. After the penetration of Islam into Dagestan, such a type of carpets appeared asnamazlik - small rug to pray... Besides practical purposes, the carpet is also brought aesthetics into the monochrome dwellings of the highlanders.

Carpet making

The process of creating a carpet is laborious. Wool for autumn and spring carpet shearing went through several stages of preparation. First, the wool was washed, dried, sorted, then combed and twisted into yarn. The yarn was then dyed by boiling along with various natural dyes. This is one of the unique advantages of Dagestan carpets - the color obtained from the bark, leaves, roots of plants does not undergo discoloration and allows the carpet to last up to 300-400 years.

Madder root (a herbaceous plant) gave the products a red color; yellow - obtained from the bark of barberry, onion husks, St. John's wort and oregano; for the blue color, indigo was brought, from the leaves of which dye powder was obtained. Also, indigo was added to the yellow yarn and got green. The skin and bark of the walnut tree gave a wide range of colors: light yellow, marsh, brown, black.

Types of carpets

According to the manufacturing technique, Dagestan carpets are of four types: lint-free, pile, felt and combined.

Lint-free
(common among Avars, Kumyks, Laks, Dargins, Lezgins)

Sumac

Who produced: Southern Dagestan and some regions of Azerbaijan

Pattern: complex and most often geometric, sometimes with plant, zoomorphic and anthropomorphic elements. Several medallions (ornamental forms) are located on the central field, and the gaps are filled with rare small patterns

Colour: warm, restrained tones - brick red, ocher gold on a dark red or blue background

Kilim

Who produced: Lezgins and Laks

Pattern: repeating hexagonal medallion.The composition consisted of sequentially located figures that formed the horizontal rows of kilim. Also, the ornament was folded in the form of one or more large rhombuses, with a vertical or lattice arrangement along the length of the field

Colour: rich palette - blue, red, orange, white, olive and others

Davagin

Who produced: Avars

Pattern: symmetrical rhombic medallion with a large number of branches with zoomorphic figures. This ornament is called “ruzal”, which means a long-necked and many-legged house. The entire central part is framed by a wide frieze (horizontal stripe) with a geometric ornament

Colour: blue background, pattern of red, black, yellow colors

Doom

Who produced: kumyks

Pattern: the main compositional solution is the presence of a central part and a border of one or three stripes

Colour: blue or red background, and ornaments, depending on the background, have shades of yellow, green, blue, brown

Supradum

Who produced: Kazbekovsky district of Dagestan

Pattern: three to five large octagons filled with ornaments of a zoomorphic, anthropomorphic nature and a small geometric pattern. In the center of the octagon there is a rounded medallion with filling similar to the decor of the field. The field borders a border with a repeating floral or geometric element

Colour: dark red background

Chibta

Who produced: Avars from the village of Urma, Levashinsky district

Pattern: large symmetrical geometric elements in the form of triangles, zigzags with stepped shapes and horn-like motifs

Colour: background of a yellow shade, a pattern of burgundy, terracotta, blue, black outline

Simple and patterned rugs

Who produced: many peoples of Dagestan

Pattern: various compositional constructions based on wide stripes framed by narrower stripes with a small pattern. The ornament of wide stripes was built from large medallions of geometric shapes - triangles, rhombuses, crosses

Colour: with a combination of shades of red, orange, brown, purple, blue, white, black and other colors

Pile carpets
(common among Tabasarans, Lezgins, Kumyks, Avars)

Tufted carpets have become very popular both in Dagestan and beyond. Many local peoples were engaged in the production of this type of carpets, but only Tabasaran masters managed to gain international recognition.

Who produced: pile carpets were named after the settlement where they were made. Each area had its own characteristic ornament. In Southern Dagestan, there are 8 types: "Akhty", "Mikrakh", "Derbent", "Rushul", "Tabasaran", "Khiv", "Kasumkent", "Rutul". The northern group of pile carpets includes the Avar "Tlyarata", the Kumyk "Dzhengutai" and "Kazanische". This classification is applicable only to old carpets, modern ones do not require strict ornamental delimitation.

Pattern: a central field and a border, which consists of an odd number of borders. As an ornament - geometric motifs: elements of plants, celestial bodies, objects, zoomorphic and anthropomorphic images. The patterns form the world of symbols through which the masters reflected the world around them and their feelings. Previously, images of people and animals wore magical motives associated with ancient rituals and cults, but the meaning has long been lost, and now the patterns are decorative.

Colour: blue or red background with patterns of various colors and shades. Color harmony was achieved through a balance between bright and dark spots, warm and cold colors

The ornament of pile carpets, depending on the composition, is:

Centric - concentration on the central large figure (medallion)

Background - filling free places on the central field

Border (tape) - emphasis on the border

Felt rugs
(common among Laks, Kumyks, Nogais, Avars)

Felt craft is one of the most ancient crafts, most of all it was developed in the foothill regions of the northeastern part of Dagestan and the Nogai steppe.

Arbabash

Who produced: Avars and Kumyks

Pattern: flowing images of plants

Colour: contrasting combinations of red, blue, white, black, gray. White tape along the contour

A rbabashi n they were made by superimposing several felts of various colors on top of each other and cut through the intended ornament. The cut elements were sewn into felt of a different color, and thus two arbabash with the same pattern in different colors were obtained. The gap between the pictures was covered with white tape.

Kiyiz

Who produced: Nogais, Laks

Pattern: geometric, plant, zoomorphic and object elements, images of a generic symbol. Lak people used diamonds and criss-cross stripes

Colour: white, black, gray, brown background. The pattern is embroidered with bright threads of blue, yellow, white, black, orange

Combined rugs
(common among Avars and Dargins)

Tsach

Tsach carpets are a combined type that combines kilim (lint-free) weaving and nodular. The weaving technique allows the carpet to be two-sided: smooth on one side and terry on the other. Such carpets were woven by Avars, Dargins, Rutulians. Tsakh was called "the mother of the carpet", considering him the founder of all carpets.

Carpet weaving is one of the most ancient types of arts and crafts in Dagestan. Carpets of impeccable quality are still in demand in interior decoration. Unfortunately, today it is a great rarity: natural paints are replaced by artificial ones, high performance technique is lost. However, there are still villages in Dagestan where craftsmen follow traditions and produce unique carpets that look original and can last for about 300 years.

Based on materials from the book “Dagestan Carpets: From the collection of the DMII im. P.S. Gamzatova ".

Mariam Tambieva

Details are very important

About color

Everyone has a little bit of their own

annotation scientific article on art history, the author of the scientific work - Magamedova Aminad Akhmednurievna

Related topics scientific works on art history, the author of the scientific work - Magamedova Aminad Akhmednurievna

Text of scientific work on the topic "Cultorogenesis of symbolic forms: the formation of the Dagestan ornament"

Using

Carpet making

Types of carpets

Lint-free (common among Avars, Kumyks, Laks, Dargins, Lezgins)

Sumac

Kilim

Davagin

Doom

Supradum

Chibta

Simple and patterned rugs

Pile carpets (common among Tabasarans, Lezgins, Kumyks, Avars)

Felt rugs (common among Laks, Kumyks, Nogais, Avars)

Arbabash

Kiyiz

Combined rugs (common among Avars and Dargins)

Tsach

Lint-free
(common among Avars, Kumyks, Laks, Dargins, Lezgins)

Pile carpets
(common among Tabasarans, Lezgins, Kumyks, Avars)

Felt rugs
(common among Laks, Kumyks, Nogais, Avars)

Combined rugs
(common among Avars and Dargins)