“Look closely at my pattern. Women's Dagestan national costume. Subtleties and features Ancient patterns of the peoples of Dagestan

Keywords

ORNAMENT / ETHNOTERRITORIAL VARIETIES OF ORNAMENT / GEOMETRIC ORNAMENT/ PLETENKA / EPIGRAPHIC ORNAMENT / KUBACHI DECOR/ WORLDVIEW / MENTALITY / DEFILE OF RELIGIONS

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

The ornament was originally used in various types of decorative and applied arts Dagestan. Under the influence of Zoroastrianism, pagan symbols of various kinds were popular - solar signs, vortex rosettes, cruciform figures, etc., as well as images of a horse, rider, tulpar (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. A significant role in the formation of the Dagestan ornament was played by the development of the classical Arab-Muslim culture, a kind of "renaissance of medieval Arab culture." The Dagestan ornament is a stylized floral pattern with many leaves, buds and flower heads. Three of its ethnoterritorial varieties are distinguished: Kubachi, Lak and Avar. Kubachi decor It is distinguished by high technique of execution, a variety of techniques and complex, finely designed ornamentation. Basic ornamental compositions Kubachi decor: "tutta", "marharay"; "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 inscriptions made in the Suls handwriting. Since the end of the 15th century, the naskh handwriting has been widely used in combination with floral ornaments. 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 new painting world and declaring new features of mentality. The layering of motifs 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 of styles makes it possible to judge the development of consciousness, the ascent from the mythological level of consciousness to the abstract level. The plastic embodiment of the word and giving it a spatial volume is 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 ethnos. Modeling the world in symbolic forms, the ethnos develops activity models for its development and appropriation, fixes and transmits generalized experience in graphemes.

The text of the scientific work on the topic "Cultural genesis 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.

Head of the sector, candidate of philosophical sciences

Russia, St. Petersburg.

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

Head of Department. PhD in philosophy.

CULTUROGENESIS OF SYMBOLIC FORMS: FORMATION OF THE DAGESTAN ORNAMENT

The ornament was originally used in various types of arts and crafts of 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, tulpar (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. A significant role in the formation of the Dagestan ornament was played by the development of the classical Arab-Muslim culture, a kind of "renaissance of medieval Arab culture."

The Dagestan ornament is a stylized floral pattern with many leaves, buds and flower heads. Three of its ethnoterritorial varieties are distinguished: Kubachi, Lak and Avar. Kubachi décor is distinguished by high technique, variety of techniques and complex, finely designed ornamentation. The main ornamental compositions of the Kubachi decor: "tutta", "markharay"; "tamga".

The medieval heritage of Dagestan is represented by architectural structures, memorial monuments and works of applied art, decorated with epigraphic ornament. Most of the inscriptions are made in the late Kufi style, there are inscriptions made in the Suls handwriting. Since the end of the 15th century, the naskh handwriting has been widely used in combination with floral ornaments. 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

trait of mentality. The layering of motifs 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 of styles makes it possible to judge the development of consciousness, the ascent from the mythological level of consciousness to the abstract level. The plastic embodiment of the word and giving it a spatial volume is 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 ethnos. Modeling the world in symbolic forms, the ethnos develops activity models for its development and appropriation, fixes and transmits generalized experience in graphemes.

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

Cultural History of Symbolic Forms: The Genesis of Daghestan Ornament

This article deals with the historical circumstances of the cultural genesis of Daghestan ornament. The text shows the transformation of meanings and symbols of the visual world, depending on the dominant point of view of the local ethnoses.

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

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

of the Great Silk Road, one of the main routes 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 highway ran from the Lower Volga region along the western coast of the Caspian Sea through Ka-

CULTURAL GEOGRAPHY

MAGAMEDOVA Aminad Akhmednurievna /Aminad MAGAMEDOVA

| Cultural genesis of symbolic forms: the formation of the Dagestan ornament |

Rice. 1. Triangular notched carving of the 16th-18th centuries: 1 - Dagestan; 2 - Georgia.

The Spanish Iron Gates - Derbent, to the south 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. Thus, under the influence of multidirectional political and economic forces, a picture of the world of the peoples inhabiting Dagestan took shape.

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 AD. e. preached by Christian missionaries. Representatives of Catholicism, Orthodoxy, Monophysitism and Christian heresies had 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 Mazdaism in the territory of Zirekhgeran and Derbent3. Judaism was brought to the territory of Dagestan by the exiled Jews of Rome and Persia4. 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, islands of the Christian, Jewish faith, as well as inclusions of pagan beliefs, were preserved.

The culture of the highlanders was a "melting crucible", in which the autochthonous culture was enriched by the introduced ideas and forms. At moments of historical "challenge",

1 See Radkevich V. A. 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 4th - 18th 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

succumbing to the collapse of ethnic culture and the death of an ethnic group, 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. processes that are directly related to Everyday life On the contrary, they were not reflected. 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 oldest types of human visual activity, a significant element of the symbolic space of culture. Presumably, the ornament arose around the X^X thousand years BC. e. and was a combination of geometric shapes in various combinations, complemented by zigzags, strokes, stripes. Through a grapheme, a person for the first time expressed his perception of the surrounding world, modeling it in symbolic forms, mastering and appropriating it6. The ornament demonstrated the spontaneous relation of a person to being and at the same time the richness of the forms of consciousness. Graphemes have shown an enviable stability of style for thousands of years. Ariel Golan believes that the ornament acts as a pre-literate way of fixing concepts and ideas, that it forms the symbolic space of culture7.

“There is always something archaic about a symbol. Each culture needs a layer of texts that perform the function of archaism. The condensation of characters is usually especially noticeable here. Such a perception of symbols is not accidental: their core group, indeed, is of a deeply archaic nature and dates back to the preliterate era, when certain (and as a rule, elemental)

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

| Cultural genesis of symbolic forms: the formation of the Dagestan ornament |

mental in descriptive terms) 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, there were those that indicated the right of ownership, and those that performed the magical function of a talisman. Graphemes, designed to have a certain impact on the world around them, eventually turned into an ornament. The most ancient layer of the autochthonous culture of the region is represented by a geometric ornament, which was widespread in the mountains of the Greater Caucasus.

This type of ornament is found on ceramics, carved wooden products, and in architecture. From the II millennium BC. e. Until the beginning of the 20th century, geometric ornament dominated in remote mountainous regions, 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 ornamental elements of a clearly magical incantatory nature at one time served as conspiracies for prosperity or amulets from evil. Our distant ancestor was calmed and pleased by the sight of these amulets, and from here, from this joy, a feeling of beauty was born.

The feeling of security formed the aesthetic joy of acceptance, which later, probably, was supplanted by the awareness of the sacred and familiarization with the heavenly world. To this day, the geometric ornament worries about the symbolism that is significant for the ethnic group, which is why today it is used to decorate the facades of houses and ceramic products.

“Samples of the original local, original style of architectural ornamentation of Dagestan are so characteristic that they are immediately recognizable among other examples. His distinctive features: irregularity of the overall composition; geometric pattern; large, clear elements, each appearing separately, without being connected, intertwined with others; deep, juicy carving on the plane. One of the characteristic features of this ornamentation is the absence of rapport, i.e., the rhythmic arrangement of identical elements. In the Gorno-Dagestan ornament, the image consists of figures that are compositionally independent not only in their pattern, but also in their position. The compositions are made up of different motifs, located freely in relation to each other. The ornament consists of a set simple figures: rosettes, squares, triangles, crosses, zigzags, spirals, etc.”10.

For a resident of a remote mountainous region, symmetry looked deliberate and did not reflect his worldview. Naturalness and emotionality dominated in the highlander's picture of the world. Features of the archaic ornament are preserved on the walls of the mosque with. 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, the fact that, due to relative geographical isolation, the ornament continued to be perceived as an instrument of influence, as a magical tool. The geometric ornament in demonstrative asymmetry and freedom of arrangement of elements is consonant with the Neolithic culture of Europe and Asia Minor, and the actual area of the geometric ornament coincides with the area of the 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, p. 11.

9 Rybakov B. A. 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.

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

“... in the style of architectural ornamentation of Dagestan, two different sources appear: the technique of its implementation belongs to the artistic traditions of the ancient Indo-Europeans, while in the principles of composition, an almost universally extinct line continues, going back to the aesthetics of a different cultural layer, to spiritual world Neolithic farmers. The decorative art of Dagestan is compositionally the last phenomenon of Neolithic aesthetics. The most striking examples of this aesthetics are the art of the Trypillia-Cucuteni culture and the art of Ancient Crete"11.

Braiding also belongs to the archaic ornament. Braid in the form of a flat two-plane carving was most often used to decorate architectural details. The pattern is formed by interlacing ribbons arranged in the form of circles, squares, rhombuses, zigzags, stripes. The façade planes of windows and doors, supporting pillars with a trapezoidal capital, and grave steles were covered with “braided” carving. As well as a geometric ornament, the “wickerwork” plays the role of a “talisman” 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 12th century that carved wooden

http://simvolznak.ru

MAGAMEDOVA Aminad Akhmednurievna /Aminad MAGAMEDOVA

| Cultural genesis of symbolic forms: the formation of the Dagestan ornament |

CULTURAL GEOGRAPHY

mosque pillars. Richie12. Comparison of the Kaitag-Tabasaran ornament with Georgian and Armenian demonstrates a striking similarity in the uniformity of the construction of the composition and in the details of the drawing.

Rice. 3. Carving "braid" in Dagestan: 1 - the usual type of window frame in Tabasaran; 2 - a fragment of a carved partition in Gidatl.

The appearance of floral ornaments on the territory of Dagestan is associated with the transmission of Muslim culture to the mountainous region. This type of ornament is characterized by the image 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 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. A significant role in the formation of the Dagestan

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

174 | 4(5). 2011 |

The development of the classical Arab-Muslim culture, a kind of "renaissance of medieval Arab culture" played a role in the floral ornament.

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

"Tutta" in Dargin means a branch or a tree and is a symmetrical, usually vertical structure, the axis of which divides the decorated surface into two equal halves. The composition is based on 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.

Rice. 4. Kubachi ornamentation: a) composition "tutta"; b) the composition "marharay".

According to P.M. Debirova, the dynamic decor "tutta" is created due to the contrasting movement of two pairs of curls. “The first pair forms a spiral movement, while the second pair moves towards the first and forms a heart-shaped figure with the tip pointing down”14.

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

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

14 Debirov P. M. The origins of the floral style ornament // Folk

arts and crafts of Dagestan and modernity. - Makhachkala, 1979. S. 40.

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MAGAMEDOVA Aminad Akhmednurievna /Aminad MAGAMEDOVA

| Cultural genesis of symbolic forms: the formation of the Dagestan ornament |

Rice. 5. A set of silverware. Composition "marharay". Kubachi. Second half of the 20th century

grow and develop in different directions. The plasticity of "markharai" allows you to fill the space of any shape with decor. Quite often, the “marharay” decor is used in combination with “tutta”.

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

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 itself with autochthonous culture. "Vegetal ornament as an important component 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. Dagestan craftsmen contributed to the development of ornamental motifs of the vegetable style, as well as epigraphic, ribbon, geometric and other types of patterns. Over the centuries, this type of ornament has been improved, enriched and honed by many generations of craftsmen. At the same time, the ornament acquired the “handwriting” inherent in a particular historical era, that is, the features of style and ethnic identity. Over many centuries,

15 Schilling E. M. Kubachintsy and their culture. M.-L., 1949. S. 107.

There were local features of floral ornament - Kuba-Chinsky, Lak, Avar, etc. Floral ornament in all its inexhaustible variety of motifs and compositional structures was and is now widely used in various types of arts and crafts and monumental and decorative art of Dagestan "16 .

Another type of Dagestan floral ornament is the Lak ornament. The Kazikumukh period (until the 70s of the 19th century) is characterized by an ornament, the pattern of which is symmetrical stems with rosettes 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 craftsmen began to leave Dagestan, they began to use the ornamental compositions “kuradar”, “murkh-nakich”, which were stylistically very close to the Kubachi decors “tutta” and “markharai”. The composition "kuradar" is a spiral braided and intersecting stems, whose petals and leaves are turned inside the spiral. This type of ornament was made using the technique of deep engraving, interspersed with rosettes, petals and leaves. "Murkhar" was a symmetrical pattern in the center of which there was a rod of small rosettes or buds, made in black with a white pattern. On both sides of the rod there were spiral

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

character traits// Islam and Islamic culture in Dagestan. -

M.: Publishing House "Eastern Literature" RAS, 2001. P. 91.

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MAGAMEDOVA Aminad Akhmednurievna /Aminad MAGAMEDOVA

| Cultural genesis of symbolic forms: the formation of the Dagestan ornament |

Rice. 6. Silver service. Composition "tamga". Kubachi. 1980

but twisted stems with inwardly spiraling petals and leaves.

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

Vegetative ornaments were used to decorate weapons, ornaments and decorative details. Floral ornament, as well as other types of ornament, performed four main functions that Josef Vydra formulated:

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

Operational, facilitating the use of the subject;

Representational, increasing the impression of the value of the subject;

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

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

Psychic, providing a symbolic impact19.

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

Epigraphic ornament is widely used 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 cult and civil architectural structures. Inscriptions from intricate

19 See Voronchikhin N. S., Emshanova N. A. Ornaments, styles, motifs. - Izhevsk: Udmurt University Publishing House, 2004. P. 17.

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

current. M., 1989. S. 14.

MAGAMEDOVA Aminad Akhmednurievna /Aminad MAGAMEDOVA

| Cultural genesis of symbolic forms: the formation of the Dagestan ornament |

CULTURAL GEOGRAPHY

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

Rice. 7. Tombstone from the village of Kalakoreish. A combination of epigraphic and floral ornaments. 783/1381-1382

A review of the types of ornaments known and widespread on the territory of Dagestan would be incomplete without mentioning 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, the decor of the tombstones included pre-Islamic ones, which had existed in folk art for a very long time. artistic creativity pagan symbols - various kinds of solar

21 See Mammaev M.M. Islamic art of Dagestan: formation and characteristics// Islam and Islamic culture in Dagestan. - M.: Publishing House "Eastern Literature" RAS, 2001. S. 93; Shikhsaidov A.R. Epigraphic monuments of Dagestan. M., 1984. S. 346-347; Gamzatov G. G. Dagestan: historical and literary process. - Issues of history, theory, methodology. Makhachkala, 1990. S. 226.

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

As examples of products that have preserved the zoomorphic style, one can cite the Kubachi stone reliefs of the 14th-15th centuries, on which images of living beings - animals, people or birds, along with Arabic inscriptions and floral ornaments, are carved; the tympanum of a two-span window of the 14th century, which is now stored in the State Hermitage Museum. with the image of a lion attacking a boar; a stone gravestone in the form of a semi-cylindrical or "chest-shaped" sarcophagus of the 13th - early 14th centuries. with various pictorial scenes from the village of Kalakoreish; carved doors of the Kalokoreish mosque of the 12th-13th centuries. and others. Despite the fact that, starting from the 16th century, under the influence of Islam, the development of the art of Dagestan went along the line of strengthening 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 Balkhara ceramic vessel from the early 20th century contains archaic graphemes that refer to the symbolic range of archaic culture. The presence of archaic symbols on the vessel of the 20th century is explained by the fact that in Balkhara the manufacture of ceramics is the prerogative of women acting as the keepers of tradition and striving to preserve the symbolic space of everyday life.

A large two-handled 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 acts as a talisman. The painting of the vessel demonstrates the coexistence of the introduced painting technique with the dominance of elegant floral ornament and the archaic one, in which geometric ornament dominates in a combination of solar signs, borders, 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 that needs rain. On the one hand, he is credited with the role of a talisman that guarantees high-quality firing, on the other hand, he declares a picture of the world.

A rhombus in combination with curls, as well as a number of similar curls, diverging from the center in a belt, forms the main ornamental composition- 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" - "woman". The semantic load of the ornament is traditional - a talisman of the contents and the vessel itself.

The main pattern is framed from above and below 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 angobe painting. The body is decorated with a three-part composition, on-

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. S. 91.

MAGAMEDOVA Aminad Akhmednurievna /Aminad MAGAMEDOVA

| Cultural genesis of symbolic forms: the formation of the Dagestan ornament |

CULTURAL GEOGRAPHY

Rice. 8. Two-handled vessel "kakwa". Balkhar village. Early 20th century

carried by an engobe of two colors - white and red. The upper ornamental belt contains the grapheme of rain. On this vessel, the sign of rain is included in the cloud, declaring not just a symbol of the cloud, but a rain cloud that should pour down on the earth and water it. Since Neolithic times, the sign of the cloud has been considered the symbol of the goddess of the sky. In the process of simplifying the drawing, the semi-ovals were transformed into triangles, and the zigzag and wavy lines were replaced by hatching. Consequently, the lower belt of the Balkhara vessel, as well as the upper belt, contains the symbolism of the sky goddess. 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 earthly world and the underworld. The base of the body is decorated with a wide belt consisting of two ornamental stripes with oblique hatching and a wavy line24.

An attempt to read the graphemes inscribed on this vessel allows us to draw the following conclusions:

23 Golan A. Myth and symbol. - M .: Russlit, 1993. S. 16.

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

Layering of various ornamental styles;

Preservation of the archaic layer of consciousness;

Declaration of 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. 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. Permeating the diachrony of culture, the constant sets of symbols to a large extent take on the function of the mechanisms of unity: by carrying out the memory of culture about itself, they do not allow 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 society and visualizes a 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 the agricultural culture. The symbols of hunters are replaced by the symbols of farmers, and they, in turn, are replaced by the symbols of pastoralists. 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 motifs makes it difficult to study the sequence of development of the symbol and the way it spread.

On the other hand, the change of styles makes it possible to judge the development of consciousness, the ascent from the mythological to the abstract level. Geometric ornamentation and braiding, archaic styles of ornamentation, reflect the mythological level of consciousness. The floral ornament, introduced in the Middle Ages along 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 is 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 ethnos. Modeling the world in symbolic forms, the ethnos develops activity models for its development and appropriation, fixes and transmits 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, p. 12.

Dagestan ornament

The diversity of cultural and artistic traditions of Dagestan is associated with ethnic fragmentation, in turn generated by the complexity of the natural and relief conditions, as well as the difficult history of the region. The Caspian lowland has long attracted travelers, conquerors, and nomadic peoples as the most convenient route linking Eastern Europe with Asia Minor. These were Scythians, Sarmatians, Alans, Huns, Khazars, etc. Some of them settled on the territory of Dagestan, mixed with local tribes, bringing their customs and artistic traditions to their culture.

Later, Persians, Arabs, Seljuk Turks, Tatar-Mongol conquerors, Tamerlane, "thunderstorm of the universe" Nadir Shah tried to subdue Dagestan. IN different eras Dagestan was part of such state formations as Caucasian Albania and the Khazar Khaganate.

And yet, Dagestan was not a kind of "cauldron" in which everything and everything was mixed over the centuries. The Dagestan peoples, having gone through a complex, sometimes tragic history, were able to preserve their unique appearance, language and original culture.

The way of life of the Dagestan peoples was in many ways similar, but there were purely local features generated by the specifics of the historical development of each of them, the mentality, as well as the time of familiarization with Islamic spiritual and cultural values.

Different religions have always coexisted in Dagestan: Judaism, Christianity, Islam, there were numerous remnants of pagan beliefs and Zoroastrianism. Tolerance, respect for the bearers of other religious views, apparently, is one of the most important factors cultural phenomenon Dagestan.

All this determined the development of many local schools, among which some stand out as having the most stable stylistic features, techniques and ornamental culture. This Avar, Lak, Kubachi and South Dagestan schools. Within these schools there are peculiarities in each type of arts and crafts and in each nation, sometimes even villages.

Main centers of applied arts: Kubachi (jewelry decorated with niello, engraving, enamel), Gotsatl(copper chasing, jewelry), Balkhar(ceramic with painting), Untsukul(wooden products with silver notch, bone inlay, mother-of-pearl).

It is also important that the extraordinary development of the ornamental culture of the peoples of Dagestan is the result not only of its natural taste and sense of harmony, but also the result of developed abstract thinking and a surprisingly imaginative worldview. Therefore, an ornament is not only music for the eyes, but also always certain information that carpets, embroideries, as well as carved wood and stone, artistic metal could most fully convey.

Photographs of exhibits from two halls of the Hermitage dedicated to the art of the Dagestan village of Kubachi. Now this village is known for its craftsmen, specialists in artistic metalworking. But in the Middle Ages, the villagers were famous as 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 14th-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 hard-to-reach mountains, at the same time (approximately in 1305) the first evidence of the penetration of Islam into Kubachi appeared. At the moment, these reliefs are poorly studied, and there is no clear opinion about their origin.

It is not known from which structures these fragments of architectural decoration were taken. When they were discovered in the 19th century by researchers from Russia, all the stones were already reused and 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, which have a style similar to the stones of the 14th century.

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

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

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

In addition to stone reliefs, bronze cauldrons remained 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, Qazvini, a native of the Iranian city of Qazvin, Marvazi is a man from Merv, Tusi is a man from Tus. But boilers and those cast in the village of Kubachi remained.

Warrior archery at the sun occupied by evil quadrupeds)

Dancing people.

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

These cat heads have been preserved only separately; it is not known which figures they belonged to.

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

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

Dragon or snakes, winding rings - very characteristic characters in the art of the Seljuks. Entrance doors were decorated with similar dragons, for example, the famous Serpent Gate - the main entrance to the citadel of Aleppo.

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

Facade of the house of Akhmad and Ibrahim in Kubachi (according to 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 observe the snake-fighting of the main character and a woman in a dress that is rather characteristic of Russian culture. At the same time, the aesthetics of the Middle Ages are preserved. It's like if the masters of the Rum Sultanate tried to portray Russian characters folk tales and 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 these silver jewelry that glorified Kubachi in our time.

My posts dedicated to the museums of the world.

Carpet weaving is one of ancient 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 handicrafts in Dagestan. This is how the art of carpet weaving developed in the region for many centuries.

Usage

Carpets performed a variety of functions.Babies covered the cradles special carpet capes,brides carpets given as dowry(the bride had to weave a carpet for her future husband),carpets were used and in funeral rites. Imi covered the clay floor, insulated stone walls housing and even replaced furniture in the House. After the penetration of Islam into Dagestan, such a type of carpet appeared asprayer -small rug to make a prayer. In addition to 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. The wool for the autumn and spring shearing carpet went through several stages of preparation. First, the wool was washed, dried, sorted out, 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 fade and allows the carpet to serve up to 300-400 years.

The root of madder (a herbaceous plant) gave the products a red color; yellow - obtained from the bark of barberry, onion peel, St. John's wort and oregano; for of blue color they brought indigo, from the leaves of which a dye powder was obtained. Indigo was also added to yellow yarn and green was obtained. The peel 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, nap, 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. On the central field there are several medallions (ornamental forms), and the gaps are filled with rare small patterns.

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

Kilim

Who produced: Lezgins and Laks

Pattern: repeated hexagonal medallion.The composition was made up of sequentially arranged figures, which formed horizontal rows of kilim. Also, the ornament folded in the form of one or more large rhombuses, with a vertical or lattice arrangement along the length of the field.

Color: 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 “rukzal”, which means a long-necked and many-legged house. The entire central part is framed by a wide frieze (horizontal strip) with a geometric ornament.

Color: blue background, red, black, yellow color pattern

Doom

Who produced: Kumyks

Pattern: basic compositional solution- the presence of a central part and a border of one to three stripes

Color: 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 zoomorphic, anthropomorphic ornaments and small geometric patterns. In the center of the octagon is a rounded medallion with a filling similar to the decoration of the field. Field borders border with repeating vegetal or geometric element

Color: 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 motifs

Color: yellow tint background, pattern of burgundy, terracotta, blue, black outline

Plain and patterned rugs

Who produced: many peoples of Dagestan

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

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

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

Pile carpets gained great popularity 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 locality where they were made. Each locality had its own characteristic ornament. In Southern Dagestan, there are 8 species: "Akhty", "Mikrakh", "Derbent", "Rushul", "Tabasaran", "Khiv", "Kasumkent", "Rutul". The northern group of pile carpets includes the Avar "Tlyarata", the Kumyk "Dzhengutai" and "Kazanishche". This classification is applicable only to old carpets, modern ones do not require a strict ornamental distinction.

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

Color: 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 empty places on the central field

edging(tape) - emphasis on the border

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

Felt craft is one of the oldest crafts, it was most 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

Color: contrasting combinations of red, blue, white, black, gray. White braid around the contour

A rbabashi p They were made by laying several felts of different colors on top of each other and cut through the intended ornament. The cut out elements were sewn into felt of a different color, and thus two arbabash with the same pattern of different colors were obtained. The gap between the drawings was covered with white tape.

Kiyiz

Who produced: Nogais, Laks

Pattern: geometric, plant, zoomorphic and objective elements, images of a generic symbol. The Laks used rhombuses and criss-cross stripes

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

Combined carpets
(common among Avars and Dargins)

Tzakha

Tsakha carpets are a combined type that combines kilim (lint-free) weaving and knotted. The weaving technique allows the carpet to be double-sided: smooth on one side and terry on the other. Such carpets were woven by Avars, Dargins, Rutuls. 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 technique of execution 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 the materials of the book “Dagestan carpets: From the collection of the DMII im. P.S. Gamzatova".

Mariam Tambieva

Annotation.

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

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

CONTENT

IIntroduction…………………………………………….………………….....3

IIMain part:

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

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

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

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

IIIConclusion. ……………………………………………………............nine

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

VApplications ………………………………………………………..….11

Introduction

Do not rush to own golden caskets

And chased white sabers!

Dream of owning hands of gold,

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 national culture but also a huge potential for the economic development of the republic. 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 to preserve them 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 Turkic means "country of mountains", this region is also called the "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 handicrafts, and over many centuries they have achieved great success in their manufacture.

The purpose of the study folk crafts of Dagestan.

Relevance revival of traditional art in Dagestan.

Novelty connection 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 Dagestan peoples considered him the most reliable amulet. They knew that the carpet not only creates an atmosphere of warmth and comfort in the house, but is also able to protect the home from evil spirits. You begin to believe that the carpet really has magical powers, considering its hypnotic amazing ornament. And although today the knowledge that hides this or that pattern is irretrievably lost, a special beautiful combination of colors and the traditional ornament of a man-made carpet still bring special energy to the house, have a magical effect, attract happiness and good luck 1 .

Ornament as an 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 ambiguous and deep in its essence, because it is based on symbols and signs. As a rule, some magical beliefs are associated with them - that the image of this or that animal or plant has protective functions: it can give protection, ward off bad influence, be the patron of a person.

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

The first mention of carpet weaving in 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 fine craftsmen living in it are eternal...

So, conjuring, you wove a carpet Blooming alpine meadows,

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

And the carpet blossomed flower flower,

Craftsmen 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 discern the original meaning in them.

Appendix.

Your age………….

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

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

What silver jewelry do you prefer?

Kubachinsky …………………

Modern …………………

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

Can you dance lezginka………………………………………

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

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

The text of the scientific work on the topic "Cultural genesis of symbolic forms: the formation of the Dagestan ornament"

Usage

Carpet making

Types of carpets

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

Sumac

Kilim

Davagin

Doom

Supradum

Chibta

Plain and patterned rugs

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

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

Arbabash

Kiyiz

Combined carpets (common among Avars and Dargins)

Tzakha

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

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

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

Combined carpets
(common among Avars and Dargins)