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 the natives of Asia Minor tried to hide from the Mongols in the 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 back, 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 were trying to portray the characters of Russian 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.
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. ……………………………………………………............9
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 of the 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 and further develop them 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 bloomed to 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.
Application.
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………………………………………
Luxury and mystery, oriental wisdom and aristocracy - all this is contained in a nutshell "Kubachi silver". A silver bracelet on a delicate female hand attracts and fascinates with an intricate weave pattern. I would like to unravel these jewelry signs, comprehend their secret, without taking my eyes off the brilliance of the precious metal.
Since ancient times, one of the most skillful craftsmen who create real masterpieces of silver was the Kubachi, the inhabitants of a settlement in the mountains of Dagestan, famous for their ability to make armor and chain mail. Since then, Kubachi silver has been a quality mark worthy of the most precious people.
Kubachi craftsmanship is named after the place where the craft originated - the Dagestan village of Kubachi. In ancient times, the ancient Greeks developed mines in the Caucasus, mined precious metals, including silver, and also made jewelry here. So the locals adopted the art of owning metal. Nevertheless, independent Kubachi masters became known from the works of the Arab historian Al-Masudi, who lived in the 10th century. According to his stories, on the territory of the present village of Kubachi lived artisans - chain mail, who made not only chain mail, magnificent in its protective properties, but also the best military weapons. This is where the name “Kubachi” came from, which in Turkish means “weapons masters” or “chain mail”.
"Kubachi" is rightfully a brand in the world of exclusive silver jewelry.
Handmade silver products have always been considered a sign of good taste. The silverware of the Kubachins impresses with its luxury and originality. Silver bowls and dishes with blackened floral designs surprise true connoisseurs of exclusive jewelry. Cups for drinks, inlaid with various stones, are reminiscent of oriental tales of genies and padishahs. Kubachi silver will rightfully take the main place in the collection of family jewels.
Products of Kubachi craftsmen were awarded prizes and certificates of many Russian and foreign exhibitions. Some silver items are exhibited in museums around the world. Kubachi table silver is distinguished from other manufacturers by original metal processing, complex engraving, magnificent patterns, often niello, enamel coating, and also Kubachi craftsmen place ivory inserts and stones of various beauty and value on products.
In history, the Kubachi people have been known since the 11th century as zirichgerans (Persian “chain mail”), and since the 15th century. - as Kubachi (Turkish. "Chain mail"). In the V-X centuries. Kubachi is the center of Zirikhgeran, one of the early state formations of Dagestan, which played an active role in the political life of the North-Eastern Caucasus. In the XVI-XVII centuries. defended independence in the fight against the Kaitag utsmi and the Kazikumukh khans. In the XVIII century. Kubachins experienced the invasion of the troops of the Iranian conqueror Nadir Shah. After the annexation of Dagestan to Russia under the Gulistan Treaty of 1813, the village of Kubachi became part of the Kaitago-Tabasaran district. Since 1921, the Kubachi have been part of the Dagestan Autonomous Soviet Socialist Republic, since 1991 - the Republic of Dagestan.
Activities and traditions
The main traditional occupation of the Kubachins is handicraft. Agriculture and animal husbandry were of an auxiliary nature. Developed branches of the craft were metalworking, stone and wood carving, construction, and bone processing.
Women's crafts were hand knitting, embroidery, weaving (production of cloth), making felt and shoes from it. There were no established guild organizations in the village of Kubachi. Mastery was passed down through generations. The leading and highly developed branch of the traditional craft - metalworking included: 1) copper-chased business - the manufacture of water-bearing vessels, ritual utensils, lids for boilers; 2) casting of bronze cauldrons, lamps; 3) production of artistically decorated cold steel and firearms; 4) production of various women's jewelry, men's costume items (belts, gazyrs), parts of horse equipment. Products of these industries were widely sold far beyond the borders of the region. It reached a high degree of perfection in the XIII-XV centuries. casting decorated bronze cauldrons. In the XIV-XV centuries. carving in stone and wood flourished. On stone reliefs, scenes of hunting, competitions, animal struggles, animal rutting, images of animals and birds, grows, and epigraphics were carved. ornament. In the XVI-XVII centuries. the main types of the Kubachi ornament of the vegetable style took shape, which was widely used in various types of folk art. In the XVIII-XIX centuries. the manufacture of cold steel and firearms trimmed with silver, carved bone, gold notch, as well as jewelry, patterned knitting and gold embroidery, were widely developed. Kubachi became the largest center in the Caucasus for manufacturing the best samples of weapons and jewelry. From the 2nd half of the 19th century. otkhodnichestvo of masters in the cities of the Caucasus was widely developed. Among the Kubachins, the owners of goldsmith workshops, who used hired labor, as well as buyers, usurers, antique dealers, stood out. In the life of Kubachins in the XIX - early XX centuries. the importance of related groups - tukhums, consisting of consanguineous families (initially on the paternal side, later on the maternal side) was preserved. Tukhum maintained social and ideological unity, and in economic terms, each kindred family represented an independent unit. Tukhum was endogamous, intra-tukhum marriages were preferred. Marriage, divorce, the procedure for dividing hereditary property were determined by Sharia norms. The position of a woman was powerless, her behavior was strictly regulated by adat and Sharia. Polygamy is not widespread. Marriages between cousins and second cousins were not limited and were made at the will of the parents. The Kubachins almost never entered into marriages with representatives of other peoples. In the public life of the Kubachins, a large place was occupied by the men's unions gulla ak bukun (the union of the unmarried), abounding in complex and heterogeneous, strictly observed ceremonies and rituals. The basis of the social organization of the Kubachins was the rural community - jamaat, whose internal life was regulated by the norms of adat and sharia. Internal and external affairs, judicial and executive power was administered by a special Chine organization of 7 people. elected by the jamaat at the popular assembly. The Batirte military organization was subordinate to it, the functions of which included protecting the village from external attacks, protecting forest, pasture and hay lands, and livestock. After the introduction of administrative control in the middle of the XIX century. the importance of Chine faded away, but the village remained a self-governing unit. Kubachi is a large mountain village (shi). When choosing a settlement site, four factors were taken into account: 1) maximum savings in land; 2) proximity to water sources and land; 3) reliable defense; 4) solar (south) orientation. According to the layout and the nature of development, Kubachi is a terraced (multi-tiered) settlement with closely and compactly built-up quarters and vertical zoning. Significant changes have taken place in the planning and general architectural appearance of the villages of Kubachi since the early 1960s. XX century., When intensive construction began in all directions, where the terrain allows.
traditional dwellings
The dwellings of the Kubachins are multi-chamber, 2-3-storey, flat-roofed structures made of stone. On the lowest floors there was a barn, a stable, on the 2nd - a hayloft, a fuel warehouse, and on the upper floors - housing from many rooms, pantries for food, home workshops of goldsmiths. The interior of the living room was unique. Carpets were laid on the floor. In the middle part of one of the walls there was a wall hearth with an ornamented smoker. Along the other wall there were shelves for a variety of metal utensils of local production and Middle Eastern origin (Egypt, Iran, Iraq, Syria). The other two walls were hung with rows of copper trays, porcelain and earthenware dishes from the ceramic centers of Iran, China, Syria, Japan, Russia and European countries. The Kubachi interior with original home museums is still preserved by the majority of the inhabitants of the village, although the dwelling has undergone changes (beds, furniture, TVs, etc., rooms, except for the fireplace, are furnished in a city style).
traditional clothing
Traditional women's clothing: a tunic-shaped shirt dress; brocade coat; with short sleeves (now obsolete); headdress chuhta (square headband with multi-colored patches sewn on), kaza (white, usually embroidered towel-shaped cape-bandage), kate - a woolen shawl-cape, white felt boots (now out of use) and knitted patterned socks. Wedding attire: dress from east. brocades embroidered with gold and silver threads "kazy", various decorations - silver chains on the chukhta, large gold rings, silver bracelets, chest pendants trimmed with grain, pearls and gems. Men's clothing of the general Dagestan type: a tunic-shaped shirt, straight trousers, beshmet and Circassian coat, morocco or felt boots, sheepskin coats and hats. The clothing complex included a silver type-setting belt, a dagger and gazyri for a Circassian coat. Nowadays, national men's and women's clothing has been supplanted by common European urban clothing. However, the “kaz”, unique for the region, has remained an indispensable element of the women's wardrobe and is dressed together with modern clothes of the pan-European type.
Traditional food Kubachi
The traditional food of the Kubachins is generally similar to the food of other peoples of Dagestan, but has some peculiarities in the methods of preparing dishes, their components and names. The main products are grain and meat and dairy products. Common dishes are khinkal made from wheat and corn flour, soups with beans, rice, lentils, “pies” (the traditional name in Dagestan is “chudu”, in the village of Kubachi - “Ala-kutse”) and dumplings stuffed with meat, cottage cheese, eggs, nettles, potatoes, offal, pumpkin, processed local cheese. Dairy products are widely used - milk, butter, cheese, cottage cheese, milk soups with rice, noodles, cereals ......
culture
The spiritual culture of the Kubachins, while being in common with the spiritual culture of the Dargins and other peoples of Dagestan, also has specific features, manifested in the peculiarities of folk customs, rituals, traditional beliefs, a great originality of life and production, and activity. These features are manifested in folk choreography, music, folklore. Carefully designed ceremonial and ritual dances of various types were performed to music (zurna and drum) by members of male unions during the cycle of the "Union of the Unmarried", as well as at weddings. Kubachi folklore, typologically close to the folklore of the Dargins, has its own characteristics, due to the nature of the main. labor activity of Kubachins - masters - gunsmiths and jewelers. New Year's holiday (according to the lunar calendar) is celebrated - the day of spring and annually at the beginning of May the holiday "walking on water from the evil eye", accompanied by ceremonial processions, music, dances, fun, picking flowers. Up to the XX century. The Kubachins retained traditional pre-Islamic beliefs, manifested in the rites of calling the sun and rain, the veneration of sacred trees, the cult of the eagle, and decomp. animals, magical rituals of treatment from the evil eye, wearing various kinds of amulets and talismans. At the end of XIX - beginning of XX centuries. Masters Magomed Gasan, Usta Ibrahim, Gadzhiabdulla Ibragimov, whose products were exhibited at exhibitions in Tiflis, St. Petersburg, Paris, London, Constantinople, Tehran, and were repeatedly awarded gold and silver medals, achieved high professional skills. In 1924, a jewelry artel was organized in the village of Kubachi, which was transformed in 1960 into the Kubachi Art Combine, which became a large enterprise of folk arts and handicrafts of Dagestan (780 craftsmen and craftswomen, of which 230 homeworkers for knitting patterned socks). The plant produces a variety of silver products, including highly artistic samples - jugs, vases, goblets, sets, decorative dishes, women's jewelry, which received awards at many domestic and foreign exhibitions (Brussels - 1958, Montreal - 1967, Osaka - 1970 year, etc.). Leading masters who develop the national traditions of folk art were awarded honorary titles of people's artists of Russia and Dagestan, many are members of the Union of Artists of Russia, awarded orders and medals, and R. Alikhanov, G. Magomedov, A. Abdurakhmanov, G. Kishev and G. Chabkaev awarded the State Prize of the Russian Federation. Collections of products and monuments of Kubachi art are kept in the largest museums in Russia and foreign countries - in the State Museum of Modern Art, Moscow; Hermitage, St. Petersburg; Louvre, Paris; Victoria and Albert Museum, London; Metropolitan Museum of Art, New York, and many others. The activities of the Kubachins have now gone far beyond their traditional occupations. Among the national intelligentsia are writers (Abu-Bakar and others), scientists, doctors, and engineers.
Folk art crafts of Dagestan
Dagestan, everything that people gave me,I will share with you in honor
I am my orders and medals
I'll pin your tops.
I will dedicate ringing hymns to you
And words turned into verse
Just give me a cloak of forests
And a hat of snowy peaks!
Rasul Gamzatov
It is difficult to get rid of the feeling when you read Rasul Gamzatov: you are talking not with one person, but with the whole of Dagestan - a land of extraordinary, unique nature, foggy mountains, crystal air and silver streams.
Reading beautiful poetic lines, you involuntarily begin to feel that the world of mountains and highlanders is getting closer, more and more interesting. After all, the poetry of Rasul Gamzatov is a river, a sea, mountains, and, of course, people. He managed to tell about his homeland in such a way that I want to know as much as possible about this wonderful land.
In his work, the national poet of Dagestan Rasul Gamzatov repeatedly mentioned folk craftsmen and artists for whom the Land of Mountains has been famous since ancient times:
“For centuries, unsurpassed folk craftsmen worked in Dagestan: goldsmiths of the village of Kubachi, silversmiths Gotsatl. The Untsukul people created man-made poems from wood, the Derbent, Tabasaran women transferred all one hundred colors of my land to the carpets, the Balkhar women wrote mysterious verses on earthenware jars.
We will talk about some of the crafts in more detail.
Kubachi
The secret of Kubachi art
Do not look for silver in threads.
Wear the secret of this art
In the heart of the Kubachins-masters.
Rasul Gamzatov "Inscriptions on Kubachi gold items"
In the high mountains, among the rocks covered with sparse vegetation, lies the ancient famous village of Kubachi.
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| Kubachi |
Even in the 7th century, the products of the Kubachi masters were known in Transcaucasia and the Middle East. The chain mail, helmets, swords, knives, daggers, firearms, copper utensils and jewelry made by them were highly valued in many countries of the world.
Rasul Gamzatov
If suddenly I become metal,
Don't mint coins out of me.
Don't want to strum in nobody's pockets
Light an evil light in your eyes.
If I am destined to become metal,
Forge a weapon out of me
To me with a blade or a dagger
Sleep in a scabbard and fly into battle, ringing.
The Kubachi master usually owns several professions; he must be an engraver, know the intricacies of plumbing, metal engraving, artistic casting, filigree, enamel, bone, wood and stone carving. All these types of work in various combinations are used to create Kubachi works, in the manufacturing process of which several masters or one take part.
First, the master creates a graphic drawing that will decorate the future product. Then he proceeds to the production of the work itself. This work is divided into several stages: mounting, engraving, notching, filigree, enamel work. The author, as a rule, is fluent in one of the stages of work, although there are masters in Kubachi who perform all types of work from start to finish.
In the village there are whole dynasties of engravers, assemblers, filigree makers. Specialization was hereditary, passing from generation to generation, and the family was a kind of school of skill.
The creation of any Kubachi work begins with the manufacture of its form by forging or casting, whether it be a vase, a jug, a dish, a scabbard for checkers or daggers. This process is called mounting. After mounting, the workpiece of the future product goes to the "khabich usta" - the master of engraving, who very often is the author of the future work of art.
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| Women's belts |
In Kubachi, the engraving master is considered the central figure of production. He develops an ornament, proposes the form of a work, performs the most important and important part of it - engraving work. The peculiarity of the Kubachi engraving is that the entire surface of the product is covered with an ornament.
Since the working metal used by the Kubachi master is usually silver, when creating an ornament, the author, using the features of the metal, uses various engraving techniques, blackening and gilding, achieving a harmonious combination of dark and light tones.
Kubachi masters are excellent connoisseurs of various styles. They are well acquainted with the art of Iran, the Middle East, India, Ancient Rus'.
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| Women's headset. Based on sketches by A. Abdurakhmanov |
Rasul Gamzatov
Kubachins
Kubachins this spring
I watched how subtle and cunning
The master weaves carved lace
In blackened cast silver.
The glass of the glasses arms the sight,
Slow sensitive hand.
In the eyes - love
and in the heart - inspiration,
Winged like clouds in the sky.
When you come to him, you would see for yourself,
That the master is true to himself to the end.
He does not unbend his back for hours,
So that a new sign could be born in the carving.
And if you accidentally make a mistake
And the wrong sign will be applied with a chisel,
It will make you sad in deep silence
And start all over again.
And, without violating the glory of the Kubachins,
He will again shine with high skill,
that stirs our souls
And sometimes it seems like magic.
So that the poem could live longer,
Learning, friends
now cheerful, then harsh,
I have Kubachi patience,
Exactingness of aul masters.
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| Powder boxes. Based on sketches by A. Abdurakhmanov |
Gotsatl
Koisu dear, crushing stones,
Who are you running after, sparing no effort?
Has not a wicked thief robbed you,
Did the guest leave and forget something?
Where are you aiming? The paths are far.
What drives you? What calls to the bottom?
Why are you all the rivers and all the streams
Do you carry with you from the white-breasted heights?
I love to stand on a steep bank
In the gorge where your run begins.
I can distinguish your voice deaf
In the sound of a choir of a thousand rivers.
Rasul Gamzatov "Avar Koysu" (Excerpt)
The beautiful Avar village of Gotsatl, hidden among the high mountains on the banks of the Avar Koisu. In this village, a hundred - one hundred and fifty years ago, art was born, which is now well known in our country. According to legend, one of the first masters was Alibek, who served with Shamil.
Rasul Gamzatov
On Shamil's saber they burned
Words, and I remembered them from childhood:
Thinking about the consequences!
Poet, let the signs of the words be chased
They live side by side with your pen:
“He is not a brave man who is in abusive business
Thinking about the consequences!
The Gotsatli master, like the Kubachi master, owns several professions; he must know melting, forging, plumbing, engraving, drafting, grinding and polishing. Gotsatl's products are made of silver, copper and cupronickel. But if the processes of work of the Gotsatli and Kubachi masters are generally similar, then their works differ in their ornament.
Kumgans, cutlery, wine sets, decorative plates, women's jewelry, wine horns are made in Gotsatl.
Rasul Gamzatov
Raising the Avar horn
Let's get off the horses...
Glittering on the road
Creek,
Behind us is a wall of snowy mountains...
Let it be reflected in our full horn
Horseshoe golden moon.
Let's drink by the hand - the one that the horn raises,
For lips burned with wine,
For the sky above the earth, for our land,
Beautiful in the silence of the night ...
In contrast to the Kubachi ornament, the Avar, Gotsatli, on the surface of the product does not occupy the entire area and is performed in a strict graphic form. There are several basic Gotsatlin ornaments. One of the most ancient is called in Avar "zhurab-nakish" and is a set of decorative flowers, leaves, arranged in strict sequence on the surface of the product.
"Kahab-nakish" and "cheerab-nakish" are the most common Gotsatlin ornaments. They differ from each other in the way they are reproduced. The same drawing on the surface of the product can be made at the request of the master using the “kahab” or “cheerab-nakish” method. If the pattern is white and made on a black background, which covers the surface of the product, the ornament is called "kahab-nakish"; on a white background, a black drawing - “cheerab-nakish”. In the manufacture of women's jewelry, a symmetrical ornament is used, which is called "damgan". When creating a work, the Gotsatlin master very often uses all types of ornaments, skillfully combining them.
Rasul Gamzatov
I happened to see sometimes:
Goldsmiths - my neighbors -
With the help of a kazab without difficulty
Distinguish gold from copper.
My reader is a connoisseur of values,
It's hard for me without your kazab
Recognize in the intricacies of lines,
Where under the guise of gold - copper.
Untsukul
The distant peak seems close,
From the foot you look - with a hand to give,
But deep snow, rocky path
You go and you go, but there is no end in sight
Rasul Gamzatov from "Eight Lines"
Among the wild steep mountains, standing all around with a high wall, there is a large village - the regional center of Untsukul - the birthplace of a unique decorative art.
Like Gotsatl, Untsukul is an Avar village. The origins of fishing, as the legend says, go back to the distant past - the 17th-18th centuries. The old people remember how a large wooden ring with a silver notch hung on the door of an ancient mosque. Traditions tell about the remarkable ancient masters Huseyn and Martal, whose names today bear the oldest Untsukul ornaments. Also known is the master Aligajimesta, who lived about two hundred years ago.
The first artistic product that was typical for the masters of that time was a whip handle made of dogwood, decorated with an artistic notch. Later, in Untsukul, craftsmen began to decorate decorative canes with notches, artistic pipes and snuff boxes began to appear.
Rasul Gamzatov
Inscriptions on Untsukul sticks
* * *
When you get off your horse, only she
One will replace your horse.
* * *
Although the pattern on it is more fun, -
Those who are with her have a sad look.
* * *
Her hand will fall
What did you raise before?
And the silver of the blade
And the gold of the dagger.
* * *
My poor owner
You are worthy of honor
Are you a gray-haired old man,
Or a cripple warrior.
* * *
No matter how honorable you are, no matter how great,
But bow before her, gray-haired old man.
* * *
I rustled the leaves
I was young.
Teter sad with you
About the youth of the past.
* * *
I'm legs for the legless
Dzhigit-brave.
Eyes I for the wretched
Blind.
To comprehend the secrets of Untsukul art, one must get acquainted with its ancient ornaments and the production process.
The master is required not only to be an artist who knows perfectly all the existing types of Untsukul ornaments, but also to be fluent in turning and carpentry, to understand the structure of valuable tree species, to know jewelry, because in the end, only in the combination of this knowledge is born Untsukul master.
The work of the master begins with the selection of the desired wood. Usually, for the manufacture of products, apricot, dogwood trees are used, aged for at least five years, having a perfectly even surface and beautiful texture. Taking into account the nature and dimensions of the wood, the artist chooses the shape of the product, develops a special ornament for his work.
Then the wood is processed on a lathe or by hand, and the workpiece takes the form of a vase, plate, mortar, etc. For the finished form, the master makes a drawing.
A drawing made on paper is transferred to a tree with an accuracy of a tenth of a millimeter. This process is one of the most crucial moments of the master's work. First, the drawing is transferred with a pencil, and then lightly outlined with a chisel.
The next stage of work is coming - a notch. In the applied drawing, the master makes an incision in the wood, into which the plate is inserted. Then it is trimmed with special scissors; with a sharp and precise hammer blow, a cupronickel plate 2.5 mm long and 0.05 mm thick is driven into the wood. The distance between the notches is 0.8–0.9 mm. The master usually spends ten to fifteen seconds to strengthen one notch. A kind of path is formed from the notches-strokes, which is then lined with a special thin wire-border on both sides, which is also strengthened in the wood. Depending on the chosen ornament, such a path can be straight, in the form of a ball.
Very often, together with the plate, special cloves are used, which are used to make a bitmap, as well as metal circles, around which cloves are hammered in the form of a border.
When creating a product pattern, the master uses various combinations of geometric shapes in the form of daggers, circles, nets, etc. Usually, the tracks are made entirely of carnations alone, framing the main geometric shapes that are repeatedly repeated on the surface of the mold. The product of the Untsukul master has up to one hundred thousand notches-strokes in the drawing.
After notching, the product is polished, sanded and varnished.
There are thirteen main ancient ornaments used by Untsukul masters when creating their works. All the main ornaments are geometric patterns made of strips, decorated with wire thread on both sides. Such a path is called “qvat” in Avar. None of the main Untsukul ornaments can do without this pattern. In addition, there are dozens of auxiliary ornaments that are used only in combination with the main ones, complementing them, decorating the geometric pattern.
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| A. Magomedov. Mortar and pitcher |
Rasul Gamzatov
Blurred contours of rocks -
The day is foggy and misty from dawn.
He came to us, descended, arrived,
But he left the sun somewhere.
He looks like a horse in the dark
Returning from the battlefield
Leaving the rider lying on the ground
No movement...
We talked about only three famous villages of Dagestan, known throughout the world thanks to unique masters who have preserved and multiplied the ancient traditions of folk arts. The story could be continued, but I really want everyone who reads this short article to want to learn more about the numerous crafts and folk craftsmen of the Mountain Country, rich in talents.
And I would like to finish with one more quote from Rasul Gamzatov:
“In the village of Tsovkra, the village of famous tightrope walkers, the day when a little boy begins to walk on a tightrope for the first time is considered the son’s birthday, and in the village of the famous goldsmiths of Kubachi, the son’s birthday is the day when the boy brings his father his first work - patterns applied on silver - and when the overjoyed father says: “So my son was born!”
I remember the picture: the village of Tsada, spring. For the first time, a beardless youth goes out to plow the stony ground; the second - his peer - for the first time starts building a house; the third, saddling a horse, goes on a long journey for the first time, and, looking at them, my pleased father says: “How many sons were born this spring in our small village!”.
About a person without a vocation and talent, who does not benefit from his work, does not know cordial friendship, does not dream of exploits, they say in the mountains: “He lived to gray hair, but was not born into the world”("Highlander's Constitution").
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 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 the blue color, indigo was brought, 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: the main compositional solution is the presence of a central part and a border of one to three strips
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: With 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. There are 8 species in Southern Dagestan: "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 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 the materials of the book “Dagestan carpets: From the collection of the DMII im. P.S. Gamzatova".
Mariam Tambieva
