А. Е. Кожанова Магистр 2 курса по специальности «7М02118 Дизайн моды» Казнпу им. Абая, г. Алматы, Казакстан
ОЮ - ӨРНЕКТЕРДІҢ КЕСТЕЛЕУ ӨНЕРІНДЕГІ МӘНІ
жүктеу/скачать 386,07 Kb.
|
Conference Kozhanova
Conference Kozhanova
| ОЮ - ӨРНЕКТЕРДІҢ КЕСТЕЛЕУ ӨНЕРІНДЕГІ МӘНІ
Аңдатпа Ұсынылып отырған мақалада ою – өрнектердің шығу тарихы,түрлері, оны зерттеушілер еңбектері, дұрыс қолданылуы мен кестелеу өнерімен тығыз байланысы қарастырылады. Ою – өрнектердің түрлеріне қарай қолданылуы ортасының маңызы, кесте өнерінің бүгінгі жағдайы, нақты айтқанда, киім саласындағы дамуына бағытталған брендтер туындылары және де қолданбалы өнердегі кестелі картина жасау шеберлерінің жұмыстары мысалға келтірілген. Түйін сөздер: ою-өрнек, кесте, кесетелу өнері, композиция, дәстүрлі өнер, бренд, туынды. It is a decoration that will make any of the national costumes, which are rich in grandeur and grandeur, attractive to the eye. Without it, neither clothing nor manufacturing equipment is in fashion, the essence of which runs away, the abundance of jewelry is an ancient feature of Kazakh clothing. Handicrafts educate young people about beauty, the ability to see beauty, form aesthetic taste and attitude to the environment, contribute to the development of national culture. Ornaments are images that are born from the overflowing of the human mind, from the flakes of the heart, from the surrounding environment around him. The origins of this art date back to ancient times. The plot content and name of the ornaments were changed and improved in accordance with the peculiarities of life orientations in each new era of the people. Today, the art of creating ornaments has become a spiritual and material treasure of the Kazakh people, acquiring a qualitatively new rich content and novelty. Like other types of creative activity, the art of creating ornaments contributes to improving the intellectual level, helping to improve the acquired knowledge[1]. Embroidery is a type of decorative craftsmanship. Fabric, leather, felt, etc.materials are made by sewing patterns and patterns on the surface with various colored threads, silk threads. It has long been widely distributed among the people. Among the many types of Kazakh decorative and applied art, embroidery is distinguished by its bright decorative properties, variety and technological diversity[2]. Sewing embroidery with us and just a needle is a common art for all peoples. Hand embroidery is a type of applied art that has been around since ancient times. Applied art is a creative product of Masters and artists of many countries, it raises the mood of a person as a result of decorating clothes and interiors. At the same time, the number of studies on Kazakh embroidery art is small, and they are quantitatively inferior in scientific publications compared to textile art[3]. If you weigh the history, all aspects of nomadic life, their own traditions and customs are embossed on the pages of a textbook, the decorations in national costumes can be compared with the thousand-year-old inscriptions on the rocks from Orkhon-Yenisei, left over from the Blue Turkish times, the inscriptions on the stones were made by children, the patterns on the national costumes were made by grandmothers. One used a hammer with a chisel, the other used a needle and a chisel. Now both are the eyes of ancient times, you and I are an illusion of the ancient world, a monument to the eyes[4]. We have ethnographers, historians, writers, and art historians who have come from the land of Kazakhstan, who have received a high degree of knowledge, who have passed on this knowledge to specialists of other countries, who have highly appreciated and analyzed the Kazakh crafts, grouped ornaments in them. They were studied by scientists Sh.Ualikhanov, A. Margulan, H. Argynbayev, S. Kasimanov, M. Mukanov, U. Zhanibekov, T. K. Bosenov, E. Masanov, B. Tuyakbayeva, B. Almukhambetov, B. Ibraev, K. Ibraeva, T. Zhanysbekov, zh.Shaikenov, U. M. Abdygapparova and others. [5]. Kazakh scientist T. Basenov says: "scientists of different times and industries worked hard to study the Kazakh ornament. But these researchers were not able to understand the mysterious language of folk ornaments, to understand the true secret. They did not express their thoughts in the native language, which reveals the key to the art of our people, but in a foreign language of the bourgeoisie, with a superior attitude towards other people. The lack of harmony between the language of the people who study art and the thought and language of the researcher has led to many distortions and even serious gaps." Scientists believe that there are several reasons for its appearance. Humanity has been striving for beauty and beauty for centuries, so ornaments were used to decorate household items. In the art of ornament, the main artistic features inherent only in a particular people are preserved. Therefore, it is directly related to the high culture of the people, the perception of beauty, and the National signature. When evaluating the art of the people, scientists are guided by the above criteria. If we look seriously at the culture of the people, we will see that these people are developing in accordance with their characteristic taste and knowledge of beauty, aesthetic principles. From this point of view, we can say that there is no sphere in the life of the Kazakh people that does not involve ornaments. Therefore, in almost all craft industries, ornaments were widely used for decoration and decoration of products[6]. We can mention the Masters and researchers who created paintings from embroidery in Kazakhstan and demonstrated this art in other countries: artist Gulnazym Umirzakkyzy, brush master Umirzak Rystanovich, art critic Gulnar Zhumaniyazova, embroidery master Zeynelkhan Mukhamedzhanovich (Fig.1,2), [7]. Figure 1,2-the process of cutting Zeynelkhan Mukhamedzhanovich and Ainur Umirzakovna. The history, culture, structure of world knowledge, and vitality of the people are one and the same thing. Therefore, when studying his craft, it is necessary to understand this whole. It is very important not only to see the ornament visually, but also to know the content of its names, the history of its origin, to understand the implied game. After all, the ornament is a messenger of the past, a chronicle. If you listen to any fairy tale, if you listen to any legend, if you listen to any fairy tale, if you listen to any fairy tale, if you listen to any fairy tale, if you talk about diamonds on the forehead of a Khan or King, countless rubies on his robe, corals? Thus, since that time, clothing has been formed as one of the symbols that reflect social features, and this tradition has been preserved in the Kazakh environment for the next two hundred years. Previously, Kazakhs used cotton, wool and felt for everyday clothing. The rich and rich people used all kinds of silk, all kinds of velvet colors, plush and brocade fabrics. After sewing clothes from such fabrics, they were embroidered with gold and silver threads [8]. It was impossible to count the noble threads that went into the robes of one of the leaders who received ambassadors in the palaces and hordes of the most prominent people. Painting expensive embroidery on expensive fabrics was considered an art. Only special masters are invited to it. Researchers who have studied Kazakh art in depth wrote that "Kazakhs live between images and patterns." The ornament, which begins with the outer bas-reliefs and fragments of the yurt, is also found in tekemets in the House, carpets and tuskis in the surrounding area. Even the citizens ' boots and saddles were decorated. The fact that Kazakhs decorate their lives does not mean that they are a cheerful, lively and tender people? It is true that the essence of jewelry originates from the ancestral consciousness. Looking at the ornaments, you can easily determine the ability of ancient people to think, imagine the world. Their perception of life in themselves, its essence, fell on the same ornaments. Therefore, there is a complete logic in comparing the ornaments of those ancient grandmothers with the Orkhon-Yenisei inscriptions carved by the hands of their ancestors. Types and traditional features of embroidery patterns researchers attribute Kazakh ornaments to four groups, because there is no dispute that Kazakh ornaments and patterns as a whole consist of four classes. Today's herd is a group derived from the animal world. Kazakh is a nomadic people. They were mainly engaged in animal husbandry, so in his worldview there was a lot of space for livestock. The world has gained a lot of knowledge from the recognition of the color and type, origin and skeleton of animals, which corresponds to modern science. In addition, nomadic life, in addition to cattle, explained the secrets of animals and birds. In addition, it is necessary to take into account the peculiarities of the nature of birds. They were placed in the valley of the steppe [9]. With such a vital interest, the environment could not take its place in the Kazakh ornament and embroidery. In ornaments and embroidery, camels, horses, eagles, falcons, reindeer and others were sometimes found with a whole face, sometimes certain parts of them were found horns, paws, humps, beaks, tracks, tail. This is how this class of carving and embroidery was formed, and their names are inextricably linked with the origin of the ornament and embroidery. "Koshkar horn" is the most popular ornament in the Kazakh tradition. Since ancient times, the people who cared for sheep had a separate desire to carve ram horns, the carvings "Kozy korun", "deer antler" and "Sinar korun" were widely used in everyday life, and the carvings "atbas", "Taban", "orkesh" have preserved their name and substance to this day. Ornaments and symbols such as" zhilinshik"," botakoz"," four ears"," Spider"," skeleton"," Dog Tail"," dog back"," mouse trail"," spine " were also found in everyday life. The basis for such carvings is also birds, as evidenced by such patterns as "Crow's hoof" or "goose neck". But there is one historical fact that Kazakhs never decorated their clothes with carvings from the life of animals and animals. These ornaments were used only in everyday life, especially in the decoration of the outside and inside of the yurt, on carpets, syrmak, color. The next group of ornaments from ancient times is ornaments of a cosmic nature. These patterns, which give the impression of reaching from the sky to the Earth, were used by Kazakhs to decorate clothing. It is not for nothing that they have a deeper meaning than the animal world, which is considered an eternal abyss[10]. Among the expressions of a cosmic nature, the name of the sun stands out first. All ancient peoples also worshipped the sun. The Kazakh people also had a special respect for the sun. The circle of the sun, the fringe, the vortex, the Rays caused a lot of decoration of the clothes. Embroidery, such as the sun visor and the whirlwind of the sun, is also placed on the ceremonial robe of a person. Similarly, they thought that such a sacred thing would give strength to the male, and they made belts and weapons. If we list the types of expressions related to the sun, we would see that our people were very careful to observe the main candle in the sky. "Source of the sun", "Sunbeam", "Rising Sun", "Circle Of The Sun", etc. in addition, our ancestors made patterns "Shimai" and "bitpes", looking at the Milky Way, which is the basis of legends, from the night sky. Looking at these two patterns, we can see that the ancient Kazakhs were unaware of the mystery of the sky, its Infinity. The patterns" Aigul "and" Aigul "were born on the basis of the main character of the night sky, and" Aigul " was one of the first patterns in the history of Kazakhstan. The stars were also an example for patterns. They were decorated with ornaments" Zhuldyzgul"," Zhuldyz Ornek "and" Top zhuldyz". Outerwear is decorated with ornaments" zhuldyzgul"," top zhuldyz " [11]. In Kazakh ornament, sometimes straight, sometimes curved, sometimes arc lines are common. This is the third group of geometric carvings. Ornaments and patterns belonging to this group are abundant in the decoration of clothing. Sometimes we run like water from a river. It is perceived by Kazakhs as a sign of unstoppable, unstoppable life in motion. Such carvings fall into the visible place-the region of clothing, undulating inexhaustible patterns are indispensable for connecting the two edges of intricate animal patterns or patterns from the celestial world. From this group, we also know such carvings as "Suir", "Irek", "crutches", "bait", "amulet", but they were not used to decorate clothing. They are indispensable examples of decoration for alasha, baskur, Shi, tekemet and other household items. The fourth largest group of embroidered ornaments is plant ornaments. The Kazakh people have long cared for nature, took refuge in nature. He considered nature the basis of his life. Nomadic life in the middle of winter and summer, which left a lot of impressions, the variety of flowers of summer zhailau, the views of the mountains formed strong concepts in the minds of the people. They gradually began to move to household items, clothing in the form of ornaments and patterns. We, in turn, divide the ornament of plant origin into two groups. The main and indirect type. The main group of ornaments of plant origin includes such names as tree, ear, Ivy, Tulip, almond. Such patterns are used in abundance for women's and men's clothing. This type of ornament is the basis of various fantasies. Such patterns are tightly pressed and embroidered. Sometimes the label method is used. A special feature of modern fashion types is the simultaneous use of the same two or three approaches. In the design of clothing, indirect types of the group of plant origin are also quite reflected. An indirect type is the use of only one part of a plant, not a whole. For example, a type of leaf decoration is often found on the hem of clothing. Patterns in the form of petals, leaf ornaments, camel leaves, double and triple leaves, five-leaf ash[12]. These days, many well-known Kazakhstani brands, such as SAUKELE BRIDAL, Bibisara, Samidel', Aida KaumeNOVA, Nayil Baikuchukov, Aigul Kassymova, Jarkyn Baimakhanov, Dana Nabi, Assem Nurseitova, Kuralai, Malique, Nurshah, SADI, present their exclusive clothing to the modern generation based on the art of embroidery (Fig.3,4). Figure 3 - a product of the brand" Dana Nabi " embroidered with plant ornaments. Figure 4-embroidered doublet of the brand" Dana Nabi " with the use of plant ornaments. жүктеу/скачать 386,07 Kb. Достарыңызбен бөлісу:
|