207
summary
Astral symbolism also dominates the
palaks of Tashkent (“Tashkent
Palaks:
Parade of the Planets”). The original name of the basic elements of
palaks has been
preserved –
oy – which again links the design components with the heavenly, divine
world, stars and planets. Embroideresses reckoned that
these ornaments provided
magical protection – a fecund power was attributed to the heavenly bodies, which
is why
palaks were obligatory at weddings. In their turn, the flowering bushes on
embroidered coverings (
gulkurpa) were supposed by the law of sympathetic magic
to transmit the power of their blooming to the newlyweds and ensure the bride’s
fertility. The ornaments of
zardevors and
dorpechs are
connected to the decoration
of early Middle Age ossuaries.
The embroidery of the Ferghana Valley is examined as a distinct phenomenon
resulting from its well-known geographical isolation (“The Ferghana Valley: Steppe
Reminiscences in Urban Embroidery”). Popular local compositions and motifs are
analyzed, and the influence of semi-nomadic culture is discussed.
To judge by the homogeneity of the designs of Surkhandarya
suzanis, it
appears that this type of domestic handicraft began to spread among the local
sedentary population only from the beginning of the 20th century (the
section
“Surkhandarya: Archaism and Modernism of Provincial Style”). The ornaments
of local
suzanis –
oy (moon) rosettes, or
lola (tulip) – simultaneously reflect both
the aforementioned astral cult and the cult of nature with its characteristic festival
of flowers (
guli surx)
celebrated during the days of Navruz. The active adaptation
of “alien” compositions (such as
suzanis with deer) testify to the naturalization
of large-scale embroidery in Surkhandarya, a region traditionally dominated by a
different sort of textile art – carpet weaving.
Surkhandarya and Kashkadarya are also examined as regions where the
embroidery of semi-nomadic Uzbek tribal groups can be found (the section
“The Embroidery of Semi-Nomadic Tribes: Symbols and Rituals”).
This section
analyzes the specific visual elements and decoration of Lakai and Kungrat
embroideries. Attempts to decode the designs indicate that nomads’ small-scale
textile productions were directly related to cultic shamanist practice. One of the
characteristic features of the embroidery of the Kungrats is its love of stylized
vegetative motifs.
The research demonstrates that it was certainly not so long ago that embroidery
was associated with ritual family practices and the everyday
and holiday life of the
people. Its designs embodied conceptions about the magic of fertility; they also
make it possible to appreciate precisely which sacral ideas and conceptions were
important and lasting in the general consciousness – the defense of newlyweds, the
continuation of the race, protection by natural forces
and ancient heavenly gods
and totems, and ensuring the prosperity of the new family.
Social changes at the turn of the 20th century led to old traditions being
forgotten and the magical and cultic significance of decoration being lost. Therefore
it is of great importance to rediscover the meaning of ornaments and preserve their
diversity.
сады небесные и сады земные
Вышивка Узбекистана
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