D.E. Baimahanova
South Kazakhstan State University named after M.Auezov
the city of Shymken, South Kazakhstan Oblast, Kazakhstan
Kazakhstan
Using ornamental elements in modern
Kazakhs national costumes
Summary
National art about
main compile components of Kazakh ornaments the historical latest and nowadays
position Kazakh national costume in modern tendencies and using ornamental
elements in national costumes are said in this paper.
National art is solid in cultural and
artistic respects of layer the specific world perception kin group of people.
Precisely in national art preserve the relation of time, historical memory of
generations, national world outlook. National art has the greatest cognitive,
educational and developing possibilities. [1] Skills of ornamental art and art
of sew national clothes which handing from generation to generation as national
customs and traditions, because the ornament for Kazakhs- it is philosophical
beginning of art. The great scientist A.H/ Margulan wrote “Kazakh live in the
world of pattern” that is say about spiritual riches of peoples. [2]
Researchers of art and ethnographers distinguish the following main components
of Kazakh ornament:
Zoo morpheme- muiz-horn; khos-muiz
–double horn; kynyr or synykh muiz- broken horn; and also he representation
separately part of camel’s neck; birds: khus-khanat- bird’s wings; khaz-moin-
geese’s’ vides and etc.
Cosmogonical – donggelek,
shenber-solarium crcle; tort-khulakh-cross-piece; shugula-rainbow,
shimai-spiral; bytbes-infinity symbolizing the world area, the fourth part of
the world, eternal movement, celestial solids: zhuldyz-star, aishykh-half-moon.
Plant- leaves, palmist, trefoil. buds,
flowers. Their weaving is opened in Kazakh ornament as concept of unity,
coordination, reason-investigatory of limit the life on the planet.
Geometrical-rhombs, zigzags,
triangles, polyhedral meanapolic patterns (Shynzhara, baldakh) net crossing
lines. [3]
How these patterns combination of each
other and the complement of one another, obey the laws of composition. Say the
ornamatic practical all goods of Kazakh
national applied art, decorating and embellishments costume. Exceptional
manifestation material culture is Kazakh national costume. Aesthetic ideal of
people are found their reflection in it, its mode of life social equivalents.
The costume distinguishing brilliantly feature and play appointed role in
preservation and consolidation ethnic self-knowledge of nation, on a level with
conversation speech, anthropological indicators serve stable definitions, from
which distinguish their from another’s person, for it’s characterized community
forms for all the various strata of population with appointed age regulation. The Kazakh national costume is preserved
wholly for nowadays, especially at elderly par of nations in the countryside.
Here and there, Kazakh wear modern costume chapan fling-robe, takia
round-tyubeteika, khalpakh-hat with velvety flaps trimming, boric-cap, narrow
strip of expensive fur sews on trimming of clothes tymakh-triangle cap,
saptama-boots and etc.
National traditions are preserved in
modern stylized clothes develop the assembling rational cutting out, unity of form and systems of arts and crafts of
national costume. In addition should be
marking that complex of Kazakhs’ clothes construct compled with European forms
with elements of traditional costume with appreciation of different age groups.
Using motives of Kazakh national ornaments in modern clothes, for the first time
is offered by Irina Aleksandrovna Dobrohotova- Maikova is an art adviser of
Kaz. SSR Republican House of Models in 1970-1980. Ornament is presented as a
part of decorative structure of costume and its rhythmical formation; sometimes
ornamental motives acquire status of composition centre in collection of modern
designers.
Younger designers offer perfectly other
conception of using ornamental motives in their collections. It consist in that
element of ornament is not a part of trimming decorative structure of costume,
and set in base of its silhouette form. Of course in addition change scale of
ornament in respect of person’s figure, the silhouette of costume is acquired
more compound, even perceptive character.
Stability of form achievement on vesult
of using thickness of felt which is substitute for traditional felt, but
thickness of it’s structure to some extent to soft trail, exquisite, surface of
net.
There is abstraction to principle
departure from stereotype using of elements find it new place in structure of
costume and change the decorative function to formation. The aspiration to
novelty on already existing diversity assortments, form, cutting out, lead the designers to combine and compound combination
of elements different stylistic direction within quit forming composition and
constructive form.
Increase the role texture of materials,
trimming and décor, costume jeweler and furniture. In search of source
fresh ideas of disiners perfectly normally appeal to traditions of ethnic
culture to the “folk” style. The peculiarities of ornamental form underline the
expressiveness trimming, twinkling bunding.
The role of composition centre plays the
ornamental elements which Kazakh used on sewing the clothes. Separately accents
can let out with the help of brightly strazes (artificiality stone is made of
glass) choosing contrasting time to time. The colour not only is contrasted but
it forms, volume, relief. Cutting out and insists of exquisite form are
presented and remember about inlaid work, jewelry make about irrigation
ceramics carving models of Asian mausoleums.
In this case ornamentally is not coloured and multicoloured it has
muffle character.
The shade mother-of-pearl, anthracite,
covering platinum bronze, burnished steel, burned clay, terracotta, elephant
bones, forest nutshell, glaze by ceramics are found widely using.
In this way modern Kazakh costume with
pattern is a synthesis of European clothes from the most fashionable podium and
Kazakh national ornamental elements. All of them are incarnated with the help
of boundless imagination of young designers.
Bibliography:
1. Koshenov Zh. S. “
National fine art in Kazakhstan as a
mean of schoolchildren’s education” education aid,- Shymkent: SK PU.
2007
2. 2. Abdigapbaratov
U.M. “Kazakhtyn ultykh -ornectery” education aid- Almaty: Oner 1999
3. Zhanibecov U.
“Echo”- Almaty Oner , 1991.