Шекпен

Aidarkhan Mirolevich Kaliyev, candidate of technical Sciences, associate Professor of art history, Taraz. THE STORY OF THE FAN, OR THE DISCREET CHARM OF THE ART “SHAKEN”. We, the descendants of the ancient Saks and Turks, now citizens of the rapidly developing state, have the opportunity to admire exotic places around the globe, admire the masterpieces of world culture. Sometimes, chasing spiritual and aesthetic values, we do not think much about the material culture of our ancestors, who can re-claim world recognition. With the change in lifestyle, the need for the phenomenon of architectural structures of nomads-the Yurt, the use of felt in everyday life, and even more so in traditional clothes, disappeared. Only from the stage or at Nauryz celebrations we admire the wisdom, beauty, modest charm of our traditions and continue to look at them as Souvenirs. During the years of Independence, more began to understand that due to the tradition of the development of culture, as a single organism in the history of the people. The study of the history of culture of the Kazakh people gives a clear idea of the parallel creation of material and spiritual values. And, therefore, today we have a serious task – to master the existing traditions and contribute to the common Treasury of culture. This idea is quite well sanctified in the recent Address of the Head of state to the people of Kazakhstan. One of the material values inherited from our ancestors is weaving and production of unique clothes. Over the centuries, the culture of nomadic clothing has been significantly influenced by other cultures, thus introducing a new character, shape and trends. The nomads, in turn, polished their costume, putting the idea of beauty and comfort. Analysis of compositional and constructive features of the exhibits in the Fund of the Central State Museum of Kazakhstan (Almaty), the State Museum of Ethnography of the peoples of Russia, the Museum of anthropology and Ethnography. Peter 1 of the Academy of Sciences of Russia (Moscow) indicates the embodiment of the best features in terms of ergonomics and comfort, aesthetics and protection from the adverse effects of nature. Requirements for modern clothing are similar, with a difference in the variety of shapes, decor, texture and color combinations. Professional fashion designers and fashion designers in search of new ideas often turn to the traditions of folk costume. One of the creative sources of inspiration and the concept of creating new clothes for the author of the article was – “shekpen”. In the original “shaken” – outerwear, made of self-sewed the fabric from the camel wool. Seeing for the first time “shaken” how to exhibit in the underground mosque of the complex of Khoja Ahmed Yassavi in Turkestan, and then in the village Kizilot Zhambyl region sewn at the end of the last century, the author noted the discreet charm of laconic shapes, finishes, natural color and durability of the product. Later, the study of the virtues of camel hair and products from it once again proved the wise traditions of nomads. It turned out that camel hair is able to withstand various weather conditions, has a unique low thermal conductivity, high moisture absorbency, high strength, low property, good elasticity and twice as light as sheep, and its healing properties for the treatment of many diseases, often spoken in folk medicine. These advantages finally prompted the author to create, yet creative collection “Great steppe”. Thinking that an interesting idea is well forgotten, but updated in the modern version forced the author to make a chronological analysis. Even the rulers, the nobles of Ancient Rome and Byzantium loved to wear clothes made of camel hair, brought by nomads from the great steppe. The essays of ancient chroniclers tell that in the heyday of the Great silk road “shekpen” was highly valued and exported by merchants in four directions: to the South through Bukhara to Persia, through the Northern coast of the Caspian sea to Russia and Europe, through the Upper Yenisei to Siberia and through Dzungaria to China. In the beginning of the last century, the ethnographer A. E. Felkerzams in the writings of the “Ancient carpets of Central Asia” have noted the phenomenon of the use of the soft fur camel colts at home. In his book “Argonauts of the middle ages” V. P. Darkevich admired the high art of nomads in making fabrics from camel wool yarn. In her works “the History of Central Asian costume” the famous Soviet ethnographer O. A. Sukhareva described that “robes made of homespun cloth were also worn in Samarkand. They were bought ready from the steppe-pastoralists. Very valued and were available to rich people robes of camel hair reddish-brown color.” A lot of works about the phenomenon of “shaken” dedicated to a prominent Kazakh scientists and researchers U. Dzhanibekov, A. Margulan, E. Zakharova, R. street, M. Mukanov and others. In the 80-ies the production of cloth from camel wool was established in Kargaly worsted-cloth factory. Unfortunately, despite the great demand, the production of factory fabrics was stopped due to the collapse of the former Union. Essays, materials and preserved products-the originals were given to the author to feel the spirit of the time, and then give the “shaken” the spirit of the day. This led to the idea of creating fabrics and then clothes that meet modern requirements, while maintaining the tradition. To preserve the tradition, as well as many years ago, the wool of camels was selected and spun on the uyrshyk, scurried to the restored horizontal narrow-edged machine and woven by hand. The modernity of fabrics was achieved by painting the yarn from the wool of white camels and their combination in the composition of the warp and weft yarns with different shaped yarn during weaving. The illustrations of the article are enlarged twice photos of the fabrics and the corresponding models of modern clothing from the collection “Great steppe”. Woven in the experimental laboratory of the fashion House “ASYL-DESIGN” “shaken” (Fig. 1.(a)), is a copy of those paintings that were created many centuries ago. Cloth and costume-image (Fig. 2.(a)) despite their modesty, they embody the spirit of antiquity, tradition and at the same time modernity. A special national color lies in the model (Fig. 2.(b)) made from the original “shaken” Kargaly worsted mill, trimmed with Astrakhan fur and silk embroidery. In figure 1, the results of experiments with “shekpen” – derived fabrics: combination with colored yarn from sheep wool (b), typesetting weaving using cotton yarns (C), the use of melange yarn from Angora (g), the use of weft yarn curled (d), textured inclusion of mohair yarn in the warp yarn (e), weaving into the finished yarn of nappy methane (g), as well as the creation of a smooth texture on the surface by hand sewing beads, poyetok (h). The use of modern types of yarn (no more than 15-20%) and combinatorial design methods, gave the fabrics a fashionable look and a special texture relevant today. Work on a collection of models of hand-woven fabric derivatives required the use of traditional cut in variation with modern. The width of the canvas, about one elbow or 2-3 inches, dictated its terms cut either in a straight line or diagonally. With this logic, the cut is difficult to get the product adjacent silhouette or vtachnye sleeves. Successful synthesis of traditional and modern methods of tailoring contributed to the creation of new forms of clothing and proportions. Figure 2 (b-e) shows some of the model-derived fabrics “shaken”, United in the collection “the Great steppe”. For several years, the collection was demonstrated on the catwalks of international fashion festivals. Over the modest charm of “shekpen” enthusiastically admired by experienced Western experts and designers during the fashion Week in the Baltic (BALTIC FASHION WEEK). “My God! What a beauty! So many traditions” – I exclaimed, taking a gift of a painting derived “shaken” by the famous Russian couturier Vyacheslav Zaitsev. “This luxury should be used as a shawl or insert in good clothes” – admired, buying, the wives of foreign diplomats at the Days of Kazakhstan fashion in Uzbekistan. And such examples can be a large number. Yet, we are thinking of a new derivative tissues; while, the restless revolves ursic in the hands of masters, gently fingering the roving wool camel colts; yet, hard-working weaver sitting at the loom in the villages create new exclusive tracks – the discreet charm of the art “shaken” impresses experienced in the world of fashion specialists and, slowly but surely re-gaining their recognition.
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