National Costume Research Articles

Linguistic And Extralinguistic Factors In The Formation Of Phrases In The English And Uzbek Languages

This article discusses the influence of internal and external language factors in the formation of English and Uzbek phrases. In both languages, the influence of habitat, flora, fauna and poultry, national costumes, food, and religious values on the formation of phraseological units is studied. It is argued that each of these phraseological units, which represent the national-cultural feature of different structural languages, can become a separate research topic.

TAUTINIO KOSTIUMO AKTUALUMAS LIETUVOS, LATVIJOS, SUOMIJOS IR NORVEGIJOS JAUNIMUI

This article examines the attitudeof young people of age 18 to 30 from Lithuania, Latvia, Finland and Norway towards the national costume. The aim of this article is to analyze and determine how national costume is appreciated by the youth of countries mentioned before. The article briefly presents the preconditions for the emergence and creation of a nationalcostume; it analyzes what kind of information is lacking about national costume. The research was made in 2017-2018. Information was provided by 156 respondents. In conclusion, the worst situation is is between Finnish youth and the deepest traditions of costume‘s wearing has Norway. The results of Lithuanians reveal that national costume is not very important tradition, Latvians show the growing interest in the costume.

MAŽOSIOS LIETUVOS TEKSTILINIO KREPŠELIO GAMINIMO IR DĖVĖJIMO MOTYVACIJA ŠIANDIEN. TAPATYBĖS RAIŠKOS ATSPINDŽIAI APRANGOJE

The purpose of this article is to answer the questions raised in the course of the research on the development of textile pocket of the national costume of Lithuania Minor in relation to the motivation for production and wearing of pockets, the choice in decoration characteristics, the symbolism of ornamentation and colour combinations. The analysis of the accomplished field research reveals the manifestations of the expression of the ethnocultural identity through production and wearing of textile pockets. The analysis of the symbolic meanings traditionally attributed and newly assigned to the chosen decorative elements of pockets reveals the cases of the continuity and change of a symbol. The act of wearing a pocket not only with the national costume of Lithuania Minor demonstrates the expression of one’s identity through wearing the chosen parts of clothing. The growing demand stimulates the production of textile pockets. The research analyses the material collected from the well-informed presenters (makers and wearers of textile pockets) based on the questionnaires compiled by the author of the present article.

BALTIJOS REGIONO TAUTINIO KOSTIUMO KIŠENIŲ ORNAMENTIKA

The purpose of the article is to determine the typological characteristics of decoration of the delmonas of Lithuania Minor and of the national costume pockets of neighbouring nations. This article discusses Klaipėda region delmonas, the pockets of Estonian, Finnish, Swedish and Norwegian costume, and the attachable pockets of noble class’s attire of various nations preserved in museums. The decorations of the pockets were studied to support or refute the influence of the fashion of nobility and of international relations on folk costume decor formation and change. The research allowed to identify the decorating techniques, pattern variation and matching features of the pockets.

Традиционный калмыцкий женский костюм в системе народного искусства

The article is devoted to understanding the role and place of folk costume in the system of traditional art of the Kalmyk people. The relevance of this study is due, first of all, to the need to analyze the functional nature of women’s national costume, the decorative value of folk clothing. The Kalmyk costume, being an extremely multifaceted phenomenon, is distinguished by its shape, cut, quantity of details, color, embroidery, ornamentation, etc. The costume is considered as a marker of the class and gender status of a person, its social and aesthetic functions are revealed. Of particular interest is the inseparable version of the complete everyday-festive women’s vestments, namely, the two-piece basis of clothing, designated by the authors as a pair of “terlg-tsegdg”. Analogs of the Kalmyk sleeveless jacket tsegdg, the upper dress for women, are such types of dress among the Buryats as the khubaysi and uuzh (the latter is also available among the Mongols), chegedeks — among the Altai, and segedeks — among the Khakass. The authors suggest that some difference in the name of a single type of clothing is based on the well-known custom of tabooing the name among the listed peoples, associated with the prohibition of pronouncing the name of the ancestor totem. It is concluded that the inseparability of clothing is explained by the image of the progenitor bird in Kalmyk folklore.

Qarabağın qadın geyimləri: tarixi-bədii ənənə və müasir dizayn (Azərbaycan rəssamlarının yaradıcılıq materialları üzrə)

The study highlights the peculiarities of national dress in the work of domestic artists in the aspect of their comparison with the historical types of women's costumes in the Karabakh region of Azerbaijan. The author examinessamples of women's costumes of Karabakh, stored in the funds of the NationalMuseum of the History of Azerbaijan, comparing them with the artistic elements captured in the works of Azerbaijani masters of the brush. In particular, the author highlights the work of Badura Afganli, Najafkuli Ismailov, Ashraf Geybatov and other artists who reflected women's costumes in their works based on the pattern of Karabakh clothing. The author notes that the characte- ristic features of women's national costumes are embodied in the works of Azer-baijani artists, a generalized image of national clothing was created. Nowadays, this type is successfully developed by designers, representing the traditional culture of the country on a global scale.

The issues of stylistics on translation of historical costumes

The literary work has its own complexity of translating from one language to another, one of which is the translation of national words. This article is aimed to the problem of translating non-equivalent lexicons of national words, as well as historical costumes, which is one of the current issues in translation studies. Emphasizing the same interpretation of historical and national words in literary translation is one of the most challenging and, at the same time, very responsible issues of translation practice. In this article the names of clothes that are typical of the Uzbek national color: hats, tops and shoes are classified and their expression in Hindi are provided. The great deal of attention was paid to the national colors on the usage of the names of historical costumes of the novels “Heritage of Ulugbek” Ullegbeck's Heritage by Odil Yokubov and “Yulduzli tunlar” Babur by Pirimkul Kodirov while translating them into Hindi. Methods of translating into Hindi were also examined and analyzed. The article details how words such as chakmon, yaktak, beqasam tun, satin, kimkhob tun, abo, taqya, telpak, chogirma, dastor, bork, taqi, mahsi, kavush are reflected and illuminated in the translation. It quotes a number of scholars who have translated the names of historical and national costumes. As literary sources for this scientific article are considered to be chosen the works of the famous Uzbek writer Odil Yakubov's “The Treasure of Ulugbek” and Pirimkul Kadirov's “Starry Nights” and their translation into Hindi by a skilled translator Sudhir Kumar Mathur. The translation highlights the strengths and weaknesses of the work. In addition to Hindi, Pirimkul Kadirov's “Starry Nights” has been translated into Urdu by Manzar Salim and into English as “Starry Nights” by teachers at Samarkand University of Foreign Languages. Odil Yakubov's “Treasure of Ulugbek” has been translated into Turkish, Russian and French.

Сравнительный анализ визуализации образа мирового устройства в мифологии коренных малочисленных народов Севера на примере обрядовых костюмов

The article is devoted to a comparative analysis of the archaic elements of the national costume of the northern peoples, transmitting cultural information and cultural codes of the ancient population of North Asia and their relationship with modernity. It examines the specifics of the visual reflection of cosmogonic myths in ritual costume and elements of shamanic attributes, their connection with the global paleomyphs «about the diver» and «heavenly hunting».

Bunad, minorities and belonging in Norway

ABSTRACT The increase and visibility of non-white Norwegian minorities who wear the national costume, bunad, has generated much debate and rancor in the Norwegian media in recent years. This study employs a content analysis methodology of six cases from national newspapers that approximate the gamut of the discussion. Employing theories of belonging, bunad is broached as a prism that reflects current debates about the future of multiculturalism in a country that has witnessed rapid demographic change in a few decades. The locus of the debate is situated in the interstices between the minority individual’s rationale for wearing the bunad and the positive views of significant Norwegians, such as the King of Norway, on the one hand, and those who refuse to ‘grant’ belonging to non-ethnic Norwegians on the other.

Modern Crimean Tatar national costume: succession and novelties (based on the example of Crimean dress designers)

This article analyzes the modern Crimean Tatar costume from the perspective of succession of the traditional elements. The author systematizes general approaches towards design of the traditional and modern costume, indicating the characteristic features. At the present stage, the elements of the traditional Crimean Tatar costume are growing in popularity. Interpretation and modern stylization of the traditional elements of national costume leads to the formation of the unique style. The leading phenomenon in the approach towards design of the modern national costume is the scientific basis, which helps to preserve the traditional elements. The object of this research is the modern Crimean Tatar costume, while the subject is decorative and graphic approaches towards design. The primary task consists in determination of the principles of creation of Crimean Tatar image and its implementation into Crimean modern culture. The novelty of this research is defined by insufficient examination of the modern Crimean Tatar costume on the scientific level, although actively implemented into modern youth culture. The creative direction in the works of modern Crimean Tatar designers is divided into three approaches: verbatim reproduction of ethnic costume (mostly used wedding gear and theater costumes), authorial interpretation, and avant-garde approach, using metaphors as the basics of style. It is noted that in the approach with allusive metaphors it enough to complement modern costume with headwear similar to the traditional to add national flavor to the image. The author underlines the importance of development of modern Crimean fashion in all three directions, as each approach has a particular function.

‘The China Virus’: Invasion, Contagion, and the ‘Yellow Peril’

‘The China Virus’: Invasion, Contagion, and the ‘Yellow Peril’

Ризаэддин Фәхреддиннең «Шура» журналындагы дини һәм милли кием белән бәйле мәкаләләре

This paper analyzes the articles, statements of the famous scientist, theologian, writer, and journalist Rizaeddin Fakhreddin named “About Clothes”. The article was published in the “Shura” magazine, where he worked as editor-in-chief. In his articles, Fakhreddin deeply analyzes the religious, national, economic, and medical aspects of clothing. The study examines such issues as the presence or absence of special clothing for Muslims, clothing of other nationalities and religions. Fakhreddin tries to explain that clothing does not have a sacred connotation according to Islamic theology and notes that it only affects a person’s character and behavior. Fakhreddin's articles say that there is no special attire prescribed by Islam for the clergy and that each nation has its clothing in accordance with climatic conditions and customs. Rizaeddin Fakhreddin emphasizes that theologians (‘ulama’) and clergy should be distinguished from everyone else by their excellent knowledge and high ethics, and not by their outer dress. Nevertheless, the clergy should wear clothes that people consider religious; for example, among the Tatars, such clothes are Turban and Chapan. He had a strong position concerning the preservation of national clothing, emphasizing its need for a nation and noticing its relevance for all times. In his opinion, it is not possible to preserve the national costume through sermons from the pulpits of mosques, articles in newspapers and magazines. In this matter, the primary responsibility in preserving national dresses lies on those people who produce and distribute national clothes. These articles by Rizaeddin Fakhreddin on the preservation of national clothing are an essential source for studying the Tatars’ daily life and the attitude of the Jadids regarding clothing at the beginning of the XX century.

Research on image recognition of intangible cultural heritage based on CNN and wireless network

The image of national costumes is the main way of presenting the digitalization of intangible cultural heritage and provides important resources for educational informatization. How to use modern information technology to efficiently retrieve images of national costumes has become a hot research topic. Due to the diverse styles and colorful colors of ethnic costumes, it is difficult to accurately describe and extract visual features. In view of the above problems, this paper proposes an image recognition model of intangible cultural heritage based on CNN and wireless network. First of all, the clothing images of ethnic settlements and ethnic museums are acquired through wireless network transmission, so as to construct an image material library of intangible cultural heritage. Secondly, the CNN algorithm is used to train and optimize the national costume image samples, extract the high-level semantic features of the national costume image and finally realize the efficient retrieval of the national costume image educational resources. This model lays a good foundation for the informatization of national costumes and contributes to the inheritance and protection of intangible cultural heritage.

Analysis of the Influence of Tibetan Culture of the Yellow River Basin on Contemporary Chinese Painting

The market economy reform, which began in China in the 1990s, changed people’s lifestyle, brought them freedom and diversity. It inevitably gave an impetus to the development of painting in the country of the new era. Thematic paintings were wide-spread in visual arts, which contributed to renewal of painting. Artists were greatly attracted by the Tibetan regions at the source of the Yellow River and tried to convey the spirit, rituals, and national costumes of its inhabitants. They depicted the sacred beauty of the plateau on their canvas, spread the values typical for the area at the source of the Yellow River throughout the country showing the beauty of the Tibetan people to the whole world.

Environmental Concept of Indigo Materials in Chinese White Trousers Yao National Costume

Environmental Concept of Indigo Materials in Chinese White Trousers Yao National Costume

Ecos de la moda espaňola en traje nacional checo: transmisiones culturales y etymológicas

The paper focuses on the issue of adaptation and modification of the coat “chamara” in the historical and cultural horizon. The original shepherd overcoat spread out in Europe due to Spanish Renaissance fashion and gradually adopted the ethno-cultural features of individual cultural areas. In the Central Europe, especially in Poland, Hungary and later in Bohemia, the more archaic, Renaissance form of the coat was adapted to the folk costumes of pastoral areas, while the middle class transferred the “chamara” to ethnically accentuated fashion of the 19th century. Therefore, in 1848 the “chamara” became a national costume in Czech culture and its popularity, especially in smaller settlements, persisted until the turn of the 19th and 20th centuries.

카자흐스탄 크질오르다 고려인의 현재 생활에 나타나는 복식문화 연구 : 한국인의 복식문화와의 비교를 중심으로

A large number of pervious studies have researched the food, housing, and rituals of the Koryoin, in order to understand their lives and culture, but there are insufficient studies on Koryoin costume. This article examines the costume culture in Koryoin contemporary life, focusing on the Koryoin of Kyzylorda, where a large number of their people migrated during the early period of forced migration, and which has been the Koryoin center of education and culture for a long period. It uses a comparison with the costume culture of Korea to grasp the general characteristics of the costume culture of the Koryoin in Kyzylorda. To achieve this, 48 Koryoins living in Kyzylorda were interviewed, and photographs and video data were collected. Literature research was conducted, based on documents from the archives of Kyzylorda, photos of the Korean Association in Kyzylorda, and previous studies. In conclusion, there are three identifiable characteristics of Koryoin costume culture in Kyzylorda. First, everyday clothes are influenced by the local environment. Second, they were nevertheless not assimilated into the costume culture of the Kazakh people. Finally, Hanbok, a national costume, is established as a form of ceremonial dress.

Gold Embroidery Style Features of the Mishar Tatars of the Ulyanovsk Region

The article reveals the origins and style features of the gold embroidery of the Mishar Tatars of the Ulyanovsk Region. Though surrounded by a population that is not uniform in ethnic composition, including the Chuvash, Mordovian, Mari, Udmurt and Russian peoples, the Mishars have preserved the aesthetic preferences of their ancestors. For centuries, the bib — an element of the national costume — has maintained the visually expressed originality of its decorative design conditioned by the traditions characteristic of this local group. The gold embroidery was a hereditary female occupation; its technique, as well as unique ornamental elements, were imparted from mother to daughter. Samples of needlework by masters of the past indicate the uniqueness of the patterned finish as well as the main trends of its development. The design techniques include large floral elements arranged in a certain compositional order. Its artistic structure uses the principle of symmetry as a reflection of the balance and stability of the universe. The repetition of images symbolizes the cyclical nature of being and reproduction processes. The style features of the Ulyanovsk Mishars’ gold embroidery include the homotypic impregnated technique and the relief of finishing elements. The interpretation of the key character-symbol in the center, which combines solar and floral forms, is diverse. The stylistic features of the Mishars’ gold embroidery reflect the system of the spiritual values common to the Tatars that were feeding the artistic forms of decorative art, originally sourced by the Bulgarian urban culture of the Golden Horde period, and then the Kazan Khanate. For many centuries, the best samples were selected and polished in the course of time. The style-forming elements of the national costume components’ gold decoration were steadily reproduced. The tradition of their application allows us to assume that the ancestors of the modern Mishar Tatars living in the rural part of the Ulyanovsk Region were of urban origin.

SYMBOLIC SIGNIFICANCE OF MATERIAL CULTURE

Consideration of language as a simple symbolic system outside of culture and history, which includes human social life, contradicts the notion of it and limits the possibilities of its study. Therefore, language, as it has been said since ancient times, is not just a system of symbols, it is a culture that supports this system, so it is a great heritage of every nation, a historical achievement of the nation. ‘‘Culture’’ is a very complex concept, which begins with the characteristics of the individual and includes the entire national mentality, national consciousness, worldview, traditions, spiritual and material wealth, formed over the centuries. The article deals with the relationship between culture and language, culture and symbol. It is known that there are two aspects of culture, material and spiritual. In this regard, the symbolic meaning of national costumes (hats), which are part of the material culture of the Kazakh people, was determined. The character of the symbol as a national code that preserves the culture of the nation was revealed.

Традиционная одежда аварцев-гидатлинцев: сохранение этнической и культурной идентичности в советский и постсоветский периоды

The paper aims to analyse the Gidatl Avars’ traditional men’s and women’s clothing and to identify chronological framework of its usage in the modern epoch. Scientific originality of the study lies in the fact that the author provides a comprehensive description of the Gidatl Avars’ traditional clothes that were in use basically up until the 1970-1980s, analyses combination of universal and regional features, traditional and innovative elements in their structure. The research findings are as follows: the author proves that the Gidatl Avars’ traditional clothes were in use basically up until the 1970-1980s, and some articles of clothing preserved for a longer period. Innovations were associated with distribution of ready-made clothes, formation of new life standards that led to almost full extinction of national clothes. Gradually they were replaced by ready-made European-style clothes. Basically this refers to men’s clothing. National costume is preserved wholly among women, elderly men and stock-breeders.