关于彼得大帝人类学博物馆和俄罗斯科学院民族志博物馆收藏的两个中亚吊坠:民族学和技术专长的经验

S. V. Suslova, Larisa N. Donina
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引用次数: 0

摘要

对俄罗斯科学院(MAE RAS)的彼得大帝人类学和民族志博物馆(Kunstkamera)(2014年博览会)收藏的两个中亚珠宝吊坠进行了专家的历史、民族学和技术分析,使我们能够将它们视为伏尔加-乌拉尔鞑靼人传统丘尔帕式珠宝的变体。它们是用牌匾和收集的不同成分的银币做成的辫子吊坠。chulpa的起源在结构和功能上都与保加利亚伏尔加河流域的芬兰-乌戈尔人的传统有关。恰尔帕也被广泛用于装饰其他类型的编织珠宝——布制的鞑靼辫子,与欧亚大陆的其他突厥游牧传统相一致。这是一件由刀形饰板制成的金丝挂件,它是伏尔加河-乌拉尔鞑靼人民族文化和艺术传统的生动写照。牌匾的制造技术完全符合喀山-鞑靼珠宝学校的工艺传统,这一点得到了证实。另一个底部有郁金香形状的饰板的吊坠显然也是由鞑靼工匠制作的,同时考虑到一些当地的中亚(哈萨克)珠宝传统。由于伏尔加-乌拉尔地区东部喀山-鞑靼“次要”珠宝生产中心的运作,将特定民族的鞑靼珠宝翻译成欧亚大陆(包括中亚)突厥-穆斯林民族的传统文化。俄罗斯著名的rybna - sloboda手工业的生产和贸易活动尤其促进了这一点。基于《鞑靼人的历史和民族志地图集》(卷“民间服饰”)的类型学、制图和插图资料进行分析。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
About two Central Asian pendants from the collections of Peter the Great Museum of Anthropology and Ethnography of the Russian Academy of Sciences: experience of ethnological and technological expertise
An expert historical, ethnological and technological analysis of two Central Asian jewelry pendants from the collections of Peter the Great Museum of Anthropology and Ethnography (the Kunstkamera) of the Russian Academy of Sciences (MAE RAS) (2014 exposition) allows us to consider them as variations of the traditional chulpa-type jewelry of the Volga-Ural Tatars. They are pendants for braids made of plaques and silver coins collected in various compositions. The genesis of the chulpa structurally and functionally connected with the traditions of the Finno-Ugric population of the Volga Bulgaria. Chulpas were also widely used for decorating other types of braid jewelry – cloth types of Tatar braids, formed in line with other, Turkic-nomadic traditions of Eurasia. A filigree pendant made of blade-shaped plaques from the MAE RAS funds is a vivid example of the ethno-cultural and artistic traditions of the Volga-Ural Tatars. This is confirmed by the plaque manufacturing technology which fully corresponds to the craft traditions of the Kazan-Tatar jewelry school. Another pendant with tulip-shaped plate plaques at the base was obviously made by the Tatar artisans as well, taking into account a number of local Central Asian (Kazakh) jewelry traditions. The translation of ethno-specific Tatar jewelry into the traditional culture of the Turkic-Muslim peoples of Eurasia, including Central Asian ones, was carried out thanks to the functioning of the “secondary” Kazan-Tatar centres of jewelry production in the east of the Volga-Ural region. This was especially facilitated by the production and trading activities of the well-known in Russia Rybnaya-Sloboda handicraft industry. The analysis based on typological, cartographic and illustrative materials of the Historical and ethnographic atlas of the Tatar people (volume “Folk costume”).
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