The materials on the History of Buddhism in Kalmykia expand the research into specifically Buddhist art represented by the work of author S.G. Batyreva. There is distinctive spirituality with its own nature in the canonic figures dating back to Tibetan artistic tradition. Local style of the old-Kalmyk art is manifested both in individual formal details of the image in the figures overall aesthetic interpretation expressing the groups' worldview. The canonization of folklore characters followed by the introduction of brands, symbolic attributes and the appearance of emphasized symmetrical frontal composition is particularly noticeable in the initial stage of the assimilation of Buddhism. Generally in Kalmyk tradition laconic, poorly developed (in terms of the plot) symmetric scenes prevail, expressing tendency to the emphasized personification of the main character, which is the icon's center and the object of worship for believers.
В статье рассматривается структура калмыцкого народного костюма с выделением знаковой роли головного убора. Впервые рассматривая калмыцкий народный костюм с точки зрения комплекса искусствоведческого, культурологического, эстетического, семиотического подходов к народному искусству, автор вписывает его в контекст соотношения человека и универсума. Автор рассматривает народный костюм как знаковую систему и явление искусства, обусловленные материальнодуховной культурой этноса. Связь духовноэтических основ и художественных традиций калмыцкого народа положена в основу его анализа и интерпретации. Результаты показывают пространственную привязку знака головного убора и в целом всей системы костюма. В сравнении конструктивных деталей традиционного костюма и жилища обнаруживается их идентичность в создании материальной сферы бытия человека, универсальной сегментации пространства. В конструкции головного убора хаджилга специфичным образом реализована символика целого пласта традиционной калмыцкой культуры, основанная на буддийском мировоззрении. Эти результаты значимы для интерпретации традиционного и современного искусства евразийских кочевых народов и народов буддийского ареала в образно-символическом аспекте. The article describes the structure of the Kalmyk folk costume with the release of a headdress as a sign. The author includes the Kalmyk folk costume in the context of the relationship between man and the universe, for the first time considering it from the point of view of a complex of art history, cultural, aesthetic, semiotic approaches to folk art. The article presents the folk costume as a sign system and a phenomenon of art, caused by the material and spiritual culture of the ethnos. The connection of the spiritual and ethical foundations and artistic traditions of the Kalmyk people is the basis of its analysis and interpretation. The results reveal the spatial reference mark headdress and the entire system as a whole suit. In comparison, structural parts of the traditional costume and dwellings found their identity in the creation of the material sphere of human existence, the universal space segmentation. The symbolism of the Buddhist world as a late formation of the traditional culture of the Kalmyks distinctive way implemented in the design of the headdress hadzhilga . These results are significant for the figurative-symbolic and worldview interpretation of the traditional and modern art of the Eurasian nomadic peoples and the peoples of the Buddhist area.
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