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48-58 Journal Homepage Bulletin of the KIH of the RAS, 2016, Vol. 26, Is. 4 ETHNOLOGY Copyright © 2016 by the Kalmyk Scientifi c Center of the Russian Academy of Sciences Published in the Russian Federation Bulletin of the Kalmyk Institute for Humanities of the Russian Academy of Sciences Has been issued since 2008 ISSN: 2075-7794; E-ISSN: 2410-7670 Vol. 26, Is.4, pp. 48–58, 2016 DOI 10.22162/2075-7794-2016-26-4-48-58 Journal homepage: http://kigiran.com/pubs/vestnik UDC 391 The Colour Symbolism of the Oirat National Costume Revisited Elza P. Bakaeva 1 1 Ph. D. in History (Doct. of Historical Sc.), Chief Research Associate, Department of Ethnology, Kalmyk Scientifi c Center of the RAS (Elista, Russian Federation). E-mail: [email protected]. Abstract The article analyzes the colour symbolism in the clothing of Oirats of Mongolia. The paper shows that the Oirat men’s costume was characterized by combinations of white and black which stand for the key colour opposition in the culture of all Mongolian peoples. The Oirat women’s costume contained various colours and, in general, when it came to colour preferences, specifi c ethnic priorities based on certain symbolism could be traced. The article provides data confi rming the facts of defi nite colour priorities within the traditional women’s costume of Oirat peoples alongside with corresponding fi eld data according to which black in the Olot (mong. Ӧӧld) women’s costume symbolically stands for the 18th century Oirat-Manchu confrontation. At the same time, presence of black ‘berz’ in the Hobuksar Torghut women’s costume testifi es that the symbolism of black is ancient enough and it was not perceived as a mourning colour. The same is the case for the traditional felt high boots of Torghuts residing in Mongolia and the PRC where black boots are viewed as ceremonial while white ones are considered casual; folk songs also relate that folk heroes used to wear black folded garments. Clothing differences — and specifi cally the colour symbolism — were paid much attention to, and the ‘Tsaajin Bichig’, a code of laws and regulations adopted by the Qing for their subordinate Mongols, established that should there arrive new groups of Mongols designated as “border crossers” it was necessary to identify and refer them to one of the four social categories as confi rmed by the laws and — provide them with certain garments. The Oirat peoples have retained specifi c features of their traditional culture which is due to a numbers of reasons, such as remoteness from territories inhabited by Mongols as well as peculiarities of their natural surroundings and economy. The article describes some features of patterns and colour characteristics of various men’s and women’s garments (‘devel’, ‘lavshig’, ‘terleg’, ‘tsegdeg’) in the traditions of the Dӧrbets, Torghuts, Bayids, Myangads and other Oirats of Western Mongolia. It is concluded that the patterns of women’s garments are most archaic though diverse types of fabric started being applied; while the men’s costume that kept being made of traditional materials — sheep- or lambskins — with black cloth used to face it generally resembles the Mongolian ‘deel’ and, thus, has supposedly experienced some changes. Keywords: Mongolian peoples, Oirats, clothing, color symbolism, tsegdeg, terleg, legend. 48 ETHNOLOGY Для монгольской средневековой исто- одежду, в изготовлении которой стали ис- риографии характерно устойчивое понятие пользоваться ткани разных цветов и каче- «пять цветных народов», которое обознача- ства: культура ткани развивается в мире ло разные народы в соответствии с цвето- стремительно. Но цветовое определение вой символикой: синие монголы, белые ко- «синие монголы» по-прежнему характе- рейцы, черные тибетцы, желтые туркестан- ризует значительное место синего цвета в цы, красные китайцы. Имеются разные мне- монгольской символике: синий ― это, пре- ния о происхождении этого понятия. Одни жде всего, цвет Неба, а также моря, океана. ученые считают, что символическая связь В культуре других монгольских народов, в разных народов с определенными цветами том числе ойратов Монголии, КНР и кал- является проявлением геосимволики. Так, мыков России, синий цвет также является А. Н. Кононов отмечает, что для монголо- широко почитаемым. Вместе с тем в куль- язычных и тюркоязычных народов Евразии туре всех перечисленных народов важное характерно следующее соотнесение наро- значение придается белому — сакральному дов и сторон света: север ― черный, юг ― цвету, символизирующему счастье и бла- красный, восток ― голубой, запад ― белый, гополучие, чистоту, высокое положение в центр ― желтый [Кононов 1978: 160]. Дру- обществе и др. Обратим внимание на цвето- гие исследователи придерживаются мнения, вую символику такого значимого символа что для любого из народов единая цветовая в культуре, как хадак ― обычно шелковый геосимволика не может быть приемлема: шарф, предназначаемый для почетных под- группы народов включают разные этносы с ношений. У монголов, ойратов Монголии их специфичной культурой, а в течение дли- и КНР, бурят наиболее распространенным тельного хронологического периода могла цветом является синий, тогда как у калмы- измениться ориентация, как у монголов ― ков используются хадаки белого цвета. Бе- с востока на юг [Михайлов 1996: 106–107]. лый цвет в культуре монгольских народов, Имеются и иные предположения, о которых как и синий, — цвет священный, он связан пишет в одной из своих работ Н. Л. Жу- с верхним миром, считается с древних вре- ковская [2002: 198], обращая внимание на мен «матерью всех цветов». то, что монголы, обозначая себя синими, В культуре ойратских народов зафикси- помещали себя на востоке, что «противо- рованы определенные взаимосвязи между речит общепринятому этноцентристскому народностями и предпочтительным цветом правилу, согласно которому каждый народ, одежды. При этом некоторые информанты осваивая окружающее пространство, поме- сообщают, что на ойратский костюм оказа- щает в центр его себя, а всех остальных рас- ло влияние пребывание в составе Цинской полагает вокруг по периферии, сочетая кон- империи: в тот период разные ойратские на- центрическую организацию с линейной» роды «были обязаны носить одежду одного [Жуковская 2002: 195]. Ученый считает, что типа, но разных цветов, что соответствовало в формуле «пять цветных народов» могли стремлению ввести этноразграничительные соединиться разные традиции, и приводит символы в системе традиционного костюма свою версию, согласно которой понятие родственных народов» [Бакаева 2013: 100]. «пять цветных народов» происходит не от Действительно, в период пребывания мон- цветовой геосимволики, а связано с цветом гольских народов в составе цинского Китая национальной одежды монголов и соседних в их культуре появился ряд знаков, регла- с ними народов: «преобладающим цветом ментирующих положение человека в обще- одежды монголов в средние века был си- стве, в том числе знаки отличия в одежде. ний, тибетцев ― черный, корейцев ― бе- Например, чиновники имели знаки отличия лый, тюркоязычного населения Туркеста- на головных уборах в виде шариков разно- на ― красно-желтый и желтый, а начиная го цвета [Цааджин бичиг 1998: 67, 85, 101]). с воцарения в Китае династии Мин (1368– Отличиям в одежде, в том числе цветовой 1644) ― ее официальным цветом-символом символике, уделялось большое значение, стал красный…» [Жуковская 1994: 81–82; и законы Цинской империи «Цааджин би- 2002: 197]. чиг», принятые для монголов, устанавлива- В XX в. произошли значительные транс- ли, что в случае прибытия на территорию формации во всех сферах общества, что государства новых групп монголов, кото- не могло не сказаться и на материальной рых называли перебежчиками, следовало культуре монгольских народов, включая определить их принадлежность к одной из 49 Bulletin of the KIH of the RAS, 2016, Vol. 26, Is. 4 описанных законом четырех категорий лю- шиг, крой которого повторял крой дэвэл. дей, а затем выдать им определенную одеж- Использование тканей в мужской одежде, ду [Цааджин бичиг 1998: 91]. В «Цааджин носившейся большую часть года, не было бичиг» содержатся и другие статьи, в ко- необходимо, и в костюме ойратов сохра- торых указываются случаи, когда монголь- нилась традиция шитья дэвэл из овчин или ским представителям выдавали какие-либо шкурок ягнят. Присутствие белого цвета подарки и поощрения. Во всех этих случаях в мужской зимней одежде, по-видимому, (в дополнение к перечисляемым шелку и определило и приоритетное использование парче при одаривании высокопоставленных ткани белого цвета (в литературе упомина- монголов) упоминается «материя черного ется чесуча, которая в естественном виде цвета», которую выдавали всем прибывав- имеет желтоватый цвет) в летнем варианте шим, например ст. 124: «Если прибудут мужского костюма, называемого лавшиг. <…> с ежегодной данью, то выдавать пра- По данным монгольских исследовате- вителям хошунов, тайджи, мэйрэну-дзанги лей, мужчины носили либо теплую шубу по два куска шелка и двенадцать кусков чер- дэвэл из овчины, либо легкий с круглым ной материи…» [Цааджин бичиг 1998: 92]; воротником лавшиг белого цвета (с синим ст. 143: «Всем прибывающим в столицу из поясом), для которого была характерна от- всех хошунов внешних провинций за изве- делка плисом или бархатом черного цвета, стиями в каждый сезон выдавать в качестве рукава завершались круговыми обшлагами награды по одному куску шелка и по восемь черного цвета [Баасанхүү, Батмөнх 2010: кусков черной материи…» [Цааджин бичиг 81; Номинханов 2016: 38–41; Амгалан 2008: 1998: 102]. Постоянное упоминание ткани 74]. Крой лавшиг повторял крой зимней черного цвета,
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