Didžiosios skaros Lietuvoje: kaimo ir miesto kultūrų sąveika
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | Lithuanian |
| Veröffentlicht: |
Vilnius
Vilniaus Dailės Akademijos Leidykla
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T: Wraps in Lithuania within the context of the interaction between rural and urban cultures |
| Beschreibung: | 303, XXIV S. zahlr. Ill., graph. Darst., Kt. 23 cm 2 gef. Tabellen |
| ISBN: | 9955624302 |
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| 264 | 1 | |a Vilnius |b Vilniaus Dailės Akademijos Leidykla |c 2006 | |
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| 500 | |a Zsfassung in engl. Sprache u.d.T: Wraps in Lithuania within the context of the interaction between rural and urban cultures | ||
| 650 | 4 | |a Scarves / Lithuania | |
| 650 | 4 | |a Material culture / Lithuania | |
| 650 | 4 | |a Material culture |z Lithuania | |
| 650 | 4 | |a Scarves |z Lithuania | |
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Datensatz im Suchindex
| _version_ | 1820595782672187392 |
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| adam_text |
TURINYS
PRATARMÉ
/ 9
{VADAS
/
il
Etnínio
kulturinio
tapatumo
tyrinèjìmu
aspektai
/13
Lietuviu
skaros
ггјц
savitumu
tyrinêjimai
/ 23
Šaltiniu apžvalga
/ 32
1.
SKARIJ PLITIMAS
/ 39
1.1.
Teorinès
ѕкагц
tyrìmo
prielaidos
/ 39
1.2. lš
ѕкагц
istorijos
/ 44
1.2.1.
Skaros kelias
j
XIX
a.
Europą
/ 45
1.2.2.
Ѕкагц
plètotè
XIX
a.
/ 52
1.3.
Lietuviški
ѕкагц
pavadinimai, paplitimo arealai
ir etnokultürinès
sąsajos
/ 59
1.3.1.
Lietuvos
istorini
-ц
saltimi}
žinios irju
interpretacijos
/ 60
1.3.2.
Ѕкагц
pavadinirmi
ir reaUjiifiinkcinìai
ryšiai
/ 66
1.3.3.
Pavadinìmii
etnokultürinès
sąsajos
/ 68
1.3.4.
Paoadmimą
àaryba ir
reiksmès
(XIX
a.
II
pusè
-
XX
a.
I puse)
/ 69
2.
MASINÈS
GAMYBOS
ţTAKA
/ 75
2.1.
Tekstile drabužiams
ir jos gamintojai
/ 75
2.2.
Ыатц
audimo inovacijos
/79
2.3-
Skaros ir
jiff
ormos kaita
/ 83
2.3.1
Stačiakampio
forma
/ 86
2.3.2.
Kvadrato
forma
/94
3.
SKARy
RAŠTAI
/ 101
3.1.
Languotu rašta varianta sklaida
tekstilèje /
101
3.1.1.
Languota
tekstile
XIV
a.
-
XX
a. Ipusèje
/102
3.1.2.
Ornamentas
ir
proporcija
dèsningumai
/104
3.1.3.
Languoti
raštai
XX
a. tekstilèje
/
wg
3.2.
Ѕкагц
audimas ir pynimo
raštai/
111
3.2.1.
Audimas ir
pluošto rušys /
112
3.2.2.
Pynimo
raštai/
117
3.2.3.
Chronologinis ir geografinis pynimo
rašta paplitímas /
130
3.3.
Spalvu
ornamentika
/136
3.3.1.
Makrostrukturiniai
ţipai
/
13y
3.3.2.
Mikrostruktüriniai tipai irju
ypatumai
/147
3-3-3-
Spalva
ir pynimo derinimas
/158
4.
SKARy
PUOŠYBOS
PAVIDALAI
IR
PASKIRTIS /
164
4.1.
Kutai, pinikai
ir mazgai
/165
4.1.1.
Pavadinìmai
/165
4.1.2.
Mazgo
prasmè
/166
4.1.3.
Kutą
pritaikymas
/168
4.2.
Kutą
formavimas Lietuvoje
XVIII
a.
pabaigoje
-
XX
a.
/170
4.3.
Kutu
tipa
paplitímas
Lietuvoje XVIII a. pabaigoje
-
XX
a.
/177
4.4.
Drobulią
puošybos
ypatumai
/179
4.5.
Siütiné
apdaila
ir siuvinèjimas
/183
5.
SKARA
КАЇР
ETNINIS,
KONFESINIS IR TAUTINIS SIMBOLIS
/ 189
5.1. Etnokultürinio
ir konfesinio tapatumo
išraiška
/189
5.1.1.
Ѕкагц
\sigijimas,
prestižas
ir dèvèsena
/191
5.1.2.
Rusią sentikią
skaros Lietuvoje: savitumas ir bendrybès
/ 202
5.2.
Tradidnès skaros
miesto
kultüroje:
požiuriu
sklaida
/ 206
IŠVADOS
/ 217
IŠNAŠOS
/
22X
WRAPS IN LITHUANIA WITHIN THE CONTEXT OF THE INTERACTION BETWEEN
RURAL AND URBAN CULTURES
/ 246
Summary
/ 246
ILIUSTRACIJTJ
SARASAS
/ 258
Diagramos
/ 258
Spalvotos iliustracijos
/ 260
Paveikslai
ir
nuotraukos
/ 262
MUZIEJU EKSPONATAI
/ 270
LITERATURA
/271
Rankraščiai /
271
Spausdinti
šaltiniai /
273
Knygos
ir straipsnìai
/276
PRIEDAI
/ 284
1
priedas. Klausimynas: Didziosios
uzsisiauciamos
skaros
/ 284
2
priedas. Klausimynas: Megztos skaros
/ 285
3
priedas. Klausimynas: Languoto ornamento suvokimas
/ 286
4
priedas. Klausimynas:
Drabužiai
simboliai
—
drobulès, skaros ir skarelès
/ 286
5
priedas. Skaros
aprašo
forma
/ 288
SUTRUMPINIMAI
/ 290
RODYKLÉS
/292
Asmenvardzìai
/
2Ç2
Vietovardžiai /
298
SUMMARY
WRAPS IN LITHUANIA WITHIN THE CONTEXT
OF THE INTERACTION BETWEEN RURAL AND
URBAN CULTURES
Summary
Central in the present analysis is the investigation of traditional Lithuanian
wraps. The discussion embraces a range of aspects related to the appearance of
wraps, their functions, the development of styles of wear, weaving traditions as
well as reasons conditioning their change. Other aspects considered include the
analysis of symbolic meanings and practical functions of wraps within rural and ur¬
ban contexts coupled with the presentation and discussion of styles in which wraps
were worn, changes in the ways of decorating and functions of wraps. These were
analysed with regard to the genesis of wraps under the conditions of cross-cultural
exchange and successive continuity of traditions. This study deals in large measure
with the problem of interaction between rural and urban cultures. Based on the
distinction between local and foreign, home-made and factory-produced wraps,
the present research examines the impact of this interaction on the manifestation
of ethno-cultural identity in the nineteenth-twentieth century Lithuanian society
in the light of the increasing influence of modernity. Traditional wraps worn by
246
Lithuanian women are treated as a phenomenon of everyday culture arising out of
change of epochs and the related change in fashion with a subsequent alteration
in modes of clothing, textile technologies as well as specificities of patterns used
as
décor
of wraps. These patterns have been traditionally regarded as traditional
ethnic and national symbols expressing etimo-cultural identity and national cons¬
ciousness.
The investigation also reveals trends in the interaction between rural and urban
cultures with regard to weaving techniques, styles of wear, and functions of wraps
within the existing tradition. Other major interests include functional relations
between the names of wraps and their referents in everyday world; traditions of
wrap usage, their dissemination and development; manifestations of interaction
between local tradition and urban culture and the impact of this interaction on
the development of functions and shapes of wraps in connection to ethnicity and
religion; the typology of woven patterns as classified according to the kinds of fibres
used and manufacturing technologies. This study also examines the links between
the shapes of wraps and the development of weaving technologies as well as the
range of usage including the perception of wraps as expressions of national and
cultural identity.
The following sources constitute the basis of the present research: collections
of ethnographic textile from Lithuanian museums, field research data (table l) col¬
lected by the author between
1996
and
2002,
ethnographic
iconographie
material
from archives and manuscripts, historical sources, statistics, encyclopaedias, dic¬
tionaries, and illustrated studies of national costumes representing a diversity of
cultures. Traditions of wrap wearing were observed in situ using the techniques of
photography, drawing, and structured interview as well as recording of retrospecti¬
ve information with the informant remembering, telling, and demonstrating styles
of wear in the past. In situ analysis also gave access to direct information on the
role of wraps in contemporary rural and urban culture including daily and festive
events. Among the informants, selected at random, there were
595
representatives
of rural and urban cultures from
6
age groups. The majority of informants were
bora between
1921
and
1930
(graph
1).
For a comparative analysis of wrap wear
traditions in relation to ethnicity and religion,
8 %
of the informants were represen¬
tatives of ethnic minorities:
5.5 % -
Russians,
1.5 % -
Poles,
1 %
-Latvians.
The interaction between rural and urban culture is a constituent part of the
notion of ethno-cultural identity. In this connection, the introductory part of the
present study attempts to situate the investigation within the framework of theories
247
SUMMARY
delineating the notion of ethno-cultural identity and the prevailing philosophical
underpinnings at the turn of the twentieth century. It has to be noted that the wrap
as a distinctive artefact made from textile has received little scholarly attention
in Lithuania. Nevertheless, it has been mentioned in passing in archaeological
research, art history studies, ethnological research as well as in some interdiscip¬
linary research. These sources present descriptions of Lithuanian clothing that is
treated as an aspect of ethnic culture (pictures
1-13,
1, II). The present analysis
also refers to analogous research on other cultures to compare traditions of wrap
wearing and ethno-culturally determined ways of
décor
used in wraps; on the other
hand, it allows delineating universal tendencies across cultures.
As a cultural phenomenon, the wrap manifests itself in a variety of forms. The
particular features that are highlighted here are the universality and the locality
of culture together with similarities and differences across cultures. Within the
context of the centrality of wraps, the study discusses how uniformities and con¬
tradictions in the continuity of culture are revealed in the history of clothing. The
tradition of the Lithuanian ethnic costume has been researched from the perspec¬
tive of ethnographic and regional specificities characteristic of ethnic regions of
Lithuania
-
Žemaitija, Aukštaitija,
Dzukija, Suvalkija, and Lithuania Minor. In
modern society, ethnographic and regional differences rapidly disappeared as a
consequence of changed social organization. This, in turn, modified the continuity
of tradition since tradition was unavoidably affected by various factors and sources
existing within and outside the national tradition. In addition, cultural exchange
was observable in cultural change while fashion was among the most prominent
and spontaneous factors affecting the change of culture. Fashion embraced inter¬
sections between rural and urban cultures and became an important aspect in the
process of individual socialization.
The wrap is an inseparable part of this cultural and social (ex)change. That the
wrap originates as non-sown clothing is discernible in forms of wraps and tradi¬
tions of wearing. What is more, the discussion of the Lithuanian wrap is indivisible
from the context of Eurasian ethnic cultures. It was common, among both men and
women, to wear a rectangular elongated wrap decorated with fringes, ornaments,
and furs as it has been traced in the Far East as early as
3000
B.C. Later, across the
Mediterranean Sea region, the tradition spread to Byzantium and various European
cultures in different historical periods.
Throughout early Europe, due to historically determined ethnic contacts there
became popular smaller square, oval, and round wraps which were either plain or
248
woven in various patterns
-
checked, striped, and dotted. These came with faste¬
ners trimmed with furs and many-coloured shreds. In the period between the ninth
and the sixteenth centuries, the Baits, Latvians and Lithuanians, are reported to
have worn plain and checked wraps decorated with brass-spiralled fringes. Forms
of wraps and styles of wear were determined by historical and cultural conditions
as pictures
14-19
illustrate. New trends in shape, colour, and patterns used in wraps
spread from centres of crafts, trade, and industry situated in urban areas. The city
formed the ideology of fashion and, by extension, formed fashion-conscious peop¬
le. Although fashion per
se
was an international phenomenon, it was grounded in
ideas related to the way of life of a specific nation or its part. Among all classes
throughout Europe, there gradually spread ornate patterned eastern-type rec¬
tangular wraps made from cashmere which, after having become popular among
lower social classes, changed their shape by becoming square. These wraps reached
Lithuania via Russia. In Scotland, woollen checked wraps were recuperated under
the influence of the French Revolution since such clothing was associated with de¬
mocratic views. In turn, Scottish wraps influenced ways of decorating of all kinds of
factory-made wraps in Europe and Lithuania (pictures
20-28).
Research into the names of wraps from the ethno-cultural and historical per¬
spective as well as from the perspective of genesis and location reveals a spatially
and temporally changeable diversity of wraps. An article of non-local origin, new
shape or appearance, coming from different cultural milieu, most often acquired the
name that existed in the original location. Names of wraps that are non-Lithuanian
origin indicate ethnic and territorial dissemination of wraps and their social roots.
Names of wraps in Slavic and German languages, briefly mentioned in historical
and linguistic sources of the sixteenth and eighteenth centuries, leave more space
for interpretation. As indicated, Lithuanians used a variety of designations to name
wraps; unified terminology seems to be absent. In the nineteenth and twentieth
centuries, it was common to look for words in the language of the times that could
be used as designations for the increasing variety of wraps.
Because of the decrease in the variety of wrap shapes and styles of wear what
unavoidably sank into oblivion was the greater part of names, such as
drobulè,
margine,
panuometis,
ploště,
plotka,
raiŠtis,
siaustè, supalas, vilnonè,
designa¬
ting these items of clothing. The disappearance of differences within local cultures
erased dialectal and regional specificities of wrap names; for instance,
didskepeté,
lopinys, skepeta,
rübelis,
and replaced them by lexemes such as
skara
and skrais-
tè.
Names designating a custom of shoulder wrapping, such as
drobulè,
gunia,
249
SUMMARY
kilimas,
marska,
prastyré,
point to a tradition of wearing a rectangular piece of
multifunctional cloth. The same linen cloth was used to cover a table, a bed, and
shoulders. These were even actually used to be spread on the area where the newly
diseased would be laid out. At the beginning of the twentieth century, the range
of wrap usage decreased; it became customary to have several cloths for different
purposes. In the border regions, similar lexemes of Baltic origin were common: the
Lithuanian
vilnonè,
the Latvian villaine, the Estonian
villan,
and
lakats
and
sagša
in both Latvian and Lithuanian; the Lithuanian
margine;
the Latvian
margené;
the Lithuanian
žlegté
and the Latvian
zlékne;
the Lithuanian
kryžokas
and the
Latvian krizdogs. Wrap names of Slavic origin can also be detected:
plotka,
ploště,
prastyria, kuska, and skusta whereas slejeris is ascribed to a German origin. The
name that is widely spread in Eurasia is
šališ
(shawl). The factors that determi¬
ned the way the wrap was named were the following: size, shape, the texture of
the fabric (thick/thin), the kinds of fibres used, dominant elements and patterns
used for decorating, place (country) of origin, stereotypical associations, manner
and occasion of wearing as well as the way in which a particular article had been
obtained. These factors were reflected in suggestive names of wraps that were used
synonymously with the main designation. Similarities detectable in the use of na¬
mes show broad ethno-cultural contacts in the Eurasian region that are realized
via indirect trade contacts. In these contacts between foreign and local as well as
between urban and rural cultures, the city and the manor acted as the intermediary
(pictures
29-43,
HI).
The nineteenth century is a period of major social changes, the most impor¬
tant of which was the change from the agrarian into the industrial social structure.
Industrial society created possibilities for the expansion of diverse realities asso¬
ciated with mass culture. The influence of urban culture on the culture of clothing
in rural areas was
discernable
in the adoption of fashion styles and the growing
popularity of mass production. Until the nineteenth century and in some areas up
to the mid-twentieth century, home-made fabrics prevailed in the rural culture of
clothing. It has to be noted here that, from the perspective of manufacturer, wraps
are classified as home-made, factory-produced, and craftsmen-manufactured (pic¬
ture
44).
In the development of shapes and the appearance of wraps, there can be
traced some linkage among all of these manufacturing modes.
In the mid-nineteenth century, along with large rectangular wraps, there beca¬
me popular smaller mass-produced square wraps. This change in fashion introdu¬
ced major differences into the tradition of wrap weaving. In the first decades of the
250
twentieth century, the development of professional and amateur weaving in rural
culture was conditioned by the interaction between local traditions and the growing
influence of innovative trends. Craftsmen contributed to the improvement of wea¬
ving technologies, enrichment of patterns, and their dissemination across the coun¬
try. What also played an important role was an international weaving course held
in Latvia in the last quarter of the nineteenth century. In Lithuania, the importance
of home-weaving traditions was advocated by various social organizations and the
intelligentsia. There were founded various handicraft schools, weaving shops; local
craftsmen and weavers were familiarized with more advanced looms. These were
used for weaving large one-piece wraps (pictures
46-51).
The history of wrap shapes worn by Lithuanian peasant women exhibit a dyna¬
mics of change that was shaped by the multifarious relations between urban and
rural cultures, on the one hand, and by manufacturing modes and fashion of local
and foreign-made products, on the other hand. From late-eighteenth century to
the beginning of the twentieth century, the length of wraps tended to decrease, a
tendency which resulted in the prevailing form of a square rather than that of a
rectangular. Fashionable factory-made smaller wraps were becoming popular and
came to exist concurrently with home-made articles. Some of linen wraps, linen
stoles
(drobulès),
remained elongated. Similar trends in wrap shapes were traced
in other Baltic countries. Research data on the width of wrap cloth and its length
are presented in graphs
2-23.
Research into patterns of wraps reveals that, in the nineteenth and twentieth
centuries, one of the most prevalent patterns was a check one. This pattern was
widely spread in the Baltic textile tradition and dates from the twelfth century. In
Lithuania, this tradition begins in the fourteen century (picture TV); its dissemina¬
tion is also recorded in sources of later times. The historical sources of the period
between the sixteenth and the eighteenth centuries mention
margines,
a garment
used by Lithuanians as body and waist wraps. These wraps were striped and/or
checked.
In the European urban fashion, the check pattern would periodically become
popular. The trends in international fashion made this pattern more appealing to
Lithuanians, a tendency that would rejuvenate the use and the dissemination of
checked cloths. The variability of check pattern manifests itself in its structural di¬
mension, i.e. the size of repeat. The data of quantative analysis reveals differences
in prevalence of check patterns in textile articles (graph
24-26).
This pattern is
frequent in wraps, bedspreads, and women's skirts. The most obvious similarities
251
SUMMARY
in repeat size are detected in wraps and bedspreads that employ uniform check
patterns. This phenomenon can be defined as dimensional and functional simila¬
rities.
In the twentieth century, the development of check pattern tradition was af¬
fected by two factors: tradition and fashion. The dynamics of change depends on
the sphere and motivation of implementation. In other words, different modes of
change are detected at the domestic level, the level of national consciousness, and
that of fashion consciousness though there also are points of agreement among all
of these levels. In the first half of the twentieth century, traditional check pattern
remained the prevailing ornament used for decorating countrymen's everyday clot¬
hes and bed linen. Simultaneously, there also existed a tradition of single-colour
textile along with home-made or factory-made textile that uses patterns other than
the check one (pictures
52-54).
The second half of the twentieth century witnessed
a decrease in the use of home-made clothes; nevertheless, check patterned texti¬
le continued to be employed for everyday use especially by the older generation.
Gradually home-made textile was superseded by fashionable manufactured fabrics
and clothes (picture
55).
The first half of the twentieth century saw a revived interest in textile as a means
of expressing national consciousness. This was a consequence of the re-evaluation
and the re-interpretation of ethno-cultural heritage promoted by the Lithuanian
intelligentsia. Such recuperative tendencies enhanced the implementation of check
patterned fabrics in everyday life and on the stage. These aspects of usage were per¬
ceived as signification of ethnic identity and nationality. In the second half of the
twentieth century, the check pattern was re-designed and it was extensively used in
stage dress whereas, in the last quarter of the twentieth century, this ornament was
frequently employed in the fashioning of the national dress. Apart from the above
discussed factors that shaped the development of the check pattern tradition, what
has also to be taken into consideration is the effect of innovations and revision of
traditions, a tendency which is common within the context of the European fashion
(picture
56).
Taken in this manner, the rejuvenating continuity of the check pattern
tradition is an outcome of changing perceptions of symbolic meanings attached to
a specific ornament in space and time stemming from varying interpretations of a
particular symbolism at both the individual and the collective levels. In late-twen¬
tieth century Lithuania, textile with check pattern motifs is considered to embrace
traditional Lithuanian and Scottish symbolic or aesthetic significations that people
find important or appealing.
252
Research
into the traditions of weaving and patterns of wraps reveals that wraps
made by craftsmen and manufactured in factories were one-piece. Home-made
wraps were two-piece since, in the nineteenth and at the beginning of the twentieth
centuries, wraps as other cloths were woven on narrow looms. Nevertheless, inven¬
tive weavers found ways to make one-piece wraps. One way of doing this was by
joining together two weaved pieces. To make this possible, the weaver, when wea¬
ving the first piece, would leave long weft threads which later would be weaved into
the additional warp. The second way of joining a two-piece cloth in order to make
a one-piece wrap was by weaving a folded in half piece by threading warps into
two sets of harness (picture
57).
The first method was used by peasant women in
Dzükija
and in the east of
Aukštaitija
whereas the second method was employed by
more experienced weavers and craftsmen of
Žemaitija
and Suvalkija. When choo¬
sing the kind of fibre, weavers coordinated it with the overall pattern and the range
of colours as well as with the wrap shape and manufacturing mode. White wraps
were usually elongated, woven from the fibres of the flax; many-coloured wraps
were square, made of wool; many-coloured craftsmen-produced and factory-made
wraps were woollen though, in rare cases, they were of mixed fibres; home-made
garments were made of wool, union wool, and flax (tables
2-3).
A related aspect is categorization of weaves employed in the weaving of wraps.
The categorization was performed using the European classification of weaving
technologies; it revealed the distribution of weaves according to the level of com¬
plexity. Another finding was discovering variants of patterns and their names that
had not as yet been documented in the literature on the subject. It was determined
that the majority of home-made wraps and of those made by craftsmen used wea¬
ves of the second and the third category weaves (derived and complex), while fac¬
tory-made garments used second and fifth category weaves (derived and
jacquard).
The investigation also revealed that most common for home-made woollen wraps
was reinforced twill weave
(2/2)
rather than plain weave as it had been claimed in
previous ethnological research (table
4).
The choice of weave is dependent on the kinds of fibres used and the range of
colours within the pattern. In white wraps, the majority of which are found to be
linen, there prevail combined weave patterns that are ascribed to the third cate¬
gory of complexity. Many-coloured wraps, woollen as a rale, use derived weave;
thus, belong to the second category of complexity. A rather consistent similarity
was found among all wraps in their use of the first and the fifth category weaves.
253
SUMMARY
Yet, rare cases of plain weave, overshot and double-faced weaves were also found
(table
5;
pictures
58-66).
In the period between the eighteenth and twentieth centuries traditions of plain
and twill weave continue in women's wraps; simultaneously, modifications of these
traditions occur by introducing derivatives of these weave forms. Wraps made of
texture fabric were more common in the south and south-east of Lithuania, linen
wraps woven from flax using combined weave
-
in the west of Lithuania while,
in the north-east and central Lithuania, woollen wraps using derived weave were
more popular. These wraps were popular in different periods: linen patterned
wraps prevailed in the nineteenth century; woollen patterned wraps abounded in
the late nineteenth century and the beginning of the twentieth century (map
1-4;
pictures
67-84).
Several factors such as shape, fibre, and mode of manufacturing determine the
structure of wrap patterns. At the level of patterns, wraps were classified as open
structure and closed structure according to the distribution of colour in the repeat.
Another classification based on the type of pattern led to distinguishing variants
of these structures
(macrostructures).
Check pattern of open structure was most
common in home-made and factory-made wraps while wraps made by craftsmen
often employed varied patterns and were closed structure. Rectangular wraps used
single-colour open structure patterns (pictures
85-93,
V-XII; table
6).
Recurrence
of repeats along the vertical and the horizontal axis as well as their symmetry with
respect to warp and weft form the structure of repeats. Among colour patterns,
linear, net, and combined
microstructures
are most frequent (pictures
94,95, XIII,
XIV;
table
7-8).
The investigation also revealed that the greater majority of analy¬
sed wraps had net-type symmetrical repeats, i.e. check patterns. In these repeats,
the consistent recurrence of warp and weft elements is arranged symmetrically.
Seventeen typical repeat structures were found in stripe and check patterned wraps
(pictures
96-101,
XV,
XVI;
graph
31-34).
There are some similarities between
home-made and factory-produced wraps; however, a greater variety of repeat
structures is recorded in home-made and craftsmen-manufactured wraps. Home¬
made and factory-made wraps use patterns employing a broader range of colours
and open repeat structures. A common tendency in the latter group of wraps can be
defined as a tendency to use texture fabrics of closed structure weave patterns with
a narrow range of colours. It was determined that the increase of mass production
resulted in the decrease of texture weave patterns. As to the range of colours, the
prevalence of subdued colours was detected whereas, in late-twentieth century,
brighter and lighter colours were commonly used.
254
The shape of wrap, fibre, texture, and the range of colours are essential in the
coordination of weave and colour patterns as well as in the distribution of patterns
within the fabric. Open structure designs with a propensity for a wider ranger of
colours were found in home-made and factory-produced woollen wraps while tex¬
ture weaves and closed structure patterns were observed to be more common in
craftsmen-manufactured wraps (graph
27-30, 35).
Another characteristic feature
of Lithuanian wraps was the use of colour effects in twill and plain fabrics obtained
by combining multicoloured warps and wefts in ratios as low as, for instance,
1:1;
1: 2; 2 : 2;
or
1: 3,
etc. Wraps produced by such techniques, in many ways, re¬
semble the pattern characteristic of English and Scottish textile (pictures
102-113).
Vegetative motifs can be found in factory-made wraps (picture
114);
plain fabrics
tend to use several stripes in different colours at the edges (picture
115).
Just as weave patterns, the fringe is also an important element of
décor.
There
exists a variety of fringe names, the dissemination of these names in Lithuania
suggests that some of them spread in the territories of several countries, others
acquired associative meanings, and the others have been replaced by the word
ku¬
tas.
Wrap fringes were made by the use of knots (pictures
116-117).
In addition to
its denotative meaning, in Lithuanian folklore as in the folklore of other countries,
knots have a variety of
connotative
meanings that embrace significations related to
symbolism, mythology as well as to different models of aesthetics and mentality.
Woollen wraps use fringes of three types:
(1)
fringes made from unwoven warp
and filling threads;
(2)
fringes made from hank knotted into the edge of a cloth;
(3)
fringes obtained by trimming that uses factory-made fringe-braid attached to
the edge of a cloth. The particularities of different types of fringes are manifested in
the use of colours, styles of strengthening the ends of tassels, and ways of knotting
at the ends (pictures
118-131).
Fringes of the first type are used in different regions
of Lithuania; the second type of fringes is more common in
Žemaitřja
and
Dzükija.
As to the third type, single cases were found in different parts of Lithuania (see
map
5,6).
Across Lithuania, more complex techniques of fringe making were traced
in home-made warps and those made by craftsmen if compared to factory-pro¬
duced wraps. Bobbin-lace, a technique widely spread in the European fashion of
the nineteenth century, is usually used to decorate Lithuanian linen wraps (stoles).
Approximately one third of linen wraps are decorated with mass-produced lace
(pictures
132-140).
Two-piece wraps are sown into one piece by various stitches;
either hand-sown or on a sowing machine (pictures
141-142).
In some cases, the
owner's name or initials marked the wrap (map
7;
pictures
143-149)·
255
SUMMARY
In Lithuanian rural culture, a woman wearing a warm woollen wrap was treated
with respect since wrap wearing pointed to woman's economic status, by impli¬
cation, an ability to possess fashionable clothing. Square wraps were worn in two
ways: either folded in a triangle or a rectangular. Elongated wraps were folded in
half or three times lengthwise. Wraps were tied at the chest in order to carry babies
(pictures
150-172,
XVIII-XIX)
From ethno-confessional perspective, similar trends are detected in the inter¬
sections of rural and urban cultures with regard to wrap wearing traditions among
the female population of Lithuanian Christians and old believers of the Russian
Orthodox Church. The main differences were determined by regulations inherent
in specific confessions. These regulations remained more rigid among old belie¬
vers, and they are detectable in the tradition of covering the head and parts of the
body. Emotive engagement in religious rituals is revealed in the
décor
of wraps
(pictures
173,
XX-XXI). Distinctions of wraps worn by female old believers are
evident in the range of colours, patterns and symbolism of
décor as
well as the
style of wear.
The beginning of the twentieth century introduced a revisionist perception of
wraps as an artefact of the traditional nineteenth century rural culture and as an
object of art. In the first half of the twentieth century, the wrap was treated as an
indivisible part of national culture, and there was much emphasis on exclusion of
imported and factory- produced articles from the national tradition. After World
War II, the range of usage of the national dress decreased, and it became to be
identified with a stylized unified stage dress worn at mass public events. Then the
wrap as a piece of warm over-wear came to be regarded as an insignificant part of
the national dress. This prompted the weaving of wraps in simple patterns. Yet,
the
1960s
witnessed a revival of wraps. As part of the national costume, the wrap
is used in both authentic and stylized forms (pictures
174-185,
XXII-XXIV). The
belief that persists in everyday consciousness is that inherited authentic wraps em¬
body family ties, continuity of the past as well as identification with rural culture.
These meanings extend into applicative functions ranging from the use of wraps
as a household item to an object used for aesthetic and didactic purposes. A wo¬
man with a wrap around her shoulders personifies the spectrum of images centred
on the fate of woman and mother whilst a wrap with a check or flowery pattern
embodies the associations encoded in the motherland (pictures
186-188).
In the
Lithuanian urban culture, traditional authentic wraps woven in the countryside or
stylized wraps woven in the city remained a multifunctional textile artefact that is
256
perceived as part of folklore and as a symbol of ethno-cultural and national iden¬
tity. Simultaneously it is also a covering on various household items, stage dress,
and fashion item.
257 |
| any_adam_object | 1 |
| author | Nėnienė, Inga 1968- |
| author_GND | (DE-588)137724500 |
| author_facet | Nėnienė, Inga 1968- |
| author_role | aut |
| author_sort | Nėnienė, Inga 1968- |
| author_variant | i n in |
| building | Verbundindex |
| bvnumber | BV035390559 |
| callnumber-first | G - Geography, Anthropology, Recreation |
| callnumber-label | GT2113 |
| callnumber-raw | GT2113 |
| callnumber-search | GT2113 |
| callnumber-sort | GT 42113 |
| callnumber-subject | GT - Manners and Customs |
| ctrlnum | (OCoLC)145733659 (DE-599)BVBBV035390559 |
| format | Book |
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| geographic | Litauen (DE-588)4074266-0 gnd |
| geographic_facet | Litauen |
| id | DE-604.BV035390559 |
| illustrated | Illustrated |
| indexdate | 2025-01-07T13:10:36Z |
| institution | BVB |
| isbn | 9955624302 |
| language | Lithuanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017311345 |
| oclc_num | 145733659 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 303, XXIV S. zahlr. Ill., graph. Darst., Kt. 23 cm 2 gef. Tabellen |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | Vilniaus Dailės Akademijos Leidykla |
| record_format | marc |
| spelling | Nėnienė, Inga 1968- Verfasser (DE-588)137724500 aut Didžiosios skaros Lietuvoje kaimo ir miesto kultūrų sąveika Inga Nėnienė Vilnius Vilniaus Dailės Akademijos Leidykla 2006 303, XXIV S. zahlr. Ill., graph. Darst., Kt. 23 cm 2 gef. Tabellen txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T: Wraps in Lithuania within the context of the interaction between rural and urban cultures Scarves / Lithuania Material culture / Lithuania Material culture Lithuania Scarves Lithuania Tracht (DE-588)4060554-1 gnd rswk-swf Tuch (DE-588)4335100-1 gnd rswk-swf Litauen (DE-588)4074266-0 gnd rswk-swf Litauen (DE-588)4074266-0 g Tracht (DE-588)4060554-1 s Tuch (DE-588)4335100-1 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017311345&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017311345&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Nėnienė, Inga 1968- Didžiosios skaros Lietuvoje kaimo ir miesto kultūrų sąveika Scarves / Lithuania Material culture / Lithuania Material culture Lithuania Scarves Lithuania Tracht (DE-588)4060554-1 gnd Tuch (DE-588)4335100-1 gnd |
| subject_GND | (DE-588)4060554-1 (DE-588)4335100-1 (DE-588)4074266-0 |
| title | Didžiosios skaros Lietuvoje kaimo ir miesto kultūrų sąveika |
| title_auth | Didžiosios skaros Lietuvoje kaimo ir miesto kultūrų sąveika |
| title_exact_search | Didžiosios skaros Lietuvoje kaimo ir miesto kultūrų sąveika |
| title_full | Didžiosios skaros Lietuvoje kaimo ir miesto kultūrų sąveika Inga Nėnienė |
| title_fullStr | Didžiosios skaros Lietuvoje kaimo ir miesto kultūrų sąveika Inga Nėnienė |
| title_full_unstemmed | Didžiosios skaros Lietuvoje kaimo ir miesto kultūrų sąveika Inga Nėnienė |
| title_short | Didžiosios skaros Lietuvoje |
| title_sort | didziosios skaros lietuvoje kaimo ir miesto kulturu saveika |
| title_sub | kaimo ir miesto kultūrų sąveika |
| topic | Scarves / Lithuania Material culture / Lithuania Material culture Lithuania Scarves Lithuania Tracht (DE-588)4060554-1 gnd Tuch (DE-588)4335100-1 gnd |
| topic_facet | Scarves / Lithuania Material culture / Lithuania Material culture Lithuania Scarves Lithuania Tracht Tuch Litauen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017311345&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017311345&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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