Berati: etnografia në shekuj
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Albanian |
| Veröffentlicht: |
Tiranë
Botimet Toena
2011
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 312 S. zahlr. Ill., graph. Darst., Kt. |
| ISBN: | 9789994317257 |
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Datensatz im Suchindex
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| adam_text | PËRMBAJTJA
Parathënie
-
Preface
.............................................................................................................................9
An abstract of the ethnography
.........................................................................................................10
Hyrje
..................................................................................................................................................15
KREUI PARE
ETNOGRAFIA
l.l.Ngjyrosjanëantikitetinevonëdhenëmesjetë..................................................................
19
1.2.
Měny
rate
përfitimit të ngjyrosjeve natyrale
......................................................................23
1.3.
Materialet
natyrale
të përdorura për përgatitjen e pjesëve të veshjes
...............................24
lALlojeteveshjevetëpërdoruranëBerat.Shek.XTV-XVI
.....................................................29
1.5.
Materiali
burimor për veshjet e shek.XIV-XVII
................................................................30
1.6.
Fustanella
.............................................................................................................................35
1.7.
Veshjet e sipërme
..................................................................................................................39
l.S.Veshjaesipërmeeburrave
..................................................................................................96
l^.Lidhjetmartesore
................................................................................................................150
1.10.
Prika dhe
paja
e vajzës
.....................................................................................................156
KREU
I
DYTÊ
PAZARI
I
BERATIT MESJETAR
-1944
2.1.PazariivjetëriBeratit
........................................................................................................161
2.2.
Tregu i
Uzgurliut
................................................................................................................164
2.3.
Pazarét
e hapura
.................................................................................................................165
2.3.1.
Pazari
і
drithit (misrit)
................................................................................................165
2.3.2.
Pazari i bulmetit (gjalpit)
...........................................................................................165
2.3.3.
Pazari i gjakut
.............................................................................................................166
2.3.4.
Bezistani
......................................................................................................................167
2.4.Kovaçët
................................................................................................................................181
2.5.
Rrjeti rragor
........................................................................................................................185
KREU
I
TRETE
ZEJTARIA
S.l.LlojetezejevenëqytetineBeratit.....................................................................................
189
3.2.
Tregua
..................................................................................................................................226
KREU
IKATERT
OBJEKTET
E
ZHDUKURA
DHE TE MODIFIKUARA
Portat
e
kështjellës
..........................................................................................................................229
4.1
Objektet
e kultit
të krishterë
...............................................................................................251
4.2.
Objektet
e kultitmysliman
................................................................................................261
Familjet beratase
..............................................................................................................................270
Familja e Pashait, Vrionasit e Beratit
............................................................................................270
Këngë
historike-patriotike
.............................................................................................................285
Këngë
kurbetì dhe vaji
...................................................................................................................287
Këngë
dhe vjersha
shoqërore
.........................................................................................................289
Këngëdasme..................................................................................................................................
293
Këngë
dhe vjersha dashurie
...........................................................................................................298
Mbiemrat e f
amiljeve beratase
......................................................................................................301
Indeks
..............................................................................................................................................303
Bibliografia
.....................................................................................................................................309
An abstract of the ethnography
srat,
the
2400
year-old city played its contribution in the development of the Albanian
history. The city came into existence when the foundations of the castle walls were built. During
the Illyrian civilization and later, in antiquity,
Berat bore
the name City , important evidence for
the incessant development of its life as a very important administrative, military, and Episcopal
centre. As such,
Berat
developed important cultural values and traditions, which, at present, are
part of the world cultural heritage.
Berat
used to be the most important centre, where caravans
with goods crossed from east and west meeting the needs of buyers, especially wear items. Economic
development in
XVI, XVII, XVIII
centuries favored productive forces in the big Balkan cities, such
as,
Berat.
This development brought about the further organization, growth and perfection of
craftsmanship system which had its impact on the social life of the city.
In
XVII
century,
Berat
became the most important centre in the economic development with
trade and crafts flourishing and with a highly framed urban and architectonic physiognomy. The
market was completed with open bazaars, warehouses, shops, and a considerable number of inns
and caravan holders. There was an intertwining of two cultures, the Byzantine culture which
became that of the tradition, as it came from the depth of the centuries, and the oriental culture,
imposed by the Turkish occupation. Their influence was mainly felt on the urban wear items.
Thus, indirectly, we get to know about the presence of materials purchase, which wear items
coming from foreign markets were made of.
Since very early,
Berat
used to be the city of open doors. In a document dating back in
1647-
1649,
it is mentioned that in cities like
Berat,
Elbasan and
Korça,
very expensive cloth was used,
imported from Venice and bearing names like: pirango , scarlat , meneviz , coscoret , green
fabric7, carelo , etc. In
1570,
a Venetian traveler would call
Berat
a very big city , an
assai grande .
People have shown great concern about the artistic appearance of everyday wear items and
other utility objects, demonstrated in the composition of colors and decorations used. The deeper
into centuries the fewer the variety of colors. It is thought that the clothes Illyrians wore were
made of natural materials and colors.
Dalmatica
used to be an Illyrian wear item made of a
mixture of cotton, wool and silk of natural colors. In spite of the faded colors of today, the epitaph
of Gllavenica in
1373
was made in blue, deep scarlet and green. In the paintings in the Evangelist
church showing the bathing of Solomon, a white cotton towel is distinguished, both ends of which
are decorated in green and two horizontal red stripes. The composites of the Onufri Red, namely
the mercury sulphur, mixed with some lead white, which, according to echo metrics, brightens
the red, were widely used by the European painters of the time.
Being envied for its geographical position,
Berat was,
in centuries, occupied and ruled by
the greatest empires: Roman, Byzantine, and the Ottoman Empires. Their influence resulted in a
large ethnographic variety. The peripheral communities used to wear items produced by they
themselves, a phenomenon which is not accepted to have happened in the city. Raw material for
wear items were provided directly from animals and farming. In the city, there was a privileged
elite, representing the hierarchs, who wore expensive clothes and whose clothes were tailored by
the best specialists. Accessories were also of high quality and artistic level, to compete with those
10
of their
homologues.
The
Berat
silversmiths, who produced items like, jewels, arms, supplies for
horses and domestic utensils were well-known in and out of the country.
Berat
craftsmen were skilled in the art of decorating wear items in golden thread embroidery,
which with their beauty, elegance and artistic quality made
Berat
famous outside its borders.
Fairs and art festivals played an important role in promoting direct exchange of fashions
and trade exchanges with the Balkans, Italy, etc.
The regions of Myzeqe,
Skrapar
and Mallakastra made wear items inside their farming
economies. In the 18th century, there is witnessed an increase in the quantity of crafts, specialized
not only in producing wear items for farmers, but also for the aristocracy and the local merchants.
Nevertheless, having local products as their priority, the farmers started to buy imported goods,
because they were cheaper and more attractive. In the natural closed economy, processing of
textiles, tailoring and dyeing of cloth were carried out by women. They were also the producers of
textile dyes, from the plant world, such as, leaves, wood, skin and flowers,
Woolen products were made from sheep s wool and were worn, mainly in winter in the
suburban areas. Of the varieties of textiles used by
Berari
people, the most commonly used cloth
were made from flax. This plant was mostly grown in Myzeqeja, and continued to be used until
the 13th century. The whole technical activity was processed by the women.
The gorse cloth obtained from the same plant was stronger and coarser than flax cloth.
Another material frequently used to make wear items was hemp-fiber. In the 14th century, the
epitaph of Glavenica was made of the same fiber, called sackcloth.
Silk was widely spread in
Berat.
Silkworm had since early been cultivated by
Berat
people.
Moreover, silk was in the nomenclature of the export goods. In a record of
1277,
it was reported
that the Venetian Consul asked to buy a lot of silk cloth. In a document of
1570,
it was written that
Berat
produced silk in but, outnumbering
23
silk cloth workers.
Until the 18th century, cotton cloth was an import article. Cotton was cultivated in Shkodra
and the low lands in the South, mainly in the field of Myzeqe and
Berat.
Cultivation of cotton was
of great importance to the city s development, as it was the raw material for the cloth wear items
of low classes were made of. Quality and decorative elements kept improving from simple lines to
geometrical shapes and golden thread embroidery.
Earlier than the 14th century, ethnographic data included icons and frescos well-preserved in
the churches of the city. The shepherd by Onufri, is proof of its ethnographic origin and the role
of the closed domestic economy. This icon was an expression of the local element being introduced.
The shepherd s cap was originally Albanian. Trade played its role in the creation of the material
culture, helping create an ethnographic intermingling and mutual exchanges.
In the limelight for men s wear was the white kilt, hence the name: the suit with the kilt. Its
accompanying elements were: the tight-fitting trousers, the shirt and waistcoat, the doublet, and
the belt. There were the moccasins made of cow s skin or with crests. A variety of jewels decorated
the chest and the weapons were carried in the belt. The kilt was a typically traditional men s
garment used by the Illyrians earlier in time. There were records of its use by both sexes in some
regions in the Balkans. In the
18Љ-19Љ
centuries, this item was replaced by the costume. The kilts
gave males a lot of pride. Moreover, they wore them in their military expeditions, and, strangely,
this was copied by Europeans.
Another item worn by men, was the woolen gown. It was made of long goat wool, but
gowns made of sheep wool were not missing. It was grey, obtained by the mixture of white and
black wool during combing. A certain number of sheets were needed to make a gown, as the
width of one sheet was not enough. The woolen gowns had double functions: to protect from rain
and as a mattress for shepherds or caravan men. Men used it as a symbol of pride and protection.
11
The would-be grooms would have a woolen gown made, to show that they had reached manhood.
It was worn on a market day, during a feast or a holiday. Another woolen gown, part of the
traditional costume, was worn by the upper classes, as it was more elegant and lighter. It didn t
protect from rain, and it was made of distilled sheep wool. Edward Lear, who visited
Berat in
1848,
painted a lot of elements of
Berat
wear items in his paintings. He introduced the long shirt,
the kilt, the tight-fitting trousers, and the woolen coat with triangle-shaped lapels. The woolen
coat was the upper piece of the costume, in different lengths. Theodore Xhymerteka, one of the
most famous dealers in
Bari,
surprised the Italians, who laughed when they heard him ask for this
item: What are you waiting for? I have the gold, you have the merchandise.
Xhumerteka replied.
The doublet was men s garment accompanied by the waistcoat. It was of
byzantine
and
post-byzantine fashion style. It was embroidered in golden threads and was a piece of the holidays
costume and the kilt. Its sleeves were beautifully decorated, but not functional. It was made of
imported felt or velvet. Young men preferred the red or the purple. The doublet was also worn by
the women, but the sleeves had to be sewn.
The felty doublet was a winter garment, worn under the woolen coat, the woolen gown or
under the coat. A watch with a decorating chain would hang on the chest.
Another garment called gejota was worn by men and women alike. It was light and men
wore a belt with it.
The upper piece of the costume, called
dolíame ,
was a white, short, felty garment. It was
decorated with black silk thread embroidery at the edges of the sleeves and the lapels. It was worn
with a long shirt.
Another short, upper garment, called cibun , had cross-wise tailoring, and was white. It
was sleeveless and mature men would wear it in blue or black. Under it people would wear a
doublet, to give elegance to the costume. The lapels would be decorated with geometrical shapes.
By the end of the 19th century, imported material started to be used, adding the red and the black.
Another piece of clothing of
byzantine
origin was a gown, called
sako ,
to be explicitly
found in the frescos of the 14th century in the churches in the Castle. They were worn by the
members of the Muzakaj family. It was a very heavy piece of wear, made stiff by the golden
threads and precious stones it was embroidered with. It would fit closely. The material they were
made of was a special velvet
Berat
produced at the time. A long cotton shirt was worn under it.
Women s gowns were as luxurious as those of men. The women s costume was complemented
with a scarf, worn over the head, made of very fine fabric, decorated in gold and complemented
by accessories.
The glamorous garments of the nobility of
Berat
started to vanish after the Turkish occupation.
The luxurious gowns with watches, manufactured by
Berat
craftsmen, were famous even outside
Albania. These gowns wit the eagle-cross motifs had been use by the Christians. The ones like
coats would be worn with a velvet skirt or a dress. Blouses were made of very high quality fabric
and were embroidered. This type of clothing was complemented with beautifying elements and
accessories, thus adding to the variety of expensive wear items.
In the women s wear, the square scarf was an important ethnographic accessory. It was
embroidered with golden threads, covering the hair and hanging gracefully over the shoulders.
In the paintings of Nicholas, the woman (Saint Mary, Saint Varvara) would have a characteristic
cover over head or a head scarf.
The triangle-shaped scarf of the 18th century were of oriental style. The square-shaped scarf
would fold to make a triangle-shaped scarf. They were made either of flax, silk, or imported
fabric.
12
Bigger triangle-shaped scarf, usually black, and ornamented with fringes would be worn
on top of them.
The decoration of scarf used to be an art on its own. They were beautified with quarters of
coins, leaving the forehead free. Other ornaments would include beads and crests. There have
been different styles of wearing and tying of the scarves, depending on the location, city, village or
the region.
The waistcoat was part of men s wear as well as women s wear. They were made of high
quality material, embroidered with gold threads, and ornamented with silk and shiny beads.
They were of different lengths, and matched with skirts, puffy trousers, suits or kilts. Accessories
would ornament the women s waistcoats, such as, brooches and pins.
The belt was an element of the men s outfit as well as women s outfit. The
Berat
leather
workers manufactured leather belts, and the
Berat
silversmiths manufactured beautiful silver
clasps, fitting in the belts. The heavier the clasp, the more elegant the garment became.
The puffy trousers were an oriental element in the
Berat
clothing items. They were kind of
trousers as the lower piece of the outfit. They were made of different material, such as, fintz, silk,
shiny silk, transparent white nylon, etc. and had a lot of pleats and were worn on national holidays,
celebrations of end of school years, etc. The blouse fitted into them would complete the outfit.
Instead of the belt, a narrow strip of embroidered fabric, tied at the side and fastened with a
golden pin would be used. Soon, it became outdated as an everyday outfit, and was worn only by
old women.
The close-fitting trousers, the costume with the close-fitting trousers took its name by the
pants. They would be black or white. The white close-fitting trousers were ornamented with black
silky thread at the sides and the fringes of the pockets. Along woolen strip folded several times
round the waist was used a belt. A waistcoat was worn with them. Soon they replaced other
garments, such as, the costume with the kilt, the woolen coat or the shirt. A f elty cap and moccasins
would complement the costume. This kind of outfit was very elegant and practical.
The gaiters were an element of the outfit with kilts, close-fitting trousers and puffy trousers.
The material used for manufacturing depended on the social class wearing them. A very soft
white cloth, rarely black, called aba was imported from Bulgaria. Gaiters were tube-shaped
garment, worn over long drawers by men, ornamented with black silver thread or golden thread.
A variation of the gaiters were those made of ornamented calf skin.
The outfit with puffy trousers was closer to the oriental style. They were made of various
materials, showing the social class differentiations. The upper piece would be a waistcoat of the
same material, ornamented with black silk thread. They were a loose, pleated piece, sewn on a
tight strip of fabric at the waist. In the 19th century it was used by Myzeqea, Mallakastra, etc.
regions and were tailored by
Berat
tailors.
Another variant of the puffy trousers were loosely tailored and were tied with a strip of cloth
at the waist. They were used in central Albania and in different areas in
Berat,
Myzeqea, Lushnja,
Dumrea, and Sulova. The short woolen coat and the doublet would complete the outfit.
After World War I, a new variety of costume came into existence, part of which became
the breeches. They were an imitation of the French military uniform. The breeches were made
of black or blue felt, and were worn by old people. A collared shirt and a long felt coat would be
matched with them. Leather belts, fur hats or caps would be also used. The craftsmen in the
city would use them, as well, as they were warm and comfortable. Woolen manufacturers made
them.
The women s outfit was usually complemented with additional elements, as the headdress
ornamented with golden coins, round and well fixed on the head. Very fine strips ornamented
13
with golden threads would hang at the sides. The headdress and the gold was given to the girl in
the dowry, as a demonstration of nobility.
Crowns were an ornamental element of the upper part of the head. They were manufactured
by the local silversmiths. The gold coins ornamenting the forehead were another element worn
round the head.
The golden coins of the neck were a string of golden coins, napoleons, half napoleons, or
quarter napoleons, aligned according to their size. Their value depended on the amount of the
coins the string had. The
venetians
and those with shapes and pictures were the most expensive.
Belts were accessories of the lower part of the outfit. They would be plain, striped or checkered.
Silk-thread belts, and later imported cotton belts and fine leather belts added to their variety.
The ornamented belts were worn with the kilt, puffy trousers and close-fitting trousers in
the city. Men would utilize them as pockets to put money, the tobacco box, the pipe, or the arms
ornamented with silver and gold.
Fine leather belts with metallic clasps, or frequently with golden and silver clasps, decorated
with motifs, manufactured by the local leather workers were often used.
For males, the upper piece of the outfit was a real concern, the importance of the headdress.
The white, felt hat and the Myzeqe headdresses are an interesting attraction to foreigners today.
The headdress had been used earlier than the 20th century. In the paintings of Edward Lear, there
are men with black and red headdresses Myzeqea headdress was the cap that resisted longer in
time and was made by women. They had different shapes in different regions: the pointed
headdress in Myzeqea, the flat headdress in Sulova. They were made of high-quality white and
black wool. The way they were worn depended on individuals. Young men would wear it, on one
side of the head or above the eyes.
14
|
| any_adam_object | 1 |
| author | Sahatçi, Parashqevi 1933- |
| author_GND | (DE-588)1022165461 |
| author_facet | Sahatçi, Parashqevi 1933- |
| author_role | aut |
| author_sort | Sahatçi, Parashqevi 1933- |
| author_variant | p s ps |
| building | Verbundindex |
| bvnumber | BV040126644 |
| ctrlnum | (OCoLC)796218385 (DE-599)BVBBV040126644 |
| format | Book |
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| geographic | Berat Albanien (DE-588)4205503-9 gnd |
| geographic_facet | Berat Albanien |
| id | DE-604.BV040126644 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:17:29Z |
| institution | BVB |
| isbn | 9789994317257 |
| language | Albanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-024983903 |
| oclc_num | 796218385 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 312 S. zahlr. Ill., graph. Darst., Kt. |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | Botimet Toena |
| record_format | marc |
| spelling | Sahatçi, Parashqevi 1933- Verfasser (DE-588)1022165461 aut Berati etnografia në shekuj Parashqevi Sahatçi (Salepi) Tiranë Botimet Toena 2011 312 S. zahlr. Ill., graph. Darst., Kt. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Zerstörung (DE-588)4222882-7 gnd rswk-swf Handwerk (DE-588)4023299-2 gnd rswk-swf Handel (DE-588)4023222-0 gnd rswk-swf Verlust (DE-588)4187879-6 gnd rswk-swf Volkskultur (DE-588)4063849-2 gnd rswk-swf Kulturerbe (DE-588)4033560-4 gnd rswk-swf Berat Albanien (DE-588)4205503-9 gnd rswk-swf Berat Albanien (DE-588)4205503-9 g Volkskultur (DE-588)4063849-2 s Handel (DE-588)4023222-0 s Handwerk (DE-588)4023299-2 s DE-604 Kulturerbe (DE-588)4033560-4 s Verlust (DE-588)4187879-6 s Zerstörung (DE-588)4222882-7 s Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024983903&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024983903&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Sahatçi, Parashqevi 1933- Berati etnografia në shekuj Zerstörung (DE-588)4222882-7 gnd Handwerk (DE-588)4023299-2 gnd Handel (DE-588)4023222-0 gnd Verlust (DE-588)4187879-6 gnd Volkskultur (DE-588)4063849-2 gnd Kulturerbe (DE-588)4033560-4 gnd |
| subject_GND | (DE-588)4222882-7 (DE-588)4023299-2 (DE-588)4023222-0 (DE-588)4187879-6 (DE-588)4063849-2 (DE-588)4033560-4 (DE-588)4205503-9 |
| title | Berati etnografia në shekuj |
| title_auth | Berati etnografia në shekuj |
| title_exact_search | Berati etnografia në shekuj |
| title_full | Berati etnografia në shekuj Parashqevi Sahatçi (Salepi) |
| title_fullStr | Berati etnografia në shekuj Parashqevi Sahatçi (Salepi) |
| title_full_unstemmed | Berati etnografia në shekuj Parashqevi Sahatçi (Salepi) |
| title_short | Berati |
| title_sort | berati etnografia ne shekuj |
| title_sub | etnografia në shekuj |
| topic | Zerstörung (DE-588)4222882-7 gnd Handwerk (DE-588)4023299-2 gnd Handel (DE-588)4023222-0 gnd Verlust (DE-588)4187879-6 gnd Volkskultur (DE-588)4063849-2 gnd Kulturerbe (DE-588)4033560-4 gnd |
| topic_facet | Zerstörung Handwerk Handel Verlust Volkskultur Kulturerbe Berat Albanien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024983903&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=024983903&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT sahatciparashqevi beratietnografianeshekuj |