Ce-si doresc femeile / What women want
Toti cercetatorii incearca sa afle ce-si doresc, de fapt, femeile; pentru a putea descifra misterele tuturor tesaturilor si broderiilor. Pana de curand, covoarele, iile, fotele si bijuteriile nu au fost intelese ca arta si femeile ce le-au creat nu au fost respectate ca autor.
Acum 100 de ani, Paul Klee a remarcat si el covoarele berbere si primitivismul lor – in sens de autentic. Femeile berbere nu au apucat sa se 'emancipeze'; au trait in traditie, izolate, departe de influenta altor culturi si s-au exprimat dureros de sincer prin semnele tesute.
Se pare ca cele mai fericite clipe erau lunile de sarcina, cand simteau copilul crescand si fiind doar al lor.
La nastere, sufereau o pierdere si cantau un bocet pentru copilul ce era de-acum dator cu moartea pentru viata pe care o incepea. (este cunoscuta si inevitabila tristete postpartum).
In cultura berberilor, spirala dubla era de fapt cordonul ombilical, legatura dintre mama si copil.
Acest semn nu apare pe covoarele berbere (din motive tehnice, nu se pot reda curbe) insa este nelipsit in bijuteriile de argint. In dialectele lor, cuvantul pe care il folosesc pentru spirala este acelasi ca pentru ombilic. Spirala dubla este un simbol exclusiv feminin.
Ca o confirmare din neolitic vine aceasta imagine cioplita in piatra, descoperita in Alger. Antilopa are o spirala in burta si una alaturi. Capul si coarnele sunt mereu legate de cultul fertilitatii.
Spirale asemanatoare apar si pe ceramica de Cucuteni si pe cojoacele noastre.
Asta nu este insa o garantie ca ele au fix acelasi inteles. Dupa cum arata si povestea de ieri, despre lalea, o cultura va prelua un element din exterior numai dupa ce il va filtra si il va adapta la propria ei lume.
Researches try to understand what women
want and what they always wanted, as this is a possible key to decode
the secret of traditional textile arts. Until recently, the peasant
carpets, their clothes and jewels were not classified as 'art' and
the women who created them not respected as 'authors'.
The berber carpets caught attention of
many specialists, including Paul Klee, for their primitive /
authentic expression. The berber women didn't have much opportunity
to emancipate, they lived secluded, far from influences of various
other cultures and beliefs. Their carpets express their feelings and
hopes in such honest manner that it hurts.It seems that the happiest moments of a berber woman is pregnancy, a time when she can feel the baby growing inside and belongs only to herself.
Giving birth was felt like a loss and they used to sing a lament like for a death; the new born, once alive, could not avoid death. (postpartum depression is well-known)
The double spiral was the ombilical cord, symbol for the strong connection between mother and child. In their dialects, the berbers used the same word for spiral like for navel.
As confirmations, stands this image from neolithic, carved in rock, discovered in Alger. There is a spiral in the animal's belly and another one outside the body. Head & horns or 'mutton horns' is always linked with virility and cult of fertility.
Double spirals appear also on Cucuteni ceramic and on our clothes.
But this doesn't mean they must have the exact same meaning. Each culture filtred the symbols before adopting them, making them fit their own world. (see the yeasterday story about the tulip).
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