PICTURE OF THE WORLD IN THE CENTRAL ASIAN YURTS ARCHITECTURE
UDC index:
7; 7.03
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Information about authors: Melekhova Kseniya Aleksandrovna, PhD in Art History, Associate Professor of Department of the History of Russian and Foreign Art, Faculty of Arts, Altai State University (Barnaul, Russian Federation). E-mail: kschut@mail.ru
Annotation: The article reveals the actual problem of the role of yurt and yurt-like architecture in the culture and art of the people of Central Asia. The work is based on an integrated approach, on modern cultural and art concepts, which led to a comprehensive methodology that involves the use of methods of historicism, comparison, comparison, bibliographic method and stylistic analysis. Special methods of historical and architectural research and typology have been used. To analyze the semantics of the culture of nomadic peoples, the method of contextual analysis was used. The purpose of the research is to reveal the peculiarities of the yurt-like architecture and determine its role in the formation and development of the picture of the world of the peoples of Central Asia. The formation of an architectural type “ger” is due to a variety of factors. Nomadic way of life introduced its yurt image of universality; the Great Steppe defi ned the attitude to the spatial solution; religious and ideological context infl uenced the semantic components; the cultural landscape has defi ned aesthetics. Yurt is symbolic. there are deep semantic foundations in its form, location, color, decor. So, the shape of the hemisphere personifi es the celestial vault that rests on the earth. Yurts are freely located in the parking area, have large spatial pauses, which reveal the idea of the boundless space and place in it of the universe of the nomad. The internal structure of the yurt is strictly defi ned by the functional, social aspects and traditional way of life. Their color is not random, it acts as a semantic dominant and determines the meaning of objects. A rich ornament reveals a deep ideological essence and ideas about beauty. In gers style, the features of national aesthetics appeared, and understanding the beauty, universality, philosophical meaning was revealed. The origin, formation and evolution of yurt-like architecture personify a picture of the world in which the rich ethnocultural traditions of nomadic peoples were manifested. In this work the characteristic of the yurt-like architecture of Mongolia, Kazakhstan, Kyrgyzstan attempts to fi nd common stylistic and semantic components characteristic of the architecture of the Turkic people.
Keywords: spiritual culture, religious practices, space, yurt, yurt-like architecture, world view, Tangrianism, Buddhism, Lamaism.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Melekhova Kseniya Aleksandrovna, PhD in Art History, Associate Professor of Department of the History of Russian and Foreign Art, Faculty of Arts, Altai State University (Barnaul, Russian Federation). E-mail: kschut@mail.ru
Annotation: The article reveals the actual problem of the role of yurt and yurt-like architecture in the culture and art of the people of Central Asia. The work is based on an integrated approach, on modern cultural and art concepts, which led to a comprehensive methodology that involves the use of methods of historicism, comparison, comparison, bibliographic method and stylistic analysis. Special methods of historical and architectural research and typology have been used. To analyze the semantics of the culture of nomadic peoples, the method of contextual analysis was used. The purpose of the research is to reveal the peculiarities of the yurt-like architecture and determine its role in the formation and development of the picture of the world of the peoples of Central Asia. The formation of an architectural type “ger” is due to a variety of factors. Nomadic way of life introduced its yurt image of universality; the Great Steppe defi ned the attitude to the spatial solution; religious and ideological context infl uenced the semantic components; the cultural landscape has defi ned aesthetics. Yurt is symbolic. there are deep semantic foundations in its form, location, color, decor. So, the shape of the hemisphere personifi es the celestial vault that rests on the earth. Yurts are freely located in the parking area, have large spatial pauses, which reveal the idea of the boundless space and place in it of the universe of the nomad. The internal structure of the yurt is strictly defi ned by the functional, social aspects and traditional way of life. Their color is not random, it acts as a semantic dominant and determines the meaning of objects. A rich ornament reveals a deep ideological essence and ideas about beauty. In gers style, the features of national aesthetics appeared, and understanding the beauty, universality, philosophical meaning was revealed. The origin, formation and evolution of yurt-like architecture personify a picture of the world in which the rich ethnocultural traditions of nomadic peoples were manifested. In this work the characteristic of the yurt-like architecture of Mongolia, Kazakhstan, Kyrgyzstan attempts to fi nd common stylistic and semantic components characteristic of the architecture of the Turkic people.
Keywords: spiritual culture, religious practices, space, yurt, yurt-like architecture, world view, Tangrianism, Buddhism, Lamaism.
