Beauty, fashion and Amazigh jewelry in Morocco-1-
It is well known that housing, food and clothing are among the three pillars upon which human life is built, meaning that they are among the indispensable necessities in our life, and without them, life would be difficult and difficult, and it would be impossible for humans to live. Fashion is the physical manifestation of the cultural aspect of peoples. Because it expresses the status of nations, the advancement of their civilization, and the development they have achieved in the artistic, social and economic fields. That is, fashion or clothing is a true document of urbanism and civilization, and the extent of interest in fine arts. In fact, "the study of the history of fashion is a documentary source that reflects the aspects of life for any country, and the importance of this study lies in that it is an element of human civilization, as it indicates the extent of the nation's sophistication and at the state's economic, cultural, social and artistic level, and it gives researchers the cultural and civilizational dimensions." .
The philosophy of the dress is based on three basic aspects:
1- Need: Man has taken the dress out of a preventive necessity, that is, to protect his body from natural hazards: physical and chemical. This outfit was necessitated by a change of climate: heat and humidity. This means that the costume preserves the human existence from all that the environment in which this person lives can surprise him.
2- Social: This means that the dress expresses the personality of every human being within society, and thus takes a social function. In other words, dress may define individuals from a social point of view: it determines the jobs they practice, and the type of social class to which they belong....
3- Decoration: Wearing also takes on an aesthetic function that expresses the elegance, beauty, pomp, and self-care of a person. That is, the costume has an aesthetic decorative function that contributes to the enrichment of art and civilization in the field of fine arts. The dress has a long history that extends from the Pharaohs through Greece and the Romans to the history of Islamic civilization and modern Europe.
Through this long history, with the beginning of the appearance of man, we can identify three basic constants in the philosophy of clothing:
1- Nudity (the stage of primitive man);
2- Simplicity (simple forms of dress use);
3- Extravagance (possession of the philosophy of luxury, extravagance, beautification, artistic and civilized sophistication). We can also highlight that man has gone through significant stages in developing his life, preserving his body, self, and beauty, including: Body nakedness.
? Wear vegan clothing. ?Protecting animal dress.
Weaving stage (linen and wool).
? Ornate costume stage. There are two main stages in the development of a textile uniform: ? Simple forms stage
? The stage of complex decorative forms.
All this means that “the first man, we find that he had no means of clothing, and at first he wandered among the bushes, bare-bodied, like the animals, but the cruelty of nature prompted him to think of making what protects him from the bitter cold or the scorching heat. What man hides with is the leaves of trees.Then, after that, he
used grass, twigs, and fibers, and made a suitable fabric from them, then he made aprons from animal skin and fur before he was guided to the method of making threads of linen or wool or something else.Then, he made of those Threads are a simple fabric - primitive in the beginning, then he transformed it, and decorated it in order to take a look that would make the one who wears it feel a sense of pride. When analyzing fashion, it is necessary to focus on basic elements of clothing, such as:
1 - hair and head covering.
2- Neck wear.
3- Body clothes.
4- Thigh and leg wear.
5- Belts or girdle.
6- Footwear.
7- Jewelery and ornaments.
8- Colors.
9- Shapes.
10- Paintings and pictures.
11- Places designated for keeping fashion.
If the Third World, including the Arab world, tends to simplicity in fashion for religious, climatic, material and cultural reasons, the West has taken amazing steps in the field of fashion, as it tends to decoration, change, and the complexity of clothing, and evidence of this is those shows that take place from time to time in London And Paris, Milan and New York to display the latest fashions and new decorative designs, according to the seasons and the prevailing philosophies in society.
However, despite these reasons, the Arab world has witnessed a great development in the demand for beautiful and intricate decorations that are inspired by refined art, with the improvement of social and economic conditions, especially in the countries of the
Gulf, the Levant and the Maghreb, in addition to the policy of openness of these countries to the West. And the inspiration of oriental fashion, especially Chinese, Indian, Japanese, Pakistani and Turkish ones.
In this study, we will study the fashion of the Moroccan artist Abdel Salam Boukellata, in order to know the aesthetic structure and the connotations on which his clothes and dresses are based. ? Artist threshold:
Abdeslam Boukellata was born in 1960 in Beni Touzine, Nador Province, Morocco. However, the son developed his father's industry, and turned towards artistic decoration and visual formation. He has participated in several local, regional, national and international exhibitions. He participated in the season of the National Exhibition of Handicrafts held in Marrakesh in 1993, and won the first prize, the Skill Award and the Best Maker Award from the Banque Centrale Populaire Foundation. He also participated in the exhibition held on the sidelines of the Gat Agreement in Marrakesh in 1994, without forgetting his participation in the exhibition of the port of Beni Ansar, where the Granada-Dakar catch-up was launched, as well as a display in the Maghreb Gallery in Nador, without forgetting his participation in the conference of the Higher Council of Handicrafts session (13 ) in the scientific capital of Fez in 1996 AD, and he finally received a royal congratulatory letter, because of his painting that carries the icon of the Amazigh identity.
The artist, Bouklata, has developed his industry, according to the requirements of the modern era, in order to take its national, international and global position, without neglecting the civilized and cultural aspect of the Moroccan and Amazigh personality alike. He also formed many young energies in this field of embroidery and art, and followed his example in creativity, giving and production. It is known that this artist has many ambitions and aspirations represented in the formation of a gallery, a museum or a permanent exhibition to display the products that the traditional manufacturer contributes, especially the kaftan product. Therefore, he needs financiers to contribute to the success of this financially, morally and technically profitable project.
: Semiotics Embroidered Paintings
Abdel Salam Boukellata drew a group of paintings over the dress, combining authenticity and contemporary. Among these paintings, we find the Civilization Clip (Plate No. 1) or the so-called (Tisgnist Umzroy), which is placed in a rectangular frame embellished with wooden decoration in which the green color intersects with the golden color. This has a semiotic relationship with the image of the painting. If we contemplate the painting internally, we find a piece of dress from "Lamlifa" embroidered over it with a Berber clip, expressing the originality of the Amazigh rural people in northern Morocco, and also talking about their civilization extending throughout history, much before the civilization of the Pharaohs. The artist Abdel Salam chose a red dress to denote the struggle, resistance, and defense of the Amazigh identity. This lattice panel takes on a decorative nature as a form of adornment and ornaments for women or girls
the man. The grille decoration is characterized by the complexity of leaf, plant and geometric shapes, and is also distinguished by a harmonious and symmetrical gold and silver decoration in an ascending form gradually gradient from the bottom to the top. Boukellata used
precious materials, including: gold, coral, crystal, golden Sicilian, silver Sicilian, and silk.
In the second painting (plate number 2), Abdel Salam Boukellata turns from a traditional maker and skilled tailor to a plastic artist who masters drawing and formation, and proceeds from a vision of the world that shapes its artistic and aesthetic reality. Therefore, he notes that his civilized vision is far from fanaticism and chauvinism. This means that Bouklata is a local, national, national and international artist whose art does not know narrow or nodular boundaries; Because he writes art, and documents aesthetic creativity with needle, thread and awl.
The iconic painting depicts two mountainous women with their colorful handkerchief covering their thighs and feet, and characterized by thick and coarse wool that takes into account the needs of the climatic region, which is characterized by the abundance of mountains, harsh cold, and intense humidity. This outfit is often placed over underwear. Thus, it is a half-cloth that helps mountain women to work and travel, and travel long distances to sell their products, and it may turn into a rug for sleeping or sitting on. It is also noted that the painting refers to other elements of the mountain costume, such as: wearing a blue or white shawl resembling a veil placed on the neck to guard against cold, and a desire to cover up, veil and be modest. Also, this long shawl covers almost the entire back. We also note a mountain fez made of burlap, and the assembly of the threads into large knots to decorate this vertical cover, and to achieve a balance between its four parts.
In his embroidery of this painting, the artist relied on symmetry and contrast in colors, shapes and bodies. For example, we note two cotton bodices, one of them is white and the other blue, and we also find two different handkerchiefs in color: white in red and blue in
red separated by white lines, not to mention the opposite of the bodies: Fitness with obesity.
Boukellata did a lot of good, when he embroidered this embroidery on a transparent and clear blue dress that impresses, and makes this skilled tailor an artist who is good at picking and choosing his artistic and plastic tools.
In the other panel (Plate No. 3), we find a wooden plastic frame depicting in an authentic civilized manner a Berber woman wearing an apron surrounded by a traditional multi-colored belt.
Amazigh with decoration and dark colors such as red, green and yellow... This woman puts on her head a red linen covering (Thasbnacht), in which some forms such as tattoos are intertwined on the face, such as: the Susiyah woman and the Shihliah. Also,
this cloak, which is often white and undulating in its flow and embroidery, may be appropriate for marriage periods or attendance at joy parties and social and religious occasions. Therefore, its white color is close to the connotations of the Islamic religion. It is noted in the image of the woman the extent to which the berber woman
is interested in adornment and ornaments such as rings, earrings, neck collars and wrists, and attention as well as the adornment of the man, as he takes the anklets and the language to decorate and add beauty to the body.
the two braids (emozarn) are a symbol of beauty, flaunting long hair, emphasizing femininity, elegance and attractiveness.
If we move to the panel (No. 4), we find an intricate lattice in its decoration that employs a bouquet of geometric illustrations and the shape of the triangle is like a cup overflowing with embroidered inscriptions.
In the triangle, we find minor triangles and geometric circles with smaller circles in the middle. Also, this panel embroidered in harmonious colors (white and blue) is decorated with mathematical and botanical motifs indicating the Amazigh identity.
It is a Berber Arabesque art that indicates victory, steadfastness, and clinging to cultural identity.
This, and we note in painting (No. 5) an authentic traditional embroidered image. It is a room from the master, where the faqih trains his students to memorize the Qur’an in traditional boards made of wood, over which he writes with glue, and wipes with water and sedimentary mud. It is also noted that the jurist wears a Sufi robe, similar to scholars and religious scholars. This faqih sleeps on a Sofia mat (Tharout), such as: a multi-colored mattress or carpet.
Thus, it becomes clear to us that these embroidered panels combine contemporary and originality, between tradition and modernity, and provide an authentic cultural reference that expresses the Berber civilization, Moroccan personality humanity.
Belts:
Abdel Salam Bouklata uses several belt shapes to decorate the woman's waist, and tighten it with elegance, beauty and balance, attracting attention with its different bright and dazzling colors with its charming attractiveness. There are belts of long thickness, with lines
Intermittent parallel perpendiculars with a tape that twists up and down, taking a thick thickness in the form of diffraction arrows (Plate No. 12). This belt divides the dress into two parts: the upper side and the lower side, and these two sections take the form of an embroidered key in the middle of it is a circular belt that contributes to tightening the body, showing its grace and charm. The belt may take a concave circular shape in the middle, in which a group of decorative layers colored in white and black intersect, to leave an empty space to form a plaque engraved with wild animals, in a parallel parallel manner, and it can be called the mouth belt embroidered with animal decoration as in plate No. 13. Eastern, especially Chinese who
Animal models are used. The belt also becomes split into two halves intertwined with each other, where the plate of the belt looks like a beautiful peacock feather as in plate No. 10, and the belt may take the form of a split semicircle (Plate No. 12). Intricate interlacing, golden pearl luster (plate number 9).
And there is the interlocking coronary belt in the form of interconnected shoe threads (Plate 7). And this type of design, which may take several colors according to the taste of the designer or the buyer and according to the different seasons. As for the long belt, undulating in its watery flow (Plate No. 6), it is more magnificent, splendid and attractive.
The artist also uses in some of his costumes presented for theatrical work, Amazigh belts colored in colors known in our local heritage, such as red and green, indicating patriotism in their intersection with the local Amazigh heritage (Plate No. 14).
* The pectoral decorations: By the
pectoral motifs, we mean the decorative shapes that adorn the chest of the outfit, and beautify it in order to give a plastic and aesthetic character to the dress or worn plate. Abd al-Salam Boukellata employed clothes without bodice decorations, and others took them as visual signs of significance, decoration, beauty and marketing. These decorations are located on both sides of the chest in a parallel and delicate geometric manner. Among these pectoral decorations, we find the following patterns:
1- Botanical pectoral decorations (pink, floral, or twig) as in plate No. 7.
2- Tree pectoral decorations as in plate No. 8.
3- Breastplate decorations with a Berber clasp to denote authenticity and civilizational identity. This clasp is what gives the uniqueness of this outfit and what is worn, and it is represented in plate No. 15.
4- Gilded geometric pectoral decorations, which bear historical connotations referring to glory, authority, pomp and royal grandeur, as in plate No. 14.
: Sleeves and Tails
It is noted on the artist Bouklata's costumes that they have long sleeves and tails, and were decorated with the most beautiful floral, geometric, animal and precious motifs, and the most wonderful decorations of the net, the fins of the whale and its wavy swimming tails, as in painting
No.: 17.
* The neck: The neck
style, in most cases, according to the artist Abdel Salam Boukellata, takes on a circular or decorated character resembling the shape of a key. This neck is distinguished in its color from the color of the dress by its thickness and style, which is distinguished by the intensity of the lines, the high thickness of the stitching and beads, and the presence of many parallel geometric stripes and threads indicating the beauty of consistency, the richness of harmony, and the attractiveness of the view.
: Deductive fitting
Through this brief presentation, it appears that Abdel Salam Bouklata is a clever and skilled plastic artist who draws with thread and needle, combining authenticity and contemporary, and his embroidered costume bears many artistic, cultural, social and economic connotations. Women to beautify the eyes. This article is made and prepared by specialized women. The process of preparing it goes through the following stages:
Putting a certain amount of the mineral Tazolt in a container filled with water and placed over the fire until that water boils in order to strip all the impurities stuck in it from that mineral.
And in a second stage, the mineral is dried, crushed and filtered by a very thin sieve, usually a garment. After the grinding and filtering process, other elements are added to it, which are in the form of perfumes, including: Skingbeer, white beeswax, saffron, sulfur, olive bone (after burning) and Noir and Indian berries. This mixture is moistened with a little olive oil, and
in a final stage it is dried and filtered again through a fine sieve. Then it becomes usable.
It seems that the quality of this substance lies in estimating the sufficient quantity of all these elements without increasing or decreasing. This explains the demand for some of its products and not others to sell them in the markets.
It is also worth noting that women believe that a substance that has disappeared has another property (besides the cosmetic feature) which is to treat the eyes and protect them from many diseases, especially as it acts as a cleaner for them because in fact it may generate tears that clean the eyes.
Natural antimony stone consisting of antimony compounds \Sb antimony\, trisulfur of antimony (brown antimony) and fifth sulfur of antimony (red antimony).
The antimony is a semi-metal, and its symbol is Sb, and it is called Antimony. It is found in nature in a free form, but most of its presence is in the case of sulfide, oxide or oxysulfide, and its form in the case of sulfide is the main source of the mineral. It is a brittle, quick
-crunching, shiny metal with a silvery-white lamellar structure when it is pure and squirrel-colored when it is bound and when rubbed between the fingers, it spreads a clear smell [This definition of antimony is copied from the book Rewington
. Fuadin and glucantim, and other minerals such as antimony and potassium tartrate, antimony and sodium tartrate, and it has many medicinal properties of expectorant and emetic, and some skin ointments are also made from it.
It also affects many bacterial groups and kills many parasites such as leishmaniasis, schistosomiasis, trypanosomes and nematodes. It is used in Britain to treat schistosomiasis..
Kohl (Tagault) In the Amazigh culture,
Kohl (Tagoult) Taghult is an Amazigh word meaning beautification and is applied to the kohl that women use to beautify the eyes. This article is made and prepared by specialized women. The process of preparing it goes through the following stages: Putting a certain amount of the mineral Tazolt in a container filled with water and placed over the fire until that water boils in order to strip all the impurities stuck in it from that mineral. In a second stage, the mineral is dried, ground and filtered by a very thin sieve, usually a garment. After the grinding and filtering process, other ingredients are added to it, which are in the form of perfumes, including:
Skingabeer, white bead, saffron, sulfur, olive bone (after burning), seaweed and Indian berries. This mixture is moistened with a little olive oil, and in a final stage it is dried and filtered again through a fine sieve. Then it becomes usable. It seems that the quality of this substance lies in estimating the sufficient quantity of all these elements without increasing or decreasing. This explains the demand for some of its products and not others to sell them in the markets. It is also worth noting that women believe that a substance that has disappeared has another property (besides the cosmetic feature) which is to
treat the eyes and protect them from many diseases, especially as it acts as a cleaner for them because in fact it may generate tears that clean the eyes. The natural antimony stone consisting of antimony compounds \Sb Antimony\, trisulfur of antimony (
The brown antimony) and the fifth sulfur antimony (the red antimony). The antimony is a semi-metal, and its symbol is Sb, and it is called Antimony. It is found in nature in a free form, but most of its presence is in the case of sulfide, oxide or oxysulfide, and its form
in the case of sulfide is the main source of the mineral. It is a brittle, quick-friable, shiny metal with a silvery-white lamellar structure when it is pure and squirrel-colored when it is bound and when rubbed between the fingers it spreads a clear smell [this definition of antimony is copied from Rewington’s book). Antimony and potassium tartrate, antimony and sodium tartrate, and it has many medicinal properties of expectorant
and emetic, and some skin ointments are also made from it. It also affects many bacterial groups and kills many parasites such as leishmaniasis, schistosomiasis, trypanosomes and nematodes. And used in Britain to treat schistosomiasis. Kohl (Tagault)
Nafusa has a place in the Islamic world. The people of Nafusa were among the main sources of this material for the Islamic world, according to the owners of countries' dictionaries such as Ibn Hawqal and others. At the disposal of the teacher of Morocco, page 2043, Ibn Hawqal, the book of the earth, the subject of Tripoli. As for singel - it is the process of eye liner and the separation of that sangl - and it means kohl, i.e. putting kohl in the eye. As for (Tagoult) it is the material or stone for kohl (tissengel - eyeliner). On the eve of the birth,
women, girls, and even boys are kohled. Balzouari is the vessel and Tazoult is kohl, and asinkle means to put kohl in the eye, takhil and tit tiqn, meaning the eye that extends kohl from one end to the other, and the Berbers
Their eyeliner is light, not similar to the Arab eyeliner, stronger in terms of color and density..
- tattoos
Tattooing is an ancient ritual tradition that is deeply rooted in the Amazigh culture, and is often associated with the value or cultural system of the Amazigh society that practiced it, or with its traditions, beliefs and religion. A style with a cultural, religious or social content that is closely related to mythological or folkloric thinking, as it can have a sexual content - as we will see - especially for the Amazigh woman who is adorned with tattoos in the absence of colored powders in order to distinguish - on the man, and tattoos have remained throughout the ages with their symbols. Its shapes and lines are among the most important means of adornment and its permanent and permanent manifestations on certain parts of the woman’s body, especially the face, hands and feet. The tattoo, in its appearance and inward, has many and deep connotations. It takes from the human body a space for recording, writing, and a painting for drawing and calligraphy. The Amazigh poet says in this regard:My dear Inoue, Rajay Azknivig theret Inoue Thirsch, The Tikaze
Ethene Orig, the poet here, is about to get married. She requests and pleads with her uncle's family, where the groom is, to wait and wait a little while until she recovers and heals the wounds left by the prick tattoo in her neck. Which is furnished and adorned with colorful symbols of different colors, shapes and indications on a body about to marry.
The tattooed woman is an innovator who writes to place the pleasure of the text - or symbol - written in the hand of the recipient, male or female, to discover the craving ends of the female body, through which the body moves from the icon system to the theological body.
It is known among the Berbers, according to what Halima told us, who is descended from Ibn Ahmed Settat and lives in Agadir, that “tattoo is one of the necessary adornment tools for any mature married girl”, and in this we find that “tattoo in women is an announcement of the stage of maturity.”
And the readiness to receive the man and entrust the function of marriage, “so that the tattoo becomes for the Amazigh woman… a gateway to the age of majority and with it the signs of marriage. The
: other targets the viewer, the poet says in this sense
“Mama” Athan Yekin, Thikaz Sado, Aber Thakthant Iohabib, Ariaz Attiqaber, and the tattoo has aesthetic connotations that depend on sight and sight. The tattoo takes other themes, and has differed in determining the dimensions of that. With the desire to extinguish the burning instinct in it, the body is tortured by pricking and the accompanying spiritual and psychological pain may result in aversion and rejection of the call of instinct, especially when tattoos are done in certain places on the woman’s body such as the thighs and chest, as they are hidden bodily topics, but this tattoo does not preserve the His injunctive role, rather, becomes a temptation, sexual arousal, and an appeal to the other party. Perhaps this is what provoked the Amazigh poet in the following poetic verse, where he wanted to show his interest in a girl who tattooed her thighs, saying:Aghanim Aghanim, lurking in Aghanim Dhufouz, erected a Thangidai Om Thikaz Efoud Here the poet illustrates and indicates the maturity of his beloved, whose growth he likened to the growth of “Aghanim” reeds, which grow as thighs grow in the human body, and what awakened his lust more is the tattoo that that girl tattooed on her thigh
The tattoo in this Azari pertains to the decorative aspect that is used to tempt and awaken lust and attract the opposite sex and attract its attention and approval. The tattoo may darken the recipient to see what surrounds the female body, it plays the role of a magnet that blocks the Hamdali body from transgression. “It is a signifier and a medium for temptation, excitement, and craving. Its magical effect is not disrupted unless the third eye achieves its identity for the entirety of the tattoo of the body and thus takes its form, its consumption by the recipient, the husband or the recipient’s lover, in addition to the seductive element, as we find the aesthetic connotations strongly present and away from the decorative element. withinSocial etiquette, as it is a semiotic phenomenon associated with the tattooed body with its life, and dies with its death, and tattoos also constitute a bridge to link between what is spiritual and material in the body itself.
Tattoos in the countryside are often placed on the body horizontally, dividing the body into two parts, a spiritual fissure that includes the heart and a material one that represents life in all its manifestations. They are linked by symbols and forms that Amazigh women used to employ in
highlighting the creative and artistic aesthetic components in the means and things they use in daily life. Ordinary carpets, earthenware and wooden utensils, wall paint and engraving on silver, benefiting from their ancient civilizational heritage represented in Tifinagh letters with multiple shapes and attractive aesthetic features to the extent that non-Berbers
Tattoos are signs, symbols, and ornaments in green or blue that the Amazigh woman utters to the man, promising him her emotional and sexual maturity, adorning her face in a charming way, her neck, or sensitive places of her body. However, tattooing in Arabic or Takaz in the Berber tongue is not just a pleasure and an adornment used by women at a certain time. Rather, this tattoo has a deep connection to what is my identity and social, and it was enough to create a beautiful body language that eloquently addresses the other.
Continue the second part
Source: websites