ÍÀÐÎÄÍÛÅ ÕÓÄÎÆÅÑÒÂÅÍÍÛÅ ÏÐÎÌÛÑËÛ ÀÄÛÃΠ(×ÅÐÊÅÑÎÂ) ÔÈËÎÑÎÔÈß ÌÀÑÒÅÐÑÒÂÀ » Àäûãåÿ - Íîâîñòè, ñîáûòèÿ, êîììåíòàðèè, ôàêòû

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ÍÀÐÎÄÍÛÅ ÕÓÄÎÆÅÑÒÂÅÍÍÛÅ ÏÐÎÌÛÑËÛ ÀÄÛÃΠ(×ÅÐÊÅÑÎÂ) ÔÈËÎÑÎÔÈß ÌÀÑÒÅÐÑÒÂÀ 20:19 Ïîíåäåëüíèê 0 5 619
12-03-2018, 20:19

ÍÀÐÎÄÍÛÅ ÕÓÄÎÆÅÑÒÂÅÍÍÛÅ ÏÐÎÌÛÑËÛ ÀÄÛÃΠ(×ÅÐÊÅÑÎÂ) ÔÈËÎÑÎÔÈß ÌÀÑÒÅÐÑÒÂÀ




Ìàñòåð-êëàññ ìàñòåðà íàðîäíûõ õóäîæåñòâåííûõ ïðîìûñëîâ Àéäàìèðà Ïàòîêîâà
«Ôèëîñîôèÿ ìàñòåðñòâà ïðîñòà. Ëþáîé ìîæåò íàó÷èòüñÿ. Íî ãëàâíîå – æåëàíèå!».


Àéäàìèð Ïàòîêîâ – ìàñòåð íàðîäíûõ õóäîæåñòâåííûõ ïðîìûñëîâ (ìóçûêàëüíûå íàðîäíûå èíñòðóìåíòû, ÷åðêåññêîå ñåäëî); ÷ëåí Õóäîæåñòâåííî-ýêñïåðòíîãî ñîâåòà ïî íàðîäíûì õóäîæåñòâåííûì ïðîìûñëàì Ðåñïóáëèêè Àäûãåÿ ïðè Ìèíèñòåðñòâå êóëüòóðû Ðåñïóáëèêè Àäûãåÿ, ó÷ðåäèòåëü Àññîöèàöèè ìàñòåðîâ íàðîäíûõ õóäîæåñòâåííûõ ïðîìûñëîâ Ðåñïóáëèêè Àäûãåÿ.


- Íàðîäíûå õóäîæåñòâåííûå ïðîìûñëû – ýòî òðóäíî èëè ëåãêî? ×òî íóæíî, ÷òîáû íàó÷èòüñÿ èì? Êàê Âû ñàìè ñòàëè Ìàñòåðîì?




À.Ï.: Âñ¸ ïðîèñõîäèò òîãäà, êîãäà íàñòóïàåò âðåìÿ. Åñëè íå ãîòîâû íà÷èíàòü êàêîå-òî äâèæåíèå, òî îíî è íå ïðîèñõîäèò. À åñëè ãîòîâû, òî ïîëó÷àåòñÿ áûñòðî. Ñ äåòñòâà ÿ ìå÷òàë ìàñòåðèòü, äåëàòü ÷òî-òî ðóêàìè. Ìíå òîãäà êàçàëîñü, ÷òî ìóæ÷èíå íàäî âðîäå óìåòü âñ¸. À ñòàë ñòàðøå, ïîíÿë, ÷òî, ðàçãîâàðèâàÿ, îáùàÿñü ñ ëþäüìè, ìíîãîå óçíàåøü. Êîãäà ïîçíàêîìèëñÿ ñ Çàìóäèíîì Ãó÷åâûì, òî ñêàçàë òàê: «Èãðàòü íà øè÷åïùèíå íå ñêîðî íà÷íó, íî ìíå èíòåðåñíî åãî èçãîòîâëåíèå». È íà÷àë ìàñòåðèòü. Ñïåðâà ÿ ñäåëàë ìàëåíüêèé èíñòðóìåíò, ÿ åãî õðàíþ äî ñèõ ïîð. Ïîòîì ÿ íàøåë ãðóøåâîå äåðåâî, êîòîðîå íåêîòîðîå âðåìÿ îòïèëèâàë íåñêîëüêî äíåé âäîëü ïî 10 ñì, è ñòàë äåëàòü áîëüøèå øè÷åïùèíû. Ñàìûé ïåðâûé èíñòðóìåíò ÿ ïîäàðèë ñâîåìó äðóãó.
Çàòåì ÿ íàó÷èëñÿ äåëàòü ïõúà÷è÷ - òðåùîòêè, 1àíý - òðåíîæíûé ñòîëèê, êóøúý - ëþëüêó. Ýòî áûëî áûñòðî. Óâèäåë, ïîâòîðèë, ñïðîñèë, êàê äîëæíû ðàñïîëàãàòüñÿ äåòàëè. À êîãäà âñ¸ ïîäðîáíî ðàçóçíàë, òî ïîäïðàâèë ñäåëàííîå. Òî åñòü ïîñìîòðåë, êàê äåëàþò äðóãèå ìàñòåðà, à çàòåì íàøåë ñâîé ïîäõîä.  êîíöå êîíöîâ, Çàìóäèí Ãó÷åâ ñêàçàë ìíå: «Òû äåëàåøü è òî, è ýòî. À ïîïðîáóé ñäåëàòü óàíý – ñåäëî!». Òîãäà ÿ åìó îòâåòèë: «Ñåäëà – ýòî èíòåðåñíî. Íàäî ïîïðîáîâàòü». È ÿ íà÷àë ïðîáîâàòü èçãîòîâëÿòü ÷åðêåññêèå ñåäëà.
Íå ñòûäíî, êîãäà ó÷èøüñÿ è ÷òî-òî íå ïîëó÷àåòñÿ; ñòûäíî, êîãäà íå õî÷åøü ó÷èòüñÿ. Áåç æåëàíèÿ âñ¸ êàæåòñÿ òðóäíûì è òÿæåëûì. À êîãäà åñòü æåëàíèå, òî âñåìó âûó÷èøüñÿ, âñ¸ íàéäåøü. Íàéäóòñÿ ëþäè, êîòîðûå ïîêàæóò è ðàññêàæóò êàê. À åñëè íå ïîêàçûâàþò, òî çíà÷èò èì íå÷åì ïîäåëèòüñÿ. Íàñòîÿùèé Ìàñòåð, Ìàñòåð ñ áîëüøîé áóêâû, âñåãäà ðàññêàæåò, âñåãäà ïîäåëèòüñÿ ñåêðåòàìè ñâîåãî ìàñòåðñòâà è ñäåëàåò ýòî îò äóøè.
Ïîñëå òîãî, êàê ÿ íà÷àë ïðîáîâàòü èçãîòîâëÿòü ÷åðêåññêèå ñåäëà, ÿ ðåøèë îáðàòèòüñÿ ê äðóãèì ìàñòåðàì.  òî âðåìÿ áûë ìàñòåð Êàñåé èç Õîäçà. Íî ÿ ïîïàë â íåóäîáíîå äëÿ íåãî âðåìÿ, è ïðèøëîñü ìíå åõàòü ê äðóãîìó ìàñòåðó â Àäûãýõàáëü â Êàðà÷àåâî-×åðêåñèè. ß ïîñìîòðåë, êàê îí äåëàåò è èçãîòîâèë îäíî ñåäëî. Íî ÷åãî-òî ìíå íå õâàòàëî, íåäîñòàòî÷íî áûëî òîãî, ÷òî ÿ ó íåãî óâèäåë. Äà è ïî âðåìåíè – âñåãî äâà-òðè äíÿ, ýòîãî áûëî ìàëî, à áîëüøå âðåìåíè ÿ íå ìîã òîãäà óäåëèòü.
Çàòåì ìíå ïîñîâåòîâàëè îáðàòèòüñÿ ê ñàìîìó èçâåñòíîìó ìàñòåðó Âÿ÷åñëàâó Ìàñòàôîâó â Íàëü÷èê â Êàáàðäèíî-Áàëêàðèþ. Êîãäà ÿ ê íåìó ïðèåõàë è ñïðîñèë, ÷òî íóæíî, ÷òîáû ó íåãî îáó÷àòüñÿ. Îí îòâåòèë ïðîñòî: «Íè÷åãî íå íàäî. Åñëè õî÷åøü, ïðèõîäè è äåëàé!».  òó ïîðó òàêîìó îòâåòó ÿ èñêðåííå óäèâèëñÿ. Òîãäà ìàñòåðà íåîõîòíî äåëèëèñü, à ýòîò èìåíèòûé ìàñòåð òàê áûñòðî ñîãëàñèëñÿ. Òàê ìû ñ ìîèì áðàòîì Àñêåðîì ïîøëè ê íåìó â ó÷åíèêè.


 Íàëü÷èêå ìû ñ áðàòîì ïðîáûëè òðè íåäåëè. È çà ýòî âðåìÿ Âÿ÷åñëàâ Ìàñòàôîâ íàì âñ¸ ïîêàçàë. Àñêåð íàó÷èëñÿ øèòü ñåäåëüíóþ ïîäóøêó, à ÿ èçãîòîâèë àð÷àê (äåðåâÿííàÿ îñíîâà ñåäëà). Ýòî âðåìÿ ìû ïîòðàòèëè íå íàïðàñíî, óñïåëè ìíîãîå ñäåëàòü. Íó, à îñòàëüíîå ìû óæå óçíàâàëè ñàìè ïîñòåïåííî, ñàìè íàøëè ñâîé ïîäõîä è äàæå âûðàáîòàëè ñâîé ïî÷åðê. Íàäî ñêàçàòü, ÷òî Ìàñòàôîâ - ñòðîãèé íàñòàâíèê, íå ëþáèò áîëòàòü âïóñòóþ. Åñëè çàäàâàòü åìó êîíêðåòíûå âîïðîñû ïî äåëó, îí êîíêðåòíî è ïðÿìî îòâå÷àåò.
Àäûãñêèå ìàñòåðà-øîðíèêè èìåëè êàæäûé ñâîé ïî÷åðê â èçãîòîâëåíèè ñåäåë, íî îò òðàäèöèé íå îòõîäèëè. Âÿ÷åñëàâ îáúÿñíÿë âñå íþàíñû è ïîêàçûâàë, ÷òî áûëî ïðèñóùå èìåííî äëÿ ÷åðêåññêîãî ñåäëà. Ãëàâíîå òî, ÷òîáû ñäåëàòü êàðêàñ, íàäî çíàòü ñòðîåíèå ëîøàäè è å¸ ðàçìåðû. À â öåëîì, åñëè ó÷åñòü âñå ýëåìåíòû íàøåãî ñåäëà, åãî âûñîòó, øèðèíó, òâåðäîñòü ìàòåðèàëà, åñëè áðàòü â ðàñ÷åò âñ¸, ÷òî íóæíî äëÿ íåãî, òî ìîæíî ñäåëàòü âûâîä: â ñòàðèíó àäûãñêèå ìàñòåðà äîâåëè ÷åðêåññêîå ñåäëî äî ñîâåðøåíñòâà.
Âîò òàêèì áûë ìîé ïóòü. Íî ó êàæäîãî îí ñâîé. Êàæåòñÿ, Ìàñòåðîì ñòàòü òðóäíî. Íóæíî ìíîãî òðóäèòüñÿ è íå ïåðåñòàâàòü ïîçíàâàòü ñåêðåòû ðåìåñëà. Õîòÿ, íà ñàìîì äåëå, ýòî íå òðóäíî, åñëè õî÷åøü âñåì ñåðäöåì, åñëè ýòî òåáÿ âîëíóåò, åñëè íðàâèòñÿ.  æèçíè ìîæíî íàó÷èòüñÿ âñåìó, íàäî òîëüêî ïîñòàðàòüñÿ è èìåòü æåëàíèå.

- ×òîáû çàíèìàòüñÿ àäûãñêèìè íàðîäíûìè ïðîìûñëàìè, íàäî ëè çíàòü èñòîðèþ è òðàäèöèè ñâîåãî íàðîäà?

À.Ï.: Îáÿçàòåëüíî. Áåç ýòîãî ó íàñ íè÷åãî òðàäèöèîííîãî íå ïîëó÷èòñÿ. Íàäî èçó÷àòü ëèòåðàòóðó, ñîâåòîâàòüñÿ ñî ñòàðøèìè, óçíàâàòü îïûòíûì ïóòåì. Íî ñåé÷àñ ìîæíî ìíîãî óâèäåòü è â Íàöèîíàëüíîì ìóçåå, ñïðîñèòü ó åãî ñïåöèàëèñòîâ, êîòîðûå ïðî÷èòàëè ìíîãî êíèã îá ýòîì, ïðîäîëæàþò èçó÷àòü, ïðîñëåæèâàþò íîâûå ïîñòóïëåíèÿ.
Äëÿ ìåíÿ ëó÷øå îáùåíèå ñ îïûòíûìè ìàñòåðàìè, òåìè, êòî èçãîòîâëÿåò ñåäëà, è òåìè, êòî èñïîëüçóåò èõ. Ýòî êàñàåòñÿ è èçãîòîâëåíèÿ ìóçûêàëüíûõ èíñòðóìåíòîâ, 1àíý, êóøúý è äðóãèõ ïðåäìåòîâ áûòà. Òàê ñêàçàòü, îáùàÿñü äàæå íà áûòîâîì óðîâíå, ìû ìíîãîå óçíàåì äðóã îò äðóãà. È êàê áû ìû íè ãîâîðèëè î âåëè÷èè íàøåãî íàðîäà, î åãî äðåâíåé ðåëèãèè è óíèêàëüíîé êóëüòóðå, íå âîçìîæíî íå ó÷èòûâàòü ïîâñåäíåâíóþ æèçíü è áûò, êîòîðûé âåëè àäûãè â áûëîå âðåìÿ. Òî åñòü òàê íàçûâàåìîå íàøå «áûòîâîå ïðîñòðàíñòâî», êîòîðîå ïîêàçûâàåò íàø îáðàç ìûøëåíèÿ, ðàöèîíàëèçì è ýñòåòèêó íàøåãî íàðîäà. Òàê èëè èíà÷å, íî âñ¸ ñâÿçàíî ñ íàøèì áûòîì. Èçãîòîâëÿÿ ïðîñòîå, îáûäåííîå, ñî âðåìåíåì íà÷èíàåøü ïîíèìàòü óòðà÷åííîå.

-  ñòàðèíó ó àäûãîâ áûëî ïðåñòèæíî çàíèìàòüñÿ ïðîìûñëàìè. À ñåãîäíÿ êàê? Ñ÷èòàåòñÿ ëè ýòî ïî÷åòíûì?

À.Ï.: Êàê ÿ óæå ãîâîðèë, ïðåæäå âñåãî, íàäî èñõîäèòü èç æåëàíèÿ ñàìîãî ÷åëîâåêà. Åñëè åñòü æåëàíèå, åñëè òðóäèøüñÿ è ïîçíàåøü, òî ñî âðåìåíåì ñòàíåøü ìàñòåðîì. Ñåãîäíÿ æèòü ïðîùå: ìû ðàáîòàì çà äåíüãè è íà íèõ æèâåì. À ðàíüøå íå áûëî ñòîëüêî äåíåã, õîòåëè – íå õîòåëè, íî ÷òîáû æèòü, äåëàëè âñ¸ ñàìè äîìà ñâîèìè ðóêàìè. Ó àäûãîâ â êàæäîé ñåìüå áûëè ìàñòåðèöû, êîòîðûå äåëàëè ìíîãîå: âûøèâàëè çîëîòîì, øèëè îäåæäó, ïëåëè áàñîííûå ïëåòåíèÿ.  êàæäîé ñåìüå ìóæ÷èíà ïëîòíè÷àë è ìîã ñìàñòåðèòü ìåáåëü, ïðåäìåòû áûòà, ëþëüêó, òðåíîæíûå ñòîë è ñòóëüÿ äëÿ îáèõîäà, ðåäêî íà ïðîäàæó. Êîíå÷íî, áûëè ìàñòåðà – êóçíåöû, øîðíèêè, èçâåñòíûå íà âñþ îêðóãó. Î íèõ ãîâîðèëè, èõ âûñîêî öåíèëè.







Ñåãîäíÿ æå åñòü ìàãàçèíû, ãäå çà äåíüãè ìîæíî êóïèòü âñ¸, îò äåðåâÿííîé ïëîøêè äî êîñòþìà. È ïîýòîìó â íàøè äíè íàðîäíûìè ïðîìûñëàìè çàíèìàþòñÿ ýíòóçèàñòû, íå ïî íåîáõîäèìîñòè, à ïî æåëàíèþ èëè äàæå ïî ïðèçâàíèþ. È òîò, êòî ëó÷øå è èñêóñíî äåëàåò, òîò è ìàñòåð. Çà÷åì ñåãîäíÿ âñåì çàíèìàòüñÿ ïðîìûñëàìè, òðåáóþùèìè ìíîãî âðåìåíè, åñëè âñ¸ ìîæíî êóïèòü çà äåíüãè? Çà÷åì òðàòèòü äðàãîöåííîå âðåìÿ, åñëè âñ¸ è òàê äîñòóïíî? Íóæíû òîëüêî äåíüãè. Ïîýòîìó ñåãîäíÿ ìàñòåðîâ ìàëî, à ïðåäìåòû áûòà, èçãîòîâëåííûå èìè ïî ñòàðèííûì òåõíîëîãèÿì, äîðîãèå. Íî ëþäè ïîêóïàþò èõ è õðàíÿò êàê ðåëèêâèè.
Äà, ñåãîäíÿ íåò íåîáõîäèìîñòè âñåì çàíèìàòüñÿ íàðîäíûìè ïðîìûñëàìè ïðîñòî òàê. Íî âñ¸-òàêè â íèõ åñòü ñâîÿ ôèëîñîôèÿ, ñâîÿ ñèëà. Äëÿ ïðèîáùåíèÿ ê íèì íàäî ó÷èòüñÿ ñëóøàòü ìàñòåðîâ, ïîíèìàòü òî, ÷òî äåëàåøü. Ñåãîäíÿ âàæíî ñîõðàíèòü ñòàðèííûå òåõíîëîãèè, ñòàíäàðòû ïðåäìåòîâ íàðîäíîé êóëüòóðû è äàæå íàó÷íî èçó÷èòü è ïîäðîáíî îïèñàòü. Êîíå÷íî, ýòî äëÿ òåõ, ó êîãî åñòü òàêîå æåëàíèå.
Âî âñåì àäûãñêîì áûëî ìíîãî ïîëüçû. Âîò, íàïðèìåð, íàøå 1àíý. Íè ó êîãî íåò òàêîé êóëüòóðû, êàê ó íàñ. Íàäî ïðèçíàòü, àäûãñêèé ñòîë èëè 1àíý ïî ñâîåé âûñîòå è ïî ïîðÿäêó ïîäà÷è áëþä óíèêàëåí.  íåì åñòü ñâîÿ ïðîäóìàííàÿ ôèëîñîôèÿ. Åñëè ïðîñëåäèòü çà ïðàâèëàìè çà àäûãñêèì ñòîëîì, òî ñòàíåò âñ¸ ÿñíî. Òî æå ñàìîå è ñ êóøúý, àäûãñêîé ëþëüêîé, è ñ ëúýïýòåò, êîòóðíàìè. Òàê æå è ñ îðóæèåì: êèíæàëîì, øàøêîé, è ñ íàöèîíàëüíîé îäåæäîé, ïîÿñàìè. Âî âñåì àäûãñêîì åñòü ñâîÿ ïîëüçà, ñâîÿ ôèëîñîôèÿ. Íî ñåãîäíÿ ìàëî òåõ, êòî îá ýòîì çíàåò, äà è íåìíîãî òåõ, êòî çàäàåòñÿ òàêèìè âîïðîñàìè.

-  ÷åì îñîáåííîñòè æèçíè è ðàáîòû ñîâðåìåííûõ ìàñòåðîâ ÍÕÏ â Àäûãåå?

À.Ï.:  íàøå âðåìÿ îáó÷åíèå íàðîäíûì õóäîæåñòâåííûì ïðîìûñëàì ñòàëî äîñòóïíî. È ýòî äîñòèæåíèå! Ñåãîäíÿ ó íàñ â Àäûãåå åñòü ìàñòåðà, êîòîðûå îáó÷àþò çîëîòîìó øèòüþ, øèòüþ íàöèîíàëüíîé îäåæäû, ðàáîòå ïî äåðåâó è äàæå êóçíå÷íîìó äåëó. Äëÿ íà÷èíàþùèõ ïðîâîäÿòñÿ ìàñòåð-êëàññû, îïûòíûìè ìàñòåðèöàìè îðãàíèçóþòñÿ êóðñû ïî øèòüþ. Äîâîëüíî ÷àñòî ïðîâîäÿòñÿ âûñòàâêè ìàñòåðîâ íàðîäíûõ õóäîæåñòâåííûõ ïðîìûñëîâ êàê â Àäûãåå, òàê è â äðóãèõ ãîðîäàõ Ðîññèè.
Íà ìîé âçãëÿä, åñëè çàíèìàåøüñÿ äåëîì êàæäûé äåíü, òî íåò íèêàêèõ òðóäíîñòåé. Íî ïðåæäå âñåãî – ýòî æåëàíèå. À åñëè ñàìîöåëü – áûñòðûé çàðàáîòîê, òî áóäåò ñëîæíåå. Íî åñëè çàíèìàòüñÿ ïðîìûñëàìè ñ æåëàíèåì, òî è ðàáîòàòü áóäåøü ñ óäîâîëüñòâèåì, è çàðàáàòûâàòü ñîîòâåòñòâåííî.




-  êîíöå ïðîøëîãî ãîäà áûëî çàÿâëåíî, ÷òî â Àäûãåå áóäåò ñîçäàíà Àññîöèàöèÿ ìàñòåðîâ íàðîäíûõ õóäîæåñòâåííûõ ïðîìûñëîâ. Äëÿ ÷åãî îíà ñîçäàåòñÿ? È êàê îíà ïîìîæåò íà÷èíàþùèì è ìîëîäûì ìàñòåðàì?

À.Ï.: Àññîöèàöèÿ êàê ñòðóêòóðà ïîìîæåò ìàñòåðàì íàðîäíûõ õóäîæåñòâåííûõ ïðîìûñëîâ êîíñîëèäèðîâàòüñÿ, äåéñòâîâàòü ñîîáùà, ðàáîòàòü âìåñòå, îáìåíèâàòüñÿ îïûòîì, áîëüøå îáùàòüñÿ äðóã ñ äðóãîì. È îäíîé èç îñíîâíûõ çàäà÷ Àññîöèàöèè áóäåò ïîäåëèòüñÿ ñ ëþäüìè àçàìè ìàñòåðñòâà, âûçâàòü ó íèõ èíòåðåñ ê òîìó, ÷òî äåëàåì ìû, ìàñòåðà. Ê òîìó æå, îäíîìó òðóäíî âî âñåì ðàçáèðàòüñÿ, à Àññîöèàöèÿ ïîçâîëèò ðàñøèðèòü íàøè âîçìîæíîñòè, ó÷åñòü ñîâðåìåííûå ñïîñîáû ïðîäâèæåíèÿ, ìàðêåòèíãà, ìåíåäæìåíòà. Ìîæíî áóäåò ðàáîòàòü è ïðè ïîääåðæêå ãîñóäàðñòâà.
Àññîöèàöèÿ - ýòî è îáìåí îïûòîì, è ñîâåòû, è ìàñòåð-êëàññû èçâåñòíûõ ìàñòåðîâ ìîëîäûì íà÷èíàþùèì ïðèêëàäíèêàì. Àññîöèàöèÿ ïîçâîëèò íàì ñîçäàòü ñâîå ïðîñòðàíñòâî. Îíà îòêðîåò ìàñòåðàì äîðîãó äëÿ ðàçâèòèÿ. Ýòî êàñàåòñÿ ðåøåíèÿ ýêîíîìè÷åñêèõ è þðèäè÷åñêèõ âîïðîñîâ. Íåêîòîðûå ìåñòíûå ðåìåñëåííèêè óæå íåìîëîäû è íóæäàþòñÿ â ïîääåðæêå, îáùåíèè è äàæå ïîìîùè. Ïðåäïîëàãàåòñÿ, ÷òî Àññîöèàöèÿ ïîääåðæèò èõ, äàñò èì ðàçíûå âîçìîæíîñòè. ×òî áóäåò äàëüøå? Âðåìÿ ïîêàæåò!

-  ÷åì Âàøå êðåäî ìàñòåðà? Êàêîâ îñíîâíîé ïðèíöèï â ðàáîòå?

À.Ï.: Äëÿ ñåáÿ çà êðåäî, òî åñòü çà îñíîâíîé ïðèíöèï ÿ âçÿë, ïðåæäå âñåãî, ñòàðàòüñÿ íå âûðóáàòü äåðåâüÿ. Íà ñàìîì äåëå, êîãäà âûðóáàåøü äåðåâî, ìó÷àåøüñÿ, ðóãàåøü ñåáÿ. Âîò, íàïðèìåð, ñàìøèò, èç êîòîðîãî ÿ äåëàþ ïõúà÷è÷, òðåùîòêè. Ñàì ÿ íèêîãäà íå ñïèëèâàë ñàìøèòîâîå äåðåâî, êîòîðîå íàøè ïðåäêè ñ÷èòàëè ñâÿùåííûì. Íî åñëè óçíàâàë, ÷òî ó êîãî-òî åñòü òàêîé ìàòåðèàë, òî ïðèîáðåòàë åãî. Äëÿ òðåùîòîê òðåáóåòñÿ êóñîê äèàìåòðîì íå ìåíåå 20 ñì. È êîãäà ñìîòðèøü íà ñðåç äåðåâà, òî ïîíèìàåøü, ÷òî åìó ëåò 150. È âîò ÿ èçãîòàâëèâàþ èç íåãî íåñêîëüêî äîùå÷åê. Ðàçâå ýòî äåëî? Ñòîèò ëè îíî òîãî? Ïîýòîìó ÿ îòêàçàëñÿ ñðóáàòü ñàì èëè ïëàòèòü çà ñðóá äåðåâüåâ, òåì áîëåå òàêèõ ðåäêèõ è ðåëèêòîâûõ. Ðîñëî äåðåâî ïîëòîðà âåêà, ïóñòü è äàëüøå ðàñòåò. Íî âîò åñëè äåðåâî îêàçàëîñü ñëîìàííûì èëè âûðâàííûì èç-çà íåïîãîäû, òîãäà ÿ îò íåãî íå îòêàçûâàþñü. Ïîðîé ìíå ñàì çàêàç÷èê ïðèíîñèò ìàòåðèàë â ìàñòåðñêóþ.
Äëÿ øè÷åïùèíà ÿ èñïîëüçóþñü ÷åðêåññêèé îðåõ. Ãäå ÿ åãî áåðó? Áûâàåò, êòî-òî ñðóáàåò äåðåâî, òîãäà ÿ ïîäõîæó è ïðîøó åãî ÷àñòü, îáåùàþ óáðàòü åãî ñàì. Ìåñòî ðàçâåòâëåíèÿ ñòâîëà ïîäõîäèò äëÿ èçãîòîâëåíèÿ ëóêè ñåäëà. Ìíîãî ìàòåðèàëà äëÿ ñåáÿ ÿ áåðó ó òåõ, êòî èçãîòîâëÿåò ìåáåëü. ß ïîêóïàþ åãî ó íèõ è ñàì îáðàáàòûâàþ. Íî ÷òîáû ñàìîìó ðóáèòü äåðåâî… Íèêîãäà! Ýòî ìîé ïðèíöèï!  îòíîøåíèè äåðåâüåâ ãðóøè, ÿáëîíè, àáðèêîñà ÿ òàê æå ñòàðàþñü íàìåðåííî èõ íå ñðóáàòü. Íî åñëè ñðîê äåðåâà ïîäîøåë, èëè åãî ñîáèðàþòñÿ è òàê ñïèëèòü, òîëüêî òîãäà ÿ ìîãó åãî âçÿòü.
Ãîâîðÿò, ÷òî ó äåðåâà åñòü äóøà. Íî äóøà åñòü âî âñåì. ß, êîíå÷íî, íå ðàçãîâàðèâàþ ñ äåðåâüÿìè. Ìíîãèå ñ÷èòàþò ýòî ìèñòè÷åñêèì. Íî ÷òî çíà÷èò «ãîâîðèòü ñ äåðåâîì»? Ýòî çíà÷èò åãî ïîíèìàòü. Âîò êîãäà äåëàåøü äåðåâÿííûé êàðêàñ äëÿ ñåäëà èëè øè÷åïùèí, ñòðóêòóðà äåðåâà äèêòóåò ñâîè ïðàâèëà îáðàáîòêè. Ãäå-òî íàäî ñìåíèòü íàïðàâëåíèå ðåçöà, ãäå-òî óñèëèòü íàæèì, à ãäå-òî îáîéòè ñó÷îê. Òîãäà è íà÷èíàåøü ÷óâñòâîâàòü õàðàêòåð ìàòåðèàëà. Íà ìîé âçãëÿä, ýòî è åñòü äèàëîã ìàñòåðà ñ äåðåâîì.

- È ïîñëåäíåå. Êàêèå ðåêîìåíäàöèè è ñîâåòû Âû êàê îïûòíûé ìàñòåð äàëè áû ìîëîäûì?

À.Ï.: Ïåðâîå: åñëè ðåøèëè çàíèìàòüñÿ ïðîìûñëàìè, íå îòêëàäûâàéòå, áûñòðåå íà÷èíàéòå! Áûñòðî íà÷íåòå, ñêîðî ñòàíåòå çàíèìàòüñÿ ðåàëüíûì äåëîì. Âòîðîå: íàäî ìíîãî ðàáîòàòü! Ñäåëàòü îäèí ðàç – ýòî òîëüêî óçíàòü, ÷òî ýòî òàêîå. À âîò ñäåëàòü äåñÿòü ðàç – ýòî óæå ïîíÿòü ñìûñë ïðîìûñëà. Òàê ìíå êîãäà-òî ãîâîðèëè: «Ñäåëàé ïåðâûé äåñÿòîê, à òàì, ìîæåò áûòü, ÷òî-íèáóäü ïîéìåøü». Ïîýòîìó äëÿ íà÷àëà íàäî ñäåëàòü ýòîò ïåðâûé äåñÿòîê. Êàêóþ áû óìíóþ ëåêöèþ íè ïðîñëóøàòü, êàêóþ áû ïîäðîáíóþ èíôîðìàöèþ íè ïðî÷èòàòü, íå ïðèëîæèâ ðóêè, òî åñòü áåç ðó÷íîãî òðóäà, íè÷åãî íå óëîæèòüñÿ â ãîëîâå, íå áóäåò ïîëíîãî ïîíèìàíèÿ.
Ïåðâîå ñåäëî ÿ ñäåëàë îòíîñèòåëüíî áûñòðî. À ÷åðåç ïàðó ìåñÿöåâ ïðèñòóïèë êî âòîðîìó. Âîò òîãäà è ñòàë ÿ çàäàâàòü ñåáå âîïðîñû. À êàê ÿ äåëàë ýòî â ïåðâûé ðàç? Êàê ïîäáèðàë ìàòåðèàë? Êàê ïîäõîäèë ê ýòîìó? Åëå-åëå âñïîìèíàÿ, ÿ äåëàë óæå íà ñâîé ñòðàõ è ðèñê. È òàê ïîëó÷èëîñü, ÷òî âòîðîå ñåäëî ÿ èçãîòîâèë ñ áîëüøèì òðóäîì, ÷åì ïåðâîå. Ïîýòîìó â ïåðâóþ î÷åðåäü íàäî òðóäèòüñÿ, ïîñòîÿííî ñîâåðøåíñòâîâàòü ñâîå ìàñòåðñòâî. Íàäî äåëàòü, æåëàÿ, è äåëàÿ - ó÷èòüñÿ!
Êîãäà â ãîëîâå óæå âñ¸ óëåãëîñü, êîãäà äåëàåøü îáäóìàííî, òîãäà è ïðèõîäèò ìàñòåðñòâî. Íî åñòü è òàêèå ìàñòåðà, êîòîðûå ãîäàìè íå áåðóòñÿ, à ïîòîì ÷åðåç âðåìÿ ðàáîòàþò áûñòðî. Îòñþäà òðåòüå: ìàñòåðñòâî ïðèõîäèò ÷åðåç ãëóáîêîå ïîíèìàíèå, à îíî ÷åðåç ïîñòîÿííóþ ðàáîòó. Äà, òîëüêî îò îäíîãî æåëàíèÿ ìàñòåðîì íå ñòàíåøü. À äåëàòü, íå ïîíèìàÿ, òîæå íå ïîëó÷èòñÿ. Òàê, ìàëü÷èê ìîæåò ñäåëàòü ðàç, íå ïîíèìàÿ, ïðîñòî ïîâòîðÿÿ çà ìàñòåðîì. À ÷åðåç âðåìÿ îí è íå âñïîìíèò, êàê äåëàë, òàê êàê ïîâòîðÿë ìàøèíàëüíî, è â ãîëîâå ó íåãî íè÷åãî íå îòëîæèëîñü. À âîò êîãäà äîõîäèøü äî ñàìîé ñóòè, êîãäà åñòü ïîíèìàíèå, òî âñ¸ óæå èäåò ãëàäêî è â êîìïëåêñå.
 ëþáîì ðåìåñëå åñòü ñâîÿ ôèëîñîôèÿ. Íàäî çíàòü, ïîíèìàòü è èìåòü ñâîé ïîäõîä. Íàäî ó÷èòûâàòü ôîðìû, ïîíèìàòü äëÿ ÷åãî è ïî÷åìó. À äëÿ ýòîãî íóæíî èçó÷àòü èñòîðèþ íàðîäà, ïîíÿòü åãî ðàöèîíàëüíîå ìûøëåíèå è îòêðûòü åãî õóäîæåñòâåííûé âçãëÿä íà ïðîñòûå áûòîâûå âåùè, à òàêæå ïîñòîÿííî îáùàòüñÿ ñ ìàñòåðàìè, çíàþùèìè òðàäèöèè â ñâîåì äåëå. Âîçüìè õîòü «1àíý» èëè «êóøúý», âñ¸ ó àäûãîâ áûëî ïðîäóìàíî, ýñòåòè÷íî è ôóíêöèîíàëüíî. Íî ñäåëàòü èõ, íå ïîíèìàÿ ýòîãî, íå ïîëó÷èòñÿ. Äëÿ ìåíÿ ìàñòåðñòâî – ýòî ïîíèìàíèå ôèëîñîôèè ñâîåãî íàðîäà!

- Áîëüøîå ñïàñèáî!

Èíòåðâüþ ïðîâåëà Ôàòèìà Òåó÷åæ
Ôîòîãðàôèè Êàçáåêà Êîäæåøàó



FOLK ARTS AND CRAFTS OF THE CIRCASSIANS
THE PHILOSOPHY OF CRAFT
Master class of ìasters of folk crafts Aydamir Patokov

"The philosophy of craft is simple. Everyone is able to learn it. But the main thing is a desire!"

Aydamir Patokov is master of folk arts and crafts (musical folk instruments, Circassian saddle); member of the Artistic and expert council on folk arts under the Ministry of culture of the Republic of Adyghea, founder of the Association of masters of folk arts and crafts of Adyghea.

- Folk arts and crafts are difficult or easy? What does it need to learn them? How did you become a Master yourself?

A. P.: Everything happens when the time comes. If you are not ready to start any movement, so it doesn’t happen. And if you are ready, it gets fast. Since my childhood, I’ve dreamed to make, to do something with my hands. It seemed to me the man should be able to do all. As I grew up, I understood, talking, communicating with people, I could learn a lot. When I met Zamudin Guchev, I said: "I will begin to play shychepshyn not soon, but I am interested in its manufacture". And I began to make it. At first, I produced a small instrument, I still keep it. Then I found one pear tree and I’ve sawed off it a few days along per 10 cm, then I made one real shychepshyn which I offered to my great friend.
Then I learned how to do phachich - ratchets, ane - tripod table, kushe - cradle. I quickly made them. I saw, repeated and asked how details would be disposed. And when I learned all characteristics I corrected the made items. That means I looked how other masters did it, and then I found my own approach. In the end, Zamudin Guchev said to me: "You do well this and that. And now try to produce uane– saddle!" Then I answered to him: "Saddles are interesting. I will try to do them". And I began to manufacture the Circassian saddle.
It isn’t ashamed when we study and cannot to do, it's shameful when you don't want to learn. Without desire all seems difficult and heavy. And when we have a desire, we will learn everything, we will find all. We’ll find people who will show us and tell how to do it. And if they don’t show, it means they have nothing to share. A true Master, Master with a capital letter, always talks, always shares the secrets of his craft and he does it with heart.
After I started to try manufacturing Circassian saddles, I decided to address to other masters. At the time, there was a master Kasey from Hodz. But I visited him in inconvenient time, and I had to go to another master in Adyghekhabl in Karachay-Cherkessia. I observed him and made one saddle. However, that wasn't insufficient,; all I saw wasn't incomplete for me. And the time, only two or three days were not enough, but I could not to pay more time in this moment.
Then they advised me to go to the most famous master Vyacheslav Mastafov living in Nalchik in Kabardino-Balkaria. When I came to him and asked what I need for learning his craft, he simply replied: "Nothing. If you want to do it, so do it!" At the time, I was genuinely surprised of this answer. That time, masters didn’t share their crafts with reluctance, and this eminent master so quickly agreed. So, my brother Asker and I became his apprentices.
In Nalchik, my brother and I, we’ve stayed for three weeks. And during that time, Vyacheslav Mastafov has showed all to us. Asker learned to sew padding (seat cushion), and I manufactured a tree (wooden base of the saddle). We didn’t spend this time in vain; we managed to make a lot of things. Well, we already learned the rest themselves gradually, we found our own approach and even we determined our own hand manner. I must say Mastafov was a strict mentor; he didn't like to talk in vain. If we asked him concrete questions about the craft, he specifically and directly answered.
Circassian saddlers had each their own hand manner in manufacturing of saddles, but they kept the traditions. Vyacheslav explained all the nuances and showed us all that was inherent to the Circassian saddle. The main thing is for making a wooden base, it is necessary to know horse constitution and its dimensions. But in general, if we consider all elements of our saddle, its height, width, hardness of material, if we take into account all that is necessary for it, we can conclude: in the past the Circassian craftsmen brought the Circassian saddle to perfection.
This was my way. But everyone has his own path. It seems to become Master is difficult. You need to work hard and to stop never learning secrets of the craft. Although, in fact, it isn’t difficult if you want with all your heart, if it cares you, if it likes you. In our life, we can learn all. We only need to try and have a desire.

- Is it necessary to know history and traditions of the people for making Adyghe folk art and crafts?

A. P.: Certainly. Without that, we will not do anything in traditional art. It is necessary to study literature, to consult with our elders, to learn by experience. But now you can see a lot of traditional items in the National museum, ask its experts who have read many books about it and continue to study new entries.
For me, it’s better to communicate with experienced craftsmen, those who make saddles and those who use them. This also relates to manufacturing of musical instruments, ane (tripod table), kushe (cradle) and other household items. So, speaking, communicating even at the household level, we learn a lot from each other. And no matter how we talk about the greatness of our people, about our ancient religion and unique culture, it’s impossible not to take into account the daily life which the Circassians led in the past. That is so-called our "household space" which shows our way of thinking, rationalism and esthetics of our people. One way or another, but all is connected with our way of life. Manufacturing a simple thing, a household item, we begin to understand with time the lost.

- In the ancient times, the Circassians considered the craft prestigious. How about today? Is it considered now honorable?

A. P.: As I have already said, first of all, we must take in consideration the desire of the person. If he has a desire, if he works and learns, then he becomes a master with time. Today, we live easier: we work for money and we live with it. And in the past it was not so much money, our ancestors wanted or not wanted, but they were lived making all themselves at homes with their own hands. The Circassians had in each family needlewomen who were doing a lot of things: they embroidered in gold, sewed clothing, wove haberdashery netting. In every family, the man was a carpenter and could make furniture, household items, cradle, tripod table and chairs to use, rarely for sale. Of course, there were masters – smiths and saddlers, known throughout the neighborhood. They've been talked and highly appreciated.
Today, there are shops and markets where we can buy with money everything, from a wooden bowl to a national suit. And therefore in our days only enthusiasts are doing crafts, not by necessity but by desire or even by vocation. And the craftsman who better and skillfully makes, he is a master. Why does it engage all today in folk art and crafts demanding a lot of time if they can buy everything with money? Why do they spend a precious time if everything is already available? They need only money. Thus, we have today a few masters, and traditional objects made with ancient technologies are expensive. But the people buy them and keep them as relics.
Sure, today there is no need for everyone to do simply so folk crafts. But they still have their own philosophy, their own strength. To become craftsman, you need to learn to listen masters, to understand that you're doing. Today. It’s important to preserve the ancient technologies, standards of folk culture objects and even to study scientifically and to describe in detail. Of course, this is for those who have such desire.
All Circassian had a lot of use. For example, there is our ane – tripod table. No one people has the culture like ours. We have to admit the Adyghe table or ane is unique with its height and order of serving dishes. It has its own thoughtful philosophy. If we follow the rules at the Adyghe table, it will become clear. There is the same thing with kushe, Adyghe cradle, and lapetet, buskins. It also is related to weapons: dagger, sword, and to national clothing, belts. All the Adyghe cultural treasure has its own use, its own philosophy. But today there are few those who know about it, and a little of those who ask such questions.

- What are the peculiarities of life and work of contemporary craftsmen in Adyghea?

A. P.: In our time, learning of folk arts and crafts became available. And this is a great achievement! Today, we have in Adygea masters who teach gold embroidery, sewing of national clothes, woodwork and even blacksmithing. There are master classes for beginners; experienced craftswomen organize embroidery and sewing courses. There quite often are exhibitions of masters of folk arts and crafts both in Adyghea and in other cities of Russia.
In my opinion, if you work every day, you have any difficulties. But, first of all, it’s a desire. And if you have fast earnings as a main goal, your work will be more difficult. But if you make crafts with desire, you will work with pleasure and you accordingly will earn.

- At the end of last year it was declared the Association of masters of folk arts and crafts would be created in Adyghea. What is it created for? And how does it help new and young masters?

A. P.: The Association, as a structure, will help masters of folk arts and crafts to consolidate, to act and to work together, to exchange experience, to communicate more with each other. And one of the main tasks of the Association will be to share with people the basics of crafts, to attract their interest in that we, masters, are doing. In addition, it is difficult for one to understand everything, and the Association let us to increase our opportunities, to take into account contemporary methods of promotion, marketing and management. It will be possible to work with the public support.
The Association activity will include exchanges of experiences, advises and master classes of known masters to young beginners. The Association will allow us to create our own space. It will open the way to develop for masters. This concerns solution of economic and judicial issues. Some local artisans are old and need support, communication and even help. It is assumed the Association will support them, give them different opportunities. What will happen farther? The time will show!

- What's your master’s credo? What is you main principle in work?

A.P.: For myself. I took as a credo or work main principle, first of all, to try not to cut down trees. In fact, when we cut down a tree, we suffer, we scold yourself. For example, the boxtree of which I make phachich, ratchets. I have never cut down myself boxtrees that our ancestors considered sacred. But if I learned someone had such material, I acquired it. To make ratchets requires a wood with a diameter of 20 cm. And when I look at its slice, I saw it counts over 150 years. And there I make a few plates of it. Is this good? Does this cost it? Thus, I refused to cut down myrself or pay for the felling of trees, especially rare and relict. The tree has grown during one century and a half; so we let it continue to grow. But if a tree was broken or snatched because of bad weather, then I don’t refuse it. Sometimes the customer brings material to me in the workshop.
For manufacturing of shychepshyn, I used Circassian walnut. Where do I take it? Sometimes, someone cuts down a tree, I come up and ask for a part of it, I promise to remove it myself. The place of branching of the trunk is suitable for making of pommel of saddle. I take a lot of material for myself from those who are producing furniture. I buy it and work with it. But to cut down the tree... Never! This is my principle. For trees of pear, apple, apricot, I also try not to cut down them. However, if the term of tree has come, or they are going to cut down them, only in this condition I can take it.
They say the tree has a soul. But everything has the soul. Certainly, I don't talk with trees. Many people believe it mystical. But what does "talking with a tree" mean? It means to understand it. So, when I make a tree for saddle or shychepshyn, the structure of wood dictates its rules of treatment. I have to change somewhere a direction of the cutter, to strengthen somewhere the pressure, and to bypass somewhere the knot. Then I start to feel a nature of the material. In my opinion, this is a dialogue of the master with the wood.

- And the last. What advices and recommendations would you give to the young as an experienced master?

A.P: First: if you decide to make the craft, do not delay, start quickly! If you begin quickly, you will soon do the real work. Second: it need to work more! To make it at once means only to learn that it is. But to do it ten times is to understand nature of craft. So the old masters said to me: "Make the first dozen items, and there you can understand something". Therefore, for start you need to make this first dozen. No matter what a smart lecture you listen, no matter what detailed information you read, without your hands, without manual work, nothing will get in your head, there will be no complete understanding.
I relatively quickly made my first saddle. And two months ago, I began to do my second saddle. So, in this time I start to ask myself a lot of questions. How did I make it the first time? How did I choose the material? How did I approach to that? Barely remembering, I already have done in my own risk. And it so happened I made the second saddle with more difficulty than the first. Therefore, first of all, it is necessary to work, constantly improve your skills. You have to make with a desire, and making to learn!
When you have understanding in your head, when you make deliberately, then you receive skills. But there are masters who don’t work for years, and then after some time they quickly make it. Thus, third: the mastery comes with a deep understanding, and it comes with a constant work. Sure, you don’t become a master with only one desire. And if you do without understanding, you will have any success. So, the boy is able to make once, without understanding, just repeating after the master. But after some time, he will not remember how to do it, because he repeated mechanically, and he didn’t understand anything. However, when you get to the essence, when you have understanding, everything already is making smoothly and in complex.
Every craft has its own philosophy. We have to know, to understand and to find our approach. We have to take into account forms, to understand why and for what. And for this purpose we have to study history of our people, to understand their rational thinking and to discover their art view of simple household items, and also to communicate constantly with the masters knowing traditions in the crafts. If we take examples of "ane "or" kushe", all Adyghe cultural objects were thoughtfully and esthetically made and had their functions. But it is very difficult to make them without understanding. For me, mastery in craft means an understanding of the philosophy of my people!

- Many thanks!

The interview is written by Fatima Teuchezh
The photos of Kazbek Kodzheshau


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