On embroidery on an apron or a shirt of the Udmurt woman it was possible to learn a lot of things: from what villages it is, how many children she had, and from the costume as a whole – her age, family status, social status.
Rhombus – an order wish to the good owner, the sowed field or information on number of sons. Later rhombus is a gingerbread, a prosperity symbol. The circle, semicircle, a rhombus with radial beams or a cross – a sun symbol, preserved against evil ghosts, "kuak" – a heavenly tree of life and preserved against a malefice and diseases. In the 15th century on female bibs (kabachi) there is a moon symbol – an eight-final star with diamond-shaped beams without which it was impossible to play weddings. In Israel such sign is known since the 1-3rd centuries [4].
In the Buryat culture, as well as in the majority of traditional cultures, the ornament is the most ancient type of graphic designs. At the Buryat all was exposed to Ornamentation practically: clothes, jewelry, house utensils, dwelling, cult subjects, weapon and many other things. Value and relevance of this universal language is defined not only a special role of an ornament in traditional culture of Buryatia, but also and that the ornament can be considered in synthesis of sacral value and symbolics in a context of verbal and nonverbal communications [5].
Bashkir ornament.
For the Bashkir ornament – are characteristic as geometrical, and it is curvilinear – vegetable patterns. The form depends on execution equipment. Geometrical motives, are executed in equipment of calculating embroideries and in weaving. Curvilinearly – vegetable – in equipment of application, a stamping, a silver notch, in equipment of free embroideries (the platform, or "a slanting grid"). Usually patterns were put on a tree, skin, metal, a cloth. Ornamentation receptions are diverse: carving and list on a tree, a stamping and a carving on skin, metal processing, application, abusive and mortgage weaving, knitting, an embroidery.
The Bashkir ornament – one of the phenomena of the national Bashkir culture, the originality which has reflected it and peculiar features. The ornament for the Bashkir people was the only form of art and graphic creativity. Almost total absence in the Bashkir folk art of realistic images of animals, people and landscapes was caused by influence of Islamic culture, namely – a ban of Islam to represent the live. Islam not only excluded from art all other images, except an ornament, but also defined an extreme stilizovannost of its form, distribution of a geometrical ornament. Nevertheless, northern areas of the Muslim world knew broad application of images of animals in an ornament, a thicket stylized, and sometimes even rather realistic character.
The Bashkir ornament (both separate elements, and all composition) is almost always symmetric. The whole world contains the phenomena only in opposition: day – night, life – death, light – darkness, man's – female, left – right, etc. It is shown through symmetry of resisting figures of animals. In order that contrasts in mutual fight didn't destroy each other, the third element of composition, their differentiating – golden mean, a reference point, the symbolical image of an axis of the world is necessary. Thus, in an ornament ancient ideas of a triple rhythm of life, characteristic for the majority of the people were reflected.
In similar compositions the female figure, sometimes the tree image most often was central. Sometimes the central place was taken by a symbolical rhombus. Such replacements aren't casual and logical as also a female figure (an image of the goddess of all real), and the tree (a life tree), and a rhombus (an earth arable land symbol) are symbols of fertility, the life source.
On Bashkir kharaus it is possible to meet as strongly stylized anthropomorphous figure in the composition center, and the tree image.
Composition of patterns Bashkir kharaus has many options. It can't be considered as simple loan of an ornamental plot. Connection in one composition of horses, a tree, the person, birds doesn't contradict national representations. "In the Bashkir folklore, – researcher M. M. Sagitov notes, – in critical situations the horse becomes a sacred patrimonial tree of the poplar which mighty branches lift the hero on inaccessible height and that rescue from the enemy persecutor. The motive of transformation of a horse in a patrimonial tree is characteristic for the TurkicMongolian epos" [6-9].
Data on spiritual culture the Bashkir testify that preconditions for preservation of the representations which have been originally connected with a horse, were great, and with a deer and a rooster – aren't so considerable. Possibly, in the Bashkir culture the initial symbolics remained in the most general terms: this composition was comprehended as a good wish of fertility and in connection with the "life-deaththe new birth" complex [10].
1. http://www.langust.ru/review/lang_h02.shtml#02_01
2. Kuzeev R. G., Bikbulatov N. V., Shitova S. N. Decorative creativity of the Bashkir people. Ufa: Bashk. branch of Academy of Sciences of the USSR, 1979, 244 p.
3. Dulgarov A.Ya. Semantics of an ornament in the Buryat Buddhist architecture, 2010, the thesis on competition of a scientific degree the candidate culturologists. Ulan-Ude, specialty: Theory and cultural history. 193 pages, as the manuscript.
4. Udmurtskaya pravda, No. 4 (24545), 15.01.2010.
5. Dulgarov A.Ya. Semantics of an ornament in the Buryat Buddhist architecture, 2010, the thesis on competition of a scientific degree the candidate culturologists. Ulan-Ude, specialty: Theory and cultural history. 193 pages, as the manuscript.
6. History and culture of Bashkortostan, studies book. Ufa, UGNTU, 2001, 107 pages.
7. Hisametdinov F.G. history and culture of Bashkortostan. Studies. the settlement for studies, 2nd prod. and additional – Ufa, Gilem, 2003. -280 Art.
8. Culture of the people of Bashkortostan: history and present. Materials region. Науч. Conference. devoted to memory D.Zh.Valeev-s/edition of Z.Ya of Rakhmatullin, Ufa, RIO BGU, 2003, 282 pages.
9. Karimov K.K. Culture of Bashkortostan (1917-2000). Ufa, Gilem, 2006, on: http://www.bibliofond.ru/view.aspx?id=17310#1
10. Nikonorova E.E. Ornament of a calculating embroidery the Bashkir (genesis and development), the thesis Abstract on competition of a scientific degree of the candidate of historical sciences, 07.00. 07 – etiology (ethnography), Ufa, 1998, as the manuscript.
CROSS-CULTURAL COMMUNICATION: NON-VERBIAL BEHAVIOUR
УДК 316.772.2
KHASANOV A.
St Clare’s College, Oxford, UK
Among the most markedly varying dimensions of intercultural communication is nonverbal behavior. Knowledge of a culture conveyed through what a person says represents only a portion of what that person has communicated. Much of nonverbal communication may be broken down into six areas: dress; kinesics, or body language; oculesics, or eye contact; haptics, or touching behavior; proxemics, or the use of body space; and paralanguage. Any one of these areas communicates significant information nonverbally in any given culture.
One of the most apparent differences is the interpretation of dress. The message given by polished shoes, for instance, could easily be lost on a culture in which sandals are the standard footwear. Even when cultures share similar forms of dress, the message inherent in the choice of clothing is not always the same. For instance, the selection of a conservative tie for a formal negotiation might well be shared by several cultures, but exactly what a conservative tie is remains determined by the standards that prevail in that particular culture. Thus, what is a conservative tie in one culture may seem unconservative in another, giving a different message altogether.
Just as importantly, people often bring to a cross-cultural meeting ethnocentric prejudices regarding what they believe to be proper dress. Thus, a European or American may condemn as somehow less than civilized a Saudi or Iranian in traditional garb. Conversely, a Saudi or Iranian may well consider as flagrantly immoral the bare face, arms, and legs of a European or American woman in business attire.
Nonverbal behavioral differences in kinesics may be less obvious than dress differences. How people walk, gesture, bow, stand, or sit are all, to a large part, culturally determined. In