The Circassian Madonna of Goshefyzh Abredzh

Interview with the head of the Department of decorative arts of the Adyghean Republican children's school of arts with name of K. H. Tletseruk, a member of the Union of artists of Russian Federation, master on production of tapestry and on haberdashery weaving Goshefyzh Abredzh.

- At the end of last year, it was organized your anniversary author's exhibition where your tapestries were presented. And among these works, it was exhibited a magnificent composition, called "The Circassian Madonna." So, this interview is devoted to these tapestries. And I would like to know, what original meaning did you put in them?

G. A.: Any creative work does not appear in an empty place. Each person, each artist takes an internal process of thinking, understanding of the theme that affected him somehow. Initially, there was a question of some injustice for me for some reason. So, all historically ancient peoples have the image of Madonna. Surely, Madonna isn’t our word. Rather, it is the image of mother of God or progenitress, universal mother. We could say the foremother. Her image is manifested in all kinds of art. They show her, they create icons with her, they pray for her. And I didn’t understand why we didn’t find such image in the art of our people. It can't be possible that we, Adyghes, didn’t have it. I cannot say that at that time I was a good in art and I became closer to its studies only in recent years. Then I began to look for information about this image in all sources that I could find.

Great thanks to Felix Nakov! When I read his book "Tkhypha: Adyghe (Circassian) sign system", it was a revelation for me, it opened my eyes. He presents in his book the classification of this goddess, madonna. At the same time, he considered this image, defining the concept of "Guashe". Conceptually, it has several definitions. So, he defines the first as a goddess, for example, psykhoguashe or shkhaguashe, mezguashe. That is, "guashe" is "sea goddess", "goddess of trees," etc. This is the first comprehensive meaning. "Uneguashe" - "goddess of home", for example. It explains that, in fact, such concept was common for the people. And they used it, pray with it, ask something. Another example is Khantzeguashe, the goddess of rain. The second meaning is the princess. It means the woman, eldest by rank or by sort, or the eldest woman in a family where the bride came. The third concept is an anthropomorphic doll, that is the object with which the children played, it is also called "guashe". Perhaps, it is the transferring of the image of Guashe-goddess on the subject with which they could play.

In the book, after Felix Nakov tries to reveal the inner meaning of all ornaments that can be considered in her, he approached to them from the point of view of language, from the point of view of information. So, I was close to this and I understood it immediately. Here I can say, addressing to another theme, the people asked me before, believing that I understand better than my Russian-speaking colleagues, to explain to them some ornament. I always say: "That's how I feel. Maybe, the genes tell me it. That's a ploughman. This is a buffalo. And this is, for example, something else."

- At the time, you collected a collection of Adyghe ornaments with its meanings.

G. A.: Yes! I tried to find every ornament, every one. The quantity was important for me. Because there is such principle: "a quantity passes into a quality". Many people were interested in how I was thinking, how I was telling. Is it true or not? But it's my inner sense of the seen. And when it was also confirmed in the research of Felix Nakov, thus, his scientific work confirmed my thoughts, my guesses. Surely, I was just happy that I still thought correctly. And then I allowed myself to define this image exactly so, to perceive its image as an image of Guashe, an image of a goddess or ancestress. Now it was conducted even in science a study on the blood group, and after checking of thousands of tests for DNA analysis, they made the conclusion that all humans came from one woman. I believe, that such woman was not one, they were several.

- For example, they are five in your composition "Circassian Madonna".

G. A.: No! In this case, we cannot bind to the quantity. Important is the idea of possibility of existence of such fact of the foremother and the mode how she is reflected in the culture of different peoples, not only of the Adyghe (Circassian) people, namely in all parts of the Earth. Every nation has such concept, it means that it had something of similar. But it would be more understandable not to know it, not to remember, to lose some information. However, this phenomenon reached us. Even in this form, in the form of ornaments, in the form of some legends, songs and other manifestations of folk art, through indirect proofs.

- So, having decided to depict the Guashe as a foremother, you used the Adyghe ornaments.

G. A.: I will clarify my search for this image, that through which it could be expressed, led to this. So, at first I had a desire to find such image in ornaments. And after it was found and, moreover, confirmed by the scientific work of Felix Nakov, I found its geometric incarnation in the form of an ornament. At the same time, the elements included in this image are not necessarily the whole thing, the whole ornament "from head to toe". These may be some parts, such as heart which is like a soul or a heart inside the heart, a very significant symbol, denoting an embryo, emergence of a new life. This is a monumental sign! Or such as feeding or milk. Or same elements on the head: some horns or even modernized antennas. Or some kind of glow, like a halo. Felix Nakov gives the same example. I remember myself how my grandmother, no, even my great-grandmother, from whom my grandmother inherited it, had a bone comb with an arched shape, she kept it all her life. Thus, this comb strengthened the hair on the back of the head. And it had such little horns. Unfortunately, I was very small then and did not understand that such handmade things should be preserved. Yes, we lose so our heritage without understanding its importance for the future. We can say that during the Soviet period the continuity has been lost.

When the image of guashe fully appeared, I had a question where it was depicted. It turned out that in fact the ornament was not tied to any particular place. The same ornament can be found on sleeves, dress, hem and shoes, and on some headdress. It's the universal ornament. But most often, this image of woman was presented at the sleeves. If we continue to follow the logic of Felix Nakov, these wings, wings of Isida, consistently flowed into these sleeves. When the girl dances, she swings her arms, like a bird opens its wings. But at the same time, the affiliation of this part to the female suit leads to the fact that the female image already carries a function of protection. Although we can only guess about it. However, the image is defined very clearly itself.

In his study, Felix Nakov gives an example of a tombstone found, if I am not mistaken, in Kabardino-Balkaria, where an anthropomorphic female figure was clearly depicted. This image does not specifically highlight arms and legs. But we can clearly read breasts, round belly, and it is clear that it is a pregnant belly, and a process of childbirth. And we see again on the head horns, which are closed in some cases, and open in other cases, in some cases, they are in the form of rays or in the form of a flower. This is most likely a halo, like at icons. Perhaps, it's a sign of divinity, holiness. And there it is impossible even to doubt about the uniqueness of that you see, because it is clearly visible that in the place where there should be breasts, there are breasts, and where it is a belly, there is a belly. And the process of childbirth is unambiguous.

Certainly, here we should also talk about the degree of stylization which is found in the ornamentation. The more recognizable elements are closer to us in time. The more schematic, more conventional elements are older. Why? Because, if the ornament is repeated more times, then its extra elements are gradually exfoliated, some secondary parts disappear, and only its essence remains, concrete and clear. And I consider more geometrized ornaments deeper and more ancient. So, Felix Nakov clearly traced a connection in them from ancient times, from Neolithic times. Even the drawings found on dolmens show the process of childbirth, thus, the female ancestor takes a position, and it is assumed that she is ready to give birth.

- And the composition "Circassian Madonna" also shows all the images that you listed? Or are these schematic images of a woman?

G. A.: No! I had based on the Circassian ornaments. And I just wanted to show with it that this image of Madonna was already formed and already existed for a long time. And so, according to Nakov, such ancient image is a statue of the Neolithic goddess of fertility from Chatal-Huyuk, that presented just the process of childbirth. And next to it, it is a picture of a halo, this glow over the head of the God Shamash. As we can see, the researcher tried to plunge back through centuries and to trace some development of this image. And even the Egyptian goddess Isida, she also has such horns. Felix Nakov shows the image of Isida and near an Adyghe ornament that was found on the covering of pigtail. That's where the horn elements could come from. And there is an ornament that was depicted on the tombstone. And, of course, at the beginning of the book, it is presented a scheme or a table, which, in my opinion, represents very well the sign system of the Adyghes. It clearly traced the logic; there are elements of head, body, arms, legs and fetus that is born. And he found all these elements in ornaments and proves it convincingly.

In any case, I perceived them close, and it seemed to me as if this information had already lived in my head. Moreover, the element of a rhombus denotes a body, and the shamrocks running in the corners mean milk. Felix Nakov interprets them very interestingly. For example, some down-going elements are a womb, process of childbirth. This is a very beautiful ornament. But not only that, I understood and accepted it, And I'm still trying to explain it to my students. And they already use these ornaments in their works, depict them as a wish of happiness and continuation of the family. So, I tell them the meaning of ornaments that they could make patterns with them not mechanically, but having an internal connection with the information side. So, for they could know that they’re doing. Well, at least, for they could invest in their work some sense.

And returning to my "Madonna", I immediately faced the question: there were many ornaments, what kind to choose? I couldn't show them all. I had to choose some from them. And I wanted very much. It is clear this is the wrong approach, and it was necessary to select. And so, I decided for myself that it should be very clearly marked elements, as on the tombstone. This is their completely abstract presentation where it is not clear what it can be: curls or other elements. Although the meaning of it is easy to read. It was important to depict the image with vegetable elements, common for ornaments. They help to see the same Madonna and child inside her. Following these criteria, I chose these ornaments. It seemed to me they most clearly traced these concepts. So, the people, doubting that this is similar to Madonna, looking at them, especially at the rightmost ornament, it's very stylized, looking at the ornament standing next to it, where there are clearly visible breast and belly, could understand themselves analogies, comparing them, find certain elements and make sure that it is a notation of birth, appearance of the divine being. Let’s say it's like a child's play "What's it like?". We teach children: "Look at the cloud! See, this is an elephant, and this horse looks out from behind the cloud." That is the imagery of thinking, which is, perhaps, inherent only to human from all living beings. And it is important to teach a person to see images in the world around him. So, the extreme work on the left side offers to see exactly through the floral ornament the same female image of the Madonna with a child.

That was my main idea. In the colors, I preferred something of pulsating and leaving with waves into infinity, dissolving and even, maybe, disappearing.

- And, choosing colors, did you relate them to the traditional colors that were used by the Circassians?

G. A.: Really, it was not important. The golden color of the ornament can suddenly become brown or black. No, the black color doesn’t exist. In any case, it may be some dark element. Here it was important to depict the image of this dissolution. It was important for me to show that it was disappearing, that it was not known, not clear to everyone, but it was necessary to talk about it, to restore it. And the waviness of the whole composition, if you look closely, conveys my idea: it creates some anxiety. Surely, it had to be in some warm colors. I had no doubt about that. But at the edges, it start to appear some cold areas, there are elements of oblivion, a reminder that all this is gradually leaving, disappears. Not even may, and already it is disappearing. Therefore, there is some anxiety in this. I was proud to find these images that exist and are thousands of years old, as well as the culture of the Adyghes.

- Thus, you transferred folk art of the Adyghes to the author’s art. I believe, the tapestries of this composition can be perceived as the high art. This is to understand that it is not just simple tapestries with ornaments.

G. A.: I have never done anything just to decorate. Yeah, I'm never good in it. Even if I want specifically to do something for beauty, I cannot work. Really, I need to give some idea into it: educative or instructive, perhaps because I am a teacher. In my opinion, the work has to tell about something, about something to know. Otherwise, what is the sense in such time-consuming process? To work for a long time and to create something.

- How long did you create this particular composition?

G. A.: Five tapestries took about six or seven months. It is considered to be very fast because such works are created much longer. But I wanted to finish in the time, so I put more effort and time. And I also was working at the school of arts.

- And in what year did you created the "Circassian Madonna"?

G. A.: In 2017. This is one of my last works. And, in spite of all the processes associated with my life - work, home and everything else – I forced myself to find time, I wanted to do it faster. If I worked normally, without haste, it would have taken at least two years to create them. Well, maybe because I was so mobilized, it just happened so fast.

- Having seen your tapestries, I considered them, in some way, as a work of symbolism. What do you think about it?

G. A.: First of all, it is necessary to understand very well the essence of symbolism in art. I can't say I'm good at it. But, in my opinion, it is not just the symbolism. It's not even symbolic. Of course, a ornament is a symbol of something. But it has many functions, many meanings and many elements. Today we cannot know all about it.

For our culture, I would like to say the following. Our ancestors carried and preserved it with such trepidation, with such attention through the millennia, although it is a grain at least. Yes! We know only its grains, but they are saved, at least. Our language, our culture, our history, our Adyge Khabze were preserved and reached our time. At least, there are some echoes, but they are kept! But now we see a rapid penetration of Europeanism in everything that we have, from relationships in the family, the clip thinking among the young people who cannot imagine their lives now without gadgets, they speak only Russian, even at home in the family. I'm not an exception. I see in this some objective reasons, layering on the subjective purposes. Sometimes, we have any desire to make some efforts. But it's a pain inside me. It is impossible to lose it! It is necessary to invest all possible efforts to convey to the people, to our people, to our children, how it is valuable, that it is our treasure. Even elementary, when I'm weaving, I'm wondering how it was possible to create such weaving with some loops and fingers.

- And this kind of weaving is unique only for the Adyghes? Or for other peoples, too?

G. A.: Honestly, I haven't met it anywhere yet. However, even the method of gold embroidery of the Adyghes is different. Maybe, thanks of its style, its ornamentation. And the principles are different, too. Just the edition of Ivanokova presents it very good. The author even suggests that when Maria Temryukovna became wife of Ivan the Terrible, she came there not alone but accompanied by his embroiderers, friends, craftswomen who lived in the Royal court, teaching the gold embroidery. It was in the 16th century. In any case, our masters had some influence. Before, only beadwork, pearl embroidery existed in Russia.

In fact, it doesn't matter who started it the first. Today, it is important to preserve this heritage, which we had a chance to catch, to see at least with the corner of our eye. Sometimes, looking at the younger generation, and they are good people, they are our children, we love them all, I notice the reluctance to know the language, to know the history and the culture of our people. And it scares, because we continue in them, in our children. If we don’t invest at least a grain in them, then what will they to have? Here it is important for us, adults, how we influence them, how we inform them, how we show it, how we use it in everyday life. That is for our heritage could be used in everyday life, at least, it would be present in some edge. Today, everything is renovated in European style, we have any place at home for a small panel with some ornament, for some object made in the national style. I sincerely want to have many families that are preserving such heritage. Ideally, it would be good if we all do it, if we all appreciate our culture.

- However, in many cases, it is a task of those people who are involved in art, culture, who are engaged in creative work. Such as you, for example. Or masters of folk art and crafts, artisans, artists. So, all those who, thanks to their creative activity, will be able to introduce the younth.

G. A.: I hope I am making a small contribution to this affair. I would like to hope, of course. And when I hear reviews about my work or the people ask me: "What does it mean?" I am always happy to explain and communicate my vision.

- Thank you very much for giving your tapestries to the exhibition of works of masters of folk arts and crafts of Adyghea, which was opened in November 2018 at the Permanent representation of the republic in Moscow. Still, I would like that you could tell us a little about this composition, because, as the "Circassian Madonna", it also presents this passage from the Adyghe ornament to the high art. Just a few words about the idea of this composition.

G. A.: The name of this composition is "The Times". Why not "The Seasons" where we can read it when we look at tapestries? To be honest, I did not want to name it so narrowly directed. But I thought that each time of year has its conditions of life, its eventfulness in the traditions of the people, and all this was subjected to the season. In spring, the people planted, sowed, in summer they grew this crop, in autumn they collected it. And when it was grown a lot of things, just at this time there were weddings, and in winter they prepared for a new spring, new plowing. And in my work I wanted to show with the chosen ornament vital processes that were happening every time of the year. The spring is a blossoming shamrock, a symbol of the birth of a new life. This is not only as a plant, but also the origin of the life or the time of awakening. The summer is a maturation, a wood. In this composition, I tried to subordinate the colors to these notions. The third is autumn, and I used my favorite ornament, which I name "Udzh". It's a common dance, when everyone is in the circle. Mostly, the people celebrated events in the fall. And the winter is represented by a wheel, because it is a circle of life. The winter begins a new phase of life, and all need to prepare to it. This is a time of calm which allows a person to prepare for next year, for work in spring. For this purpose, it is to accumulate the necessary forces. Perhaps, that is a reason why the winter is depicted as a wheel, and it seems to be covered with snow. This composition reflects some silence. So, all these four tapestries represent the cycle of the life which is much more than the seasons.

- Thank you for the interview! And we hope seeing your new works that would tell to the people a lot of things about our culture.

Written by Fatima Teuchezh