@3 months ago with 77 notes
Traditional costume of a Turkmen bride.
x x x x x
In Turkmen culture, bride’s dress differs from casual dress not only with quality, but, first of all, with the symbolism. Its function has a close link with magic, in particular it serves as an item of protection and purification. Special days, considered as lucky days for Muslims, were chosen for wedding dress cutting-out and sewing. Bride’s prosperity depended on it. Dress was cut out and sewed in the bride’s house from the material got in the groom’s house. Because of these all close friends gathered in her house. Respected in the village woman who had a lot of children cut out this dress starting with blessings. Scarps of the material were taken for happiness by those attended the cut-out procedure.
Bride’s wedding dress is always distinguished by wealthy embroidery and decorations. Pendants sewed in the front from both sides of dress in several rows have great importance. Because of this attire dress becomes festive and melodious chime of silvery scaly pendants suppresses evil spirits. By the may, pendants in Turkmen culture have always been served not only as decoration items, but they have symbolic meaning fulfilling the duties of protectors and amulets. It was considered that the bride summoned evil spirits. That is why she should always be protected by all accessible means. In order not to allow evil spirits to see her face and also to hide her face and figure, bride was totally covered with cape. A lot of actions, amulets and talismans were used to protect the bride. Wickers, laces from camel’s hair, tooth of a swine, silver plates in the necklaces from beads with eyes were sewed into all wedding dresses. «Dagdan» made from wood and a triangle knap-sack with coal and salt were sewed to the connective plate between the false sleeves of ritual cape-robe.
Introducing a new type of post! Sometimes, like with Talas’ bridal garb, I am able to find an exact match. Sometimes, not so much! In this case, for Anis, we only have one chapter of information to go on, so theories may be contradicted or confirmed as the story progresses. Anyhow, here goes.
Hypothesis 1 - Anis is a Persian living in Persia
1 - Persia is on the way
We know that Mr Smith is travelling from the coast of the Aral Sea to Ankara, Turkey. Persia during the Qajar dynasty included territory south and southwest of the Aral Sea, and Mr Smith would have to travel through it to get to Ankara.
2 - Persian garb
Though her clothes are not an exact match for the previously posted image, it is possible that Ms Kaoru Mori took artistic liberties, making it more form-fitting to emphasize Anis’ waifishness.
3 - Persian cat
Ms Kaoru Mori made a point of including a scene with a Persian cat, somehow I doubt that’s accidental.
4 - Persian garden
Just going to link to wikipedia.
Additionally, Rumi and Hafez are two famous Persian poets. Quoting Hafez particularly used to be common in Persia, and may be the source of the poem Anis’ husband says at the end. I did a quick search but didn’t find anything yet. I imagine a poem that started in Persian, was translated to Japanese and then back into English might be a little difficult to identify.
Hypothesis 2 - A pattern of brides
It seems Ms Kaoru Mori is developing a pattern of bride stories. First, we have Amira, who has a fairly happy marriage, if not a unique one.
Then we meet Talas, who came from an incredibly wealthy family (her sa’wkele headdress would have cost a fortune), but misfortune seems to be her constant companion. We never know the names or faces of her husbands. As a woman of wealth, she would have married into an equally wealthy family, but sheep that represented that wealth are gone. She is lonely, and unhappy.
After that, we meet Layla and Leyli, who again are distinct, but are set up for a happy marriage. I’ve just read about marriage customs in northern India, and bride prices could be negotiated to be lower if there were sisters marrying brothers. Money is indicated to be somewhat of an issue, so we know that the twins and their husbands are not especially wealthy.
Then we have Anis, who lives in a huge mansion (apparently without many servants?), she is supposed to have the perfect life for a woman of that time and country. She is the only wife, she has born her nameless, faceless husband a son, she lives in luxury and idleness, and yet she is clearly very lonely and unhappy.
Both Talas and Anis live in isolation. Talas had the empty steppes to emphasize her isolation, and Anis has the vast and stark hallways of her home to emphasize hers. In truth, Every inch of the house should be covered in decoration. But that would be difficult to depict in black and white, and contradict the message of loneliness.
After Anis, there will probably be a story about Pariya’s wedding. We’ve been introduced to her possible fiancé, so we already know he won’t be nameless and faceless.
Just very interesting to me. A subtle message that wealth does not guarantee happiness, but rather a “bride’s heart” for her groom.
@4 months ago with 27 notes
#otoyomegatari #a bride's story #mori kaoru #kaoru mori #speculation theater #anis #amira halgal
@4 months ago with 76 notes
Uzbek old traditional cape dress with face veil, Central Asia. Ethnic textiles.
Photograph originally taken by Rosemary Sheel. The woman is wearing an Uzbek paranja with a veil is made of horsehair. The trim is probably tablet woven, a style of weaving that allows for complex patterns over narrow bands. Because the the photo was taken at a silk factory, I would assume the paranja is made of silk. Paranja were originally a robe worn over the head, but as they become garments designated for the purpose, the sleeves become narrower and longer, eventually becoming completely useless for actually putting arms through. Women in cities were most likely to wear a paranja and veil, since Muslim customs were less strictly practiced in villages, rural areas, and by nomads.
Talas is seen wearing one in her introductory chapter.