myszata said: Hi, I'm just writing to you to say thank you! I'm doing research on Otoyomonogatari and I want to present it on manga covention. Your blog is very helpful, so can I link my presentation to it and make that kind of reference? :) Once again, thank you so much!

Absolutely! I am glad it is helpful. Let me know if you need help with any particular topic. I need to write some new pieces. Also, which convention? I’d love to know.

Thank you for asking. :D

@2 weeks ago with 1 note

Otoyomegatari: Part 2 

sailorcq:

image

Next is Karluk’s Town! Fun fact about the name Karluk, it’s the name of a nomadic Turkic tribal confederacy (who are closely related to the Uyghurs) and is also one of the six major branches of the Turkic Language Family (which includes Uyghur and Uzbek!) As I mentioned in my first post,…

@1 month ago with 56 notes

New Otoyomegatari chapter is out! http://www.mangareader.net/otoyomegatari/37

@1 month ago with 8 notes
#otoyomegatari #A Bride's Story #kaoru mori 
chingizhobbes:


In this portrait, Prokudin-Gorksii captures the traditional dress, jewelry, and hairstyle of an Uzbek woman standing on a richly decorated carpet at the entrance to a yurt, a portable tent used for housing by the nomadic peoples of Central Asia. After conquering Turkestan in the mid 1800s, the Russian government exerted strong pressure on the nomadic peoples to adopt a sedentary lifestyle and settle permanently in villages, towns, and cities.

Russian Turkestan, c.1907-1915. At this point, it is likely that the term “Uzbek” referred to the descendants of the actual nomadic Uzbeks who had become the ruling class of the Central Asian khanates and emirates in the 16th century. This is in contrast to the settled “sarts,” who did not live in yurts and whose nomadic heritage had given way to settled life many centuries earlier in the case of both Turkic and Iranian sarts.

chingizhobbes:

In this portrait, Prokudin-Gorksii captures the traditional dress, jewelry, and hairstyle of an Uzbek woman standing on a richly decorated carpet at the entrance to a yurt, a portable tent used for housing by the nomadic peoples of Central Asia. After conquering Turkestan in the mid 1800s, the Russian government exerted strong pressure on the nomadic peoples to adopt a sedentary lifestyle and settle permanently in villages, towns, and cities.

Russian Turkestan, c.1907-1915. At this point, it is likely that the term “Uzbek” referred to the descendants of the actual nomadic Uzbeks who had become the ruling class of the Central Asian khanates and emirates in the 16th century. This is in contrast to the settled “sarts,” who did not live in yurts and whose nomadic heritage had given way to settled life many centuries earlier in the case of both Turkic and Iranian sarts.

(Source: loc.gov, via everythingcentralasia)

@4 months ago with 44 notes

everythingcentralasia:

Kiz Kuumai (Qiz kuu in Kazakh) translated from Turkic languages ​​meaning “catch the girl”, is a traditional sport among Kyrgyz and Kazakhs. In the old times, this game was part of the wedding ritual.
A game is usually conducted as follows. A young man on horseback waits at a given place (the starting line). A young woman, also mounted, starts her horse galloping from a given distance (usually 12-15 meters ahead) behind the young man. When the young woman passes the young man, he may start his horse galloping. The two race towards a finish line some distance ahead. If the rider catches the girl, he gets right to hug and kiss her which constitutes his victory.
However, if the young man has not caught up to the young woman by the time they reach the finish line, the young woman turns around and chases the young man back to the starting line. If she is in range of the young man, she may use her whip to beat him, which signifies a victory for her.


x x x x
@4 months ago with 88 notes

Animal Crossing: New Leaf Otoyomegatari Clothes

Pixiv contributor Milk (牛乳) has drawn Animal Crossing: New Leaf clothes for Amira, Talas and Layla/Leyli!


She has does a marvelous job, so it would be nice if you left a note on Pixiv or on her twitter if you do use one of her designs!

@5 months ago with 41 notes
#otoyomegatari #a bride's story #kaoru mori #mori kaoru #animal crossing #animal crossing: new leaf #new leaf #amira halgal #talas #layla #leyli #layli and leyli 

http://www.mangareader.net/otoyomegatari/36

New girl! New place! haven’t even read it yet, so excite.

@5 months ago with 7 notes
#otoyomegatari #a bride's story #kaoru mori #mori kaoru 
suzani:

GRANDMOTHER’S SCHOOL. The lessons of embroidery. Samarkand region, 2007. Uzbekistan. Photographer by Anatoly Zuev.

suzani:

GRANDMOTHER’S SCHOOL. The lessons of embroidery. Samarkand region, 2007. Uzbekistan. Photographer by Anatoly Zuev.

(Source: pinterest.com, via )

@5 months ago with 232 notes

Another Kaoru Mori interview translation

figarizzle:

Once again, Deb Aoki’s come through with another interview from the Salon du livre in Paris that proves that Kaoru Mori is the cutest mangaka alive. 

Article and image credits goes to Manga-Sanctuary.com

You can find Kaoru Mori’s work in English! Bride Stories is taken care of by the lovely Yen Press, and Emma was put out by DelRey before they shut down, if you scour internet used book stores. In French her publisher is Éditions Ki-oon.

image

Translation under the cut!

Read More

@3 weeks ago with 136 notes
@1 month ago with 91 notes
#otoyomegatari #a bride's story #bride's story #kaoru mori #mori kaoru #central asia 

everythingcentralasia:

Tajikistan’s Various Folk Costumes (x)

Starting from left to right:

Northern Tajikistan
1: Womenswear of Leninabad/Khujand
2: Womenswear of Leninabad/Khujand
3: Menswear of Leninabad/Khujand
4: Regular vintage wear of a Tajik resident.
Southern Tajikistan / Lowlands of Tajikistan
5: Modern bridal costume from Kulob & Vintage mourning costume of a young woman from Karatag.
Mountainous Tajikistan
6: Modern costumes of a young woman from Nushor & Qal’ai Khumb.
7: Vintage costume of a young woman from Darvaz & festive costume of a young woman from Darvaz.
8: Vintage costume of an elder peasant from Darvaz & jewelry of a Tajik woman from mountainous regions.
Western Pamir
9: Vintage costume of a young woman from Rushon & Vintage bridal costume from Shughnon.
10: Modern costume of an elder peasant from Shughnon & Modern bridal costume from Iskoshin.

@4 months ago with 44 notes

Traditional costume of a Turkmen bride.

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.

x x x x x

(Source: everythingcentralasia)

@4 months ago with 78 notes

universalbeauty:

 Karkalpak people


Karkalpaks are a turkic speaking ethnic group located in southern Uzbekistan near the Aral sea. The area they live in is known as Karkalpakstan.

(Source: )

@4 months ago with 344 notes
#karakalpak #qaraqalpaq #photographs 

Speculation Theater - Anis

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.

@5 months ago with 27 notes
#otoyomegatari #a bride's story #mori kaoru #kaoru mori #speculation theater #anis #amira halgal 
suzani:

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.

suzani:

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.

(Source: pinterest.com)

@5 months ago with 77 notes
#uzbek #paranja