pirotski ćilim / Pirot kilim rugs
Svetlana Manić (78), jedna od najstarijih tkalja u Pirotu, kaže da je ona za narudžbinu iz Amerike uradi- la osam ćilima sa Rašićevom šarom. – Prvi put sam sela za razboj sa 12 godina. Tada su u zadruzi prima- li učenice, a ja sam ostala bez oca i majke i posle četvorogodišnje škole pošla na ovaj zanat – priča Svetlana. Kaže i da svako može da nauči da tka, ali da treba mnogo ljubavi jer samo jedna šara, jedan red ćilima od nekoliko centimetara, traži tri meseca učenja. Da bi tkalja napravila omanji ćilim, treba da radi gotovo dva mese- ca, i to u zgrčenom polučučećem po- ložaju, dok oči, ruke i kičma stradaju. – Nekada je u svakoj pirotskoj ku- ći bila bar jedna ćilimarka, bilo ih je na hiljade, sada ih u celom gradu ima dvadesetak, a svake godine neka pre- stane da radi. Ranije su tkale po ku- ćama, onda donosile ćilime u zadru- gu, komisija ih je ocenjivala, a one za to dobijale novac. Svaka žena je imala svoju knjižicu, u koju se upisi- valo šta je uradila – priča Dragan Pa- nić (56), direktor Ćilimarske zadru- ge Ponišavlje, koja postoji od 1902. On kaže da je ćilim od 2012. na li- sti srpskog kulturnog nasleđa, ali ako država danas finansijski ne pomogne, ćilim ćemo uskoro gledati samo na sli- ci ili na kompjuteru. Na razboju teško. A razboji u njihovoj zadruzi stari su više od veka. Na njima se i danas kao i nekad tkaju ćilimi raznih boja i šara, pravo slikovito pismo koje do- nosi dobre vesti. Tako je žuta odra- žavala strasnu ljubav, zelena je bila nečiji cilj, plava je značila nadu, bela čistotu i sreću, crna tugu, dok je ro- ze predstavljala nevinost. – Nije loše da se svako nauči ovom ručnom radu jer je lice s obe strane. S jedne strane traje 100 godina, po- sle ga okreneš i traje još 100 godina. Slabo se i cepa. Ne voli da se usisa- va, nego se očisti vlažnom metlom i malo se ponekad osveži sirćetom i vodom. Kad nemam u kući ništa na razboju, ja sam bolesna. Čim imam ćilim, odmah mi je lakše. Ako neku šaru ranije nisam videla, ponekad do kasno uveče tkam da vidim kako će izgledati – priča Svetlana. Šara pirotskog ćilima danas živi kroz ceremonijalne, pozorišne i filmske scenografije, umetničke performanse, viđamo je na nameštaju, posuđu, ode- ći visoke mode. Ali sve je manje tkalja kao što su Svetlana, Maja i Lela. I tako ova nesvakidašnja umetnost ručne izra- de pirotskog ćilima lagano izumire.
Kornjača, to jest željka, šara je po kojoj se prepoznaje pirotski ćilim. Označava dug život i istrajnost is a pattern for which the Pirot rug is recognisable. It symbolises a long life and persistence
est active weavers, says that she made eight rugs with Rašić’s pattern for an order from America. - I first sat at a loom at the age of 12. Then the cooperative was accepting school pupils, and I was left without a father and mother, and after four years of school I start- ed this craft, explains Svetlana. She says that anyone can learn to weave, but they need a lot of love, because only one pattern, one row of the rug measur- ing a few centimetres, requires three months of learning. Just to make a small kilim re- quires almost two months of work, and to be done in a crippling half-squat position, while the eyes, hands, and spine suffer. - At one time there was at least one rug maker in every house in Pirot, there were thousands of them. Now the whole town has only around twenty, and every year some of them stop working. They used to weave in their homes, then bring the completed rugs to the cooperative, where a commission would evaluate them and they would receive money. Every woman had her own booklet in which she wrote
what she’d made, says Dragan Panić (56), director of the Ponišavlje Kilim-makers Co- operative, which has existed since 1902. He says that the Pirot kilim has been on the list of Serbian cultural heritage items since 2012, but that if the state doesn’t help financially today, we’ll soon only see these rugs in pictures or on computers, but un- likely on a loom. And the looms in their cooperative are over a century old. Today, as long ago, they use them to make rugs with various colours and patterns, a genuine picturesque letter that brings good news. So, yellow reflect- ed passionate love, green was for some- one’s goal, blue signified hope, white pu- rity and happiness and black sorrow, while pink represented innocence. - It’s not bad for everyone to learn this handicraft work, because it has a face on both sides. The one side lasts for a hundred years, then you turn it over and it lasts an- other hundred years. It hardly ever tears ei- ther. It doesn’t like being vacuum cleaned, rather cleaned with a damp broom and oc- casionally wiped with vinegar and water. And when I don’t have anything on the loom at home, I’m sick. As soon as I have a rug, I immediately feel better. If I haven’t seen some pattern before, I sometimes weave until late into the evening so I can see how it will look, explains Svetlana. The patterns of Pirot rugs live on today through ceremonial, theatre and film sce- nography, through artistic performances, while we see them on furniture, kitchenware and haute couture clothing. But there are ever fewer weavers like Svetlana, Maja and Lela. And so this unusual art of handmade Pirot rugs is slowly dying out.
The tortoise
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