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The road for the genuine craftsmanship identification is hard to overcome because the records in the facility miss, excluding the of Ethem Zurnaxhiu's family.〔E.Haskuka, v.c, 120-144〕 In addition, some really characteristic examples: In the church of Saint Premte] exists a record that the mural painting has been done by the Greek artist Astrap, documented because of the appended artists signature. The sofi Sinan Pasha's mosque, where the same technique was used - al’seco, as in the first layer of depiction in the al’arabesco style in the 16th century, and in the second layer in the al’barok style in the 18th century, not any signature of the creators of the time was found.〔A.Gërguri, ‘Conservation and restoration of mural paintings Sofi Sinan Pasha Mosque in Prizren, Kosovo Antiquities’, 1987, 87-91〕 This occurrence may be understandable given the Islamic concept and the time of creation, but is surprising that it affects the contemporary creators. For instance, the mosque in the Mamushë Countryside has its mural painting with the verses of Kur’an with the al’seco technique, but no signature of its creator Meli Zenko from Gostivar has been found. Writing the creators and the masters name in the technical documentation should be mandatory, because on the contrary we will be guilty in front of the next inherited generations. In the lack of the relevant facts of the creators and time of creation of the composition of material culture of the ancient city, it can be said that the authentic craftsmanship aboriginal starts with the introduction and development of the civilization in this area in the 1st century. Roman-era graves monuments, done by the local masters and other crafty facilities belonging to the Early Byzantines-era. One of the early craft centers of the city was the space in the first elbow of the gizzard, after the locality of the Top angels, in the place where now are the public enterprise magazines Cylen of Prizren, once the Idriz Ahmed Buza's mill.〔E. Haskuka,” Village cadastral parcels of Gërnçar”, 1952-1956, v.c., 123-126〕 Facts demonstrate the early development of life and crafts in this area of the city. In Prizren, there were evidenced the Roman-era graves and remains. In this territory, later on, the manufacturing of guns and pistols was developed and exported in large quantity in Europe, Asia and Africa.〔E. Haskuka, v.c., 123-126〕 The decoration of these arms with gold, silver, amber and wood carving was done by the masters of the city. == Leatherworkers == :(Albanian: Qyrkatarët (pronounced-tʃyɾkataɾət) Are the first craftsman, connecting it to prehistory when the thread of the horn was used for adopting the animal leather for the human needs. In 1591 in the ancient city there were five families of leatherworkers.〔E.Haskuka, v.c., 131〕 In the period of the 19th century, Muhamud Rotulli pasha for the needs of the reconstruction of the Prizren Castle and development of the crafts, in the city came the gogs from Ohrid. During the middle-era, in the city lived small groups of gogs, as the descendants of Romanised Illyrians〔E.Haskuka, v.c., 105〕 The most known master of the time was Stanoje N (1829-189), who taught the craft to Spasoje Arsić (1888-1946), keeping him as a worker for 20 years. This craft was also practiced by: Staja Stajonević (1880-1950), Jovan Andrejević, Lubomir Zvezdić, Zhivko Dimić, Vuk Nedeljković, Veselin Kujundžić, Lazar Ristić-Kuzlila, Cani Stojković, Aliriza Shpejti (1934) and his son Fitim Shpejti (1964) are the only Kosovar, after the middle-era, that practiced the craft of leather. The masters of leather have had their shops in the bazaar of blacksmiths while the processing of the leather was done in the provinces out of the bazaar. In the year 1947 the Prizren’s Cooperative of Furman was found, which merged other crafts like: (tabakxhinjte), midgutworkers and millworkers, which functioned until 1966. The processing of leather, the cutting and sewing was done manually, whereas the tools were: the kallavar which was used for the corrosion of the leather to exhale the fat, the barrel for currying of the leather, where the leather dyed in the corn liquid for 15 days, bran and salt, which was mixed and the 1 meter spline, that was used to flatten the leather. The processed leather was cut with a sharp knife whiles the sewing was done with the special triangular needle with a doubled thread called izmir. Since the year 1935, the sewing machine called “The Singer”-USA. After the disintegration of the cooperative, the only master in town left was Aliriza Shpejti, who teamwise with his son brought innovation in the tools of work and production, perfecting the composition. In this way the kallavar-i was replaced with the special machine Singer and the sewing with the electromotive machine, a German manufacture 1980 firm called PA-FF The production takes the market sale of the time and corresponds the new clothing trend. Thus, jackets different lengths were produced, working gloves and mops bagana made from the lamb belly, which were used by the people of the time. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Crafts in Kosovo」の詳細全文を読む スポンサード リンク
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