Мајсторските тајфи и феноменот на функционална и на хиерархиска организација во традиционалниот градителски занает (поими, етимологија, толкувања)
The master-builder groups and the phenomenon of functional and hierarchical organization in the traditional building craft (terms, etymology, and interpretation)

Summary/Abstract: The paper examines the traditional concept of the association of master-builders into guilds (tayfi), as one of the primary factors in the extraordinary development of architecture and construction achieved within the favorable broader socio-economic context of the 19th-century Revival in the Balkans. In addition to the historical foundation for the organization and classification of master guilds in traditional construction, the paper further identifies the terms used to name the members of these guilds, in accordance with their hierarchical nature, focusing on the etymology and interpretation of these specific terms. Most of the terms related to the organization of the construction craft (esnaf, tayfa), represent adopted Turkish terms (which themselves originated from Arabic or Persian), as is the case of the terms used for the hierarchically established stages in the professional development of master-builders (argat, chirak, kalfa, ortak, ustabashiya), and terms created by modifying equivalent Turkish terms (neimar, dungyer). The dominant use of terms directly adopted from the Turkish language, or derived from originally Turkish words, is certainly due, on one hand, to the generally accepted terminology throughout the Ottoman Empire, which the masters themselves naturally adopted in communication with clients and among each other, and, on the other hand, to the state control over craft associations, among other things, through the issuance of decrees and permits.In contrast to the terms related to architecture, those used in painting and woodcarving have no direct connection with the Turkish language. While some are derived from Macedonian words (rezbar, kopaničar, zhivopisec), others are essentially historical loanwords from other languages, firmly rooted in the region and based on the Byzantine and post-Byzantine artistic tradition (zograf, from Greek, and even the term maystor, i.e., protomaystor, taken from Greek but with roots in Latin). Meanwhile, others are derived under the influence of terms adopted from geographically distant languages (teladur, from Italian), thanks to the intensified contacts of Macedonian builders, painters and woodcarvers with Western European art created during the same period and in previous centuries.

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