{"id":6934,"date":"2026-09-15T07:01:12","date_gmt":"2026-09-15T07:01:12","guid":{"rendered":"https:\/\/medvegjasot.com\/?p=6934"},"modified":"2026-09-15T08:41:28","modified_gmt":"2026-09-15T08:41:28","slug":"veshja-tradicionale-e-grave-shqiptare-te-medvegjes-identitet-histori-dhe-krenari-kombetare","status":"publish","type":"post","link":"https:\/\/medvegjasot.com\/?p=6934","title":{"rendered":"VESHJA TRADICIONALE E GRAVE SHQIPTARE T\u00cb MEDVEGJ\u00cbS \u2013 IDENTITET, HISTORI DHE KRENARI KOMB\u00cbTARE"},"content":{"rendered":"\n

Parath\u00ebnie: Veshja si pasqyr\u00eb e shpirtit dhe identitetit t\u00eb shqiptar\u00ebve t\u00eb Medvegj\u00ebs<\/strong><\/p>\n\n\n\n

Veshja tradicionale e grave shqiptare nga treva e Medvegj\u00ebs nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb krijim estetik apo nj\u00eb shfaqje e bukuris\u00eb s\u00eb jashtme. Ajo \u00ebsht\u00eb nj\u00eb pasqyr\u00eb e shpirtit t\u00eb popullit, nj\u00eb d\u00ebshmi e historis\u00eb, nj\u00eb mburoj\u00eb e identitetit dhe nj\u00eb manifestim i krenaris\u00eb komb\u00ebtare. P\u00ebrmes fijeve t\u00eb endura, ngjyrave t\u00eb zgjedhura me kujdes dhe ornamenteve t\u00eb pasura me simbolik\u00eb, ruhet nj\u00eb bot\u00eb e t\u00ebr\u00eb ku nd\u00ebrthuren besimet, zakonet, m\u00ebnyra e jetes\u00ebs dhe aspiratat shekullore t\u00eb shqiptar\u00ebve t\u00eb k\u00ebsaj ane.<\/p>\n\n\n\n

N\u00eb fshatrat e Medvegj\u00ebs, veshja nuk ishte thjesht nj\u00eb nevoj\u00eb e p\u00ebrditshme, por nj\u00eb gjuh\u00eb e heshtur komunikimi: ajo tregonte mosh\u00ebn, statusin martesor, pozit\u00ebn shoq\u00ebrore dhe madje edhe ndjenjat. P\u00ebrmes saj dalloheshin vajzat nga nuset, t\u00eb rejat nga t\u00eb moshuarat, dhe festat nga dit\u00ebt e pun\u00ebs. Veshja ishte e gjall\u00eb, si nj\u00eb lib\u00ebr i hapur ku \u00e7do brez lexonte t\u00eb kaluar\u00ebn dhe ia p\u00ebrcillte t\u00eb ardhmes.<\/p>\n\n\n\n

Ky trash\u00ebgim etnografik \u00ebsht\u00eb i lidhur ngusht\u00eb me identitetin shqiptar n\u00eb Medvegj\u00eb, nj\u00eb rajon q\u00eb ka p\u00ebrjetuar sfida historike, shp\u00ebrngulje dhe rrezikun e asimilimit. Megjithat\u00eb, veshja ka mbetur si d\u00ebshmi e fort\u00eb e q\u00ebndres\u00ebs dhe e p\u00ebrkat\u00ebsis\u00eb etnike. Ajo nuk \u00ebsht\u00eb thjesht rrob\u00eb, por nj\u00eb shenj\u00eb q\u00eb mban gjall\u00eb kujtes\u00ebn dhe shpirtin e nj\u00eb populli.<\/p>\n\n\n\n

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Veshjet popullore shqiptare t\u00eb komun\u00ebs s\u00eb Medvegj\u00ebs p\u00ebrfaq\u00ebsojn\u00eb nj\u00eb pasuri t\u00eb rrall\u00eb etnografike, ku \u00e7do detaj \u2013 nga ngjyra, materiali, deri te m\u00ebnyra e veshjes \u2013 mbart kuptime t\u00eb thella kulturore dhe simbolike. Ato jan\u00eb punuar me dor\u00eb nd\u00ebr vite e shekuj, duke u p\u00ebrcjell\u00eb nga brezi n\u00eb brez, me p\u00ebrpik\u00ebri dhe rigorozitet t\u00eb admiruesh\u00ebm.<\/p>\n\n\n\n

Veshjet sipas mosh\u00ebs dhe statusit: Tek grat\u00eb shqiptare t\u00eb k\u00ebsaj treve, veshja ndryshonte sipas mosh\u00ebs dhe statusit familjar. Vajzat mbanin shami dhe k\u00ebmish\u00eb t\u00eb bardh\u00eb, \u00e7orape t\u00eb bardha dhe, n\u00eb dim\u00ebr, mitan t\u00eb zi. Nuset dhe grat\u00eb e reja dalloheshin me shami me lule, dimi me lara, k\u00ebmish\u00eb t\u00eb q\u00ebndisur ose t\u00eb bardh\u00eb, xhemper t\u00eb kuq dhe \u00e7orape me rrema. Grat\u00eb e moshuara vishnin shami xhyveze (ngjyr\u00eb purpurt), k\u00ebmish\u00eb t\u00eb bardh\u00eb dhe, n\u00eb dim\u00ebr, xhemper e \u00e7orape t\u00eb zeza.<\/p>\n\n\n\n

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Materialet dhe zhvillimi historik: Historikisht, k\u00ebmisha-fustanella t\u00eb gjata punohej prej liri, nd\u00ebrsa dimit\u00eb prej leshi. M\u00eb von\u00eb u p\u00ebrdor pambuku, q\u00eb hyri n\u00eb p\u00ebrdorim n\u00eb fillim t\u00eb shekullit XX. P\u00ebrpar\u00ebsja (p\u00ebshtjellaku) lidhej p\u00ebr beli me nj\u00eb toj\u00eb ose ushkur.<\/p>\n\n\n\n

Veshja e nuses sipas dit\u00ebve t\u00eb dasm\u00ebs: Rendi i veshjes s\u00eb nuses n\u00eb dit\u00ebt e para t\u00eb martes\u00ebs ishte tejet rigoroz: Dita e par\u00eb: dimi, p\u00ebrpar\u00ebse dhe anteri (triko) t\u00eb zeza; \u00e7orape lulekuqe; shami boj\u00ebgjake.<\/p>\n\n\n\n

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Dita e dyt\u00eb: dimi dhe shami xhyveze; \u00e7orape me harqe; p\u00ebrpar\u00ebse me vija vertikale; k\u00ebmish\u00eb dhe shok\u00eb me rruaza; kushak me penez\u00eb; jelek me gajtan; shami boj\u00ebgjake me tuf\u00eb sip\u00ebr.<\/p>\n\n\n\n

Dita e tret\u00eb: dimi lahori; \u00e7orape t\u00eb bardha; peshqir me penez\u00eb; p\u00ebrpar\u00ebse me vija t\u00eb verdha; kapu\u00e7 me rruaza dhe me para; nj\u00eb lir\u00eb n\u00eb ball\u00eb; kat\u00ebr bistek\u00eb p\u00ebr shpin\u00eb; \u201cshive\u201d (blej flok\u00ebsh) p\u00ebr faqe; vell\u00eb e vendosur kryq me tri lule n\u00eb maj\u00eb.<\/p>\n\n\n\n

Karakteristikat dalluese: Kjo veshje dallohet p\u00ebr punimin e dor\u00ebs me p\u00ebrpik\u00ebri, prerjen dhe qepjen me stil t\u00eb ve\u00e7ant\u00eb, si dhe dizajnin me motive tradicionale. Ruajtja e renditjes dhe p\u00ebrdorimit t\u00eb saj n\u00eb raste ceremoniale ishte pjes\u00eb e pandashme e tradit\u00ebs.<\/p>\n\n\n\n

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Pasth\u00ebnie: Trash\u00ebgimi q\u00eb k\u00ebrkon ruajtje dhe promovim brez pas brezi<\/strong><\/p>\n\n\n\n

Sot, kur globalizimi dhe modernizimi po e zbehin dallueshm\u00ebrin\u00eb e kulturave, veshja tradicionale e grave shqiptare t\u00eb Medvegj\u00ebs mbetet nj\u00eb thesar i pa\u00e7muar q\u00eb duhet ruajtur me kujdes dhe p\u00ebrkushtim. Ajo \u00ebsht\u00eb d\u00ebshmi e nj\u00eb periudhe t\u00eb gjat\u00eb historike, ku \u00e7do element i saj \u00ebsht\u00eb punuar me dor\u00eb dhe me dashuri, duke mbartur nj\u00eb histori t\u00eb t\u00ebr\u00eb familjare e shoq\u00ebrore.<\/p>\n\n\n\n

P\u00ebrdorimi i saj n\u00eb dasma, festa komb\u00ebtare, p\u00ebrformanca folklorike dhe ekspozita etnografike nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb akt nostalgjie, por nj\u00eb gjest i vet\u00ebdijsh\u00ebm p\u00ebr ta mbajtur gjall\u00eb trash\u00ebgimin\u00eb. Veshja \u00ebsht\u00eb kujtes\u00eb kolektive, por edhe nj\u00eb mesazh p\u00ebr brezat e rinj: t\u00eb mos harrojn\u00eb rr\u00ebnj\u00ebt, t\u00eb ndihen krenar\u00eb p\u00ebr prejardhjen dhe t\u00eb bartin me nder kultur\u00ebn e t\u00eb par\u00ebve.<\/p>\n\n\n\n

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\u00cbsht\u00eb detyr\u00eb e familjeve, shoqatave kulturore dhe institucioneve t\u00eb kujdesen p\u00ebr dokumentimin, ekspozimin dhe promovimin e k\u00ebtyre veshjeve, jo vet\u00ebm si pjes\u00eb e muzeve, por edhe si pjes\u00eb e jet\u00ebs s\u00eb gjall\u00eb kulturore. Vet\u00ebm k\u00ebshtu, kjo trash\u00ebgimi nuk do t\u00eb mbetet relike e s\u00eb kaluar\u00ebs, por do t\u00eb jetoj\u00eb si nj\u00eb pasuri e gjall\u00eb, q\u00eb i jep ngjyr\u00eb dhe kuptim identitetit ton\u00eb.<\/p>\n\n\n\n

Veshja tradicionale e grave t\u00eb Medvegj\u00ebs \u00ebsht\u00eb m\u00eb shum\u00eb sesa nj\u00eb veshje: \u00ebsht\u00eb art, \u00ebsht\u00eb histori, \u00ebsht\u00eb shpirt. Ajo na lidh me t\u00eb kaluar\u00ebn dhe na udh\u00ebheq drejt s\u00eb ardhmes, duke na kujtuar se kush jemi dhe nga vijm\u00eb.<\/p>\n\n\n\n

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Veshja tradicionale shqiptare e Medvegj\u00ebs \u2013 trash\u00ebgimi, mjesht\u00ebri dhe identitet i pa harruar<\/strong>
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Veshja tradicionale e djemve n\u00eb Medvegj\u00eb pasqyron mjesht\u00ebri t\u00eb lart\u00eb artizanale dhe lidhje t\u00eb ngusht\u00eb me materialet vendase. Plisi i bardh\u00eb, i punuar nga leshi i deleve, dhe shalli i bardh\u00eb mbi shpatulla, sh\u00ebrbenin si simbole identiteti dhe respekti p\u00ebr tradit\u00ebn. K\u00ebmisha e bardh\u00eb, prej pambuku ose konopi p\u00ebr familjet m\u00eb t\u00eb varfra, kombinohej me jelekun e zbukuruar me k\u00ebrrab\u00ebza nga leshi, n\u00eb ngjyra t\u00eb bardha ose t\u00eb larmishme, duke i dh\u00ebn\u00eb veshjes nj\u00eb eleganc\u00eb t\u00eb thjesht\u00eb, por madh\u00ebshtore. Shoka e shum\u00ebngjyrshme, e punuar n\u00eb vek, me dominim t\u00eb t\u00eb kuqes, t\u00eb zez\u00ebs dhe t\u00eb bardh\u00ebs, sillte nj\u00eb frym\u00eb g\u00ebzimi dhe gjall\u00ebrie n\u00eb ansamblin e t\u00ebr\u00eb. Donet dhe tlinat, t\u00eb realizuara nga p\u00eblhura e pambukut ose e konopit, tregonin qart\u00eb statusin ekonomik dhe kujdesin p\u00ebr detajin. Tirqit galana me gajtan\u00eb t\u00eb zi dhe xhamadani galan nga leshi i deleve plot\u00ebsonin pjes\u00ebn e sip\u00ebrme t\u00eb veshjes, nd\u00ebrsa \u00e7orapet e bardha t\u00eb punuara me k\u00ebrrab\u00ebza dhe opingat prej l\u00ebkure lope mbyllnin harmonin\u00eb e ansamblit tradicional. \u00c7do detaj i veshjes, nga materiali te ngjyra, reflektonte historin\u00eb, kultur\u00ebn dhe pasionin p\u00ebr artin e t\u00eb par\u00ebve, duke b\u00ebr\u00eb q\u00eb kjo veshje t\u00eb mbetet nj\u00eb pjes\u00eb e \u00e7muar e trash\u00ebgimis\u00eb kulturore t\u00eb Medvegj\u00ebs.<\/p>\n\n\n\n

Veshja e burrave n\u00eb Medvegja p\u00ebrb\u00ebhej nga elemente t\u00eb punuara me kujdes dhe me materiale t\u00eb ndryshme sipas gjendjes ekonomike t\u00eb individit. Plisi i bardh\u00eb, i b\u00ebr\u00eb nga leshi i deles, ishte pjes\u00eb thelb\u00ebsore e veshjes, nd\u00ebrsa p\u00ebr t\u00eb pasurit p\u00ebrdorej plisi i bardh\u00eb i punuar nga leshi i deves, m\u00eb i holl\u00eb dhe m\u00eb luksoz. Shalli, i punuar nga leshi i deles, shquhej p\u00ebr k\u00ebrrab\u00ebzat me ngjyr\u00eb t\u00eb kuqe, nd\u00ebrsa marama nga pambuku, ekskluzivisht e bardh\u00eb, p\u00ebrdorej p\u00ebr mbrojtje dhe zbukurim.<\/p>\n\n\n\n

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K\u00ebmisha, gjithashtu pjes\u00eb qendrore e veshjes, b\u00ebhej nga pelhura e pambukut p\u00ebr t\u00eb pasurit, nd\u00ebrsa p\u00ebr njer\u00ebzit me gjendje m\u00eb t\u00eb dob\u00ebt ekonomike p\u00ebrdorej pelhura e konopit. Jeleku ishte i punuar nga leshi i deles me k\u00ebrrab\u00ebza ngjyre t\u00eb kuqe ose t\u00eb zez\u00eb, nd\u00ebrsa p\u00ebr ata m\u00eb t\u00eb pasurit p\u00ebrdorej jeleku i gepur nga zhguni, i punuar n\u00eb vek nga leshi i deleve. Shoka, me shum\u00eb ngjyra dhe e larme, gjithashtu punohej n\u00eb vek nga leshi i deleve dhe plot\u00ebsonte jelekun n\u00eb veshje.<\/p>\n\n\n\n

P\u00ebr pjes\u00ebn e poshtme, donet ose tlinat, t\u00eb punuara nga pelhura e pambukut, sh\u00ebrbenin p\u00ebr ata me gjendje m\u00eb t\u00eb mir\u00eb ekonomike, nd\u00ebrsa ato t\u00eb pelhur\u00ebs s\u00eb konopit p\u00ebr t\u00eb varfrit. Tirqit galana, t\u00eb punuara nga leshi i deleve dhe t\u00eb zbukuruara me gajtan\u00eb, dalloheshin sipas numrit t\u00eb gajtan\u00ebve: m\u00eb shum\u00eb p\u00ebr t\u00eb pasurit dhe m\u00eb pak p\u00ebr t\u00eb varfrit. Xhamadani dhe koporani, t\u00eb punuar nga zhguni i leshit t\u00eb deleve, plot\u00ebsonin pjes\u00ebn e sip\u00ebrme t\u00eb veshjes tradicionale, nd\u00ebrsa \u00e7orapet, t\u00eb punuara me k\u00ebrrab\u00ebza nga leshi i deles, kishin ngjyr\u00eb t\u00eb bardh\u00eb ose t\u00eb zez\u00eb me lara t\u00eb kuqe dhe t\u00eb bardha.<\/p>\n\n\n\n

Opingat, t\u00eb punuara nga lekura e lop\u00ebs, lidhnin k\u00ebmb\u00ebt me toja t\u00eb punuara nga konopi, duke siguruar funksionalitet dhe q\u00ebndrueshm\u00ebri, nd\u00ebrsa p\u00ebr ata me gjendje m\u00eb t\u00eb mir\u00eb ekonomike, k\u00ebpuc\u00ebt p\u00ebrfshiheshin edhe n\u00eb nj\u00eb pal\u00eb shtes\u00eb t\u00eb blera te k\u00ebpucari. T\u00eb gjitha k\u00ebto elemente, t\u00eb punuara me mjesht\u00ebri dhe me materiale t\u00eb ndryshme, pasqyronin identitetin kulturor dhe statusin ekonomik t\u00eb burrave n\u00eb Medvegj\u00eb, duke ruajtur tradit\u00ebn dhe bukurin\u00eb e veshjes shqiptare n\u00eb k\u00ebt\u00eb rajon.<\/p>\n\n\n\n

Veshja e burrave pleq n\u00eb Medvegj\u00eb p\u00ebrb\u00ebhej nga elemente t\u00eb punuara me kujdes dhe mjesht\u00ebri, t\u00eb gjitha t\u00eb realizuara n\u00eb sht\u00ebpi nga duart e grave dhe vajzave shqiptare. Plisi i bardh\u00eb, i punuar nga leshi i deles, ishte pjes\u00eb kryesore e veshjes, nd\u00ebrsa shalli i zi, gjithashtu nga leshi i deles, zbukurohej me k\u00ebrrab\u00ebza. K\u00ebmisha b\u00ebhej n\u00eb vek nga pelhura e pambukut ose e konopit, nd\u00ebrsa jeleku, i punuar me k\u00ebrrab\u00ebza nga leshi i deles, kishte ngjyr\u00eb t\u00eb zez\u00eb ose galan, ose n\u00eb disa raste b\u00ebhej nga zhguni i leshit t\u00eb deleve n\u00eb vek. Shoka, e punuar n\u00eb vek nga leshi i deleve, dallonte p\u00ebr ngjyr\u00ebn e kuqe dhe p\u00ebr zbukurimet e saj, nd\u00ebrsa donet, nga pelhura e pambukut ose e konopit, me ngjyr\u00eb t\u00eb bardh\u00eb, p\u00ebrfundonin pjes\u00ebn e poshtme t\u00eb veshjes. Tirqit, galana ose t\u00eb zi, me gajtan\u00eb dhe t\u00eb punuar n\u00eb vek nga leshi i deles, s\u00eb bashku me xhamadanin, galan apo t\u00eb zi, nga leshi i deleve, plot\u00ebsonin veshjen tradicionale. \u00c7orapet, t\u00eb punuara me k\u00ebrrab\u00ebza nga leshi i deles, kishin ngjyr\u00eb t\u00eb zez\u00eb, nd\u00ebrsa opingat, t\u00eb punuara nga l\u00ebkura e lop\u00ebs dhe t\u00eb lidhura me toja t\u00eb konopit, siguronin veshmbathjen p\u00ebr \u00e7do dit\u00eb.<\/p>\n\n\n\n

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T\u00eb gjitha k\u00ebto veshje, t\u00eb djemve, burrave dhe pleqve, ishin produkt i mjesht\u00ebris\u00eb tradicionale q\u00eb grave dhe vajzave shqiptare u transmetohej q\u00eb n\u00eb mosh\u00eb t\u00eb hershme. Ato m\u00ebsonin t\u00eb thurrin me k\u00ebrrab\u00ebza dhe t\u00eb punonin n\u00eb vek, duke e ruajtur k\u00ebt\u00eb art gjat\u00eb gjith\u00eb jet\u00ebs s\u00eb tyre. Kjo aft\u00ebsi ishte thelb\u00ebsore, sepse siguronin veshmbathjen p\u00ebr veten, p\u00ebr f\u00ebmij\u00ebt dhe p\u00ebr burrin. Burrat merreshin kryesisht me p\u00ebrsosjen e tirqve dhe xhamadan\u00ebve, duke u quajtur terzinj, nj\u00eb zanat q\u00eb trashegoheshin familjarisht nga brezi n\u00eb brez. K\u00ebshtu, veshja e pleqve pasqyronte mjesht\u00ebrin\u00eb, kultur\u00ebn dhe tradit\u00ebn e thell\u00eb shqiptare n\u00eb Medvegj\u00eb, si dhe r\u00ebnd\u00ebsin\u00eb e ruajtjes s\u00eb aft\u00ebsive t\u00eb nd\u00ebrsjella brenda komunitetit.<\/p>\n\n\n\n

P\u00ebrve\u00e7 veshjes tradicionale, burri shqiptar i trev\u00ebs s\u00eb Medvegj\u00ebs, sipas gjendjes s\u00eb tij ekonomike, mbante edhe aksesor\u00eb dhe arm\u00eb karakteristike. Ora e xhepit, shpesh e punuar me dizajn t\u00eb ve\u00e7ant\u00eb dhe elemente argjendi, ishte nj\u00eb shenj\u00eb e rrall\u00eb statusi. Nj\u00eb pjes\u00eb e burrave mbanin arm\u00eb, kryesisht revolver\u00eb, t\u00eb cil\u00ebt n\u00eb k\u00ebto troje quheshin allti, si dhe pushk\u00eb t\u00eb gjata. N\u00eb t\u00eb kaluar\u00ebn p\u00ebrdorej \u201cmartina\u201d, nd\u00ebrsa m\u00eb von\u00eb pushk\u00eb m\u00eb moderne si tipi Mauzer ose pushk\u00eb gjuetie. K\u00ebto arm\u00eb nuk sh\u00ebrbenin vet\u00ebm p\u00ebr mbrojtje, por edhe si pjes\u00eb e epitetit t\u00eb burrit dhe shpesh p\u00ebrdoren n\u00eb dasma dhe festa, duke shprehur krenarin\u00eb dhe rolin e tij shoq\u00ebror.<\/p>\n\n\n\n

Fatkeq\u00ebsisht, sot kjo veshje tradicionale pothuajse nuk p\u00ebrdoret m\u00eb. P\u00ebrve\u00e7 ndonj\u00eb grupi ose shoq\u00ebrie kulturore-artistike, q\u00eb i p\u00ebrdor p\u00ebr programe dhe festa, plisin e bardh\u00eb e mbajn\u00eb vet\u00ebm pak entuziast\u00eb, t\u00eb cil\u00ebt mund t\u00eb num\u00ebrohen leht\u00ebsisht n\u00eb gishta. Tirqit, shoka dhe pjes\u00ebt e tjera t\u00eb veshjes tradicionale jan\u00eb b\u00ebr\u00eb praktikisht t\u00eb panjohura. Nd\u00ebrkoh\u00eb, nuk ruhen m\u00eb delet, p\u00ebr t\u00eb cilat grat\u00eb p\u00ebrdornin leshin p\u00ebr t\u00eb punuar prodhime n\u00eb vek dhe me k\u00ebrrab\u00ebza, nj\u00eb mjesht\u00ebri q\u00eb p\u00ebr breza t\u00eb t\u00ebr\u00eb siguroi veshmbathjen p\u00ebr familjet shqiptare. Sot shum\u00eb nuk din\u00eb m\u00eb se \u00e7far\u00eb \u00ebsht\u00eb veku, nj\u00eb mjet i paz\u00ebvend\u00ebsuesh\u00ebm p\u00ebr jet\u00ebn dhe ekonomin\u00eb familjare. T\u00eb gjitha prodhimet e punuara n\u00eb vek dhe me k\u00ebrrab\u00ebza, q\u00eb ishin pjes\u00eb e identitetit dhe artit t\u00eb grave shqiptare, sot jan\u00eb zhdukur.<\/p>\n\n\n\n

Veshja shqiptare \u00ebsht\u00eb z\u00ebvend\u00ebsuar nga modeli nd\u00ebrkomb\u00ebtar, i influencuar nga veshjet amerikane, italiane apo kineze. Ashtu si tek popujt e tjer\u00eb t\u00eb Evrop\u00ebs dhe t\u00eb bot\u00ebs, veshja komb\u00ebtare, artizanati dhe prodhimet sht\u00ebpiake jan\u00eb b\u00ebr\u00eb t\u00eb rralla.<\/p>\n\n\n\n

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N\u00eb t\u00eb kaluar\u00ebn, \u00e7do familje shqiptare n\u00eb komun\u00ebn e Medvegj\u00ebs ruante bag\u00ebti, sidomos dele. Numri i deleve varionte nga pes\u00eb deri n\u00eb nj\u00ebqind krer\u00eb p\u00ebr familje, duke qen\u00eb nj\u00eb pjes\u00eb e r\u00ebnd\u00ebsishme e jet\u00ebs dhe ekonomis\u00eb lokale. Nuk kishte familje q\u00eb nuk ruante delesh, dhe kjo siguroi l\u00ebnd\u00eb t\u00eb par\u00eb p\u00ebr veshje, k\u00ebpuc\u00eb dhe mbrojtje nga i ftohti, duke b\u00ebr\u00eb t\u00eb mundur q\u00eb mjesht\u00ebria dhe tradita t\u00eb mbijetonin p\u00ebr breza t\u00eb t\u00ebr\u00eb.<\/p>\n\n\n\n

N\u00eb Medvegj\u00eb, perpunimi i leshit t\u00eb deleve ishte nj\u00eb nga aktivitetet m\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb jet\u00ebs sht\u00ebpiake dhe nj\u00eb mjesht\u00ebri q\u00eb transmetohej brez pas brezi. Delet getheshin zakonisht n\u00eb fillim t\u00eb majit, pas dit\u00ebs s\u00eb Sh\u00ebn Gjergjit, kur koha fillonte t\u00eb ngrohej. Leshi, me ngjyra natyrore t\u00eb bardh\u00eb, t\u00eb zez\u00eb dhe t\u00eb murrme, lahej, shprishej dhe lenurej. Sasi m\u00eb t\u00eb vogla l\u00ebnurjeje b\u00ebheshin n\u00eb sht\u00ebpi me vegla t\u00eb thjeshta t\u00eb quajtura k\u00ebrhane, nd\u00ebrsa sasi m\u00eb t\u00eb m\u00ebdha p\u00ebrpunoheshin n\u00eb nj\u00eb mini-fabrik\u00eb t\u00eb quajtur l\u00e9nurese.<\/p>\n\n\n\n

Pas k\u00ebsaj, b\u00ebhej tjerrja e leshit, nj\u00eb pun\u00eb e kryer nga grat\u00eb shqiptare, me mjete t\u00eb ve\u00e7anta: boshti, furka dhe agershaku. Boshti, i punuar nga druri, sh\u00ebrbente si veg\u00ebl kryesore, nd\u00ebrsa furka, gjithashtu prej druri, p\u00ebrdorej p\u00ebr p\u00ebrpunimin e fijes dhe kishte dy forma: t\u00eb rrafshet dhe gaforre. Agershaku, nj\u00eb pjes\u00eb prej guri ose qeramike e shpuar n\u00eb mes, vihej n\u00eb pjes\u00ebn e poshtme t\u00eb boshtit p\u00ebr t\u2019u rrotulluar m\u00eb leht\u00eb. Me k\u00ebto mjete thirreshin \u00e7orapet, shallet, xhemper\u00ebt dhe jeleket, nd\u00ebrsa p\u00ebr prodhime m\u00eb t\u00eb nd\u00ebrlikuara p\u00ebrdorej veku, nj\u00eb makin\u00eb druri e punuar n\u00eb sht\u00ebpi, q\u00eb kishte pjes\u00eb t\u00eb ve\u00e7anta si boll\u00ebzat, shulat, burdilat, d\u00ebrrasat, n\u00f8rskamcat, shpat\u00ebn, drug\u00ebzen dhe fyt\u00ebzat.<\/p>\n\n\n\n

Procesi n\u00eb vek ishte kompleks dhe k\u00ebrkonte p\u00ebrvoj\u00eb t\u00eb madhe: endja, mbulimi, vendosja n\u00eb shula, lig\u00eb dhe shpat\u00eb duhej t\u00eb b\u00ebheshin me kujdes, para se t\u00eb fillohej punimi i pelhurave nga leshi i deleve, konopi apo pambuku. P\u00ebrve\u00e7 veshjeve, n\u00eb vek punoheshin edhe dyshek\u00ebt p\u00ebr shtratin, maramat q\u00eb p\u00ebrdornin djemt\u00eb dhe burrat, si dhe vajzat. Punimet m\u00eb karakteristike q\u00eb dilnin nga veku ishin gilimat e zbukuruar me modele t\u00eb ndryshme, t\u00eb cilat ruheshin dhe trashegoheshin nga nj\u00eb familje n\u00eb tjetr\u00ebn, brez pas brezi.<\/p>\n\n\n\n

Nj\u00eb mjesht\u00ebri ve\u00e7ante ishte edhe qepja e tirove nga zhguni, nj\u00eb p\u00eblhur\u00eb e b\u00ebr\u00eb nga leshi i deleve me ngjyra t\u00eb ndryshme: galan, e zez\u00eb ose e bardh\u00eb. Zhguni p\u00ebrfundonte p\u00ebrpunimin n\u00eb nj\u00eb mini-fabrik\u00eb t\u00eb quajtur valavic\u00eb, ku nj\u00eb \u00e7ark me \u00e7ekan rrihnin p\u00eblhur\u00ebn derisa t\u00eb b\u00ebhej e trash\u00eb, e q\u00ebndrueshme dhe e dendur. Nga kjo p\u00eblhur\u00eb prodhoheshin tirqit dhe xhamadanet, veshja m\u00eb karakteristike shqiptare e k\u00ebtyre trojeve. Mjeshtrit q\u00eb punonin tirqit dhe xhamadanet quheshin terzinj, nj\u00eb zanat i rrall\u00eb dhe i respektuar, pasi k\u00ebrkonte durim, p\u00ebrvoj\u00eb dhe mjesht\u00ebri t\u00eb lart\u00eb.<\/p>\n\n\n\n

N\u00eb dit\u00ebt e sotme, kjo mjesht\u00ebri pothuajse nuk ekziston m\u00eb. Vet\u00ebm pak gra t\u00eb moshuara e njohin ende l\u00ebnurjen e leshit, tjerrjen dhe pun\u00ebn n\u00eb vek apo me k\u00ebrrab\u00ebza. Veshja tradicionale shqiptare \u00ebsht\u00eb z\u00ebvend\u00ebsuar nga modeli nd\u00ebrkomb\u00ebtar, nd\u00ebrsa mjesht\u00ebria e p\u00ebrpunimit t\u00eb leshit dhe prodhimet manuale jan\u00eb b\u00ebr\u00eb atraksione t\u00eb rralla kulturore. Megjithat\u00eb, ky trash\u00ebgim historik, i formuar nga duart e grave dhe vajzave shqiptare, tregon p\u00ebr aft\u00ebsin\u00eb e jasht\u00ebzakonshme dhe p\u00ebr kujdesin q\u00eb familjet shqiptare i kushtonin siguris\u00eb s\u00eb veshmbathjes, p\u00ebr \u00e7do an\u00ebtar t\u00eb familjes.<\/p>\n\n\n\n

\u00c7do familje n\u00eb Medvegj\u00eb ruante bag\u00ebti, sidomos dele, nga pes\u00eb deri n\u00eb nj\u00ebqind krer\u00eb p\u00ebr familje. Leshi i deleve ishte baza e veshjes, k\u00ebpuc\u00ebve dhe mbrojtjes nga i ftohti, duke b\u00ebr\u00eb t\u00eb mundur q\u00eb mjesht\u00ebria e p\u00ebrpunimit t\u00eb leshit t\u00eb mbijetonte dhe t\u00eb trash\u00ebgohej brez pas brezi, duke l\u00ebn\u00eb nj\u00eb gjurm\u00eb t\u00eb paz\u00ebvend\u00ebsueshme n\u00eb kultur\u00ebn dhe tradit\u00ebn shqiptare t\u00eb k\u00ebtij trevi. <\/p>\n\n\n\n

Nj\u00eb punim i Rrahman Hysenit, shkrimtar, opinionist dhe autor i mbi 20 veprave t\u00eb botuara, nd\u00ebrsa nd\u00ebr krijimet e tij spikasin edhe dy katalog\u00eb kushtuar veshjes tradicionale t\u00eb Medvegj\u00ebs, si dhe veprat \u201cShqiptar\u00ebt e Medvegj\u00ebs n\u00ebp\u00ebr shekuj\u201d, v\u00ebllimi I dhe II.<\/strong>
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Parath\u00ebnie: Veshja si pasqyr\u00eb e shpirtit dhe identitetit t\u00eb shqiptar\u00ebve t\u00eb Medvegj\u00ebs Veshja tradicionale e grave shqiptare nga treva e Medvegj\u00ebs nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb krijim estetik apo nj\u00eb shfaqje e bukuris\u00eb s\u00eb jashtme. 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