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0HISTORY OF UZBEK NATIONAL CLOTHES
1Nargiza Akhrorova, 2Malika Istamova
1Lecturer at "Silk Road" International University of Tourism and Cultural Heritage, 2Student at "Silk Road" International University of Tourism and Cultural Heritage https://doi.org/10.5281/zenodo.11218745
Abstract. The article you will read tells you the history of the formation of Uzbek clothing. It reviles how different tribes living on the territory of modern Uzbekistan at different times influenced and shaped the final appearance of the Uzbek people's clothing. This work will provide information about the clothes worn by the first nomadic and semi-nomadic tribes living in the valleys of the Amu Darya and Sir Darya rivers. A great deal offactors have influenced the culture of middle Asian countries. For instance, Conquest by Arabs, who with the religion Islam brought cultural changes to Central Asian countries, conquer from Russian Republic and liberation. All these factors - invasive, religious - have influenced the modern traditional costume of Uzbek people in the end. This paper also touches the concept how through religions, animal images on fabrics changed to subdued patterns and colors and how each color took on its own meaning and symbolism for the Uzbek people. This article describes events in the past influenced the fashion and trends in the present related to the fashion of Uzbek national clothing, the development of Uzbek clothing in modernity and role of accessories as headgear in Uzbek national costume.
Key words: fashion, History, Clothing, Uzbek clothing, Impact.
Annotatsiya. Siz o'qiydigan maqola sizga O'zbek kiyimining shakllanish tarixini shahrlab beradi. Shuningdek, zamonaviy hududda turli xil qabilalar qanday yashagani, O'zbekiston turli davrlarda o'zbek milliy kiyimi, uningyakuniy ko'rinishiga ta'sir ko'rsatgani va shakllantirgani haqida yaqindan to'xtalib o'tadi. Shuningdek, bu ilmiy ish Amudaryo va Sirdaryo vodiylarida yashovchi birinchi ko'chmanchi va yarim ko'chmanchi qabilalar tomonidan kiyilgan kiyim haqida ma'lumot beradi. Ko'pgina omillar O'rta Osiyo mamlakatlari madaniyatiga ta'sir ko'rsatdi. Masalan, din bilan bog'liq bo'lgan arablar tomonidan fath Markaziy Osiyo mamlakatlariga Islom madaniy o'zgarishlar, respublika ruslar tomonidan fath qilingani va ozodlikning olib kelgan o'zgarishlari. Bu barcha omillar - invaziv, diniy - bor pirovardida o'zbeklarning zamonaviy an'anaviy libosiga ta'sir ko'rsatdi. Qanday qilib, dinlar orqali matolardagi hayvonlar tasvirlari aks ettirilgan naqsh va ranglarga o'zgardi va har bir rang o'z-o'zidan paydo bo'ldi o'zbeklar uchun ma'no va ramziy ma'no berdi. Ushbu maqolada o'tmishdagi voqealar tasvirlangan moda bilan bog'liq bo'lgan hozirgi moda va tendentsiyalarga ta'sir ko'rsatilgan O'zbek milliy liboslari tasvirlanadi, hamda o'zbek kiyimining zamonaviylikdagi rivojlanishi va o'zbek milliy libosida aksessuarlarning bosh kiyim sifatidagi roli haqida to'xtalib o'tadi.
Kalit so'zlar: moda, tarix, kiyim-kechak, o'zbek kiyimi, ta'sir.
INTRODUCTION
National clothes play vital role in cultural heritage of the Nation and country. Fashion changes time by time, however patterns in clothing that left from previous centuries still stay in demand of vogue. The defining characteristic in Uzbek clothes construction is special fabrics as cotton, satin and velvet and the multicolored patterns on them. Uzbek embroidery in local markets gathers mesmerized tourists by its stitches that strongly wonders by tiny size and incredibly laborintensive process. This work will help people to obtain clear vision of how modern look of Uzbek clothes foot printed during the history by strong factors in formation process as religious and
Russian conquer. The history of the formation of Uzbek clothing is very long and long, but in this article we will consider the events that had a strong influence on its change. As Davlatova mentions that "archaeological monuments, wall paintings, terracotta statuettes, thoreutics, written sources and miniatures of handwritten books, which have survived to our time, give a fairly clear picture of the local population's clothing, its forms and evolution, as well as its characteristic features." (2021). Furthermore, in this article we will touch modernity and discuss about Uzbek local fashion brands that try to implement nationality in modern casual clothing by adding unique techniques in production. Knowledge of these pieces of information will be useful for individuals who interested in fashion and history of Uzbek clothing, which is definitely magnificent.
The modern vision of Uzbek Clothes started constructing in period when territories of current Central Asia was filled by Iranian nomadic and semi-nomadic tribes-Saks(lived in 1st millennium BCE and were branch of eastern Skifs). Saks clothes were really simple. As Gerd Gropp mentioned in his book (1992) there are plentyfull materials from the eras between 200 and 600 CE and the vicinity of 500 BC. It makes it possible to distinguish between three main categories of costumes: combat gear, ceremonial clothing for men and women. Forms of headdresses, an undergarment resembling a shirt, a knee-length mantle open in front, a belt, leggings or trousers, shoes, or high boots were all part of the male ceremonial attire. Over time, women's clothing evolved more dramatically, transitioning from a long cloak worn over the head to a long garment with a neck opening. The warrior wore a helmet and was dressed in chainmail or laminated mail. By these lines we can understand that the cutout in men's tunics was for greater convenience in actions during fights or land work. The combination of wearing trousers and long tunics was showed in during all other epochs and shows the convenience of such clothing. However during different epochs the patterns on clothes differentiated by colors and figures. The great example of this is Islamic period in Transoxiana (modern Uzbekistan) which had started from the middle of 7th century and impacted strongly on people vision and culture.
As Umarova mentioned in her work - A critical impact on the recognition of color in outfit was religion as a social institution. Color imagery developed on the premise of devout imagery, the canons of its perception, strictly watched and generally honored, contributed to their reflection in different shapes of the outfit. Islam is a religion that does not endorse of figurative pictures of living things. Since there's no unequivocal forbiddance on the portrayal of human beings within the Koran itself. Ordinarily, to legitimize this denial, reference is made to the Hadiths (Sahih al-Bukhari, n.d.,). This is one of the great differences and changes in the clothing of the Uzbeks being formed at that time, as in the periods when other religions prevailed, clothes were decorated with drawings of various creatures. But in the period of the spread of Islam, colours and width of stripes were important. Thus, white meant purity, green was considered a revered and sacred colour. Umarova also mentioned "When describing the pleasures of paradise, references to it are found in the Quran: "When you see it (in Paradise), you will see bliss and a great kingdom. On them will be robes of green silk." (Quran , 76:21) . The gold colour signified the prosperity of the family, and red signified a strong feeling of love. There is a misconception that for Muslims the colour of mourning is black, although the Quran does not say anything about this, and in fact the colour of mourning is blue. The years of age of the wearer also affected the color selection of their clothing. The younger generation was expected to dress in brighter hues, including pink and red tones. Red was a common accent color in the attire of young ladies and girls. It was seen as festive and elegant and had numerous nuanced names, such as crimson (kirmizi) and scarlet- also wrote Usmonova. As younger was girl as brighter color she wore. For girls also was rule to wear more closed dresses.
The wearing of closed clothes lasted until the 19th century, when Russia conquered Tashkent and Russian culture was introduced into Uzbek.It strongly impacted on clothes, precisely on openness of clothes. As the example we can take Kamzol-special form of robe with short sleeves or even without them. Sazanova mentioned in her work that In nineteenth century Komzoles spreads to every cities of the country. Especially, it became very popular in North part of Khorezm in nineteenth among women and replaced another outerwear - Chapon. Kamzol was sewed according to the waist measurements and stitched on back and shoulder and its length was till knees. Inner part of the Kamzol was made by bright coloured chintz - red with flower patterns or green stripes. Also to fasten the Kamzol people sewed buttons on it with buttonholes made from the same fabric used for Kamzol (Black chintz or cloth-Kara'maut) (1989). Buttons at that time for Uzbeks were tool to differentiate owners by gender. For example Yatzenko at her work mentioned that clothing of Khorezmian' citizens also differentiated by gender: male clothes were mostly unbuttoned, while females wore always unbuttoned one. Decoration was also varied by gender (2008).
Uzbek national costume was complemented by many kinds of jewelry and accessories in the past, however one of the main was headdresses. In modern household of Uzbeks headgears limit to just skullcaps - duppi. Nafisa Sadikova and Yulduz Gaybullayeva described this headgear as patterned cloth with round or square opened bottom and closed top (2014). Till 1917 duppi was only men clothing and was accepted to wear by children for both genders. The woman who wore duppi was counted as "light woman" or woman who pretended to look like man-satang(term to describe women who had another type of attitude)(Sadikova, N., & Gaybullayeva, Y., 2014). In each region of Uzbekistan duppi was developing in its own style. If women from Baysun decorated duppi by bright green and red colored embroidery while in Bukhara and Khorezm it was squared silver colored headgear. Embroidery on fabrics and skullcaps became very popular in XX century, especially suzani.(from Turkish language translated as needle)(Sukhareva O., 2013). Female part of family members at that time decorated their clothes with suzani totally by themselves. This tradition was followed not only by Uzbeks, but also by Tajiks. Beautifully decorated duppies decorated wedding costumes of girls of the 20th century. Until the 1920 the main headdress for women were shawls - rumol. The most fascinating aspect of people's attire is their headgear, which highlights the quirks of regional and cultural fashions. Typically, headgear is classified into various categories: traditional, for children, for males, and for women. At different times shawls had special names.They were referred to as "chalmas" or "salla". Both young and senior ladies wore them. There is a shortened form of the term "salla" known as "sallacha", "rumol", or "loki". The Uzbek people frequently refers to shawls or kerchiefs intended for women as "rumol". In the Bukhara and Zarafshon regions, shawls known as "kultapushak" were commonly worn by ladies as kerchiefs with splints. The alternative headgear for ladies was called "achak (Sadikova, N., & Gaybullayeva, Y., 2014). The other compound head clothing was paranja. "Paranja" is a headpiece worn by women. The term "paranja" refers to a large, voluminous robe or dressing gown that is thrown over the back and secured (together) with long, narrow sleeves known as "sovchok" that cover the woman's entire body from head to ankles. When leaving the house in the 19th century, all Muslim women wore paranjas. Woman's face hidden by thick, rectangular gauze (called "chachvan") made of black horsehair describes Sadikova and Gaybullayeva in their wirk.(2014). "Paranja sewing was a very hard and complicated job. Only special paranja-makers could sew the paranja. Only women dressmakers sewed it and whole family members the mother, sister-in-laws and girls were busy with this job. This job was well-paid. The payment depended on the fabric value: the more expensive the fabric cost, the more money was paid. Sadikova, N., &
Gaybullayeva, Y., 2014). During whole life girl from ordinary family could have only two paranja, since it was very expensive. One of them she obtained in young ages to leave house with closed face and the other before marriage- in the same paranja a woman was buried in when she died. Girls from wealthy family could have more than two paranja. Moreover, In their article named "The Origins of Uzbek Woman's National Clothing and Jewelry" Sineyeva & Akhrorova mentioned that "over time, traditional clothing began to be supplemented with various ornaments made of precious stones and metals. Masters handmade precious ornaments using rubies and pearls. Thus each ornament had a purpose and uniqueness. Special amulet called "kuzmichoq" was also worn with jewelry and according to legend it is believed that they protect the woman from the negative "eyes" and spirits." Today headdresses have become simpler, but still complement the costumes of young girls at weddings or different traditional events.
Nowadays, fashion in Uzbekistan is a vibrant and dynamic fusion of traditional and contemporary styles. The country's rich cultural heritage and history are reflected in the intricate designs, bold colors, and luxurious fabrics that are commonly seen in Uzbek fashion. Traditional garments such as the ikat robe and the embroidered skullcap have been re-imagined and reinvented by modern designers, giving them a fresh and innovative twist. Additionally, there is a growing trend towards sustainable and ethical fashion, with many Uzbek designers incorporating traditional weaving techniques and natural dyes into their collections. This emphasis on preserving traditional craftsmanship while embracing modern trends has made Uzbekistan a rising star in the global fashion scene. With its unique blend of heritage and innovation, modern fashion in Uzbekistan continues to captivate and inspire fashion enthusiasts around the world. The Brand "Sh.Muratov" in the case of Uzbek accessories reply to national fashion request. In the new year, our brand is 10 years old. We started with handmade clutches made of national fabrics and as you can see they are still in demand. Over the years there have been many different products, we even made watches with adrass, as well as our range includes handbags, scarves, backpacks, pillows. All this is made by hand, including the fabrics themselves, such as adras, bahmal, shoyi, etc. Creativity is very interesting, you never know what new idea will arise on all this of course inspired by our Uzbek fabrics that have gained popularity around the world and firmly hold this interest. Probably there is no country and city where our products would not be and it is very happy and also inspires new ideas. I also would like to mention works of young artist Aziza Kadyri from Taskent who create illustrations and variety of art pieces in digital format with Uzbek embroidery patterns. She also constructs tools for transforming simple pictures in ones into national Uzbek colorite. Currently she lives in London and she spreads her knowledge and works not only with Uzbeks, but also with people from European countries.
CONCLUSION
In conclusion, Uzbek fashion embodies a rich history and a vibrant cultural heritage that is celebrated through traditional textiles, techniques, and designs. The fusion of traditional and contemporary elements results in unique and eye-catching pieces that appeal to a global audience. With a growing interest in sustainable and ethical fashion, Uzbek fashion has the potential to make a significant impact in the global fashion industry. As Uzbek designers continue to innovate and preserve their cultural identity, the future of Uzbek fashion looks promising and innovative.
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