CC BY
16INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 1 ISSUE 6 UIF-2022: 8.2 | ISSN: 2181-3337
IMPORTANCE OF UZBEK TRADITIONAL EMBROIDERY IN YOUTH
UPBRINGING Olimova Dilnoza Murodullo kizi
Doctoral student of Pedagogy and social work department, Social sciences faculty, Termez state
university
https://doi.org/10.5281/zenodo.7178383
Abstract. This article deals with the importance of Uzbek traditional embroidery art in youth upbringing. And there are given information about the history of Uzbek embroidery art. A number of Uzbek embroidery products are introduced and we tried to explain the meaning and cultural value they express.
Keywords: embroidery art, culture, cultural heritage, upbringing.
ЗНАЧЕНИЕ УЗБЕКСКОЙ ТРАДИЦИОННОЙ ВЫШИВКИ В ВОСПИТАНИИ
МОЛОДЕЖИ
Аннотация. В данной статье рассматривается значение узбекского традиционного искусства вышивки в воспитании молодежи. И даны сведения об истории узбекского искусства вышивки. Представлен ряд изделий узбекской вышивки, и мы попытались объяснить смысл и культурную ценность, которые они выражают.
Ключевые слова: искусство вышивки, культура, культурное наследие, воспитание.
INTRODUCTION
One of the most common types of Uzbek arts and crafts is artistic embroidery -kashtachilik. Unimaginable patterns, stitch by stitch, are made by the dexterous hands of a kashtachi master, creating an elegant piece of national craft.
MATERIALS AND METHODS
Since ancient times, craftswomen have won hearts with artistic embroidery. The history of the appearance of such art goes back to the deep past and is closely intertwined with the culture of the Uzbek people. The work of kashtachi craftswomen reflects the way of life, traditions and customs, love for all living things, and all this is created by combining creative imagination with technical skills.
The main schools of artistic embroidery on the territory of Uzbekistan were formed at the end of the 18th - beginning of the 19th century in six cities: in Nurata, Samarkand, Shakhrisabz, Tashkent, Fergana and Bukhara. Art reached its peak of development at the beginning of the 20th century, but to this day the craft remains part of the culture.
RESULTS
Kashtachilik embroidery is quite diverse. Skullcaps "duppi" or "kalpok" are covered with graceful patterns, women's dresses "kuylak" and men's "chapans" are decorated, the Uzbek house is decorated with embroidered suzani, "palak" (large panels) or "parda" (curtain), kurpachi blankets are decorated, carved tables "khon-ottoman" and chests, as well as "gavor" cradles for newborns are aesthetically decorated.
Every embroiderer has her secrets and signs. For example, when finishing embroidering, there must certainly be one curl left unfinished. Based on the sign, so that the craftswoman could create many more products and she had a long happy life.
Bukhara craftswomen prefer to use seams called "bosma", "dol", "iroki" in their products. As a rule, such fabrics have loose weaves of seams. Special attention in ancient times was given
INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 1 ISSUE 6 UIF-2022: 8.2 | ISSN: 2181-3337
to bathrobes. The free cut did not hamper the mistress in movement, it was perfectly worn in the hot summer, providing comfort and coolness. In particular, residents of Samarkand and Bukhara preferred to wear light "rumcha" robes attached to the waist.
Special attention deserves the preparation for the embroidery process. Perhaps this is a whole art, complex, requiring the study of all types of seams and techniques. Before applying embroidery, the artists think over the concept of the pattern.
It is known that each drawing and the chosen color have their sacred meaning. For example, almonds are symbols of longevity and eternity, pomegranate is a symbol of well-being and wealth. And to protect themselves from envy and the evil eye, they apply a stylized hot pepper.
The ornament of each figure is created with silk threads, it is not repeated and combined with neighboring patterns - this is how a pattern of unimaginable beauty is formed. Ornaments demonstrate a rich imagination, a creative flight of fancy, the skill and talent of an embroiderer.
Traveling through the "golden cities" of the Silk Road in Uzbekistan, you can touch the rich culture, not only enjoying the magnificent architecture, but also the true masterpieces of folk arts and crafts.
The largest and brightest of Uzbek wall-hangings are called suzani, but these are just one of a whole range of embroidered items that were essential to everyday life both in town and out in the steppe. Bedspreads, decorative wall friezes, long narrow embroideries for niches, tablecloths, prayer mats, cradle covers - the list goes on. Nomads stitched potent images and motifs onto small household items such as pouches for precious commodities like tea or salt, little bags for mirrors, or combs, and sheaths for knives. Horsecloths were decorated with bright, protective symbols, and needlework was used to create a cosier atmosphere inside the yurts. Embroidery is an integral part of national Uzbek dress, too.
But in houses, it was the large suzani wall hangings which took pride of place. Once the centerpiece of a young woman's dowry, these bold fabrics were hung in the newly-weds' bed chamber to ensure the new couple's happiness, since, according to local beliefs, the embroidered patterns had the power to ward off the evil eye. It's no surprise, then, that great care went into choosing the colours and design for each individual suzani.
DISCUSSION
Today, embroidery is considered as a part of Art subject in secondary schools of Uzbekistan. Embroidery is a great way to introduce pupils to valuable cultural and traditional heritage of Uzbek people. Embroidery is an inexpensive craft to learn and maintain. All that is required to begin is an embroidery hoop, embroidery needle, embroidery floss and a pair of scissors. Actually, it gives children the ability to have the resources to tackle D.I.Y. projects. Dreaming and anticipating about having a room decorated in their favorite character can be transferred into reality as embroidery gives a child control by allowing them to create their own world by embroidering those characters on pillow cases, curtains, dresser scarves and framed works that can be made and placed in their room.
CONCLUSIONS
To conclude, the most crucial reason why embroidery must be taught at schools is that it teaches pupils to love their homeland and culture, respect all traditions. Moreover, art is a powerful tool to identify one's dreams and goals in life.
INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 1 ISSUE 6 UIF-2022: 8.2 | ISSN: 2181-3337
REFERENCES
1. Embroidery. London: The Embroiderers' Guild. An informed periodical with articles on historic, ethnographic, and contemporary embroidery, exhibition, and book reviews.
2. Gostelow, Mary. Embroidery: Traditional Designs, Techniques and Patterns from All Over the World. London: Marshall Cavendish Books Ltd., 1982. Useful for a cross-cultural perspective of embroidery.
3. Ismoilov H. An'anaviy o'zbek kiyimlari. - Toshkent: Fan, 1979. - 53 b.
4. Jabborov I. M. O'zbek xalqi etnografiyasi. - Toshkent: O'qituvchi, 1994. -320
5. Olimovna, S. N. (2022). FORMATION OF QUANTITATIVE REPRESENTATIONS IN THE SECONDARY GROUPS IN PRE-SCHOOL EDUCATIONAL ORGANIZATIONS. INTERNATIONAL JOURNAL OF RESEARCH IN COMMERCE, IT, ENGINEERING AND SOCIAL SCIENCES ISSN: 2349-7793 Impact Factor: 6.876, 16(01), 58-60.
6. Polotovich, M. D. (2022). Teaching Specialty Subjects Improvement Methodology. Miasto Przysztosci, 25, 345-353.
7. Po'lotovich, M. D., & Bobur o'g'li, A. B. (2022). QISHLOQ VA SUV XO 'JALIGIDA ELEKTRLASHTIRISH VA AVTOMATLASHTIRISH TIZIMLARINI O 'RNI. Results of National Scientific Research, 1(3), 123-125.
8. Nasriddinovna, S. Z. ional Study of Syntactical Relations o pound Sentences in Uzbek Linguistics.
9. Kizi, Y. H. R., & Kizi, N. D. A. (2022). On the study of the structure of phraseological units with toponomies in the English and uzbek languages.
10. Kizi, Y. H. R. (2021). Category of informativity in visual poetic texts. ACADEMICIA: An InternationalMultidisciplinary Research Journal, 11(9), 389-393.
11. Yunusova, H. R. Q. (2021). VIZUAL POETIK MATNLARDA GRAFIK BIRLIKLAR TAHLILI (HOZIRGI O 'ZBEK SHE'RIYATI ASOSIDA). Oriental renaissance: Innovative, educational, natural and social sciences, 1(7), 26-30.
12. Uzakova, Q. Y. (2021). OLIY TEXNIKA TA'LIMI TIZIMIDA TALABALARINING KOMMUNIKATIV MULOQOT MADANIYATINI RIVOJLANTIRISHNING DEONTOLOGIK ASOSLARI. Academic research in educational sciences, 2(6), 641-645.
13. Ulugbekovich, R. A. Formation of Styles of Managerial Thinking as a Factor in the Preparation of a Future Specialist for Managerial Activities in the Field of Physical Culture and Sports. JournalNX, 7(03), 172-176.
14. Khakimov, M. K. (2021). VISUAL POETIC TEXTS AS MULTISEMIOTIC SYSTEM. Theoretical & Applied Science, (8), 185-188.
15. Maxmudova, O. (2022). ONA TILINI ZAMONAVIY TEXNOLOGIYALAR ASOSIDA O 'RGANISH. Central Asian Research Journal for Interdisciplinary Studies (CARJIS), 2(Special Issue 4), 97-104.
