Alien clothes: how the national costume will be protected in Tajikistan. Pictures on the topic “Tajik national costume Tajik wedding suit

other presentations on the topic “Tajik national costume”

"Bashkir folk costume" - Jewelry. House carving. Appliques on cloth, using double tambour embroidery technique. Lesson topic: “Bashkir folk costume.” Bashkir Autonomous Soviet Socialist Republic. Women's braid. Breast decoration of Bashkir women. Teapot with Bashkir ornament. History of the costume. Bashkir ornament. Wood carving. Geometric ornaments.

“Summer suits” - The choice of thread for tatting weaving must be taken seriously. Justification for choosing fabric. Justification for choosing a top model. Lay out the patterns on the fabric. The peoples of the East have also been engaged in lace making for a long time. Stage 1. Self-assessment of the design product. Option 1. "Panama". Construction of a design “asterisk”.

“Folk costume” - Voronezh folk costume with poneva. Tula folk costume. Oryol folk costume with a poneva and a red apron. Kursk folk costume. Tambov folk costume with a top. Nizhny Novgorod folk costume.

“Russian national costume” - Headdresses. Festive ponevs were richly decorated with embroidery and patterned braid. White – light, holiday. Kokoshniks “magpies”), various headbands and crowns are widespread. In Fig. on the right is a straight, gathered sundress from a later period. Without the past there is no present. The edge of the apron was decorated with teeth, white or colored lace, and fringe.

“Costumes of the peoples of the Volga region” - Russian costume, Tatar costume, Kazakh costume. Elements of national ornaments. Along with embroidery it was used on casual wear trimmed with a border of colored fabric. Outerwear sheepskin coats and fur coats, robes and beshmets. Open at married women only the face and hands remained. The head was covered with a scarf (uraman).

"History of Costume" - Rococo refers to the period from 1730 to 1770. 1900s. Figaros, capes, and rotundas were very popular as outerwear. The main principle of Gothic is emphasizing elongated and pointed forms. Soon the crinoline appeared - a design in the form of a wide skirt with hoops. The Renaissance dates back to 1420-1490.

"National Accent"

National clothing is an expression of the identity of each nation. Today's story is about Tajik traditional costume.

In Tajikistan, each region has its own national costume. The cut is approximately the same everywhere, but differs in color, embroidery, and the presence of decorations.

Young people are increasingly wearing European clothes, but the national Tajik costume is still very popular among rural residents.

Men's and women's national clothing of Tajiks is very similar in cut - tunic-like, loose, and hides the figure well. Most Tajiks are adherents of Islam and do not welcome excessively tight clothing.

Tajik national clothing is distinguished by its brightness. The Tajik costume reflects the degree of prosperity. The more luxurious the outfit, the more expensive decorative details it contains, the richer its owner.

Special mention should be made about fabrics. Tajiks live in a hot climate, so they prefer cotton and silk fabrics. Purely national Tajik matters include I'm hungry(iridescent striped fabric of different colors, consists of cotton and silk), snipe(semi-silk fabric, striped or patterned) and brocade(silk fabric with gold and silver threads).

Since the traditional Tajik costume is multi-layered, the bottom layer of clothing is usually made from cheap fabric, and the top layer is made from more expensive fabric.

National clothing of Tajik men

The traditional costume of a Tajik man includes: a cotton shirt - “kurta”, trousers, a robe and a wide waist belt. The shirt is sewn from one piece of fabric. It is wide and does not restrict movement. Men wear it untucked, belt it with a long narrow cloth or special scarf, folded diagonally. The scarf performs several functions: it is both a belt supporting the trousers and a kind of pocket.

It’s interesting that you can tell about a man’s well-being by looking at his belt. Thus, young, poor guys wore belts twisted from square scarves with “miyonband” or “belbog” embroidered on the edges. And wealthy men could afford wide velvet belts (“kamarband”), embroidered with gold thread.

Trousers(“ezor” and “ishton”) are also sewn quite wide, but tapering towards the bottom. Men wear a robe over their shirt (“ chapan") loose-fitting, usually striped. Mountain Tajiks prefer chapans made of undyed wool, with embroidered patterns on the collar.

The robe can be quilted if it is a winter clothing option. Classic chapans have become museum exhibits, and their place has been replaced by modern analogues - made of velvet. The main advantage of a classic chapan is that it retains heat in winter and coolness in summer. Since ancient times, men have been given a chapan for important events - weddings, birthdays and even funerals. At a wedding, the bride's brother will not allow his sister to enter her husband's house until the groom's relatives give him a chapan.

And today, in the 21st century, young Tajiks, on the first day after their wedding, go out to people in chapans, and not in modern costumes. But in everyday life, modern men are increasingly combining traditional clothes with European ones. For example, they can wear bloomers with a jacket or a chapan and classic trousers.

Women's national clothing of Tajiks

Traditional Tajik women wear long shirt dresses ( kurtas) and loose-fitting two-layer harem pants. Shirts with sleeves that widen towards the bottom are decorated with embroidery and have different names depending on the type of collar. In the old days, gussets (inserts, wedges) of a different color were sewn into such shirts, this had magical meaning and, according to the legend, ensured fertility for a woman.

The shape of the collar neckline depended on whether the Tajik woman was married: young girls wore dresses with a horizontal collar neckline and ties at the ends of the opening. And after marriage, women began to wear dresses with a vertical neckline, decorated with embroidered braid. Women wore white dresses with a stand-up collar as underwear. At the same time, the outer dress had a cutout such as to show the embroidery on the collar, but nothing more.

Women's outerwear is a quilted robe (tsoma) of the same tunic-like cut as that of men, or a munisak, with a slightly different cut (there is no sewn-on collar, and there are ruffles under the sleeves). Elderly women, starting from the 19th century, wear munisaki without braid or lining; they are simply hemmed with a narrow strip of fabric of a different color.

Separately, it should be said about the burqa (“faranji”). Tajik women wore them mainly in cities where there were many strangers. The burqa symbolized purity, chastity, modesty and fidelity. Today it is an essential attribute bridesmaid outfit. In addition, it is believed that the burqa protects a pregnant woman from dark forces. And finally, this element of the costume allowed a woman to feed her child even in public.

Tajik headdresses

Men's headdress - skullcap. In cold weather, men wear fur hats or wrap a woolen scarf around their heads. Also still popular is the turban, which is worn over a skullcap or kuloh hat.

Women traditionally cover their heads with a headdress consisting of three components: a turban, a cap and a “lachaka” - a kind of scarf. Sometimes these elements can be used separately from each other.

The bride's head is still decorated with an embroidered scarf covering her face, neck and chest.

Recently, women have begun to wear skullcaps (totsi), which was not particularly accepted before.

National Tajik shoes

For urban Tajiks - both men and women - the usual footwear is soft “makhsi” boots. They were worn with leather ears. Ichigi (light boots with a soft toe and a hard back), made of goatskin and famous for their durability, were quite popular.

Rural residents had a more varied selection of shoes. In particular, both men and women, in addition to light shoes, wore boots on high heels or wooden shoes on three legs, the so-called “kafshi chubin”.

National Tajik jewelry

Tajiks very successfully combine traditional decorations with modern ones. Women love to wear necklaces, pendants, earrings and rings.

Jewelry can be seen not only on the neck and ears, but also on the headdress. These can be all kinds of pendants, brooches and beads.

Traditionally, national Tajik jewelry is forged and embossed, made of silver, and is somewhat massive. It is considered normal to wear 3-4 jewelry at the same time, or even more!

Do Tajik men wear jewelry? At different periods of history, Tajik men in some regions wore beads with pendants along with women. Previously, men also wore headbands and earrings; they indicated belonging to a certain ethnic group and a person’s status in society. Today only women wear jewelry.

This is, in general terms, the national clothing of Tajiks. In our time, it has certainly undergone changes, but traditional skullcaps, trousers and shirts of various colors are still very much loved by Tajiks, including young people.

The government of modern Tajikistan popularizes the traditional Tajik costume in a very unique way - representatives of ministries are regularly called upon to strengthen control over the wearing of national clothing among employees and to prevent the promotion of alien - European - clothing. The country actively holds special fashion shows and competitions for fashion designers. And the hosts of state TV channels go on air in stylized Tajik clothes.

National clothes of the peoples of Tajikistan

Titles of illustrations

Description of illustrations

1. An ancient ceremonial costume of a young woman from Leninabad, preparing to leave the house. Comprises satin dress with a stand-up collar – kurta, worn over kuynakcha– a shortened underdress with a pleated stand-up collar, and bloomers. A vest is put on the outer dress - kamzulcha. On his feet are black ichigs with galoshes. A large silk scarf folded in half diagonally is thrown over the head, on which a small striped scarf with paper inserted into its folds is tied around the head, and a piece of jewelry is put on it. bargak, consisting of a series of hinged gilded square plates with pendants inlaid with stained glass eyes, turquoise and coral. On top of this entire complex headdress is a burqa made of heavy semi-silk fabric. banoras locally made, trimmed with silk braid and embroidery. In the hands - a hair net - chashmband which a woman must put on her face under the burqa before going out with female half Houses. Jewelry called: earrings- x,alc,a or gushvor, supratemporal suspensions – cool, ak, coral necklace – March, he, on top of it is a necklace made of stamped silver plates with pendants, called payconcha or tavk and gardan; Yes, on the sides of the chest there are two pairs of pendants in the shape of rectangles with coral beads, of which the top pair is called sarkifty, and the second pair- kushtumor. Hanged in the middle of the chest, below the coral necklace bozband- a case for protective prayer, and below it - tumor, i.e. the same case for prayer, but triangular shape. Under all these decorations hangs a large necklace - x;aykal or Zebi Sina, consisting of plates connected by multi-row (usually 7) chains, inlaid with colored glass eyes, turquoise and decorated with applied filigree, granulation and pendants. The lowest plate is made larger than the rest. On the index and ring fingers right hand rings are on - Angushtarin, on the hands - bracelets - yespona. Heavy tassels of black silk threads with silver decorations, called chocpopuk. The drawing was made against the background of Leninabad suzani, embroidered before the revolution. On the floor there is a paloe - a lint-free carpet made by the Tajiks of Zeravshan-k. Dzhidzhik.

2. An ancient weekend costume of a lowland Tajik woman, consisting of a dress with a stand-up collar - kurtai ititso, sewn from semi-silk handicraft fabric adras, painted by dressing method - abrbandy. A camisole is worn over the dress - camisole striped fabric bekasab. Bloomers are tucked into ichigi with leather galoshes. The head is tied with a small silk scarf, and on top of it is a large scarf. Chest decoration bozband, inside of which was placed a piece of paper with a written prayer of protection.

3. An ancient weekend costume of an elderly city woman from the northern regions of Tajikistan, consisting of a silk dress with a vertical slit at the collar, sewn from factory-made heavy silk fabric<lady>. On top is a robe made of local silk of the Kanausa type, called rumcha, trimmed with a strip of black velvet. The head is tied with a thin cotton scarf - king, over which a silk scarf is tied - stupid with paper inserted in its folds. On the legs are leather ichigs with galoshes. Bloomers are tucked into ichigi.

4. A weekend costume for a girl or young woman from Leninabad, which was common in the early days after the burqa went out of use. Consists of red cotton dresses – kurta with a turn-down collar and a yoke, bloomers - lozimy or poich, oma made of colorful factory fabric, trimmed with colored ribbon sneeze, ok. On his feet are shoes made of colored leather. A large woolen scarf is thrown over the head, which is held by the edges with the teeth. The drawing was made from life. On the background - suzani-a bedspread made of handicraft silk, dyed using the ligation method, above which Ura-Tube decorative embroidery is hung – zardevory. On the floor of the bed Gilemi Zindacony- a lint-free whole-woven carpet, woven on a vertical loom in the village of Zindakon (Penjikent region of the Taj SSR) in 1945.

5. Modern mourning costume of an old woman from Leninabad, consisting of a long cotton suit. dresses with stand-up collar – kurtai itik, oh, over which a robe is worn - chaponi rumcha, sewn from semi-silk fabric bek, asabi zirragy and belted with a sash made of ancient handicraft printed material - futai hama-zeb, wrapped around the waist three times. The head is tied with a small black scarf - durrai siskh, on top of which is tied a large muslin scarf - k, arsi istanbul and its ends are thrown over the back. Bloomers are tucked into black ichigs, which are worn with galoshes. No jewelry should be worn during mourning. There is a lint-free carpet on the floor, made by the Tajiks of the Shing River Valley (Zerafshan).

6. The traditional costume of the groom from Leninabad, which was in use until recently, consists of an undershirt - kurta, yaktak with trousers - ezor, sewn from locally produced handicraft fabric subshoi surkh, dyed using the arbandi bandaging method with streaks of red and yellow color on a white background. The collar of the shirt is made in the form of a vertical cutout in the middle of the chest with a collar sewn to it, standing at the back and tapering off at the front. On top is a robe - a chapon made of handicraft semi-silk fabric of the zan-gor subshoe, dyed using the dressing method. The collar, hem, hem and ends of the sleeves of the robe are trimmed with white braid woven on the arms - ch, ikh, ak. Two embroidered scarves are tied over the robe - rumol: colored silk and white cotton. In the old days, the groom was supposed to tie scarves under his robe, over his shirt. On the head is a skullcap with a flat square top, on which a silk or paper turban-salla is sometimes tied. On the feet are boots - a muse of yellow chrome. The drawing was made from life in the village of Undzhi, Leninabad district. The background is decorative suzani embroidery from Samarkand, the floor is covered with a lint-free carpet - sholgil, made by the Tajiks of the valley of the river. Shing (Zerafshan).

7. Modern suit young man from Leninabad, consisting of a black satin quilted robe - chaponi h, ikh, akdori san douf, trimmed along the sides, floors and ends of the sleeves with narrow purple braid woven on the arms - ch, ikh, ak. On top of the Robe are tied two unclear scarves - rumol: white cotton and yellow artificial silk. Both scarves are embroidered with a pattern<след змея>. On the head is worn a black silk skullcap embroidered with white silk with a flat quadrangular top - tustuppy. On his feet are black ichigs with galoshes. Under the robe is a solid shirt with a vertical slit at the collar - a kurta and white trousers, over which are dark trousers tucked into ichigi.

8. An ancient costume of an elderly city dweller, consisting of an outer robe made of blue factory cloth - chakmani mozkhut, worn on a cotton quilted robe - chapon or ch,oma from Karatag semi-silk alachi with yellow and black stripes - zafar fly, belted with a white cotton scarf. b. rumol fabric, decorated with a border embroidered with black threads. The robes are worn over a camisole - a camisole made of factory black tights with white stripes. The camisole is sewn with a stand-up collar and welt pockets, and is fastened with three buttons. Under the camisole, white cotton trousers and a shirt with a horizontal slit at the collar, trimmed with braid, called kurtai chikhakdor, are worn. On the head is a skullcap made of gray velvet, decorated with an embroidered white ornament and trimmed along the edge with a black silk strip. On top of the skullcap is a turban made of white wool factory fabric - sallai tibit. On the feet are paitoba foot wraps, leather ichigi-boots with soft soles and rubber galoshes.

9. An ancient bride’s costume from Samarkand, consisting of a brocade dress - kurtai kimhob with a standing collar fastened with buttons. It is put on two others, of which the middle one is silk kurtai tosfarang, and the bottom one is made of white cotton. fabrics with a standing collar trimmed with pleating. A black vest-kaltacha, kamzulcha, is worn over the dresses. A gold-embroidered skullcap is worn on the head, with a tassel on the side. It is covered with a silk scarf - k, arsi farangi chorgul with bouquets of flowers woven at the corners, and on top of the scarf is a forehead decoration - k, oshi tillo, which is a silver, weakly gilded openwork diadem on the front, inlaid with colored glass eyes and turquoise and decorated on the bottom edge with pendants made of stamped leaf-shaped plates interspersed with mother-of-pearl beads. Above the bride’s temples, there are kachak decorations, and in her ears there are earrings with pendants made of low-grade emeralds and rubies with pearl piercings, called halkai yakkadur. Suspended behind the ears are two zulf metal openwork inlaid with turquoise tubes, into each of which a strand of hair curved in a semi-ring is inserted. Under the braided hair, pinned to the back of the vest are choch-popuk pendants, consisting of twelve black silk cords ending in tassels with silver and niello decorations in the form of tubes, beads and caps. On the sides of the hair are attached pendants-thangas, each consisting of two rows of silver coins connected by rings and loops. Two necklaces are worn around the neck: an upper tavk, and a gardan or guluband, consisting of leaves strung on two parallel threads with pendants in the shape of a crescent and a star; the lower one is march, it is made of 16 threads of coral; below it, in the middle of the chest, hangs a large rectangular case for protective prayer - kultuktumor with inserted two yellow stones, and even lower hangs a large chest necklace - haikal or zebi sina, consisting of plates connected by multi-row chains, inlaid with colored glass eyes and turquoise and decorated filigree, grain and pendants, with the lowest plate being larger than the rest. On the sides below the shoulders and on the chest are hung two triangular cases for protective prayer - tumor, with pendants made of coins and beads. Over the entire outfit, a tulle sarandozi tur, cut in the shape of a semicircle, is draped over the bride’s head. The diameter of the semicircle is trimmed with colored braid and fringe with sparkles. The bedspread itself is embroidered with chain stitch using colored threads. The bride is wearing black ichigi-makhsya, into which trousers are tucked in, and galoshes made of patent leather-kafsh. In the hand is a velvet handkerchief, embroidered and trimmed with fringe with sequins and beads, used to cover the lower part of the face. The drawing was made against the background of Samarkand suzani; on the floor there was a blanket-bugchoma, sewn from lint-free patterned fabric made by Tajiks of the valley of the river. Shing (Zerafshan), woven at the beginning of the 20th century.

10. An ancient costume of a young man from Samarkand, consisting of a robe worn over linen - chapon, ch,oma of Bukhara cut from striped Kitab semi-silk alachi. The robe is belted with a then fashionable belt - a kamarband made of gold braid with sewn filigree plaques and a buckle with tassels). On top is a second robe of the same cut, also made of Kitab alachi, dyed using the dressing method - abrbandy. A colored turban, salla, is tied around his head (copied from a photograph of a young Samarkand Tajik from Kraft’s book). On foot fashionable boots- a muse in high heels (also copied from a photograph of an official - aksakal in the same book).

11. An ancient weekend costume for a Tajik city woman, consisting of a velvet burqa-farancha and a hair net-chashmband. A velvet kurta dress is visible from under the burqa. On his feet are black ichigs and leather galoshes. Elderly women tied a headscarf under their burqas, while young women began to wear a skullcap with a headscarf. It was usually supposed that colored outfits were not visible from under the burqa, and therefore the burqa was supposed to be long, but this was almost never observed.

12. An ancient elegant costume of a Bukhara young woman, consisting of three dresses put on one another - a kurta: the lower one is white with the ends of the sleeves embroidered with a vestibule; the second is from canaus with gold-embroidered ends of the sleeves, trimmed with braid along the edges; the third is made from Karshi semi-silk alachi and richly decorated with gold embroidery. Brocade trousers - poich, oma trimmed with braid along the edge - zekh, and pocha. On his feet are gold-embroidered shoes - kafshi zarduzy (the style was taken from shoes in the Dushanbe Republican Museum of History and Local Lore). A skullcap is worn on the head, a gold-embroidered peshonaband is tied over it, and a factory-made silk scarf with a wide border woven with silver thread is thrown over it. The hair is braided into small braids and decorated with pendants made from a series of silk cords with cones of gold thread at the ends - tufi kalo-batun. Jewelry consists of pendants above the temple - kach, ak and gushvor or x, alka earrings with pendants of low-grade rubies and emeralds. On the neck is a necklace made of stamped silver plates - gardan tavki with pendants, a coral stamp necklace with openwork silver gilded beads - kadmola and a large necklace - kh;aykal or zebi sina made of 7 plates with pendants connected by multi-row chains, decorated with enamel and a convex floral pattern. The drawing is made against the background of ancient Bukhara decorative embroidery - suzani.

13. An ancient weekend costume of a young woman from Bukhara, consisting of three dresses put on one another - a kurta with a vertical slit; a collar; the lower one is white cotton. with a scalloped collar-kurtai kuynakcha and with gold-embroidered silk ends of the sleeves-sarostini zarduz; the second is made of tiru kamon (rainbow) silk; the third is made of heavy silk factory fabric, decorated with velvet gold embroidered braid - peshi kurta or zehi kurta. The dresses are worn with a swinging robe at the waist and gathered on the sides - munisak or kaltacha made of silk fabric with pink and black velvet leaves woven in silk. A gold-embroidered skullcap is worn on the head, over which is draped a large silver silk scarf with bouquets of flowers woven at the corners. A gold-embroidered peshona band with a mach, nunbed (weeping willow) pattern is tied to the scarf. On top of the headband is a silk scarf woven with gold, made from a scarf cut diagonally in half, brought from Afghanistan. The trousers are tucked into Kazan ichigi made from pieces of multi-colored morocco-makh, sii irok, y, on which are worn leather galoshes with a low kafsh back. They did not overuse jewelry in Bukhara, but they tried to have good things. In the picture, a string of beads made of polished low-grade rubies and emeralds interspersed with filigree silver or gold beads - k,admola, is worn around the neck, and on the chest is a gold pendant - tappish with a red stone in the middle and with pendants made of the same beads, in the ears there should be earrings.

14. An ancient costume of a rich young man from Bukhara, consisting of a robe worn over linen - chapon, ch,oma of Bukhara cut from striped Karshi semi-silk alachi, belted with a silk rumol scarf. On top is a second robe of the same cut, made of Russian brocade. On the head is a silk turban - dastor, tied to a gold-embroidered cone-shaped skullcap of white velvet. On their feet they wear black ichigi with leather galoshes. The drawing is made against the background of a velvet gold-embroidered bedspread of Bukhara work - takyapushi zarduzy.

15. An ancient weekend costume of a young woman from Bukhara, consisting of three dresses put on one another - a kurta with a vertical slit; a collar; the lower one is white cotton. with a collar trimmed with scallops and with sleeves decorated with embroidered inscriptions in Arabic letters, the second is silk with gold-embroidered sleeves and the third is made of heavy silk factory fabric<дама>. The trousers are tucked into black ichigi, over which leather galoshes are worn. A gold-embroidered skullcap with a tassel is put on the head, on which is draped a large silk scarf with woven bouquets at the corners, and a gold-embroidered peshonaband is tied to the scarf. A gauze scarf, rumoli X,arir, folded diagonally in half, will be placed on top of the bandage. The only jewelry worn is a coral necklace and the obligatory earrings. A brocade burqa with a hair net to cover the face - a chashmband, thrown back - is thrown over the head.

16. Kh, aikal or zebi sina - breast decoration of Tajik women of the lowland regions made of plates with pendants inlaid with colored glass with turquoise and decorated with applied filigree and grain, connected by chains with coral beads.

17. Jewelry of Tajiks in mountainous and lowland areas. Above on the left are currently existing silver earrings with five pendants made of spiral-twisted wires, coral beads and grain piercings, called gushvori chaparak. Purchased in Kulyab (Southern Tajikistan). Above on the right are antique silver baldok earrings, brought before the revolution from Bukhara and Ura-Tube. In the center of the table is a khalk, ai ghazal or bushak, a bibishak decoration in the shape of anchors, suspended behind the ears by the hair, inlaid with multi-colored beads and turquoise and with pendants made of coral and glass beads. It was common in the villages of the northern regions of the republic at the beginning of the 20th century. Bottom left silver gilded earrings- x;alk,ai yakkadur with pendants made of small pearls and large low-grade rubies and emeralds. They were in fashion in cities at the beginning of the 20th century. Bottom right are antique silver earrings - x,alc,a made of two plates inlaid with colored glass and beads with pendants made of mother-of-pearl beads. They lived in cities in the north of the republic at the beginning of the 20th century.

18. Headdresses of Tajik women of the lowland regions. Above is an old-fashioned headband of a middle-aged woman: the lower white scarf is pulled over the forehead and folded along the edge - h, imch, ima, and a small scarf is tied on top - stupid black or some dark color, with paper inserted into the folds of the scarf. At the bottom modern methods tying a scarf in home environment an elderly woman (left) and an old woman (frame). The drawings were made from life in Leninabad.

19. Modern headdresses of Tajik women in the lowland regions. At the top is a headband elderly woman, consisting of a white scarf - k,ars with the ends thrown over the shoulders and back, on top of which a small black scarf is tied - Durrai Sise; with paper inside. Below is the same bandage, but on top of the black scarf there is also a crosswise strip of thin white material called lok,y. This is how the grandmother and mother of the boy are tied on the day of his circumcision. The drawings were made from life in Leninabad.

20. Modern headdresses of Tajiks in mountainous and lowland areas. At the top is the headdress of a young Tajik woman from Nizhny Karategin (Mountainous Tajikistan): a skullcap is pulled over her forehead and a colored scarf folded diagonally is tied on top of it, the ends of which are tied at the back of her head with a double-sided bow. This method of tying a scarf is called sumbul (hyacinth). The drawing was made from life in Dushanbe. Below are ways of tying a scarf by girls and young women in the northern regions of the republic. The drawings were made from life in Leninabad.

21. Headdresses of Tajik women in mountainous and lowland regions. Above on the left is the headdress of a bride from the Kulyab region: a large colored silk scarf, rumol, folded diagonally, is draped over her head. On top of it is tied a small scarf with paper lined inside, on which is placed a silver decoration - silsila of figures of various shapes connected by rings with pendants along the lower edge. Above to the right is a young Kulyab woman wearing a muslin scarf with embroidered ends, called sarandoza or lattai nakshiny. One of the ends is thrown behind the head. The drawings were made from photographs taken from life at the Institute. Below on the left is the manner of tying a scarf by the women of Karategin and Darvaz when leaving the house and when meeting strangers. The drawing was made from life in Dushanbe. Below on the right is the headdress of a Tajik young woman from Nur-Ata, which resembles a turban. A lachak is tied under the chin - a piece of fabric covering the neck, the lower corners of which are twisted towards the middle. The drawing was made from a photograph taken by A.K. Pisarchik in Nur-Ata in 1938.

22. Modern skullcaps of the Tajiks of the lowland regions. At the top is a tuppiya, sewn in Ura-Tube in 1960, at the bottom is a chaman-dagul tuppiya, also sewn in Ura-Tube in the late 40s.

23. Ancient headdresses of the Tajiks of the lowland regions. At the top left is the turban of a merchant, on the right is the turban of a clergyman. Below on the left is a peasant’s turban, on the right is a fur hat – a tel-pak of a middle-aged man from Kanibadam. The turban drawings were copied from photographs in Kraft’s book.1 the hat drawing was copied from a photograph of a resident of Kanibadam, taken in 1917.

24. An ancient mourning costume of a young woman from Karatag (Central Tajikistan), consisting of a dress of black satin with blue flowers, worn over a cotton underdress. matter. Bloomers are tucked into ichigi, which are worn with galoshes. Over the dress is worn a robe at the waist and with gathers on the sides - a munisak made of Karatag silk alachi, dyed using the abrabandy dressing method. The robe is belted with a white silk turban-sallai simoby. A scarf is thrown over the head. The braids are pulled down to the chest and their ends are loose. There are no decorations, because... They are not supposed to be worn when mourning.

25. A modern bride’s costume from Kulyab (Southern Tajikistan), consisting of a tunic-like satin dress with a vertical slit collar and trousers - poich, oma or lozim, the lower part of which, visible from under the dress, is made of silk striped fabric - bekasab, and the top is made of chintz. On her feet are pointed-toe leather shoes with a small heel - kaf-shi chaky. On the head over a small scarf and put on it silver jewelry the silsila will wear a muslin scarf with embroidered ends, called sarandoza or lattai natshini.

26. A modern costume of a young woman from Kulyab (Southern Tajikistan), consisting of an embroidered satin dress with a vertical slit, a collar-kurtai nakshini and satin trousers-poychoma or lozimya. The head is covered with a muslin scarf with embroidered ends - sarandoza or lattai nakshiny, one end of which is lowered down the back, and the other covers the chest and front of the dress. On her feet are leather high-heeled shoes called kafshi chaky.

27. A modern costume of a young woman from the village of Nushor (Mountainous Tajikistan, Karategin), consisting of an embroidered satin dress - kurtai gulduzy, worn on an underdress made of cotton. fabrics with embroidered sleeves and a stand-up collar - kurtai sarostindori girebonash k, azo-k, and and bloomers - poich, oma made of Chinese silk. On his feet are factory shoes with low heels. A gauze scarf-rumoli x,arir is thrown over the head. The jewelry consists of earrings in the shape of a hemispherical bell with gushwori k, afasy pendants, a necklace made of coins and beads - a tanga with a triangular case for protective prayer - tumor, and a second necklace made of corals and metal openwork beads, called a marchon.

28. A modern costume of a young woman from Kalai-Khumb (Mountainous Tajikistan, Darvaz), consisting of an embroidered satin dress with a vertical slit collar - kurtai chakandu-ziya peshchokak, worn on an underdress made of cotton. fabrics-kurtai takh; pushii son, with a trimmed pleated frill collar - gireboni parpar, and bloomers - poich, oma, lozim, tanbon, the bottom of which is sewn from semi-silk fabric - bekasab. On his feet are factory shoes. There is a cross-embroidered skullcap on the head, and a factory-made silk scarf is draped over it. The jewelry consists of halka or gushvor earrings with two pendants, a hafaband neckband with beads and corals, a mother-of-pearl sadaf brooch and a necklace made of glass and silver filigree beads. On the hand is a bracelet made of dastak beads.
29. An ancient costume of a girl from Darvaz (Mountainous Tajikistan), consisting of a dress with a horizontal slit collar - kurtai shoinak from handicraft cotton. locally produced matter called kurtachii vamynch, a. The chest is decorated with a bib - shoinak, made of white karbos and embroidered in satin stitch with untwisted silk threads. The cuffs of the sleeves - sarostin - are decorated with cross-stitching, and below the elbows on the sleeves are sewn cross-embroidered strips - cho-bik, in the middle of which in the old days a slit was made for sticking hands through when working. Under the dress are worn trousers - poich, oma, lozim, tanbon, the lower part of which, visible from under the dress, is sewn from local handicraft striped cotton. matter siyah, alocha. A scarf is thrown over the head - sobai k, azini, sewn from three panels of locally produced silk fabric, called kazin, and dyed using the ligation method - gulbandy. Two artificial braids with large tassels made of churai kattapulkak threads are woven into the hair. There is a beaded guluband decoration on the neck, and gushvor earrings in the ears. On her feet are leather shoes - kafshi chaky.

30. Festive costume a young woman from Darvaz (Mountainous Tajikistan) in an ancient headdress, consisting of a dress with a vertical slit collar-kurtai peshchokak, sewn from locally made silk fabric - k, azin, dyed using the ligation method - gul-bandy. The collar of the dress is decorated with a double row of silk braid with sewn silver plates - sitora, shaped like a star and a crescent. This decoration is called mavchi sitora, i.e.<волна звезд>. Under the dress are worn trousers - poich, oma made of cotton. factory fabric, on his feet are chaky leather kafshi shoes. A scarf is thrown over the head - sobai k, aziny, sewn from three panels of locally produced silk cloth, size 167 cm X 109 cm, over which the head is tied with an embroidered headband - mandil or sarbandak. On the chest there is a necklace made of multi-colored beads and beads, called shavgin, the collar of the dress is fastened with a metal brooch - sadafi pesh, on the neck there is a beaded bandage-kashelak, on the hand there is a ring-challa with an eye made of carnelian-aknk, in the ears there are earrings - gushvor.

31. An ancient costume of an elderly peasant from Darvaz (Mountainous Tajikistan), consisting of a quilted robe -ch,oma, sewn from local cotton. fabric siyah, alocha lined with karbos with white and yellow stripes - karbosi mallagi and belted with a scarf - loki made of white karbos. Under the robe is worn a yaktak or aktai - a robe made of white karbos with yellow stripes, and under it a shirt made of white karbos with a horizontal slit, a collar - kurtai kiftak and blind ezori mardin trousers, sewn from the same karbos. On the feet are boots with soft soles - choruk balandak, with ties at the ankle - bandi choruk, and instead of galoshes - wooden shoes - kafshn chubin. The boots are worn on ornamented and knitted woolen chulmi-churab without a heel, over which woolen paitoba windings are wound from the ankle to half the shin. On the head is an embroidered skullcap made of black satin with a cone-shaped crown - tok, y, and on top of it is a half-woolen turban - sallay moshovy.

32. Jewelry of Tajiks in the mountainous regions. At the top is a neckband made of beads and corals - a hafaband from Karategin. Underneath is a round silver brooch for pinning the collar of a dress - kulfi gi-rebon from the Kulob region. Below is a coral necklace - March, it is from Karategin. From the side to the right (from top to bottom) there is an earring - gushvori k, afasn from the Kulyab region, under it a triangular case for protective prayer-tumorcha from Karategin, below a bracelet made of dastak beads from Darvaz, below in the corner there is a ring - challai niginador from the region Kulob. On the left side is an earring with two pendants - x,alk,a from the Kulyab district, under it a pendant made of barley straw and beads - chavak from the village of Gezan, Penjikent district.
33. Wedding front curtain of Tajik women of mountainous regions - ruband or chashmband, purchased in the village of Rog (the upper reaches of the Zeravshan River), where it was brought from the village of Khilmoni (Mountainous Tajikistan, Karategin). Made of karbos, embroidered with silk untwisted threads and edged with silk braid, which was both woven on the hands and sewn on. At the top in the middle there is a mesh for the eyes. Curtain size 65x80 cm.
34. The ancient costume of a young woman from Rushan (Western Pamir) consisted of a dress with a vertical slit at the collar - kurt, sewn from white karbos or white woolen fabric ragza of local production, and occasionally from factory fabrics. Under the dress they wore trousers - tanbon, which they tried to make from colored fabrics. On the feet are soft boots - pekh, tied at the ankles with braided laces of pekhbands, and woolen stockings - churab. In cold weather, a robe was worn over the dress - gilem made of white homespun cloth, the floors, hem and sleeves of which were trimmed with a cord of dark woolen threads and sometimes, in addition to this, embroidered with the same threads, as shown in the table. Slots were made on the sleeves - kurob for sticking hands through when working. The head was tied with a large scarf - dastor, the ends of which went down almost to the ground. The drawing was made in Barushan from life. The background depicts a carved door of a house, sketched in Khorog (Western Pamir, Shugnan).
35. The ancient costume of a bride from Shugnan (Western Pamir), who was preparing to move to her husband’s house, consisted of a tunic-like dress-shirt with a vertical slit collar - kurtai rostovgirebon and with long, narrow sleeves at the end with holes cut below the elbow - kurob, into which stuck their hands in while working. The dress was made from white karbos or white woolen fabric ragza, and only wealthy people could sew dresses from factory-made cotton. or silk fabrics. In the cold season, a woolen robe was worn over the dress - gilemi tsatma or stsgany - chapon. Under the dress they put on trousers - tanbon, on their feet they put on stockings - ch,irib and boots with soft soles - pekh, tied at the ankle with braided laces - pekhband. The headdress consisted of several scarves: first, they tied the head with a white scarf - piryurm, on top of it they put a chashmband on the face - a curtain made of paper fabric, embroidered using the fillet technique, or a thin silk scarf - fidoy, or hl.-b. scarf - dastorcha, dyed using the dressing technique. A large colored scarf, usually cashmere, called a shol, was thrown over the curtain at an angle forward, and on top was a large white blanket - savorchodar, which was tied on top around the head with an embroidered headband - sarbandak. On the table, all three top scarves are folded back. The sketch was made from life in the village of Porshnev.
36. A modern costume of an old peasant from Shugnan (Western Pamir), consisting of a robe - gilem, sewn from homespun felted cloth - k, atma. Tied over the robe is an old woolen sash - a miend of such length that it can be wrapped around the waist twice. Under the robe they put on a shirt - kurta and trousers - tanbon. On the feet are pekh - soft boots made of rawhide, put on long ornamented stockings - pekhch, irib so that the latter are visible above the top of the boots. At the ankles, the boots are tightly tied with woolen lace - infantry band. On the head is a skullcap - pakol, over which is tied a turban - salla. The table was made from life in the village of Pashor (Western Pamir, Shugnan).

37. A modern bride’s costume from Ishkashim (Western Pamir), consisting of a shirt-dress - shavy, tunic-like cut with folds in the armpits and with an embroidered collar and cuffs and bloomers - poich, oma, which are now usually sewn from some kind of fabric bright color. The dress is sewn from thin white woolen fabric - locally made ragza or cotton wool. matter. On the legs are ornamented stockings - churab and boots with soft soles - kuvd, tied at the ankle with a cord woven from multi-colored woolen threads - kuvdband. On the head is an embroidered skullcap with a flat round top - kuloh, on which is thrown a white blanket - dastor, also made of ragza or karbos fabric. Earrings are placed in the ears - gushvor, on the neck there is a beaded necklace called guluband, and below, on the chest there are beads - mura made of coral with a pendant in the middle. In her hands the bride holds a painted tambourine - daf. The table was made from life in the village of Ryn, against the backdrop of a local dwelling.
38. The modern suit of the groom from Ishkashim consists of a white cotton shirt - kurta with an embroidered collar and cuffs and wide trousers - ezor, tucked into ornamented woolen stockings - churab. A vest is worn over the shirt - kaltacha or wax. On the head is a skullcap - kuloh; on which is wrapped a turban - salla, usually made from thin white muslin called dastor. On the feet are leather boots with soft soles - k,uvd, tightly tied at the ankle with a kuvdband lace woven from woolen threads. A red handkerchief imitating a rose is tucked into the turban - rumble. The table was made from life in Ryn.
39. Headdresses of Tajik women of the Western Pamirs. At the top left is a young woman’s festive headband, called a kur, on top of a shawl thrown over a patterned woven ribbon k, ur, wrapped three times around the head, instead of which an embroidered strip of material - sarbandak - is sometimes used. This type of bandage existed in Shugnan and Rushan until the 30s. The drawing was made from life in the village of Porshnev (Western Pamir, Shugnan). Above on the right is a modern way of tying a head scarf and an older woman's hairstyle. The drawing was made there. Below on the left is an ancient quilted hat paspakol (in Ishkashim) or shokulla (in Shugnan). On the right is the same cap with a scarf tied over it, in the folds of which there is a piece of paper. The drawings were made from life in the village of Ryn (Ishkashim).
40. Modern skullcaps of Tajiks in mountainous regions. At the top is a skullcap - toky from the village of Bedak (Mountain Tajikistan, Karategin), at the bottom is a skullcap - toky or pakol from Vakhan (Western Pamir).

1. A short undershirt dress with a stand-up collar, sometimes trimmed with a pleated frill.
2. Modern dress with a yoke.
3. Dress of ancient Pamir cut with slits on the sleeves.
4. The dress of the most common tunic cut in Tajikistan, which is used to sew both upper and lower dresses. The differences usually lie only in the cut of the collar.
5. A dress of Bukhara cut, without wedges in the sides, which were used to sew dresses in cities from wide silk fabrics.
6. An old-fashioned vest, common in the northern regions of Tajikistan.
7. Vest of Samarkand cut.

1. Dress with a cut-out bodice with pleats on the chest and back, with a stand-up collar and cuffs and a sewn-on skirt with gathers at the waist. It happened in the Western Pamirs.
2. Girl's dress.
3. Women's dress.
4. A women's dress with ruching under the armpits, now common in Ishkashim (Western Pamir).
5. An old woman's dress, tutcha or churtcha, with a cut-off front with a yoke, gathered into ruffles, and a solid straight back, existed for a very short time in the northern regions of the republic at the end of the last century.

1. The most common collar has a vertical slit, sometimes trimmed with a narrow strip of fabric of a different color or decorated with a long embroidered double braid.
2. Collar with a vertical cut, decorated with scallops and ruffles. Such collars were made for underwear, sewn from white cotton. matter.
3. A collar with a vertical cut and a high stand, decorated with an ornament stitched on a sewing machine with threads of a different color.
4. A gate with a vertical cut and a low post, called itik,o, existed and still exists mainly in the northern regions of the republic.
5. A stand-up collar trimmed with pleating and decorated with an ornament stitched on a sewing machine with threads of a different color than the dress itself. This collar is called parpari or k,azok,y.
6. Stand-up collar with a flap both in the front, on the chest, and in the back, on the back. It existed and exists mainly in the northern regions of the republic and is called itiko.

1. Faranchi - a robe draped over the head with false sleeves fastened at the back (sewn in Leninabad at the beginning of the 20th century).
2. The same, Bukhara cut.
3. Sarandoz or tur - a tulle veil on the bride’s head (Samarkand, twenties of the 20th century).

1. Gilem is a women's robe made of homespun wool. Sleeves with cross slits for passing through arms while working.

2. Kaltacha or munisak - an ancient robe with ruching under the armpits, which was common in cities and large villages in the middle and end of the last - early 20th centuries (sewn in Bukhara).

3. Same. See table. 24 (sewn in Karatag - Central Tajikistan - at the beginning of the 20th century).

4. Kamzul - an ancient women's robe for young women, found mainly among the urban population (sewn in Leninabad at the beginning of the 20th century).

5. Rumcha - an old robe for middle-aged women (made in Leninabad at the beginning of the 20th century).

1. Tsoma or chapon-robe of the most common cut in Tajikistan - without seams on the shoulders, with gussets on the sides reaching to the sleeves and with relatively narrow sleeves sewn in without a cut-out armhole.

2. The same Bukhara cut (later), without wedges in the side reaching to the sleeves, with wide long sleeves, sewn in without a cut-out armhole.

3. The same thing, made from factory cloth, was worn by wealthy townspeople.

4. The same rumcha cut, sewn with seams on the shoulders and with sleeves sewn into the cut-out armhole.

5. Gilem - a robe made of homespun cloth. Sketched in Shugnan (Western Pamir).

1. Camzul - a men's camisole, which was and is still in use among the urban population.

2. Kurtai kiftak - a men's shirt of an old cut. Distributed throughout Tajikistan. The back and front are made of fabric folded at the shoulders, wedges at the sides, and the collar is horizontal.

3. Kurtai yaktak - men's open shirt. Typical for the rural population of the northern regions of Tajikistan.

4. Yaktai - a shirt-robe that was used in mountainous areas.

5. Ezor, tanbon - men's trousers of the most common cut in Tajikistan. Women's pants are also sewn in the same cut, only they are made narrower, the wedge is made smaller per step and is not sewn to the end of the trouser legs, but quarters two higher.

6. Lozim, poich, oma - ancient women's trousers. (sewn in Bukhara).

7. The same modern cut.

8. Men's trousers of an old style.

9. Tanbon - women's bloomers. (Western Pamir, Shugnan).

50. Antique headdress. Modern headdress. (“Modern” – at the time of research, mid-20th century)

At the end of the 19th - beginning of the 20th century, the traditional clothing of the Tajiks living in the Zarafshan region already had a specific established form: a loose tunic-like silhouette and cut in a straight line; the clothes were loose, wide, hiding the shape of the human body. Male, female and children's costumes were very close in shape and cut. At the same time, the decorative qualities of the fabrics used in clothing, which were evidence of the richness and originality of folk art, were of particular importance. It is especially worth mentioning the brightness and expressiveness of the color and tone of the iridescent colors of such women's dresses as “kuylyak”, “kurta”; and robes “Munisak”, “Kaltacha” from handicraft semi-silk fabrics “Adras” - elegant and formal, silk “Shoi” and “Kalagay” - light and thin, colored velvet “Bakhmal”, “Haftrang”.
Patterns on velvet fabrics were created in the same way as on silk ones, using the “abbandi” technique, which consisted of reserving individual sections of the warp by tying the threads and then dyeing them.

Men's national clothing.
Tajik men's robes, called “joma”, “yaktag”, existed in several types: light, lined, warm, quilted; Basically, they were sewn from bright and colorful fabric; the cut of the robe did not depend on age and was the same for everyone. The robes were cut from a whole piece of cloth, folded crosswise, resulting in a front and back without a seam on the shoulders. The armhole had no cutout, straight, long sleeves tapering downward were sewn onto it, a gusset was sewn under the armpit, wedges were sewn into the sides, and there were vertical slits on the hem of the robe on both sides. The edges of the sides, hem, sleeves and collars were trimmed with narrow braided braid self made- “zehi dasti”, were decorated with ties on the chest “kamarcha”. The main material for creating everyday men's dressing gowns There were factory fabrics of satin and chintz with large floral patterns and cloth in blue and blue-green colors.

At the beginning of the 20th century, camisoles (kamzul), which are a kind of closed frock coat, but without a slit at the back, came into fashion in cities. In winter, over a cotton, quilted robe, covered with factory cloth fur coats“Pustin” and “Chakman” robes made of homespun cloth.

The men's costume complex included underwear - a tunic-like shirt, which in this region was called “kurtai mardona”, “kiftaki” or “kuylak” and trousers “ezor” or “ishton”. The headdress of men was a turban - “salla”, wrapped around a skullcap (“toki”) or a “kulokh” hat.

The belts were sashes - “futa”, made from a long piece of narrow fabric. Young people had square “belbog” or “miyonband” scarves embroidered at the ends of their belts. Wealthy men and officials wore wide “kamarband” belts made of velvet, embroidered with gold thread or a cross.

The usual footwear of the urban population, both men and women, were soft boots “makhsi”, which were worn with galoshes (leather “kaushi”). Ichigi made of goatskin were called here “kairoki” (“stone”, i.e. durable). In rural areas, the assortment of shoes was more diverse, in addition to light boots, they also wore high-heeled boots; in winter, in mountainous areas they wore “kafshi chubin” - wooden shoes with three legs.

Traditional women's clothing.
The traditional women's costume once consisted of a long, ankle-length, shirt-dress “kurta” of tunic-like cut; its sides and sleeves were slightly slanted, and the square gussets “kulfak” or “khishtak” (brick) were created from a material of a different color, which had a magical meaning (ensuring fertility).

Girls' dresses had a horizontal slit with a kitfaki (shoulder) collar with a slight notch under the throat and ties at the ends of the slit. After marriage, the bride began to wear women's dresses with a vertical cutout, the peshkusho or peshala gate. Often the chest section was decorated with a strip, embroidered braid or “peshkurta”. On the dress, there were thick “chim” gatherings on both sides of the vertical slit on the collar (until the early 90s of the 19th century). A stand-up collar was usually found on white dresses, which acted as underwear when going out in public. Several bright silk or adras dresses were worn over it. These dresses had a vertical slit that was slightly turned out so that only the elegant pleated collar of the under white dress was visible.
The sleeves of women's tunic-shaped dresses were wide and even along the entire length.

The second main part of a woman’s costume is the blind trousers “ezor”, “poydzhoma”, “lozimi”, tightened at the waist with a belt made of braid - “gashnik”. They were sewn mainly from two types of fabric, the lower part was made of expensive material, the upper part was made of simpler, cheaper fabric. The bottom of the trousers was trimmed with “zekh” or “kokma” braid (woven or embroidered).
Later, dresses with a cut-off yoke appeared, which took a strong place in Tajik women's wardrobe, they are currently the main form of women's dresses.

Women's headdress had three components: “salla” (turban), a cap “kuluta pushak” or “kuluta”, worn under the turban, and “lachak” - a rectangular piece of fabric hanging under the chin and covering the neck and chest. In addition, there was a specially embroidered sarandoz (head cape) for the bride, decorated with embroidery. At the beginning of the 20th century, it was replaced by a curtain made of tulle - a “tour”, which was thrown over the bride’s head; the ends of this scarf were decorated with embroidery made on a tambour machine.

In addition to dresses, the complex of the ancient traditional women's costume of this region (in addition to the quilted robe) included two more types of outer tunic-like clothing - “munisak” or “kaltacha” and burqa. Munisak, and then kaltacha, differed from ordinary robes in cut: there was no sewn-on collar, the collar on the chest was slightly taken out, there was a narrow back “nimcha” (twig), the front and side wedges were slightly slanted at the bottom, under the arms they gathered into one bunch of folds - “chucha”, the edges of the robe were trimmed with hand-woven braid “zekh” and had bright, elegant “farovez” side flaps; there were small slits on the sides. Elderly women's munisaki had neither lining nor braid, but were hemmed with a narrow bias strip of other fabric (second half of the 19th century).

At the beginning of the 20th century, instead of the two types of outerwear described above, in lowland cities and villages, robes that fit slightly at the waist with short and narrow sleeves with a cut-out armhole, with a turn-down collar and pockets on the sides, called “kamzul,” came into fashion.

When going out into the street, townswomen put a burqa over their heads over their headdress - a large wide robe with long false sleeves folded over the back, fastened together at the bottom, which were called here “dumi faranji” (burqa tail). The woman’s face was covered with a dense rectangular mesh “chashmband”, made of black horsehair, trimmed on all sides with a strip of black material and sometimes decorated with tambour embroidery or small blue beads.

The burqa was mostly worn in the city, where it was made and sold in markets. In rural areas, it was bought by wealthy families as a bride's dowry. Basically, they wore a “jelak” robe-cape, made from local handicraft mata with narrow stripes, white calico, or red satin with embroidery.

Farangi.
Burqa, faranji (from the Arabic “farajiyya” - loose outer clothing) - this was the name in the past for a robe-like cape for women who wore it in the city. It has long false sleeves, fastened at the ends at the back. The burqa is thrown over the head, as a result of which it completely hides the woman’s figure. Until relatively recently, Tajiks wore a black hair net covering their faces in front, the so-called “chachvan” (from the Persian “chashmband” - blindfold).
The Muslim religion, which requires maximum concealment of a woman's face and figure, has always supported and continues to support the custom of wearing a burqa.

It should be noted that the faranji-type women's veil was originally an attribute of the bride's outfit, for whom marriage meant the first time outside the parental home. It is interesting that in the living vocabulary of Tajiks there is an expression “dukhtari khona” (i.e. “girl at home” or “home girl”); with some reservations it corresponds to the Russian “girl of marriageable age”. The meaning of the expression “dukhtari khona” is that before marriage, she was forbidden to leave the house without urgent need, and to the house of her future husband, as in our time, she went to the house of her future husband in a blanket with a curtain in front of her eyes. It follows from this that the faranji was a component of a woman’s weekend suit, initially performing the function wedding dress brides

Speaking about the rationalistic meaning of women wearing a veil, it should be noted that for centuries it embodied female modesty, purity, virtue, chastity and marital fidelity.

Tracing the practical functions of the faranja, it is necessary to say about its characteristic lining. It has always been an indicator of the adaptability of this clothing to the climatic conditions of Central Asia. Thanks to the lining, the faranji protected not only from the cold in winter time, but also from the impact of wind on the heated body of a mother with a child in her arms in the summer. Thus, the elements of the cover we are interested in were determined by the natural and climatic conditions of the region. The faranji, unlike closed women's capes, for example in Afghanistan, was not pulled over the head, but, thanks to its robe-like shape, was thrown over it. This way of wearing it was convenient for a nursing mother when she left the house with a baby in her arms. The “chashmband” mesh, descending from the head to the chest, allowed the woman to feed the baby without exposing her breasts to possible strangers.

The idea of ​​a woman as a being in need of protection applied especially to a pregnant woman. Society took care of her, ordering her to wear a faranja as a protective measure against imaginary dark forces. Tajiks believed that the effect these forces have on a pregnant woman also harms the fetus.

Beliefs and ideas associated with the need to wear a faranja help to reveal its certain symbolic functions. Of course, many of these beliefs have now been lost, so at present researchers have to identify them by analyzing surviving images. As already mentioned, in Central Asia such a veil was worn mainly in cities. In rural areas, among the life of predominantly “our own” people, there was no great need for it. The city, on the contrary, was a world of “strangers.” Therefore, when going out on the street, in accordance with ancient custom, women put on a cape that hid their figure, which, thus, allowed them to remain unrecognizable.

Jurabs.
Among the peoples of the Caucasus, Western and Central Asia, jurabs (also jorabs or jorops) were thick knitted socks.

Jurabs are made from lamb wool, which is processed in a special way and then dyed. Jurabs are crocheted with one crochet hook. At the end of the work, they become light in weight, but at the same time very warm. Knitting thick woolen stockings is widespread in the Pamirs. Nowhere else do they knit such bright and beautiful jurabs as there. Skillfully combining red, yellow, green, brown, black and white tones, each woman introduces new motifs into the traditional design. Frequently encountered ornamental motifs are the chest of a falcon, a scorpion, three-tiered pyramids and others.

Despite the fact that a certain part of Tajiks, especially in cities and workers’ settlements, now wear common urban dresses and shoes, the national Tajik costume continues to exist, mainly among the rural female population. It has been preserved to the greatest extent in remote mountainous areas.

Women's costume in the mountainous regions (Karategin and Darvaz) consists of a dress-shirt-kurta, bloomers - ezor or poytsoma, quilted robe - tsoma, head scarf - rumol (numol), soba, doka. In recent years, in regional centers they have also begun to wear a kamzul - outerwear in the form of a coat narrow at the waist, borrowed from the inhabitants of the lowland regions. Shirts are usually sewn from paper and silk factory fabrics, plain white, colored, or from printed chintz and satin with bright patterns; In some places there are also kurtas made from handicraft paper and silk fabrics. The tunic-shaped kurta serves as both underwear and outerwear; they sew it from one piece of fabric, folded in half on the shoulders; Beveled wedges are inserted into the sides, the sleeves are made long and straight along the entire length and sewn to the main panel.

Most of all, shirts differ from each other in the cut of the collar, which is associated with their name: shirts with a wedge-shaped deep neckline on the chest - peshchokak, with a standing collar with pleated gathering - parpari, with a standing collar without gathering - TsazoTsy, a dress with a cut-off yoke and a turn-down collar - Uzbek; Previously, a girl's shirt, unlike women's shirts, was sewn not with a vertical slit in the front, but a horizontal one on the shoulder; now this difference has disappeared. Shirts for girls and young women were decorated with embroidery along the collar, at the ends of the sleeves, and at the hem.

Women's trousers are usually wide-cut and reach the ankle; the bottom of the trouser legs is folded and hemmed; sometimes it is trimmed with patterned braid - hyeroza; Bloomers are often made from two types of fabric; the upper part - the bodice is made from handicraft cotton fabric- carboss, the top is folded and hemmed, passing the ribbon. The lower part (trouser legs and wedges in the step) is made of colored chintz, satin, silk, semi-silk fabric bekasab or adras.

Women's robe almost no different in cut from men's. In the old days, women in mountainous regions did not wear robes at all; it was believed that a woman did not need outer clothing.

Headscarves are made from white muslin; factory-made white ones are also worn. knitted scarves, silk or wool blend; the scarf is usually large (up to 2 m on each side), folded diagonally and thrown over the head with the ends behind the back; young women often tie a headscarf, covering their foreheads and tying the ends at the back of their heads. Recently, women began to wear skullcaps - totsi, which was not the custom before. Women comb their hair in the middle, then weave thin braids in front - pecha, braiding the forehead, as well as on the sides, above the ears - torak; The main two braids, braided behind the ears, are called goose; torak braids are braided to them. Artificial braids made of simple or black woolen threads are usually woven into their own braids - chura, kokul, ending with tassels of multi-colored threads and beads.

Footwear is now worn mainly from factories, mostly shoes or rubber galoshes in pointed socks. Sometimes they also wear mausya - soft shoes with high tops, worn with galoshes, which at one time were borrowed from the Tatars. Sometimes you can also find ancient local wooden shoes called kaugi with three spikes. In the warm season, shoes are worn on bare feet, and in the cold season, on woolen ornamented stockings; Local women knit such stockings from multi-colored woolen threads.

A permanent decoration for women are beaded neckbands - gulu - bandakzh necklace - muura, which are made from coins and coral beads. Bracelets are also used - metal and made of beads; some beads are given magical meaning; They also wear rings, sometimes with a colored glass eye.

The men's suit consists from a shirt, trousers, robe, waist scarf and skullcap. Shirts and trousers are now made from light factory fabrics. The men's shirt - kurtai kitfak - has the same cut as the women's kurta, only they make it shorter, with slightly narrower short sleeves, sometimes slightly slanted, with a semicircular neckline and a horizontal slit along one of the shoulders (shirts are also available with a vertical neckline on the left side of the chest). Another type of shirt became widespread - kurtai yaktagy, borrowed, possibly, from the population of the Fergana Valley. Ezor pants are made, like women's, with a drawstring, wide at the top and tapering at the bottom, but shorter than women's. The shirt is worn untucked, over the trousers and is belted with a large scarf folded diagonally - loshch or chorsu embroidered along the edges (literally - four sides). A robe is worn over the shirt and pants. A summer robe without lining used to be made from a special handicraft cotton fabric - satraschy (in its texture it resembled waffle towel), and now - from factory fabric, which is called yaktagy. In winter, they wear quilted robes made of colored factory fabrics, lined with cotton wool. However, the most characteristic upper men's clothing for mountainous areas in cold weather there are wide trousers - gioraeza and a wide wrap-around robe with very long sleeves - chakman; both are sewn from handicraft narrow wool fabric- cut, very dense and well-made; the collar of the chakman is decorated with an ornament made of colored woolen threads; Chakmans and Shoragzas have natural color wool - white, black or brown. Shoragza and chakman are usually worn in cold weather or on a long journey, while the robe worn under the chakman is also tucked into the shoragza. In winter, a belt scarf is usually worn over a quilted robe or chakman.

The skullcap is the headdress of men of all ages. Typical for mountainous regions is a cone-shaped skullcap with a round band; such a skullcap is stitched, and into the stitches diverging from its top, between the top of the skullcap and the lining, cotton wool, rolled into a tight roller, is inserted for strength; Along the band, the stitching goes around in horizontal rows. Skullcaps in most cases are embroidered with floral or geometric patterns; The band is trimmed with ornamented sheroza braid, embroidered with a chain stitch. In recent years, the Chusti skullcap has penetrated into the mountainous regions (see below). The turban, common in other areas, is almost never worn in the mountains.

In cold weather, a woolen scarf is wrapped over the skullcap or fur hats are worn. Men, as a rule, shave their heads, Tajiks in national clothes. Northern leaving a mustache; They grow a beard at an older age.

Mountain Tajiks wear colored woolen stockings, jurab. The calves of the legs, especially on a long journey, are tightly bandaged with a wide braid - poi-toba, which, according to the existing concept, gives the leg strength when walking. Shoes made of rawhide - choruTs, or mukki, made of more carefully treated leather, are sewn from two halves, with a seam in the middle, on a soft sole; In some places they still use wooden shoes - kaush.

The lowland Tajiks of the northern regions (Leninabad and adjacent regions) no longer use some of the handicraft fabric that still exists in the mountains (with the exception of some types of silk fabrics produced in weaving workshops). Women's clothing among Tajiks in the northern regions also consists of a kurta shirt and ezor pants. Starting from childhood and up to 40-45 years old, women now wear kamzulburish shirts (shirts cut like a camisole). This is a long shirt reaching to the ankles, with a cut-off yoke, seams on the shoulders and long sewn-in straight sleeves; The waist of the shirt is cut straight and gathered at the yoke into gathers or folds, the front of the yoke is cut vertically and the edges of the cut are hemmed, the collar is made turn-down. Elderly women wear tunic-shaped shirts, similar in style to the shirts of mountain Tajiks, but with a stand-up collar fastened in the front, these shirts are called ittiko. Shirts are made of cotton or silk, from patterned fabrics, brighter for girls and young women, darker for older women, light or white for old women. Pants are made wide at the top, narrow and trimmed with embroidered silk braid (tsiyak) at the bottom. They are used as outerwear both at home and on weekends. short jacket- caste m; Everyone wears it, except little girls and very old women. Young girls and girls wear a short vest. Along with jackets, women also wear robes - chapon. Robes are always made with cotton wool (in summer, with a thin cotton stitch). These robes have the appearance of a coat fitted at the waist with a turn-down collar and wide lapels, with a tab at the waist. Outerwear is made mainly from plush, corduroy, and velvet.

The head is covered with a scarf- the king, now mainly silk, colored, lighter and brighter for young women and darker for the elderly. There are many ways to tie a scarf; most often the scarf is folded diagonally and, draped over the head, tied with a simple knot at the back of the head, leaving the ears open; sometimes, for example during work, the scarf, crossing the ends at the back of the head, is tied with a knot in the front; in winter, a woolen or down one is worn over a regular scarf. Nowadays, the skullcap is becoming increasingly common in everyday life as a summer women’s headdress; It is worn mainly by girls and young women, often without a headscarf, sometimes placing braids around it. The skullcap as a women's headdress appeared only after the revolution, as well as in the mountainous regions; Before the revolution, only women of the lower Zeravshan valley (Tajiks of Samarkand and Bukhara) wore a skullcap under a headscarf. Girls, as well as girls and young women, wear their hair in many braids, both front and back; As women age, they stop braiding their hair in the front. Recently, many women have begun to wear braids around their heads, due to the convenience of such a hairstyle while working.

Little jewelry is now worn, the most common of which are earrings.

Makhsi with galoshes are now usually worn by elderly women, and the rest wear them only in cold and dirty weather; Basically, women switched to factory-made shoes - open shoes or low shoes, which are worn outside the home with stockings.

A man's suit consists of an untucked shirt, usually white, trousers tucked into boots, a belt and a skullcap; in cold weather they wear robes.

Boys and young men wear shirts straight Russian cut with a high collar. Older men wear the kurtai yakhtak shirt, typical of the Fergana Valley. It has a tunic-like cut, beveled, widening sides and tapering sleeves; A deep cutout is made in the front, sewn on, the collar at the back disappears at the front. This shirt originates from the yaktagi body robe, worn back in the 19th century. Locally cut trousers, wide, with a drawstring at the top, are gradually falling out of use; they are now worn only by older people. The shirt is worn over pants, belted with a scarf belt made of silk or paper fabric, embroidered on four sides; The ends of the scarf are tied in a knot at the waist or hips, slightly to the side. In some places, it is customary to tie two scarves at once, one of them serves as a kind of pocket (bread and various small items are wrapped in it, and a knife in a sheath is hung from it). Robes, like women's ones, are made with cotton wool; they have a tunic-like cut; They are sewn mainly from satin or semi-silk fabrics produced by local enterprises.

Of the skullcaps, which are literally worn by everyone, from children to the elderly, the most common is the Chusti skullcap (literally “Chust” - usually black, square, with four images of “cucumber” or “pepper” embroidered with white threads). In the cold season, men, as in mountainous regions, tie headscarves over their skullcaps or wear fur hat. Previously, people usually shaved their heads; now their hair is cut more often; young people often leave long hair. Nowadays, most young men also shave their beards and mustaches or leave the mustache on. Only older people wear beards.

Shoes are worn from the factory - Wellingtons, in summer sometimes canvas shoes and boots.

As can be seen from the above, there are differences in the national costume of Tajiks, the most significant in the clothing of mountain and lowland Tajiks. But some differences can be observed in individual areas. Thus, Fergana Tajiks are characterized by a shorter, figure-hugging robe, with narrow and relatively short sleeves, while Tajiks from other places, in particular Gissar and the Zeravshan Valley, wear more spacious robes with wide sleeves; Fergana Tajik robes are made from fabric of dark tones - black, blue or green, Gissar Dev robes, Samarkand - A young collective farmer in festive clothes, Tsev and Kulyab residents - more bright colors, and the favorite colors of Bukharians are striped, pink and black. The types of skullcaps and their ornaments also vary in individual regions (the skullcaps of Isfara, Kanibadam, Leninabad and some other places are unique), as well as women’s hairstyles and the manner of braiding their hair.

However, the Tajik costume, even in former times, despite the significant isolation of individual areas, in particular mountainous ones, did not remain unchanged. It was said above about the penetration into the mountainous regions of such clothing elements as the makhsi, adopted from the plains, where they in turn were borrowed from the Tatars, or like a yakhtak-type shirt. Elements of costume and new fashions that again penetrated into one region or another were naturally perceived by the younger, less conservative generation, while the older generation continued to cling to the old days.

It is quite natural that with the elimination of former isolation after the revolution and in connection with the spread of factory-made clothing using national motifs, the penetration of individual elements of national clothing from one region to another became even wider; A striking example of this is the distribution of the Chusti skull cap almost everywhere among Tajiks and Uzbeks.

Along with the national costume, the common urban dress and shoes are increasingly becoming part of everyday life every year. As a result of this, at present, the costume of a Tajik and Tajik woman, especially in cities and industrial areas (among workers, office workers, intelligentsia), in regional centers, is already entirely urban or mixed, in which national clothing accessories are combined with urban ones.

It is characteristic that they disappear most quickly different kinds local shoes; for men they are replaced by boots and boots with galoshes, for women - shoes (usually with low heels) worn over stockings and socks. This “is explained by the much greater comfort and durability of factory-made shoes. The most persistently preserved national headdresses are skullcaps (which, as already mentioned, not only do not disappear, but have come into use among women), as well as bright and colorful head scarves, which are now produced taking into account the national tastes of the peoples of Central Asia, including including Tajiks.

Jacket and trousers are becoming increasingly widespread; they are often combined with such accessories of the national costume as a belt scarf and skullcap, and also often with a robe as outerwear. After the war, military-style tunics and trousers were adopted, which do not restrict movement and are comfortable. The intelligentsia, both in cities and in regional centers, wears white suits in warm weather - a white jacket and untucked trousers. Women, although they mainly retain the local national cut in their clothes, for dresses and outerwear they use factory fabrics, usually bright and richly ornamented in accordance with national taste.

Men's underwear, outerwear of local styles and women's clothing sew at home. Nowadays many homes have sewing machines. Men's suits sewn in state sewing workshops. Many clothing accessories are purchased ready-made in the store, especially outerwear and suits. Ready-made purchased underwear is gradually coming into use, in particular T-shirts and panties, shirts, as well as stockings and socks.

Thus, among the accessories of the national costume, mainly those that are the most colorful, elegant and at the same time comfortable are preserved: skullcaps, women's headscarves, women's dresses, belt scarves and a robe typical of the peoples of Central Asia.