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TAJIK NATIONAL CLOTHES
The national clothes of people residing in Zarafshan region at the end of ÕIÕ - early ÕÕ centuries had the traditional form: loose tunic-type silhouette and cutting on a straight line. It was loose, wide, hiding the form of human body. Both male, female and child clothes differed by their uniformity: similar form and cutout. Decorative qualities of the fabrics testifying the richness and originality of folk art are of special interest. Such types of clothes represented bright and expressive by color and tone female clothes “kuylyak”, “kurta” and dressing-gowns of “munisak”, “kaltacha” made of semi-silk fabrics “adras” — good-looking and solemn, silk “shoi” and “kalagay” — light and thin, colored velvet “bahmal”, “haftrang” — picturesque and unusually beautiful. Patterns on velvet fabrics were created as well as on silk ones by the technique of “abrbandi” that consisted in reservation of separate areas of the background by bandaging of filaments and subsequent painting.
Male dressing-gowns of “joma”, “yaktag”, light and quilted on cotton wool from semi-silk bekasam with moire broad patterns in narrow bars, yellow and navy blue color and paper “alachi” - a striped fabric with contrasting colors that were mainly produced by rural weavers for dressing-gowns for all ages. Basic material for everyday male dressing-gowns were factory fabrics - sateen and printed cotton - with a large floral pattern and smooth woolen cloth of dark blue and dark blue-green color. A traditional ancient female suit consisted of long, descending to the ankle shirt-clothes “kurta” of tunic type, side parts and sleeves slightly loosed, and square gores “kulfak” or “hishtak” (brick) were made of the fabric of different color, that was considered to have magic value, and provided fertility.
Girls’ dresses had a horizontal cut of collar “kitfaki” (shoulder) with a slight cut under throat, with strings. As soon as a young lady got married she began to wear women’s clothes with vertical cut of collar “peshkusho” or “peshyala”. Quite often such cut was adorned by slat embroidered by lace “peshkurta”. Dresses “peshyala” especially differed by vertical cut of collar that was adorned by thick plaits “chim” on both sides (before 90-ies of ÕIÕ century). A stand-up collar was usually made on white clothes which people wore as underwear when they went out and put on several bright silk or adras clothes. These clothes had a vertical cut so that a good-looking pleated collar of the under white dress could be seen. Sleeves of tunic-type dresses were loose and straight all over their length. However such sleeves were not the oldest form of cut. The aslant type of sleeves preceded them. Such sleeves were very loose near the body and narrow at hand. They were very long and formed transversal pleats. So since 60-ies of ÕIÕ century the width of sleeves reached from 14 to 15 cm, since 90ies of ÕIÕ century - from 25 to 40 cm. In Zarafshan valley the width of sleeves reached 45 cm. The second basic part of women’ dress is pantaloons “ezor”, “poyjoma”, “lozimi” tightened on a waist with a belt made of braid — “gashnik”. They were made mainly of two types of fabric, under — made of expensive material, upper — made of chaper and simple fabric. The bottom of pantaloons was edged with a narrow lace or embroidered braid “zeh” or “kokma”. Clothes with a detachable coquette are nowadays the basic form of female clothes. The head-dress of women consisted of three parts: “sallya” (turban), small caps “kuluta pushak” or “kulyuta” put on under a turban and “lachak” - a rectangular piece of fabric fixed under the chin and covering the neck and breast. In addition there was a especially embroidered shawl of the bride “sarandoz” (a headcloth) decorated with embroidery. At the beginning of ÕÕ century it was replaced by cover made of a window curtain tulle – “tur” - which covered the head of a bride, and the ends were decorated with embroidery made on a chain machine. Besides clothes in the complex of ancient traditional female dress of this region, including quilted dressing-gown, there were used two other types of tunic-type outer garments — munisak or kaltacha and yashmak. Munisak, and then kaltacha, differed from ordinary dressing-gowns by their cut: lack of adjusted collar, the collar was a little taken out on the breast, the back was narrow — “nimcha” (small twig), front and lateral wedges slightly were widen to the bottom, under arms gathered together as a bunch of folds — “chucha”. On the edge the dressing-gown was decorated by a braid of hand-made wickerwork called “zeh” and had bright, good-looking backing — “farovez”, both sides had small cuts. Old women’s munisaks had neither backing nor braid, and the bottom was sewn by a narrow strip of different fabric (II half of ÕIÕ century).
At the beginning of ÕÕ century instead of these two types of outer garments in towns located in valleys there were also used waist dressing-gowns with short and narrow sleeves with carved armholes, a turn-down collar, pockets on sides. Such dressing-gowns were called “kamzul”. When women went outside they covered themselves with yashmak - a large and loose dressing-gown with the long false sleeves that were called “dumi faranji” (tail of yashmak) bind together on the back. The face was hidden under thick rectangular net “chashmband” made of black horsehair sometimes decorated by embroidery or small blue beads on edges. Yashmak was worn mainly in town where it was produced and sold on markets. In rural areas it was bought for braids from rich families, but mainly here were worn hand-made dressing-gowns called “jelak” with narrow stripes made of white sheeting or red sateen with embroidery.
Men’s dressing-gowns of this region “joma”, “yaktag” were of several types: light, with backing, warm, quilted, mainly made of bright and pied fabric, the cut-out was similar for all ages. Dressing-gowns were cut out from a whole width, folded broadwise, forming the front and back seamless on shoulders, long sleeves without carved armhole lines, narrowing to the ends, wedge shaped piece was sewn under the arm, wedges were sewn in sides, vertical cuts in the both sides of the bottom. Edges of sides, hem, sleeves, collar – all these were framed by a narrow hand-made wicker lace — “zehi dasti”, adorned by ties on a breast “kamarcha”. At the beginning of ÕÕ century jerkins came into fashion — “kamzul” being a sort of frock-coat but without a cut backwards. In winter there was put on a fur coats covered by factory woolen cloth over quilted dressing-gowns – “pustin” and dressing-gowns “chakman” made of homespun smooth woolen cloth.
The complex of men’s dress included underclothes of a tunic-type shirt called “kurtai mardona”, “kiftaki” or “kuylak” in this region, and trousers called “ezor” or “ishton”. A turban called “salla” served as a head-dress for men — piled up on a skull-cap (toki) or cap called kuloh. Sashes served as belts — “futa” made of a long piece of narrow cloth. For young men - square shawls “belbog” or “mienband” embroidered on edges. Rich men and officials wore broad belts “kamarband” made of velvet embroidered by a gold filament or cross.
The ordinary shoes of urban population, both men and women, were soft knee-boots “mahsi” that were worn together with rubbers, leather “kaushi” - ichigi made of goat leather called “kayroki” (stony, i.e. resistant). In rural areas the assortment of shoes was more diverse, besides light knee-boots people also wore high heel knee-boots, in winter in mountain districts – “kafshi chubin” – wooden sabots on three legs.
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