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SOME THOUGHTS ON UZBEK NATIONAL CLOTHING
(HOOD AND TUNIC)
Usmanov Akhrorjon Rustamjon ugli
Fergana State University
Teacher of the Department of History of Uzbekistan
e-mail: a.usmonov1995@gmail.com
https://doi.org/10.5281/zenodo.15044548
Abstract
:
This article discusses the Uzbek national clothing. The use of
ancient clothing in the lifestyle of the population of our country since ancient
times, their types and convenience for use in the economy are highlighted. Also,
historical information and the opinions of our scientists about the skullcap are
presented. Its role as a national headdress and its symbols are discussed
.
Key words
:
Intangible cultural heritage related to skullcaps, robes, shirts,
trousers, boots, work, family clothes
The Resolution of the President of the Republic of Uzbekistan No. PQ-
405 dated December 25, 2023 “On additional measures to protect, develop
scientific research and promotion of intangible cultural heritage” has become an
impetus for a wider study of intangible cultural heritage in our country and new
scientific research. Today, the widespread promotion of intangible cultural
heritage, the dissemination of our national games and values to the younger
generation has risen to the level of state policy.
Every nation has its own national costumes that reflect its identity and
speak of its long history. In particular, Uzbek national costumes have been
formed over many centuries and have been improving inextricably linked to the
history, culture, and unique lifestyle of our people.
In ancient times, men's clothing consisted mainly of a shirt and a cloak.
Their clothes were slightly tight-fitting. Their length reached to the knees. They
were tied with a belt at the waist. Their hats were flat or conical caps. Their
shoes consisted of soft, turned-up boots.
Men of the 5th century AD are depicted as strong, round-faced, almond-
shaped eyes, with short-cropped hair and no beard. Their clothing is suitable for
horseback riding, with short caftans and shirts, wide trousers and high-heeled
boots. In Tokharistan, only male and female servants wore belts, while noble
women did not.
[1]
At the end of the 7th and beginning of the 8th centuries, the style of
clothing of the peoples of Central Asia became more complex. During this period,
loose, lightweight clothing appeared that was comfortable to wear and fit the
div.
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Another thing to note is that the coats of this period were fastened with
buttons or ties. Buttons were mainly found on the clothes of the rich. Buttons
were found on coats until the 19th century.
As a part of our national identity, our skullcaps have not lost their value
even today. Continuing the tradition of the master and the disciple, skullcap-
making schools continue to operate today.
The skullcap, which was still common in the 19th century, was made of
gazmol and was usually embroidered with silk or silver and gold threads. In the
20th century, skullcaps with a square or round top appeared. Skullcaps with
almond and pepper patterns were worn in Fergana and Tashkent.
The earliest information about the skullcap can be found in
archaeological sites, wall inscriptions, and oriental miniature art of the 15th-
16th centuries.[2] According to experts, skullcaps were widespread in
Uzbekistan from the 10th-12th centuries. Initially, they served as ordinary
clothing, but later they rose to the level of a national headdress.
The art of skullcap making was included in the National Register of
Intangible Cultural Heritage of Uzbekistan in 2018. Today, skullcaps from
Tashkent, Chust, Kokand, Margilan, Andijan, Samarkand, Bukhara and
Shahrisabz are popular in our Republic. Skullcaps from each region differ from
each other in their symbols. For example, Andijan skullcaps have symbols that
indicate that children have given in response to requests, state requests, and
those whose business has failed, may their right side fall on the side of income,
and their left side fall on the side of income. If there are quarrels in the house,
they draw water waves so that the house becomes as clear as water
In the 1930s, the Chust hats were created in the Fergana region. They
were widely used in other regions due to their beauty, comfort, and elegance.
After the Chust hats for men in the Fergana region, Margilan hats were created
in their imitation. Margilan hats were also made mainly of black satin and silk
fabrics, with cotton fabric for the lining.
[3]
Art historian M. Faziliy believes that the image on the skullcap is
associated with the fetus, which ensures the continuation of generations, while
other researchers argue that the images of peppercorns on the skullcap are a
magical means of protection that protects the owner of the skull from various
misfortunes.
In the past, in some cases, when a wedding was arranged and the groom
could not attend his wedding for certain reasons, the bride was married to his
skullcap or knife.
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Tun- a long, light, straight-cut national outer garment with a stand-up
collar, open in front, and lined with cotton. There are cotton tunics with cotton
inside and cotton-free tunics. The hem has slits on both sides for comfort when
sitting.
The style of the ton is basically the same throughout Uzbekistan,
differing in some features (length, color of the fabric and decoration methods).
Tashkent-Fergana ton is sewn from sipo (blue, green, yellow, purple) colored
fabrics. At the beginning of the 20th century, it was customary to wear ton made
of black satin and ceylon, young people wore light-colored bekasam ton, such
ton was sent to the bride as a groom's ton with a sarpa
Today, Tashkent-Fergana, Bukhara, Samarkand, and Khorezm tons are
widespread.
List of references used:
1. Khasanboyeva G., Churchina V. History of Costume. Uzbekistan Publishing
House. 2002
2. Gaybullayeva Y. From the history of drums. Tashkent: Moziydan sado. 2010.
pp. 2-3.
3. Ashurova S. “History of Uzbek national skullcaps and their types”. Eurasian
journal of academic research. Volume 2 Issue 11, October 2022
4. Usmanov A. “Intangible Cultural Heritage National Heritage” “Problems and
Solutions in the Development of Art and Culture in Building a New Uzbekistan”
International Scientific Conference. October 5, 2022. pp. 607-611
5. Usmanov A. Intangible cultural heritage related to artistic crafts. Fardu.
Scientific News.1-2023. 241-p
6.Usmonov A. Intangible cultural heritage and issues of its protection. European
Journal of interdisciplinary Research and Development. 04.23. Vol-14. 325-p.
