European International Journal of Philological Sciences
48
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TYPE
Original Research
PAGE NO.
48-50
DOI
OPEN ACCESS
SUBMITED
26 October 2024
ACCEPTED
29 December 2024
PUBLISHED
30 January 2025
VOLUME
Vol.05 Issue01 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Ethnographisms Related to
Craftsmanship in The
Prose Works of The Jadids
Khabibullayeva Gavhar
Independent researcher at Namangan State University, Uzbekistan
Abstract:
This article analyzes the ethnographies of
crafts in the prose works of the Jadids from a linguistic
and ethnographic perspective. It studies the terms of
crafts found in the texts of the works, their meaning,
function, and place in the cultural context. In the course
of the research, the lexical units related to national
terms related to crafts - embroidery, carpet weaving,
jewelry, and headdress making - are analyzed. Also, the
synonymous variants of these ethnographies and their
interpretation
in
explanatory
dictionaries
are
considered. The article aims to reveal the importance of
language in reflecting national values and traditions
through ethnographies of crafts.
Keywords:
Ethnography, embroidery, goldsmithing,
sarpo, cultural context urchuq, belbog, kiyiq.
Introduction:
The craft profession emerged during the
decline of the primitive communal system due to the
need for making hunting and other labor tools. The sale
of handicraft products also gave rise to another type of
labor
—
trade. Songs sung during the execution of
handicraft work are called handicraft songs. Among
Uzbek folk handicraft songs, those related to spinning,
weaving, embroidery, sewing coats, and carpet and
coarse fabric weaving hold a prominent place. Among
them, tasks such as spinning, embroidery, making
skullcaps, sewing coats, and weaving carpets were
mainly performed by women.
Another feature of Uzbek handicrafts is their direct
connection with household economy. Many artisans, in
addition to their main profession, were also engaged in
agriculture, gardening, and vegetable farming,
especially in rural areas and sometimes even in cities.
METHODOLOGY
Gold embroidery (zardozi) is the craft of decorating
fabrics with golden threads. It is one of the ancient types
of handicrafts. Gold embroiderers created artistic
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European International Journal of Philological Sciences
embroidered items such as clothing adorned with
golden threads, short coats, various skullcaps and
scarves, gold-embellished footwear, covers, purses,
horse blankets, and other decorative items. In this
region and other provinces, various types of braid and
decorative trims were also widely practiced. In
Bukhara and partially in Khiva, gold embroidery
(zardozi) developed significantly.
One of the most widespread domestic crafts among
Uzbeks is skullcap making (do’ppidozlik). Skullcaps
from Chust, Kokand, Margilan, Samarkand, Khorezm,
Shahrisabz, and Surkhandarya differed in their unique
shapes, embroidery styles, and floral designs.
Among Uzbeks, as in other Eastern nations, the
tradition of presenting garments to esteemed guests
has been preserved since ancient times. Coats,
skullcaps, and belts were given as gifts to relatives,
respected guests, and servants during weddings and
memorial ceremonies. This tradition contributed to
the
significant
development
of
coat-making
(chopondo‘zlik), with coats even being exported to
foreign markets. Leatherworkers and tanners
produced various items such as footwear, headwear,
horse and donkey harnesses, leather bags, water skins,
cases, sheaths, and other goods, which were sold in
both nearby and distant markets. In large cities,
specialized districts and market stalls were dedicated
to tanners, shoemakers, bootmakers, furriers,
cobblers, and patchworkers. The most widespread
sector among them was footwear production.
Shoemakers were present in all cities and villages,
producing items such as boots, traditional soft shoes
(mahsi), sandals (kalish or kavush), and leather slippers
(choriq). Their production tools included awls, special
knives (kashkart, gazan, choptrarash), various needles,
curved needles (bigiz), molds, and patterns.
Shoemakers, bootmakers, and sandal makers typically
worked from home-based workshops, while some had
stalls in the market. In certain cities, specialized
craftsmen known as "patakchi" made and sold large
and small shoe soles from leather or felt.
RESULTS
In the past, hardworking artisans wove not only fabrics
such as atlas and kimkhab on simple looms but also boz
(a type of coarse cotton fabric). Due to its affordability,
durability, and comfort
—
keeping warm in winter and
cool in summer
—
boz was much more in demand
compared to atlas and kimkhab. It was mostly worn by
the working class. While atlas and kimkhab were
suitable for weddings, boz was much more practical for
daily labor. Boz weaving looms were located in damp
and dark rooms, and those who wove boz were called
bozchi. Weaving boz was an extremely difficult task.
Today, the automation of textile production is gradually
replacing traditional weaving looms.
Fitrat provides the following definition in this regard:
"The nation is highly skilled in making water jugs and
weaving carpets, especially in alacha weaving, where
they have no equal."
(Fitrat. Selected Works. B-200)
DISCUSSION
In the past, woolen yarn was used to produce carpets,
shol (a type of fabric), and other wool textiles. The
spindle tool (urchuq) was used for spinning wool into
yarn. Spinning yarn with a spindle was primarily a
women's activity. While engaging in this laborious and
arduous work, women expressed their grief and sorrow
about their difficult, restricted lives through songs, using
singing as a means to momentarily escape their
hardships. One of the most widespread traditional crafts
among the people was carpet weaving and sholcha
(small carpet) weaving, also known as o‘rmak o‘rish.
"Ra'no, with her eyes fixed on her knees, was twisting
the sholcha thread with her hands as she sat."
[7,211]
Uzbek embroidery (kashtachilik) is world-famous. Our
people have been practicing this craft since ancient
times and have elevated it to the level of fine art. There
are several types of embroidery, including bosma, jim
alay, sanama, and ilma.
The etymology of the word kashta is explained in the
following way:
"Kashta is derived from the Persian verb kashidan,
meaning 'to embroider.' The past participle form
kashida was borrowed into Uzbek, with the phonetic
transformation of d to t. It denotes an embroidered
decorative piece sewn onto fabric using multicolored
threads."
(O‘TIL, II, 374), [3, 120
-121].
"In the courtyard
—
by the pond
—
Zebi was sitting and
embroidering her kashta, unaware of her father’s
arrival." [6,77]
The w
ords kashta, belbog‘ (belt), and qiyiq (scarf) hold
great significance in wedding ceremonies, as illustrated
in the following excerpt:
"To compensate for the shortcomings of your untimely
wedding, I still have a lot of work to do," said the
woman. "Whenever someone comes to see the bride, I
nearly die of shame. If only the ground would open up
and swallow me! The bride, the new groom… there isn't
a single new quilt or pillow in the house, not a single new
tunic or dress on the rack, not a single new belt. There
isn’t even a proper cover on the bundles or a decorative
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hanging on the wall..."
[9,126]
"Among the group of twenty or thirty young men
—
Rahmat's companions
—
Otabek, the groom, stood out.
He wore a shimmering shohi turban, a black woolen-
lined sovsar coat, and underneath it, a sky-blue woolen
kamzul and woolen trousers custom-made by
Shamayda. On his feet, he wore kalapoy boots, and
around his waist was a shohi belt, sewn by the skilled
hands of Kumushbibi."
[3,58]
CONCLUSION
The article highlights the preservation and
development of traditional handicrafts, emphasizing
the necessity of innovative approaches to further
integrate this sector into a stable part of the economy.
Additionally, the importance of teaching handicrafts to
the younger generation and promoting their
significance is discussed.
In conclusion, handicrafts not only preserve the values
of the past but also serve as an essential element of the
nation's cultural heritage, ensuring its transmission to
future generations.
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