Pamir national clothes. Ethnography

DUSHANBE, February 9 – Sputnik, Anastasia Lebedeva. Natives of Tajikistan living in Moscow often start planning a wedding away from their homeland. The bride and groom need to complete all the preparations on time, for example, sewing wedding dresses.

Clothing for a Tajik wedding cannot be found in regular stores. Seamstress Salima Khudoberdieva, who produces national wedding clothes, comes to the aid of the newlyweds.

“I mainly sew for the Pamiris, since they celebrate weddings in Russia more often than natives of other regions of Tajikistan. I buy fabric, white satin and shirts in Moscow, since it is of better quality here. Although some clients bring it for their own I order fabric from the Republic of Tajikistan. I order the braid from Tajikistan. It is woven by hand,” says 27-year-old Salima.

The most important thing is fitting

The seamstress admits that her busiest season is summer. There are so many orders that she sometimes doesn’t even have time to take a walk with her child.

“It happened that in one day I delivered three orders at once,” she says.

Over the past summer, the craftswoman managed to prepare 15 young couples for the wedding, sew national casual clothes for girls and dresses for children.

“Usually I can sew a men’s shirt in a day, but if the order is urgent, I have to speed up and work until late at night. A trouser suit—shirt, trousers and jacket—takes about a week,” says the seamstress.

According to her, it takes more time to make a dress for the bride - a dress and pants (kurtai arusi - Taj). Although the groom “wins” in terms of the complexity of the tailoring.

The speed of work also depends on the conscientiousness of the client. If he does not miss fittings, he will be rewarded with a speedy receipt of the finished order.

Every bride is unique

“When a client comes to me, first I listen to her wishes. Then I give her advice on how to avoid monotony. I want each bride to look unique at her wedding. The dress depends on the bride’s imagination. We put together a set from different ideas,” the girl smiles.

It happened that some brides changed their wishes at the final fitting, and the master had to start all over again.

Only one thing does not change - the traditional Pamir colors - white and red. But you can vary their combination. For example, the dress may be completely white and the vest red. Or the entire outfit is made of white fabric, but the edging is made with red braid.

However, here the dressmaker was lying a little. For her brother’s wedding, she sewed an unusual wedding dress from white and green fabric. Salima noticed an interesting idea during the celebration of Nowruz.

“We came up with this idea together with our daughter-in-law. The braid, of course, was not Pamir, but we picked one that was very similar,” admitted the craftswoman.

Casual fashion

It happens that young fashionistas order shirts with bright national patterns from Salima, as in the men's version. They proudly wear such “men’s” blouses under jeans and clearly do not go unnoticed on the streets of Moscow.

“At the moment, young people are increasingly showing interest in national clothing. Girls aged 18-19 simply change styles, leaving the national flavor inherent in Tajikistan. It looks very beautiful and unusual,” says Salima.

Wedding dresses of Tajik girls differ in color and pattern depending on the region. For example, in the Pamirs the main colors are red and white, which mean purity and love. The bride dresses up in a national dress, trousers and covers her head and face with a scarf to protect herself from the evil eye.
Although many girls prefer modern white fluffy dresses with a veil.

They demarcate the men's and women's bedrooms, as well as the kitchen, living room and prayer area. And the four-tiered vault of a traditional home symbolizes the natural elements: fire, earth, water and air.

Ancient people of the Pamirs

The unique nature of the Pamirs has always interested researchers and travelers. This harsh mountain region is the homeland of an ancient people about whom almost nothing is known. And if before the twentieth century few people had heard about the mysterious Pamiris, because they lived in remote areas, then, starting from the USSR era, these people were most often confused with Tajiks.

Meanwhile, the inhabitants of the highlands have a special culture, interesting customs and traditions.

Who are the Pamiris? Why were they separated by the borders of Tajikistan, Afghanistan, China and Pakistan?

What are they?

The Pamiris do not make it into world news, do not fight for independence, and do not strive to create their own state. These are peaceful people, accustomed to an isolated life in the Pamir and Hindu Kush mountains. Badakhshan is the name of the historical region of their residence. This ethnic group consists of many nationalities united by a common origin, customs and traditions, religion and history.

The Pamirs are divided into northern and southern. Among the former, the most numerous national group are the Shugnans, numbering more than 100 thousand people. There are three times fewer Rushans. There are almost 25 thousand people from Sarykolt, and Yazgulyam people are considered a small ethnic group. The main part of the southern Pamirs are the Vakhans, about 70 thousand of them. And there are much fewer Sanglicians, Ishkashims and Munjanians.

All these people belong to the Pamir-Fergana subrace - the easternmost branch of the Caucasoid race. Among the Pamiris there are many fair-haired and blue-eyed people. They have oblong faces with straight noses and large eyes. If there are brunettes, they are with light skin. Anthropologists believe that the inhabitants of the European Alps and the Mediterranean are closest to the representatives of the Pamir-Fergana subrace.

Residents of Badakhshan speak languages ​​of the Eastern Iranian group of the Indo-European family. However, for interethnic communication they use the Tajik language, which is also the language of instruction in schools. In Pakistan, the Pamir languages ​​are gradually being replaced by official Urdu, and in China by Uyghur.

Being representatives of Iranian-speaking peoples, back in the 1st millennium BC the Pamiris were adherents of Zoroastrianism. Then, along with trade caravans from China, Buddhism spread to the highlands. In the 11th century, the famous Persian poet Nasir Khusrow (1004-1088) fled to these lands to escape persecution by Sunni Muslims. This creative person became the spiritual leader of the local population; under the influence of the poet, the Pamiris adopted Ismailism - a Shiite branch of Islam that absorbed some of the tenets of Hinduism and Buddhism.

Religion significantly distinguishes the Pamiris from their Sunni neighbors. Ismailis perform namaz (pray) only twice a day, while Tajiks and Uzbeks do it five times a day. Since the Pamirs do not fast during the holy month of Ramadan, their women do not wear burqas, and their men allow themselves to drink moonshine, neighboring peoples do not classify these people as devout Muslims.

History of the people

There is no clear answer to the question of the origin of the Pamiris. The history of this ethnic group goes back more than two thousand years. Considering that the inhabitants of Badakhshan belong to the Caucasian race, some researchers are inclined to believe that the Pamiris are the descendants of the ancient Aryans, who remained in the mountains during the Indo-European migration and subsequently mixed with the local population. However, there is no historical evidence for this theory.

According to most experts, several eastern Iranian tribes moved to the Pamirs separately from each other and at different times. It is interesting that their closest relatives were the legendary Scythians - an ancient ethnic group that created a huge empire in the 7th-4th centuries BC, stretching from Crimea to Southern Siberia.

Scientists associate the origin of the Pamiris with several waves of migrations of the nomadic tribe of Sakas, who began to populate the highlands in the 7th-6th centuries BC. Then the ancestors of the Wakhans moved from the Alai Valley, which is located east of Badakhshan. And the future Ishkashim residents moved to the highlands from the southwest. After a linguistic study of their language, scientists consider the Munjans to be remnants of the Bactrian community that survived in remote areas.

The next wave of Saka migration gave birth to the northern Pamirs, who migrated to Badakhshan from the west along the Pyanj River, subsequently breaking up into the Shugnans, Rushans, Yazgulyams and Vanjs. And even later, the ancestors of the Sarykol people moved to their current territories, which are currently part of the Chinese province of Xinjiang. All these migration waves ended by the beginning of our era.

Thanks to the rich deposits of ruby ​​and lapis lazuli, the inhabitants of the highlands were regularly visited by merchants who exchanged household items, household utensils, as well as knives, axes, and other tools for precious stones. Back in the 2nd century BC, caravans from China along the Great Silk Road passed through the Pyanj River valley.

Throughout the history of the Pamirs, various Turkic-speaking tribes, the Chinese, Arabs, Mongols, as well as the Sassanid and Timurid dynasties tried to conquer this region. But none of them stayed in the highlands to rule a handful of tribes. Therefore, even the nominally conquered Pamiris continued to live quietly for a long time, as they were accustomed to.

The situation changed in the 19th century, when Russia and Britain waged an active struggle for influence in Asia. In 1895, the border was officially established between Afghanistan, which was under the protectorate of the British, and the Emirate of Bukhara, which enjoyed the support of the Russians. The two empires divided their spheres of influence along the Panj River, with the Wakhan Corridor going to Afghanistan. Subsequently, the border of the USSR was established there. Neither Moscow nor London cared about the fate of the Pamir peoples, who found themselves literally cut off from each other.

Now the highlands are divided between Tajikistan, China, Afghanistan and Pakistan. The languages ​​of the Pamir peoples are being consistently displaced, and their future remains uncertain.

Customs and manners

The Pamiris have always lived rather isolated. The harsh nature of the highlands, which is located between 2 and 7 thousand meters above sea level, had a significant impact on their life and morals. Every element of the house here has a symbolic meaning. The Pamiri people's homes are supported by five pillars named after Muslim saints: Muhammad, Fatima, Ali, Hussein and Hassan. They delimit the men's and women's bedrooms, as well as the kitchen, living room and prayer area. And the four-tiered vault of a traditional dwelling symbolizes the natural elements: fire, earth, water and air.

Previously, the Pamirs lived in large patriarchal families, all relatives ran a joint household, unquestioningly obeying the elder. But later such mini-communities were replaced by ordinary monogamous families. Moreover, among the Pamirs there are marriages between cousins, which is often due to the reluctance to pay a large bride price for a bride from another family.

Despite the fact that Islam has significantly influenced the position of women, marriages among the Pamiris are matrilocal. That is, after the wedding, the newlyweds settle in the house of the bride’s parents. The traditional occupations of these people are agriculture and animal husbandry. Cows, sheep, goats, horses and donkeys are raised in the highlands. The Pamirs have been engaged in wool processing, weaving, pottery, and jewelry making for many centuries. There were always many skilled hunters among them. The Pamiri diet usually consists of wheat cakes, sheep cheese, homemade noodles, vegetables and legumes, fruits and walnuts. The poor highlander drinks tea with milk, and the rich also add a little butter to the bowl.

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. Consists of a 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 a burqa before leaving the female half of the house. Jewelry is 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 in 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. Rings are put on the index and ring fingers of the right hand - 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. 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 suit of the groom from Leninabad, which was in use until recently, consists of an undershirt - kurta, yaktak with trousers - ezor, sewn from handicraft fabric of local production, subshoi surkh, painted using the abrabandi method of bandaging with red and yellow stains 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. A modern suit of a young man from Leninabad, consisting of a black satin quilted robe - chaponi ch, 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 obscure 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 blanket, 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 and 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 his feet are fashionable boots - a high-heeled muse (also copied from a photograph of an official - an 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. Below are modern ways of tying a scarf at home by 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 the headband of an 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 areas. 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 tuppi, 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. A muslin scarf with embroidered ends, called sarandoz or lattai natshini, is draped over the head over a small scarf and a silver silsila decoration placed on it.

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 of 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 while 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 brightly colored fabric. 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 ones are also sewn in the same cut, only they are made narrower, the wedge is made smaller in the step and is not sewn to the end of the trouser legs, but quarters two higher.

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

7. The same modern cut.

8. Men's trousers of an old cut.

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

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

Dolce in Pamir style: how they sew Pamir national wedding dresses in Moscow Salima lives in Moscow and sews clothes for her compatriots: her clients are young couples from the Pamirs who want to have a wedding in the national style Anastasia Lebedeva. Natives of Tajikistan living in Moscow often start planning a wedding away from their homeland. The bride and groom need to complete all the preparations on time, for example, sewing wedding dresses. Clothing for a Tajik wedding cannot be found in regular stores. Seamstress Salima Khudoberdieva, who produces national wedding clothes, comes to the aid of the newlyweds. “I mainly sew for the Pamiris, since they celebrate weddings in Russia more often than natives of other regions of Tajikistan. I buy fabric, white satin and shirts in Moscow, since it is of better quality here. Although some clients bring it for their own I order fabric from the Republic of Tajikistan. I order the braid from Tajikistan. It is woven by hand,” says 27-year-old Salima. The most important thing is fitting. The seamstress admits that her hottest season is summer. There are so many orders that she sometimes doesn’t even have time to take a walk with her child. “It happened that in one day I delivered three orders at once,” she says. Over the past summer, the craftswoman managed to prepare 15 young couples for the wedding, sew national casual clothes for girls and dresses for children. “Usually I can sew a men’s shirt in a day, but if the order is urgent, I have to speed up and work until late at night. A trouser suit - shirt, trousers and jacket - takes about a week,” says the seamstress. According to her, it takes more time to make a dress for the bride - a dress and pants (kurtai arusi - Taj). Although the groom “wins” in terms of the complexity of the tailoring. The speed of work also depends on the conscientiousness of the client. If he does not miss fittings, he will be rewarded with a speedy receipt of the finished order. Every bride is unique "When a client comes to me, first I listen to her wishes. Then I give her advice on how to avoid monotony. I want every bride to look unique at her wedding. The dress depends on the bride's imagination. We put together a set from different ideas ", the girl smiles. It happened that some brides changed their wishes at the final fitting, and the master had to start all over again. Only one thing does not change - the traditional Pamir colors - white and red. But you can vary their combination. For example, the dress may be completely white and the vest red. Or the entire outfit is made of white fabric, but the edging is made with red braid. However, here the dressmaker was lying a little. For her brother’s wedding, she sewed an unusual wedding dress from white and green fabric. Salima noticed an interesting idea during the celebration of Nowruz. “We came up with this together with our daughter-in-law. The braid, of course, was not Pamir, but we picked one that was very similar,” admitted the craftswoman. Everyday fashion It happens that young fashionistas order shirts with bright national patterns from Salima, as in the men's version. They proudly wear such “men’s” blouses under jeans and clearly do not go unnoticed on the streets of Moscow. “At the moment, young people are increasingly showing interest in national clothing. Girls aged 18-19 simply change styles, leaving the national flavor inherent in Tajikistan. It looks very beautiful and unusual,” says Salima. Wedding dresses of Tajik girls differ in color and pattern depending on the region. For example, in the Pamirs the main colors are red and white, which mean purity and love. The bride dresses up in a national dress, trousers and covers her head and face with a scarf to protect herself from the evil eye. Although many girls prefer modern white fluffy dresses with a veil.