Uzbek clothes through the prism of the national customs and traditions of the ethnos at the XIX — XX centuries



The goal of the article is to portray the then-national Uzbek costume, which represents the customs that are rooted in people's ethnic history and their ethnic history, social ties, values, ideals of esthetics. Approaches. The comparative historical method makes it possible to disclose the tendencies to enter the nature of phenomena in the development of the historical phase. Outcomes. The author found that the natural, economic, and economic production of the national women's costume was closely linked to his historical development.

Keywords: costumes for women, skirts, headgear, jewelry, elements of decoration.

Over the centuries, each nation has developed the rules and laws of coexistence, which determined its cultural area, its identification among other communities of the world [1]. Ethno-design is one of the tools for forming a “society with certain characteristics” that will be unique in their essence, which will enable this society, as well as its products of production, to be recognized by the international society [6]. The prototype of modern ethno-design emerged from archaic forms of folk art and creativity. Often, the ethnic component of really design works is reduced to only a few components, chosen so carefully that civilization and “barbarism”, the future and the past merge into a single aesthetic whole [7].

The review of literary sources made it possible to concentrate on determining the authenticity of the historical events reflected in the texts. It has been established that despite all the “victories”, humanity entered the 21st century with the awareness of the loss of something real, extraordinary. Globalization of the late XX — early XXI centuries defines the spirit of interaction and interdependence of peoples and cultures. At the same time, it shows the spirit of internal independence, based on the awareness of self-sufficiency [4, p. 18–26].

Historicity opposes the mythical representation of events and is a documented history. The key goal of applying the historical method is to find real facts, to prove their authenticity, historicity or lack of historicity. The historical method is based on certain rules and guidelines used to interpret the primary sources [11].

The traditions of folk art are built by evolution, history, culture, the way of life of people of many generations [2, p. 54–61]. There is no place for artificial materials in the design made in ethnic style. For clothing, for example, these are linen, cotton, woolen fabrics, possibly with ethnic decor; leather, fur, wood, horn, clay and the like — in accessories.

The Uzbek women's costume was divided into everyday and ritual (festive, wedding, mourning). The formation of the Uzbek female ritual costume took place by combining its main elements: dress, robe, headdress, etc. on a new symbolic basis associated with the spiritual culture of a certain local group of Uzbeks. Many elements and details of Uzbek clothing of the late 19th — early 20th centuries. endowed with supernatural power, capable of performing a protective or incantatory magical function. It could be a neckline, a collar, a gusset, a belt, edges of the floor, sleeves, etc. [8] Thus, it was believed that the unfinished hem of a woman's cape — the zhelak — of the nomads of the Kashkadarya steppe contributed to the birth of many children. The decorative decoration of clothes also had a magical significance: the colors of the fabric, ornamental motifs in embroidery, gold embroidery, appliqués, jewelry stripes, buttons. The motif of the «tree of life» in embroidery was often used in wedding dresses as a symbol of the fruitful beginning [3, p. 32].

Decor elements — color, line, symbolism — were most vividly expressed in ritual clothes. In the costume of the bride and young women, red was used, which personified the life-giving forces of mother earth, the revival of life. The ancient festival of the «Red Flower» («Cornelian Gul») included a special outfit decorated with flowers.

Putting on a red dress. The bride, as it were, received the ability to multiply the human race [9]. Red and blue outfits were worn on holidays, weddings or funerals. During the wedding ceremony, Neve-sta put on a white undershirt or dress, as if symbolizing the birth of a new life. In Bukhara and Khiva, women wore white clothes during funerals. In Tashkent and the Fergana Valley, if a loved one died in the family, women sewed a dress of blue or green fabric for three days. On the fourth day («kuk kiydi»), a dressing ceremony was performed. A year later, the ceremonial dress was removed and the ceremony of putting on a white dress — «ok kiydi» was performed [5, p. 18].

Conclusion

Each ethnos (nation) as a type of stable social grouping of people, historically emerging within certain territorial boundaries, has individual characteristics inherent only to it. Ethical principles are everything that has a constant value for folk culture and, at the same time, is a source of knowledge and a stimulus for the individual and social development of future generations. Ethno design, according to the author, acts as a means of aesthetic development of the individual and, at the same time, civic and patriotic education [10]. It should be noted that each nation has psychological and cultural characteristics that should be taken into account in public projects of various kinds, including educational ones. The crisis state, in which not only our society is today, makes it especially important to solve the problems of continuity and transfer of the accumulated traditional cultural experience.

References:

1. Ibragimov LM Ethnosymbol as an important factor in the spiritual consolidation of the people // News of the Dagestan State Pedagogical University. Social and human sciences. 2014. No. 1. S. 46–49.
2. Karabaev U. Ethnoculture. Tashkent: Shark, 2005.
3. Museum of Applied Arts of the Republic of Uzbekistan. Call. XX. Inv. No. 154, 204, 241, 301, 357.
4. Underova L. V. Uzbek folk clothes of the late 19th-20th centuries. Tashkent: Fan, 1994.
5. Khakimova GA Ritual clothing of Uzbek women // Young scientist. 2017. No. 3. S. 628–631.
6. Sadullaev D. B. Philosophical understanding of terms and concepts by an author as an object of linguistic investigations //Молодой ученый. — 2020. — №. 22. — С. 627–631.
7. Sadullaev D. B. (2020). Historical reality concepts. ISJ Theoretical & Applied Science, 04 (84), pp. 414- 419
8. Ostonova S. N. Spirituality and humanism of humanity in the era of Revival Vestnik Nauki I Obrazovaniya 2020. № 8 (86). Chast’ 1 (Science and Education Gazette 2020. № 8 (86). Part 1).
9. Sadullaev Denis Bakhtiyorovich 2020. Concerning the history, formulation and interpretation of the conversion’s issue in english language. International Journal on Integrated Education. 3, 3 (Mar. 2020), 95–97. DOI:https://doi.org/10.31149/ijie.v3i3.96.
10. Sadullaev D. B., Ostonova S. N., Shodiev S. S. Interpretation of philosophical terms and concepts as an essential subject for linguistic researches of xix-xx centuries, held in Russia and Europe //ACADEMICIA: An International Multidisciplinary Research Journal. — 2020. — Т. 10. — №. 10. — С. 590–598.
11. Остонова, С. Н. National traditions and rituals in modern Uzbekistan (basing on the analysis of Uzbek traditional meal «Palov») / С. Н. Остонова. — Текст: непосредственный // Молодой ученый. — 2020. — № 47 (337). — С. 199–203. — URL: https://moluch.ru/archive/337/75335/
12. «Робинзон Крузо» Дениэля Дефо, джадиды и современный узбекский читатель Остонова Санам Нематовна/Тип: статья в сборнике трудов конференции Язык: русский Год издания: 2020 стр.82–87