INFORMATION ABOUT UZBEK WOMEN'S NATIONAL CLOTHES

ABSTRACT

Women's clothing in Uzbekistan has a long history. It reflects national, traditional and household factors. Over the course of many centuries, it has undergone changes, but the shape and fabric, corresponding to climatic conditions and lifestyle, have survived to this day. The national fabric "khan-atlas" gives originality to women's clothing due to its clear and bright patterns.

АННОТАЦИЯ

Женская  одежда Узбекистана имеет свою давнюю многовековую историю. В ней отражается национальный, традиционный и бытовые факторы. В течение многих веков она претерпевала изменения, но форма и ткань, соответствующие климатическим условиям и образу жизни,  сохранились и по сей день. Национальная  ткань «хан-атлас»  за счёт своих чётких и ярких узоров придаёт женской одежде своеобразность.

Keywords: chiton, tunic, drapery, crowns, bracelets, yoke, khan-atlas fabric.

Ключевые слова: хитон, туника, драпировка, кокошники, браслеты, кокетка, ткань «хан-атлас».

Modern clothing is a complex system. It appeared at the initial stages of human development as a protective agent against climatic influences. Its further development depended on the cultural and social development of society[1].

Several specific stages in the development of clothing design can be identified:

The first period is the development of figurative clothing (animal skin, leaves and bark of trees, plant fibers, etc.). The continuation of this period is many centuries. Clothing served only to protect the human body from external influences.

Later, man learned to weave, knit, make thread from fibers and weave fabric by hand.

The second period is characterized by wrapping the body with a piece of special woven fabric. A piece of cloth woven from woolen, linen or cotton fibers was used as clothing.

At all times, in all states, by clothes it was possible to judge the belonging of a person to one or another class of society [2].

Uzbek national clothes, like the clothes of other nationalities, have a rich centuries-old history. It, like in a mirror, reflects the past, climatic conditions, lifestyle of the Uzbek people.

Uzbek national clothes are distinguished by their diversity, decorations and color schemes. The campaigns of A. Macedon, the attacks of the Mongols, the campaigns of the Timurids and their rule - all this is reflected in clothes [3].

In the Antique period (from the 4th century BC to the 4th century AD), women's dresses were similar to the Greek tunic, but they also had their own characteristics: the lower side corners of the front and back halves were connected to each other, and a drapery was formed that was characteristic only of the ancient East. During this period, it was customary for women to wear pants. Hats, hairstyles were varied. Women wore gold crowns, bracelets, and their clothes were decorated with fringe, braid trimmed with various precious stones[4].

In the period of the Early Middle Ages (V-VIII centuries), women wore tunic-like dresses with lapels only on the left side, outerwear was also tunic-shaped, decorated with transverse folds and with long sleeves folded inward. Clothes for women of the upper class were sewn from bright and colored silk fabrics, velvet and velor. The hair was combed smoothly, laid on the sides over the ears, and braided at the back. A variety of jewelry was worn from gold items. The sleeves were very wide and long, even covering the fingers [5]. Dresses were decorated with various patterns of gold embroidery, sewn with precious stones.

As a result of the accession of Central Asia to Russia, "standing" collars have become traditional in women's dress.

At the end of the 19th century, dresses began to be divided into burlap and yoke, that is, it became customary to wear dresses gathered along the chest line, and to this day women wear such dresses.

In the 1920s, Uzbek women's clothing continued to develop in accordance with the new time, new lifestyle and modern fashion.

The traditional national dress has been preserved for many centuries, not only due to the fact that it is a symbol of national identity, but also, mainly due to rational forms, cuts that correspond to the climate, nature and lifestyle. The combination of bright colors in women's clothing is very similar to the bright nature, and the free form corresponds to the hot and dry climatic conditions of the country (while improving air ventilation under clothing) [6].

Fashion trends ruthlessly make temporary changes to the traditional women's dress.

The length and shape of the yoke change (oval, regular quadrangle, acute-angled), the length, shape of the dress (regular quadrangle, trapezoid) and the principles of shaping (assemblies, pleats, pleated, corrugated, oblique cut, sun), length, shape and cut of sleeves (set-in , raglan, whole-cut); many different types of collars are striking (classic English, shawl, turn-down, one-piece, etc.) and necklines (“U” - shaped, oval, square, “boat”, etc.). There are also various types of decorative finishes: embroidery, assemblies, piping and others[7].

The types of materials used, their color schemes and saturation with patterns completely depend on the direction of fashion. However, at all times the traditional "khan-atlas" has always remained popular. The motifs of its patterns change under the influence of time, events and periods [8].

As studies conducted on dresses made from “khan-atlas” show, the size of the rapport of its pattern, the clarity and stability of the location of its patterns do not make it possible to sew this product from several parts, the shape of the clothes should be even, close to a quadrangle. Since the types of color shades and color schemes of the “khan-atlas” are “rich” in themselves, therefore it is not recommended to add another fabric, colored embroidery, various thin threads covered with lurex glitter to the composition of the dress in the form of decoration [9]. When modeling a dress made of “khan-atlas” fabric, a good result can be achieved by selecting colors on symmetrical details, different arrangement of details in a cut, changing the shape of collars, etc.

Pants are an inseparable part of women's clothing. This type of women's clothing is found in the drawings of women from the beginning of our era. This type of clothing also has its own history. Even if they change in shape, material used, finish, the trapezoidal shape of the cut is preserved. From the beginning of the second half of the 20th century, in order to reduce the width, the shape of the pants began to transform into the shape of women's trousers. Pants must be modeled together with the dress, because they form a single whole when perceiving the figure. At the same time, there should be unity in the form, and in accordance, and in the color, and in the material used, and in the finish. Along with this, when choosing a material, it is also important to take into account hygiene requirements [10].

References:

1. Tosheva, N., & Abdullaeva, G. (2022). THE CONCEPT OF "INNOVATION" AND TYPES OF INNOVATIVE TECHNOLOGIES. Scientific progress, 3(3), 586-589.
2. Abdullaeva G.S. STUDY OF DYNAMIC ANTHROPOMETRY FOR MAKING CLOTHES FOR VARIOUS PURPOSES // Universum: технические науки : электрон. научн. журн. 2022. 2(95).
3. Sayfullayeva, D. A., Tosheva, N. M., Nematova, L. H., Zokirova, D. N., & Inoyatov, I. S. (2021). Methodology of using innovative technologies in technical institutions. Annals of the Romanian Society for Cell Biology, 7505-7522.
4. Тошева, Н. М., Тухтаева, З. Ш., & Атамурадова, Г. О. (2014). Значение самостоятельного образования при формировании творческой деятельности. Молодой ученый, (8), 878-879.
5. Nurillayevna, T. Z., Barotovich, O. S., Djurayevna, T. G., Muxiddinovna, T. N., & Abduformonovna, A. F. (2021). Research of Foot Sizes of Younger School Children for the Purpose of Identification of Static Deformations. Annals of the Romanian Society for Cell Biology, 4723-4741.
6. Тошева, Н. М. (2020). ПРИМЕНЕНИЕ ЗОЛОТОШВЕЙНЫХ И ВЫШИВАЛЬНЫХ УЗОРОВ В ДИЗАЙНЕ СОВРЕМЕННОЙ ОДЕЖДЫ. In Дизайн, технологии и инновации в текстильной и легкой промышленности (ИННОВАЦИИ-2020) (pp. 287-290).
7. Тошева, Н. М., & Холикова, Н. Ш. (2015). Золотошвейные изделия бухарских эмиров. Молодой ученый, (9), 1302-1306.
8. Мирханова, М.А., & Абдуллаева, Г.Ш. (2022). ГЕОМЕТРИЧЕСКИЕ ОСНОВЫ ОРНАМЕНТОВ – ГИРИХОВ. Scientific progress, 3(3), 612-615.
9. Убайдова, В. Э. (2022). Вопросы значения национальных узоров. Universum: общественные науки, (1 (80)), 13-15.
10. Sharifovna, T. Z., Kizi, T. M. K., Khikmatovna, N. L., Ramazonovna, E. M., Narzullaevna, A. M., & Kizi, K. S. N. (2020). Opportunities for the development of creative abilities of the future teacher and student. Journal of Critical Reviews, 7(12), 103-107.