Business suits Kazakh national style. Features of Kazakh national clothes

annotation

Purpose of the study:

Identification of the features of the artistic structure, elements, forms, decor, symbols and images of the Kazakh national costume and characterization of their application in the modern practice of designing modern clothes and dance costume.

Hypothesis:

If I study the Kazakh national clothes, its features, types, the history of the development of clothing, decor and ornament as an ornament, get acquainted with the best fashion houses of Kazakhstan and the collection of dance costumes of the Zhemchuzhina folk choreographic ensemble, then in the future I will be able to become a clothing designer and create models myself suits.

Research stages:

Preparatory: choice of topic, setting goals and objectives.

Research: observation, search for information, interviews

Practical: photography, drawing, creative work

Research novelty:

I consider the Kazakh national costume as a creative source for creating models of modern national and dance costumes.Results:

I was convinced of the need to transfer spiritual and historical experience from generation to generation through the creation of clothes with national color.

Area of ​​practical application of the work:

The work can be used by students and teachers in the lessons of Russian and Kazakh literature, knowledge of the world, fine arts, labor training, help designers in creating clothing models.

Methods:

Observation, search, comparison, analysis, interviewing

Chronological framework:

Table of contents

Table of contents

Introduction

1.1.

1.2. Types of national clothes

1.3. Kazakh folk ornament in everyday life and clothes

1.4. History of clothing development , coming from ancient times with the tribes of the Saks

1.5. Decor - as the main element in the traditional Kazakh costume

2. Cultural heritage of the Kazakh people as a source of inspiration for designers

2.1. Fashion Academy "Symbat"

2.2. Company "Erke-Nur"

2.3. "Nur Shah" - Fashion House

2.5. Folk choreographic ensemble "Pearl" State Institution "Medium

school number 18 "of the city of Rudny

Conclusion

References

Introduction

Clothing, like other objects of material culture, reflects the historical development of society, changes in climatic conditions, national characteristics, as well as the aesthetic ideas of the people about the world, ethno-cultural characteristics, age categories, social and ethnic affiliation of a person.

“If a person does not remember his history, then he has no future,” says a Kazakh proverb. Preservation of its history, its cultural heritage is one of the actual problems modern society. The national costume, in which the richest traditions of Kazakh arts and crafts were embodied to the fullest extent, is an expression of the aesthetic ideas of the people, ensures the transfer of their spiritual and historical experience from generation to generation.

In our school, for almost 20 years, there has been the Folk Choreographic Ensemble "Pearl", the permanent leader of which is Tatyana Konstantinovna Trokoz. Children from 4 to 18 years old are engaged in it, and each performance of this group becomes a celebration of dance and emotions, delight from the variety of costumes of different peoples. Looking at all this beauty, I thought about where such beautiful models are born, decorated with embroidery, ornaments, beads and sparkles. Thus, the idea of ​​studying the history of the creation of a dance costume was born, which were based on the traditions of Kazakh culture.

During the study of the topic, the goal was: to identify the features of the artistic structure, elements, forms, decor, symbols and images of the Kazakh national costume and their application in the modern practice of designing modern clothes and dance costume.try to prove that through the creation of clothing models with a national flavor, you can save your spiritual and historical experience.

Tasks:

To study the chronology of the development of Kazakh national clothes.

To comprehend the richness of the versatile development of Kazakh clothing.

To study the historical significance, ways to improve new types and new forms of clothing and its deeply national flavor.

Make a conclusion about the historical significance of Kazakh national clothes.

Interview the artistic director of the National Choreographic Ensemble "Pearl" Trokoz Tatyana Konstantinovna

Prepare printed materials on the topic

Hypothesis: If I study the Kazakh national clothes, its features, types, the history of the development of clothing, decor and ornament as an ornament, get acquainted with the best fashion houses of Kazakhstan and the collection of dance costumes of the Zhemchuzhina folk choreographic ensemble, then in the future I will be able to become a clothing designer and create models myself suits.

Scientific novelty research In fact, in this work I consider the Kazakh national costume as a creative source for creating models of modern national and dance costumes.

Object of study - Kazakh national clothes, historical facts from the history of the development of Kazakh national clothes,the art of modern costume design and the study of national traditions.

Subject of study - Kazakh national costume as a creative source of modern clothing design.

Research methods: Observation, search, comparison, analysis, interviewing.

Work structure: this work consists of an annotation, introduction, two chapters, conclusion, review, review of the supervisor and a list of references.

The research of this work is necessary not only for children, but also for adults, both in the lessons of Russian and Kazakh literature, knowledge of the world, fine arts, labor training, to help designers in creating clothing models and in extracurricular activities.

Kazakh national clothes

Kazakh national clothes are a simple, functional, comfortable outfit that reflects cultural and historical facts, a feature of the nation. As in most countries of the world, the national clothes of the Kazakh people are divided, first of all, by social status, then by age, gender, profession. Naturally, the richer a person, the more expensive the materials of his clothes, the more colorful the decorations. Accordingly, the lower strata of the population dressed simpler, but in their own way interesting, tasteful, and most importantly, comfortable.

For the manufacture of clothes, shoes, hats, the following fabrics and materials were used:

leather (the main, basic material), winter pants, festive outerwear, sleeveless jackets, sheepskin coats, and hats were sewn from it. The skins were taken mainly from domestic animals - goats, sheep, stallions, cows. Dressed and bleached leather was used in combination with fabrics;

fur (as a heater and, at the same time, decoration of outerwear, shoes, etc.);

cloth (homemade);

felt (thin wool, dressed at home);

cotton fabric (imported - chintz, calico, calico, calico, for people of average income);

silk, brocade, velvet, satin, fine cloth (imported, a symbol of security, prosperity, high social status of a person).

At the sets were decorated with embroidery, fur trim, and various accessories. To dye the fabric, mixtures of dyes were boiled - yellow, red, orange and others.

The color of the robe has a symbolic content: white means joy, black means earth, red means fire, sun, green means youth, yellow means knowledge.

1. Features of the Kazakh costume

The swinging nature of outerwear and wrapping it on the left side, regardless of gender.

Fit.

The presence of high hats, often decorated with feathers, embroidery and precious stones.

Enrichment of a women's dress with a border, fringe or frills.

A small number of colors in the overall ensemble of the costume.

Usually clothes were decorated with national ornaments. Most often it is embroidery, stripes with lurex, patterned textiles, as well as various jewelry.

The traditional materials for clothing were usually leather, fur, thin felt and cloth made from mutton or camel hair.

Outerwear was usually sewn from sheepskin, goat, foal, saiga skins: sheepskin coats, sleeveless jackets, trousers, etc. For fur coats, light clothes, hats, cotton fabrics delivered by merchants from India were also used. Silk, velvet, brocade and wool cloth. And from the 17th century Russian goods began to appear in the Kazakh steppe.

Kazakh men's costume consisted of underwear, outerwear, shoes and hats.

jade - underwear, which included koylek - shirt and dambal - pants. Over the linen was worn outer shoulder clothing andharem pants tucked into boots.

Koylok - This is a long (to the knees) shirt with a turn-down or standing collar, beveled shoulder, cut armhole and a slit on the chest. Sewn usually from white canvas. Wedges in the form of triangles were inserted under the sleeves, which served as a gusset.

Dambal - wide trousers, which looked like a rectangle with two long and slightly tapering trousers.

Over the jade, the Kazakh usually put on light clothes, widening downwards, tailored to the figure and harem pants.

Beshmet - clothes knee-length or slightly higher, with sleeves and a stand-up collar. Worn over a shirt and under a robe. Sewn usually from fine woolen cloth, velvet, silk, mostly brown, blue and dark green.

Camisole – in many ways similar to the beshmet, only without sleeves.

Beshmet, camisole and cocker girl (a kind of camisole)could be insulated, depending on the season.

Bloomers were sewn from the same material as the shekpen, with a wedge insert for comfort when riding. There were no fasteners or buttons. The upper edges of the trousers were wrapped and a belt was inserted into them, acting as a belt.

Shapan – robe is the main type of Kazakh clothing. Known since ancient times. His images are found on the stone statues of the Kipchaks of the 12th-4th centuries. Hats were worn by both men and women. Men usually dressed over beshmet or camisole. Dressing gowns were sewn from suede, as well as from imported materials: woolen, silk and cotton fabrics. Shapans were often decorated with tambour embroidery. The most beautiful robes are real works of art, they were worn by famous Kazakh akyns and fats - wandering singers and musicians. Favorite colors of the bathrobe are red, purple or bright green.

Shekpen(checkman) - a spacious robe, long as a cloak with wide long sleeves, was rolled up from camel hair and usually served as protection from a snowstorm, rain or other bad weather. Yellow and white shekpen were made from undyed wool. Ceremonial shekpen were painted in blue, purple and other colors, their seams were sheathed with galloon for decoration.

Tone - winter coat made of sheepskin or wolf fur.

Buy - a winter coat covered with cloth shekpen.

Kebenek- old a tight raincoat without sleeves, made mainly of white thin felt. It had the form of a military cape and a deaf standing collar. Decorated with embroidery, cord and decorative stitching. For protection from the weather, they were worn over winter clothes.

Saptama - heavy leather boots

Tymak - a three-piece headdress, often made of fox fur.

Cap – traditional and ancient felt headdress. The Saks had a similar dress. Among the Kazakhs, depending on the style, a high hat made of white felt is calledak cap and air cap - the same hat with wide brim, folded up.

Telpek - type of cap, Sultan's hat, so it existed only until the middle of the 19th century.

Hat -boryk - spring-autumn headdress. Title b yell comes from the word"burs" - wolf. The wolf is an ancient totem of the Turkic tribes. This is a round hat with a high conical or truncated top, sewn from several wedges, always trimmed with sable, otter, lambskin, etc.

Kazakh woman costume determined according to age

Girl's costume.

Kosetek - light dress with frills, cut off 5-6 cm below the waist and strongly fitted. A wide frill was sewn to the skirt of the dress, on which several rows of gathered frills were sewn -zhelbezek . Ruffles also adorned the bottom of the long sleeves and the collar. In some areas, instead of a frill, two or three folds were made.

Wearing a dress over an undershirtshikoylek , which they were usually sewn from white matter, with narrow sleeveless shoulders and a neckline tied with ribbons.

Women's pants - dambal did not differ in cut from men's, they were sewn from the same material as the undershirt, and sometimes from multi-colored fabrics with a wide belt and step.

Camisole – outerwear , sewn mainly from velvet of bright color. Its length was below the hips, the silhouette was fitted, usually lined. They decorated the neckline, floors and bottom of the camisole. Most often it was embroidery: satin stitch, tambour, gold and silver thread, or a border, stripes with lurex, galloons or beads.

Takiya - a hat on a solid base, decorated with pearls, beads, golden threads, often with owl feathers, as a sign of a talisman.

Belbeu - belt made of leather or velvet, with metal beads, sometimes filigree.

Etic - light boots made of leather with high heels, embroidered with a cantle.

In winter, the girls wore a hat -kamshat- boryk . Women's hats typeboryk decorated with pendants and tufts of owl, owl, heron or peacock feathers.

Costume of a married Kazakh woman consisted of the same items as the girl's, with the exception of headdresses.

During the wedding ceremony, the woman woresaukele - a high (up to 70 cm) headdress, which she wore on holidays after the wedding for a year.

Saukele consisted of two parts. A conical cap made of fabric, quilted, with a lining, up to 25 centimeters high, was put on directly on the head. Sometimes a forehead and a nape were sewn to it. Saukele was worn directly over it. The material for this beautiful and solemn attire was thin felt, trimmed with bright, most often red fabric. The back of the cone was 10 cm higher than the front. At the top is a hole. From below, and sometimes in the middle, the saukele turned away with fur. The front part was decorated with all sorts of stripes: galloons, corals, beads, silver plaques, precious stones. From the sides they attached long pendants made of threads of coral, turquoise, silver plates, silk tassels that reached the waist. Mandatory addition saukele had a cape - jelly - Lightweight fabric. Most often it was attached to the top of the head. saukele . Such a cape could wrap the entire figure. In the old days, special white silk bedspreads, kisei were sewn for this, decorated with embroidery. Usually, saukele It was passed down from generation to generation and turned from a young married woman's headdress into a wedding headdress.

After the celebrations were over, the young woman worezhaulyk - a headdress folded from a square of white cotton fabric covering the hair, shoulders and back. White color symbolized purity and was mandatory for headdresses, which were calledkimeshek, sulama, kunduk , or simply tied a white scarf.

The camisole of a married woman was fastened in front at the waist, and was decorated with a large metal buckle -capsyrma .

older women they wore a loose-fitting dress, over which they put on a long camisole or shapan. A kimeshk was put on the head, which was complemented by a white scarf tied in the form of a turban. In the cold season, they wore warm robes covered with velvet, and the more affluent wore a fur coat made of fur-bearing animals, which in the past was a measure of wealth.

kids costume among Kazakhs, it repeats the clothes of adults, only in a reduced form, in accordance with the age and gender of the child. Apparently, this is due to the desire to quickly see an adult in your child. The exception is the so-calledit coil , which was sewn for a newborn from a single piece of cotton fabric (fumes, chintz, calico), somewhat elongated, without shoulder seams and edging.

An obligatory part of the female and male Kazakh costume were belts made of leather, velvet, silk, wool -Beldyk . Of particular interest are men's belts with a hanging purse, a powder flask, and a knife case. Such type-setting belts were called -kise. Belts were made not only from leather, but also from silk, velvet and were worn by adult men. For young men, the belts were not type-setting, they did not have pendants. The buckles and straps on the belt were heart-shaped, made in the form of stylized animals.

Women's belts are wider and more elegant. They were usually made from silk. Such belts were sewn with decorative knitting and they were callednur Beldyk.

1.2. Types of national clothes

Kazakh national clothes have a long history, reflecting the national experience of labor activity.

Kazakh national clothes have a rich history, while being relevant to this day. The national clothes of the Kazakhs absorbed all the best that art and culture could create. the talent of folk craftsmen over the centuries. It reflects the way of life of the people, the level of its production, aesthetic ideals, the influence of those ethnic components that historically formed the Kazakh people is clearly traced. Of course, the traditional costume of the Kazakhs was greatly influenced, first of all, by the nomadic lifestyle.

Ulttyk kiimderdin turleri

Types of national clothes

Paidalanu erekshelikterine karai

Features for use

Lived Mezgilderi Bailanists

Clothing for the season

Kundelikti

Daily

Sandik

Festive

Kystyk

Winter

Mausymaralyk

Demi-season

Zhazdyk

Summer

Kuzdik

autumn

Zhas zhane zhynys erekshelerіne seykes

Features appropriate for age and gender

Sabi kiimi

Baby Clothing

Yerzhetken kiimi

Clothing for mature age

Bala kiimi

Baby clothes

Aksakal kiimi

Clothing for the Elders

Zhasөspіrіm kііmі

Teenage clothes

Clothing is divided according to the features of use into casual and elegant, as well as by season: winter, demi-season, and summer. According to age and gender characteristics clothing is divided into:

clothes for babies (vest, cap),

children's clothing (bonnet, hat, earflaps, shirt, pants, boots, jacket, chapan),

youth clothes (skullcap, shirt, boots, pants),

girl clothes (dress with flounces, skullcap, jacket),

bridesmaid clothes (saukele, veil),

groom clothes,

young guy

middle aged women,

older women (dress, kimeshek, zhaulyk(national women's dresses), camisole, ichigi, sleeveless jacket),

clothes for the elderly chapan, fur coat, beshmet, wadded trousers, white shirt, dambals, boots with high tops, ichigi).

At birth, the baby is put on a vest (it koilek), a bonnet (sylau takiya) is put on the head, after 40 days they put on a shirt (adam jade), later a small beshmet, a chapan and small trousers. The ethnographer H. Argymbaev wrote that an amulet-tumar was sewn onto the shoulders of the child's beshmet, in places hidden from the eyes, under the shirt collar, in the armpits. It was believed that it protects from the evil eye. Owl feathers - uki - were attached to the child's headdress as decoration. Small ichigi sewn from soft leather were shod on their feet.

Children's clothes were decorated according to the age of the child. Clothes were decorated with various patterns, beautiful beads and beads were sewn on.

National clothes are a rich historical and cultural heritage, a comprehensive study introduces the traditions, rituals and living standards of the people.

1.3. Kazakh folk ornament in everyday life and clothing.

The language of folk ornamentation is rich and original: each pattern can tell its own story, where the original motives for it were always meaningful and reworked forms of flora and fauna. The most common of them were patterns in the form of heads, horns, animal hooves, paws and beaks of birds, etc.

Each color had its own symbolism: blue meant the sky, white meant joy, happiness, yellow meant knowledge, wisdom, red meant fire, the sun, green meant youth, spring, black meant the earth.

All types of Kazakh ornament have common characteristics: balance between the plane occupied by the background and the pattern, symmetrical arrangement along the vertical axes, contour clarity of the pattern, contrasting range of colors. Ornamental pattern-making is rightfully considered a national treasure, a chronicle of the life of the Kazakhs.

O
ornament - one of the oldest types of arts and crafts. Translated from lat. Ornamentum means decoration. In ancient times, people believed that symbolic images help them communicate with the other world of gods and spirits, while acting as an intermediary between the worlds. Often, ornamental images served as amulets against evil forces, it was believed that they bring happiness and good luck.

Defining the concept of ornament, we can say that this is a decorative composition built on the rhythmic alternation and organized arrangement of similar elements.

Each nationality, depending on the era, creates its own unique ornamental style. The originality and national flavor make it possible to unmistakably determine its belonging to one or another group. In the countries of the East, the art of ornamentation has received the widest development, and this is due, first of all, to ancient traditions, as well as the prohibition of Islam on the image of living beings. In the fine arts of Kazakhstan, the art of ornament was dominant, starting from the formation of the Kazakh Khanate until the end of the 18th - beginning of the 19th centuries.

R rhythm , as a spatial expression of temporal balance, is an indispensable condition for the construction of many ornaments. Periodic phenomena of nature, such as the change of day and night, the breathing of the body, the arrangement of leaves on the branches of trees, as well as repetitions of actions in everyday life, their philosophical understanding, became the basis for creating ribbon ornaments, where a certain motif is repeated with constant constancy. Just like in music or dance, the rhythm in the ornament is able to influence the emotional state of a person, tuning him to the perception of certain information.

To circle in all ancient religions symbolized the heavenly beginning. It is enough to go out into the steppe at night, when the earth is almost invisible and look at the sky, strewn with stars, to understand that the firmament is a sphere turned into infinity. The point in the center of the sphere can be compared to the Sun at its zenith, which gives light and the possibility of life on Earth. Thus, the appearance of solar signs, and perhaps the discovery of central symmetry in mathematics, can be explained.

Despite their apparent simplicity, the intuitive ideas of the ancients were not at all naive. Any natural formation has a center - the place of the greatest concentration of energy. In a living cell it is the nucleus, in an egg it is an embryo, in the human body it is the heart - a continuous engine - the center of the circulatory system. The orbits of the planets in the solar system can be represented as ellipses, the common center of which is the Sun.

Vertical contains the principle of active energy. This is a ray of light that came from heaven to earth, this is the movement of fire, which always strives upward. Turning the head in a vertical direction in people all over the world means a sign of approval, consent. The vertical is something that can resist. The structure of the human body has axial symmetry. In the active state, the human spine is in a vertical position. Of all the creatures of the animal world, only man is able to resist nature. Animals with a horizontal structure of the spine are completely in her power.

Horizontal symbolizes the passive principle of energy. This is a water surface, which in a calm state always takes a horizontal position. The movement of denial that anyone can experience when turning their head also has a horizontal direction. It is in this position that the human body stays during rest. The horizontal also symbolizes the extent of phenomena in time and space. The horizon line is a conditional boundary between heaven and earth. The junction point of the vertical and horizontal is the place where polar energies unite. The resulting figurecross becomes one of the most common symbols in the art of different times and peoples.

You can also remember the four cardinal points, the four human temperaments, the four seasons, and so on. It is interesting that Leonardo da Vinci, who was not only a brilliant artist, but also an outstanding scientist, believed that human health depends on a harmonious, balanced combination of four elements in his body, where a certain ethereal element becomes the fifth unifying element, a spiritual substance that depends from the harmonious interaction of opposite energies. The cross also resembles a coordinate system, where the center is the 0-digit, which, according to ancient symbolism, means eternity, the beginning of all beginnings.

To
square, a figure derived from the cross and close to it in meaning, corresponds to the elements of the earth and is a sign of the material world. Unlike the circle, it has no analogues in nature, and is a human invention as a symbolic expression of order and stability.

Triangle can have a different direction, depending on this, its semantic meaning changes. The triangle pointing upward symbolizes the ascent of the spirit from matter, and, on the contrary, the triangle pointing downward symbolizes the descent of the spirit into matter.

Spiral this is a symbol that is found in various combinations in the ornament, especially Kazakh, quite often. By semantic meaning, the spiral has always been associated with movement, development, and growing strength. The division of a single stream into two parts can be conditionally called a symbol of power; the shape of the element really resembles the horns of a ram. From the combination of two opposite principles, something third arises - a unifying third force. itlaw movements and development of life, the so-calledtrinity law.

1.4. The history of the development of clothing, going from ancient times with the tribes of the Saks

The national clothes of the Kazakhs are distinguished by their unique originality, perhaps also because the Kazakh people were very close to nature and led a nomadic lifestyle. It resembles, in fact, the clothes of the early nomads. Some types of everyday clothing originated in the time of the Saks. The clothes of the Kazakhs with a smell to the left resemble the clothes of the Saks, the medieval clothes of the Turks. Samples of cutting and tailoring of nomads' clothes have been preserved. Since the nomads rode horses, for convenience, wide trousers and loose-fitting chapans with a wrap-around and open chest were tailored. S.I. Rudenko, studying the clothes of the Kazakhs who inhabited the area between Oyymai and Sagyz in the 20s of the twentieth century, compared it with polyethnological materials and proved that samples of a fur coat - “buy” - existed among the Kazakhs and their ancestors more than 2 thousand years ago. The Kazakhs believed that wearing a pattern and ornament on the hem, sleeves of clothing, wearing an uki (owl feathers) protects from evil spirits, evil spirits, diseases, they believed that these things have magical powers. Kazakhs consider the owl a sacred bird. Later, the uki was attached to the skullcap, on the saukele (bride's headdress), dombyra, on the cradle. Owl feathers from wings, i.e. large black feathers worn by men, soft delicate feathers from the upper part of the owl's legs were worn by women. In ancient times, shamans, batyrs, akyns (sal-seri) also wore uki. Nomads, in addition to uki, wore claws of birds and fangs of animals as decorations, which were considered amulets protecting from evil spirits. These decorations are still worn today, only in a stylized form.

With the development of human society, some products of applied art have acquired a new look, new forms, all of them have a deeply national flavor and are still used today.

In the end In the 19th century, the form of national dress was influenced by economic and cultural rapprochement with neighboring peoples, such as Russians, Ukrainians, Germans and Tatars, as well as with representatives of peoples who moved to Kazakhstan. At the beginning of the twentieth century, the Kazakh intelligentsia adopted the European culture of wearing clothes. They began to wear suits and trousers, white shirts with a collar, and a tie. Leaving the chapan, the Kazakhs changed into coats, and began to ride not on horses, but in wagons. For those who consider themselves a high society, a white bone, national clothes ceased to exist.

National clothes have always attracted the attention of historians, ethnographers, and art critics. Artists, theater and cinema figures, fashion designers created their works using elements of national clothes. In 1922-1926, employees of the museum of Orenburg, which at that time was the capital of Kazakhstan, traveled around the cities of Aktyubinsk, Torgai, Kustanai, Uralsk, Guryev, Semipalatinsk, Pavlodar, found and described many items of national clothing, patterns, jewelry made of gold and silver, studied and published materials on clothing samples of various areas. As a result of working with archival materials, as well as thanks to historical and epic works and their productions at the Opera and Ballet Theater named after Abai, the Kazakh Academic Drama Theater named after M. Auezov, many samples of national clothes were recreated and brought into the appropriate form.

1.5. Decor - as the main element in the traditional Kazakh costume.

Archaeological excavations show that clothing appeared at the earliest stages of the development of human society (40-25 thousand years ago). Already at the first stage, a person tried to give shapeless materials to the skin, fibers, feathers - the necessary shape. The skin, held on the shoulders of a primitive man, was the prototype of modern shoulder clothing - a cloak, tunic, cape, a loincloth made of plant fibers - a prototype of modern waist clothing - trousers, skirts, aprons, trousers. Over time, more and more complex forms of clothing arose, ranging from a draped rectangular piece of fabric to sewn clothes using complex cuts. Gradually, clothing, which originally served as protection against climatic influences, passed into a different quality. Complemented by such attributes as shoes, hairstyles, hats, jewelry, decor, makeup, etc., it began to reflect the individuality of a person or the social group to which he belonged. This is no longer just clothes, but a costume that clearly reflects the specific features of the development of any society of different countries and peoples, climatic conditions, social structure, material and economic condition, national characteristics, moral standards, aesthetic ideals. All this is reflected in the variety of costume forms and its decoration.

In the traditional Kazakh costume, the diversity of its types and forms, the receivers of its decorative design, which does not violate the natural artistic and stylistic unity developed over the centuries, is noteworthy. The decor is present on all on all elements of the TKK set. Depending on gender, age and social differences, it differed in the materials used for decoration.

It is known that the most ancient materials for the manufacture of clothing among the Kazakhs were the skin, skin and hair of domestic animals. They used mainly sheepskin, less often the skin of goats and foals. Therefore, everyday clothes were not decorated or decorated only slightly, while leather, suede, thin coarse cloth were used to make the details resistant to abrasion and wear. Closed outerwear was almost not decorated.

O One of the most ancient and widespread types of decoration of costumes and household items among Kazakh women was embroidery. The attitude of the Kazakh people to the surrounding reality was personified in embroidery, the magical and aesthetic aspects of national culture were manifested. At the same time, a variety of artistic and constructive techniques were used: numerous frills of the dress - kosetek, swing skirts - beldemshi, the decor was located along the edges of outerwear (shapan, shalbar and headgear). Embroidered products, products, having this or that practical value, were distinguished by high artistic merits and national originality. They embroidered on felt, velvet, cotton, silk and woolen fabrics, most often with imported woolen, cotton, silk threads of a contrasting color or in the color of the main material, but in addition to threads, river pearls, corals, and turquoise were used for embroidery. The main techniques were tambour stitch and smooth surface.

As we know, later by the XIII - XIV centuries. in Kazakhstan, the art of gold embroidery, which came from the countries of the Middle East, Turkey, Iran, Byzantium, became widespread. Sewing was carried out with silk threads intertwined with the finest silver and gilded wires and was found in richly finished products.

Enjoyed great popularity - the application of the creation of an artistic image on the fabric with pieces of matter. The drawing for the application was used in a large and uncomplicated form. The uniqueness of this type of decoration of the Kazakh national clothes is achieved by its main quality: the clarity of the contour of the artistic image, which combines both decorative and pictorial possibilities. Clothes were decorated with single-color and multi-colored pieces of fabric, felt, suede, leather, fur, superimposed along the contours of the pattern on the main fabric serving as a phono. The contours of the finish were fixed with a satin or tambour seam.

AT The MAE are kept transferred in 1965 by A.K. Gaines Chingis Valikhanov men's belts that belonged to his ancestors. Among them is a beautiful belt made of red morocco with a bag of unusual shape, a scabbard and heart-shaped pendants, the edges of which are trimmed with green-dyed leather. It is probable that the straps and pendants were gilded. Only the rivets have survived. The buckles of this belt are made of silver, gilded, with floral ornaments. The bag and pendants are decorated with embossed patterns in the form of triangles.

I would like to note that of the methods of decorative design of the TKK described above, overlay decor was often used.

Decorative design of sewing materials are relevant today and do not go out of fashion. The Kazakhs were the descendants of ancient nomads, they preserved the tradition of decorating clothes with rich trimmings and decor. Modern decor differs from historical samples mainly in the technology of execution and the finishing materials used. However, the purpose of decoration has been preserved - to make people's clothes more attractive and colorful.

2. Cultural heritage of the Kazakh people as a source of inspiration for fashion designers

The use of the symbols of the Kazakh national clothes in the modern design of the costume of Kazakhstan occurs mainly within the framework of a very popular ethno-direction, the roots of which are immersed in the cosmos of the nomadic culture of the ancient settlers of the Eurasian steppes. Ethno-motifs provide the trends of Kazakhstani designers with the so-called recognition, originality, ethnic, regional identification, a special position in the many-sided world of the fashion industry. Today, ethno folklore lines give almost every fashion collection an ancient exoticism, brightness, glamorous chic, create a mood with their rare details, or even become a lifestyle. The attractive power of ethnic style lies in such indispensable principles of the folk costume of any ethnic group as aesthetics, functionality, expediency, rationality of cut and execution. Moreover, ethnic style in no way cancels that joy of experiment, that innovation, without which there can be no design focused on the latest scientific and technological achievements, technologies and materials, the most modern fashion trends, the most sophisticated consumer demands.

Ethnic style is usually called folklore or folk. Folklore clothing helps to create one's inner space, to touch the origins of existence, to feel freedom and strength. The use of ethnic traditions in clothing generates a steady interest in the culture and art of the Kazakh people, promotes interpenetration and the development of international dialogue, Kazakh designers have the opportunity to show the values ​​of their people, as well as enter the international "platforms" of high fashion, demonstrating the artistic synthesis of the ethnic identity of the national costume combined with current trends.

2
.one. Fashion Academy "Symbat"

To Kazakhstani fashion was born in 1947 from a sewing laboratory and today it has grown into the Symbat Fashion Academy. Since 1947, every second inhabitant of the country has purchased our pret-a-porter products. Twice a year, the Fashion Theater presents new magnificent collections of Haute Couture and pret-a-porter to the audience at international fashion weeks. For 60 years, more than 150,000 exclusive models have walked the catwalks.

It was Symbat that was the first in the history of Kazakhstan to present Kazakhstani fashion abroad in 1972, and later in 2003 on the professional fashion catwalk at Moscow Fashion Week. In addition to Russia, we regularly participate in Dubai Fashion Week (DIFW), in 2007 for the first time we took part in Washington Fashion Week (DC Fashion week) and Siberian Fashion Week (SFW).

Every year there are about 20 private shows in Kazakhstan and about 10 shows abroad. Since 1972, he has participated in more than 40 international fashion shows at festivals and fashion competitions in more than 30 countries around the world. For its anniversary, Symbat organized the International Design Competition "Creative World", which was attended by 135 designers from Kazakhstan, Russia, Kyrgyzstan and Uzbekistan.

The well-known fashion master Vyacheslav Zaitsev, who came to Almaty to congratulate the team and the President of the Fashion Academy, became the chairman of the jury.

2.2. Company "Erke - Nur"

FROM established in 1997. The main activity is sewing production. The company produces exclusive high quality national clothes, costumes for performances by creative groups, modern stylized men's, women's and children's clothing of the most diverse range, as well as souvenirs. Collections of clothes on a variety of topics have been created, based on the best styles of folk art craft that preserve the traditions and customs of the Kazakh people.

H and today, the Yerke-Nur production and sewing company is one of the largest enterprises in Kazakhstan, a participant in international fairs and fashion shows in such countries as Germany, Holland, Belgium, Turkey, Singapore, China, USA, Russia. The company has ten years of experience in the market of small and medium-sized businesses, has earned worldwide fame and respect. The company's products participated in various competitions and exhibitions, was awarded numerous certificates and diplomas, including: Letter of thanks from the President of the Republic of Kazakhstan N.A. Nazarbayev, dedicated to the celebration of the decade of Independence of the Republic of Kazakhstan ) "Atameken-Konіl sazy", held under the auspices of the Assembly, Certificate of Appreciation from the Akim of Almaty city for the development of small and medium-sized businesses in 2002, in 2005 Diploma of the III degree of the Akim of Almaty, Diploma of the II degree for high quality products in 2006, u, Diploma of the republican competition "The best product of Kazakhstan" for 2003. And also according to the results of the competition "Choice of the Year 2007", the company won the title of "Best Fashion House of the Year". Since 2006, "Erke-Nur" is one of the six companies officially approved by the Department of Education of the city of Almaty for the tailoring of school clothes for students in the city and region.

O equipping the enterprise with the most advanced technical equipment allows the company "Erke-Nur" to compete freely both in the domestic market and abroad.

AT In 2004, the Yerke-Nur Fashion Theater was established under the company, which staged several theatrical performances on the subject of Kazakh national culture, as well as presented a large collection of clothes made in classical, modern and avant-garde styles.

Since 2007, the company has been publishing an informative fashion illustrated magazine for women with the same name "Erke-Nur". The journal is published taking into account the republican scale and with the prospect of foreign use.

For ten years of work, the enterprise has gained fame and respect in the Republic of Kazakhstan and beyond. The company, specializing in the production of products based on national traditions and centuries-old customs of the Kazakh people, has potential partners, produces goods of excellent quality and looks confidently into the future, conquering new spaces for the sale of its products.

2.3. Nur Shah - Fashion House

D om Fashion Nur-shah offers you exclusive national clothes for every taste.

To we represented the Kazakh national clothes at the exhibition Fashion Industry, Astana 2010-2011. Hotel RIXOS exclusive showing. Our national dress in 2004 in the city of Istanbul was awarded the Audience Choice Award.

H at the Miss Asia contest, Moscow 2012, participant Raushan Zinnulina presented the clothes of the Fashion House. And we are also developing a second line of ready-to-wear clothing, which we presented at Fashion Week in Shanghai, in New York and at exhibitions in other countries. We are Active participants of competitions and exhibitions in Kazakhstan.

Nur-Shah Fashion House was founded by designer Nurdzhamal Nurpeisova in 2001. The main activity is the development and tailoring of modern and national clothes, as well as souvenirs and accessories. Thanks to the successful work, the company has become widely known not only in the Kazakhstani market, but also beyond its borders.

Nur-Shah Fashion House is an active participant in:

at the exhibition "Russian Style", Moscow, Russia

at the International Exhibition "Fashion Industry", Astana, Kazakhstan

at an exclusive exhibition showing ready-to-wear collections 2011. for a wide audience hotel "RIXOS"

at Fashion Week in Shanghai, China with a show of the pret-a-porte collection, where the 2011-2012 collection. was awarded and recognized as "Best" and appreciated by the press

participation in the show High Fashion Night 2011, Aktau

participation at Fashion Week in New York from March 28 to April 1, 2012.

2.4. Salon of national clothes "Ornek"

P The first atelier in the Mangistau region for tailoring national clothes, which was established in 1985.

Thanks to the growth and authority of the organization, many state orders were trusted, such as the Administration of the President of the Republic of Kazakhstan, the State Philharmonic Society, the Presidential Center of Culture, the Department of Culture of Astana, the Presidential Guard, the Presidential Circus, the Republican Dance Ensemble "Naz", etc.

To Beautiful, exclusive Kazakh national clothes for every taste:

D Shymyldyk, korzhyn, tablecloths, curtains, an envelope for babies, bed sets, the national flag of the Republic of Kazakhstan, etc. are made for wedding ceremonies.

There is a rental of clothes, jewelry! If you want to see the beauty of national clothes, this is real art!

2.5. Folk choreographic ensemble "Pearl"

State institution "Secondary school No. 18 of the city of Rudny"

H
The folk choreographic ensemble "Pearl" was founded in May 1994 in Kazakhstan on the basis of secondary school No. 18 in the city of Rudny, Kostanay region. The composition of the ensemble is mixed (girls and boys). The team includes 4 dance groups: senior, middle, junior and preparatory. The ensemble's repertoire includes 65 productions, which include dances of many nations. Dances are different in content and design, but at the same time they are united by the features inherent in the artistic creativity of the peoples of all countries: a joyful feeling of life, bright optimism, sincerity, sincerity of feelings and charming simplicity, the preservation of the national color inherent in the culture of each people. Classes are held on Mondays, Wednesdays and Fridays for 2 hours in each age group. Trokoz Tatyana Konstantinovna works according to her author's program. The band gives over 40 concerts every year.

H
the folk choreographic ensemble "Pearl" is a regular participant in the annual city festival "Pirouette" among schools, where it invariably becomes a laureate I degree. The ensemble took part in the international festival "Bolashak"; conducts annual creative reports, participates in the city festival of folk art "Moldir Bulak", as well as in open events of the school and the city.

Has diplomas:

1999

5th anniversary

2002

laureate VI Ukrainian festival of folk art

2003

students I regional festival of Kazakh dance

2003

diploma winners of the III Regional Festival of Oriental Dances

2004

diploma of the winner of the I city youth festival "Zhas tolkyn"

2004

10th anniversary celebrated in May

2006

german culture festival

2006

a letter of thanks for holding the regional workshop "Comprehensive development of children by means of choreography"

2007

diploma of the regional choreographic festival "Bolashak"

2007

german culture festival

2010

defended and received the title of "PEOPLE'S"

2011

laureate III degree (senior group) at the VIII - Republican festival-competition of children's creativity "Ak kogershin" dedicated to the 20th anniversary of Independence of the Republic of Kazakhstan, Almaty

2012

laureate III degree (junior) at the VI - International festival-competition of children's creativity "Ak kogershіn", Shuche-Borovoye

2012

student II degree (senior) at the VI - International festival-competition of children's creativity "Ak kogershіn", Shuche-Borovoe

2013

laureate III degree (junior) nomination "Variety choreography" at the I All-Russian competition of children's and youth creativity "Glory, Fatherland", March Chelyabinsk

2013

laureate II degree (senior) nomination "Folk choreography" at the I All-Russian competition of children's and youth creativity "Glory, Fatherland", March Chelyabinsk

Folk choreographic ensemble "Pearl" took part:

in the Russian TV show "Play the accordion",

Republican TV show"Bolashak",

festive concert dedicated to the 50th anniversary of the city of Rudny

Permanent printed articles about the activities of the Zhemchuzhina Folk Choreographic Ensemble are published in the city newspapers Magnetit, Good Deed, Rudnensky Rabochiy, the Green Apple children's newspaper and the Kaleidoscope school newspaper.

AT
travels charitable activities, participating in concerts and events, the proceeds of which go to help children in care, the disabled and those in need of treatment. The team exists at the expense of parental funds, on which costumes are sewn. Ensemble graduates enter choreographic colleges and universities in Kazakhstan and Russia. After graduating from school, the graduates of the ensemble carry out their creative activities as part of new teams, working abroad.

Conclusion

It is difficult to imagine the creativity of fashion designers today without a folklore direction. The cultural heritage of every nation has always been a source of inspiration for fashion designers. Therefore, I think that it is necessary to study the history of our people in all spheres of their life, to study traditions and culture, which will help to pass on historical and spiritual experience from generation to generation.

The use of folk traditions in clothing forms a steady interest in the culture and art of the Kazakh people, promotes interpenetration and development of international dialogue and makes it possible to show the values ​​of one's people, educates the younger generation.

Folklore clothing helps to create one's inner space, touch the origins of existence, feel freedom and strength, and also enter the international "platforms" of high fashion.

In order for my work to be sufficiently substantiated and meaningful, I got acquainted with a large number of scientific literature, visited the sites of the most famous fashionable clothing stores in Kazakhstan. For myself, I learned a lot of useful and necessary information, everything that I learned about Kazakh national clothes and modern fashion trends, I tried to convey to you in my work, tables and drawings. For me, creating clothes is a way of self-expression. In the course of research and analysis of the material, I was once again convinced that the Kazakh national costume is a source of inspiration for creating modern models of clothing and dance costumes.

I'm not mature enough yet, so I still can't perfectly create exclusive models, but I have a great desire and interest to study this direction, aspiration and creativity. Who knows, maybe in 20 years you will come to the most fashionable fashion house, which I am organizing Amina Kushekova.

References

Shakhanov T. "Kazakh national clothes" Alma-Ata, "Zhalyn", 1976.

Batalova E.N. "National clothes of the Kazakh people" "Almatykitap", ZhSS, 2007.

Tokhtabayeva Sh.Zh "Kazakh jewelry". Almaty, "Oner" 1985.

Davidovich V.E., Zhdanov Yu.A. "The Essence of Culture" - Rostov-on-Don, 1979. - 480 p.

Dzhandildin N. "The nature of national psychology" - Alma-Ata: Kazakhstan, 1971.- p. 295.

Divaev A. "Kazakh folk omens." Madeniet, N6, 1993

Drach G.V. "Culturology" - Rostov-on-Don, 1995. - S. 23.

Karakozova Zh.K. "Kazakh culture and symbol" Almaty, 1997, p.55.

Zakharova V.I. and Khodzhaeva R.D. "Kazakh national clothes of the XIX - early XX centuries", Almaty, 1998.

.

Description of the presentation on individual slides:

1 slide

Description of the slide:

2 slide

Description of the slide:

The history of the Kazakh national clothes The national clothes of the Kazakhs absorbed all the best that the art and talent of folk craftsmen could create over the centuries. It reflects the way of life of the people, the level of its production, aesthetic ideals, the influence of those ethnic components that historically formed the Kazakh people is clearly traced. Of course, the traditional costume of the Kazakhs was greatly influenced, first of all, by the nomadic lifestyle. Folk "designers" created clothes so that they were comfortable for riding a horse, warmed in the winter season and not hot and heavy in summer. The neighboring peoples, with whom the Kazakhs were in close relationship, had a great influence on the formation of the Kazakh costume. In it you can find special features inherent, for example, in the national clothes of Russians, Tatars, Karakalpaks, Altaians, Kyrgyz, Uzbeks and Turkmens. Unlike the traditional clothing of some other peoples, the Kazakh costume is simple in composition, expedient and distinguished by strict elegance due to fur trim, embroidery, and inlay. It is impossible to find abundance in decorations and blinding variegation of colors that are inherent in, say, Turkmens.

3 slide

Description of the slide:

4 slide

Description of the slide:

The following fabrics and materials were used for the manufacture of clothes, shoes, and hats: - leather (the main, basic material), winter pants, festive outerwear, sleeveless jackets, sheepskin coats, hats were sewn from it. The skins were taken mainly from domestic animals - goats, sheep, stallions, cows. Dressed and bleached leather was used in combination with fabrics; - fur (as a heater and, at the same time, decoration of outerwear, shoes, etc.); - cloth (homemade); - felt (thin wool, dressed at home); - cotton fabric (imported - chintz, calico, calico, calico, for people of average income); - silk, brocade, velvet, satin, fine cloth (imported, a symbol of security, prosperity, high social status of a person). The sets were decorated with embroidery, fur trim, and various accessories. To dye the fabric, mixtures of dyes were boiled - yellow, red, orange and others.

5 slide

Description of the slide:

Women's traditional clothing. Women's Kazakh national clothes are very beautiful, interesting in terms of unusual shapes, cut, color combinations. The main components of the attire for girls and women: - camisole or camisole - a light dress, with sleeves (beshmet) or without, falling along the figure and extended to the bottom. The fabric (most often velvet) for camisoles was taken bright for young girls, and the older ones preferred muted, calm tones; - koylek - a dress or a long undershirt made from a single piece of simple fabric (like everyday clothes), from expensive material (smart). The cut is non-standard - wide straight sleeves, a deaf collar, later a stand-up collar, several rows of frills; - trousers are an obligatory element of attire, since horseback riding required an appropriate way to dress.

6 slide

Description of the slide:

Women's pants were tied with a lace at the waist, they were made a little shortened (only below the knees), narrowed; - coupe - winter fur coats; - shapan - outerwear, similar to a dressing gown. Women's hats indicated marital status - girls wore skullcaps and boriks (winter version), and married women wore hats, taking into account the peculiarities of the husband's clan. The bride at the wedding always wore a saukele - a high hat in the shape of a cone complete with long pendants - zhaktau.

7 slide

Description of the slide:

8 slide

Description of the slide:

Men's national clothes Kazakh national clothes for men also have their own specific traditions: - jade - a tunic shirt that is worn underneath; - pants - light bottom and top from different fabrics, given the wealth of the owner; - camisole; - shapan - a dressing gown, outerwear, emphasizes the security, financial situation of a person; - sheepskin coat; - ishyk (fur coat); - coupe. An integral accessory is a leather / fabric belt, sometimes made of velvet. The headdress of Kazakh men is a skullcap (permanent headdress), borik, kalpak (summer hats), tymak (winter version). The color of the robe has a symbolic content: white means joy, black means earth, red means fire, sun, green means youth, yellow means knowledge.

9 slide

Description of the slide:

Leather belts were very common in the Kazakh costume. One of these belts was kise. Special pendants-bags for stocking gunpowder and bullets, a scabbard and a snuffbox were attached to a long kisa. Their shapes and arrangement are of the same type, which indicates the antiquity of kise. Quite often the belt itself and pendants were decorated with silvered copper, less often with silver plaques.

10 slide

Description of the slide:

11 slide

13 slide

Description of the slide:

The most important and unusual element of the Kazakh wedding attire is saukele (translated from Kazakh - "beautiful head"). Saukele is the main element of the bride's wedding dress, which has no analogues among other peoples. The purpose of this part of the bride's attire is to protect her and her future family from unkind looks and unkind people. This is a cylindrical headdress, which reaches a height of 50 to 70 centimeters. It can be velvet or velor, but it is royally richly decorated: small gold or silver coins, beads of various colors or figured plates form national ornaments. Precious stones are also used for saukele decor: pearls, rubies, corals and others. The top of the saukele is closed by a decorative element in the form of a bundle, which is created with the help of owl or eagle owl feathers. The edges of the headdress are trimmed with fur. The saukele is complemented by a translucent snow-white veil, sometimes decorated with delicate lace patterns.

The Kazakh national costume is not only a source of pride for the local population, but also an object of increased attention on the part of both Russians and guests from near and far abroad. What is so unusual about this outfit? And how does it differ from the usual sundress or kokoshnik for us?

This article is aimed at telling in detail about such an original element of culture as the Kazakh national costume, a photo of which can now be found in any reference book or guidebook dedicated to this corner of the globe. In a simple and understandable form, we will try to answer all the questions of interest to readers.

general information

According to experts studying the outfits of different peoples, the Kazakh national costume is a real personification of the entire history of this semi-nomadic community.

Of course, over time it has changed and improved, and now it can be confidently stated that it is fully adapted to the living conditions of both modern Kazakhs and the difficult climate of the region. But that's not all. The fact is that the Kazakh national costume has its own very interesting aesthetics.

Modern materials for manufacturing

Many people know that the skins of tigers, saiga and kulan, dark furs of martens, raccoons, sables, desmans and whites - ferrets and ermines have long been highly valued among the Kazakhs.

Of course, to this day, marten and sable products are considered the most popular here. By the way, this people from time immemorial has mastered many techniques for making fur coats.

The Kazakh national costume is not as simple as it might seem at first glance. Sometimes a visitor does not even know what is what. For example, warm sheepskin coats from the skins of large animals are called “ton”, but “donkeys” are made from the skins of small fur-bearing animals. Even now, the local, mostly rural, population often sews outfits from the fluff of swans, herons and loons.

What did people do before?

In the old days, when making fur coats from goat skin, the Kazakhs plucked long hairs from them, leaving only the undercoat. Such winter clothes were called “kylka zhargak”. In addition, suede was made from goat skins, from which trousers, dressing gowns and even light raincoats were then sewn.

From above they were always covered with brocade, cloth, silk, etc.

All fur coats differed in the type of fabric and its color. For example, only noble people could wear a fur coat covered with blue cloth, trimmed with beaver. And the most valuable dowry of the Kazakh bride was a fur cape called "bas tone", covered with high-quality silk.

What tools did local craftswomen use?

The Kazakh national costume was decorated with special silk embroidery. When embroidering small patterns, needlewomen used special hoops, which, depending on the shape of the product and the outline of the embroidered ornament, could be round or rectangular.

Kazakh women have always been great masters of embroidery with a tambour, a loop in a loop, which is done with an awl with a hook and needles.

Kazakh headdresses, chest ornaments and frills of women's dresses were embroidered with tambour embroidery.

Decoration of national costumes of Kazakhs

The Kazakh national costume for girls, photos of which have recently been found quite often in open sources, was decorated with satin stitch embroidery. She, by the way, also embroidered cloth called kimesheks.

When embroidering with satin stitch and tambour, plant and geometric patterns, contour images of animals and people were mainly used. And sometimes embroidery was a whole plot at all.

The meaning of felt and wool

What else can surprise the Kazakh national costume? Photos (women's and men's outfits in this case are almost identical) from ancient times prove that felt, sheep and camel wool were especially popular.

Outerwear was sewn from felt. Shekpen rolled from camel hair - an old one. It was a wide long cloak to protect against any bad weather. Ceremonial shekpen were rolled up from lacquered seams trimmed with galloon.

Features of local outfits

In general, the national costume of any community at all times has been a distinctive feature of these people.

The costumes of the upper stratum of the population of this state were characteristically distinguished by a stronger accent of elegance, with the use of a large amount of embroidery and fur trims.

The Kazakh national costume is very convenient not only for a feast or some kind of celebration, but it is also great for work, for spending the night in the steppe on a cold night, and for a long ride. It mainly consists of men's trousers or a women's skirt, a camisole and a robe or fur coat on top. There must be a headdress on the head, which also emphasizes the social status of the wearer.

Clothing for special occasions

I would like to emphasize that in different zhuzes of Kazakhstan there are no cardinal regional differences in national costumes, although in some places more archaic elements have been preserved.

The Kazakhs never had special working clothes. There was also no line between festive and everyday attire, but the full dress had to be cut more loosely, and the decor and headdresses had to be more voluminous. was sewn from silk, velvet, brocade and expensive furs, and everyday clothes - from simple and cheaper materials.

Kazakh mourning women's attire was ordinary everyday clothing, from which all decorations were removed. At the funeral of a man, his wife had to let her hair down, and his sisters and daughters had to take off their girlish hats and throw black shawls over their shoulders. Men at the funeral were girded with a 3-4-meter mourning sash made of dark cotton fabric.

An obligatory element of the Kazakh national costume was a belt - beldyk. It was sewn from wool, silk, velvet and leather. Hanging purses, knife cases and powder flasks also clung to the belts of adult men. The belts of the young men did not have any pendants. The belt also had buckles and heart-shaped patches in the form of animals. Belts for women's clothing, nur beldyk, were usually made of silk, were wider and more elegant. In most cases, they were sewn with decorative knitting.

Kazakh men's costume

One of the main elements of the male Kazakh costume is a pointed headdress. It resembles the saki or cap of the ancient Scythians and is called murak, or ai-yrkalpak.

Do children wear Kazakh national costume? A photo for boys in this case will look much more presentable than for girls. Why? The thing is that men, regardless of their age, dress not only more beautifully, but also more functionally. For example, men's harem pants among the Kazakhs have the so-called wedges, represented by special inserts from sheepskin, and are called "shalbar-sym". These elements greatly help during long riding, as they protect the skin from abrasion during long journeys. By the way, when wearing trousers, they are tucked into boots.

The camisole of Kazakh men is called beshmet. At the waist, it is pulled together with a belt - shekel. In ancient times, kaftans were made of leather and dyed in bright colors. In the cold season, a warmed variety of camisole is worn - kokreshe.

The caftan and bloomers are put on underwear, which is made of silk or thin cotton fabric.

A fur coat is an invariable part of any Kazakh costume. And its substitute for the poor continues to be a long-skirted robe made of felt, which perfectly retains heat.

Kazakh shoes for men and women have never been anything special. Everyone wore embroidered boots with a small heel or leather ichigi that resembled socks or Czech shoes.

Kazakh women's costume

Zhaulyk acts as a female headdress among the Kazakhs. It is sewn from white silk fabric and got to the Kazakh people from the ancient Turkic tribes.

Once upon a time, for a wedding, women put on a special dress on their heads - saukele, which was richly decorated with gold and silver fringes. Sometimes its preparation took a whole year. Girls from good families also wore borik - a warm hat trimmed with fur.

Kazakh women's skirt, beldemshe, swings open on two sides. Over it, women put on a robe or camisole. Sometimes, instead of a skirt, Kazakh women wear a dress with a skirt flared to the bottom - “kulish koylek”, or “zhak-koylek” - a long outfit with a turn-down collar and a pleated yoke.

It's called a slut. In winter, it is worn with a wool lining. By the way, even now, girls in Kazakhstan sometimes wear a red robe for a wedding.

The upper women's winter clothing is represented by a fur coat - a coupe. It is sewn from the fur of fox paws and covered with patterned satin on top.

All types of women's clothing had to be richly decorated with lurex, embroidery and various decorative elements.

Children's outfits

Today, the Kazakh national costume for a girl enjoys special popularity and some special folk love, the pattern of which is quite unpretentious, which means that you can sew it at home. By the way, recently there has been a tradition of wearing such an outfit not only during stage performances, but also on public holidays, when the streets are filled with small Kazakh women in traditional attire.

What does the children's Kazakh national costume look like? Photos for girls, as well as for boys (and from the outside, we, unfortunately, can only judge by the picture), are not much different from adult decoration. In general, it repeats the shape and appearance of the clothes of the parents, only it is presented in a smaller size.

An exception is perhaps the outfit for newborns - it koylek. It is sewn slightly elongated, without fringing and shoulder seams, from whole cotton fabric (coarse calico, chintz or bumazeen).

Kazakh shoes

Everyone has long worn leather boots - koksauyr, made of green shagreen. It was obtained by spilling millet on softened skin and pressing it all down with some heavy object.

Elderly Kazakh men wore igich - shoes on which leather kebe galoshes are put on when leaving the house. By the way, not everyone knows that the ancient Kazakh boots never differed into left and right and had pointed and bent toes. The most primitive and poor shoes were shokai - rawhide sandals.

Kazakh national costume: photo, female and male style, main features

Traditional outfits of Kazakhstan have several characteristic features. We list some of them:

• Swinging and fitted outerwear, which is wrapped on the left side, regardless of gender.
• Tall hats decorated with feathers, gems and embroidery.
• Women's dresses are richly decorated with frills, fringes and borders.
• There are very few colors in the costume ensemble.
• Clothing is complemented by a kind of national ornament - embroidery, lurex stripes, patterned fabric and various kinds of jewelry.
• Tailoring is carried out using leather, thin felt, fur, cloth from mutton and camel hair.

9835 0

In the XIX - early XX centuries. the complex of men's and women's clothing was very stable and homogeneous throughout the territory of Kazakhstan.

The composition of the costume and the principles of cut remained almost unchanged. Social differences in clothing were manifested primarily in the choice of material and quality of workmanship.

Kazakhs in the manufacture of outerwear, shoes and hats still used traditional home-made materials - skins, leather, felt, Armenian. But mostly they sewed clothes from factory-made cotton fabrics: chintz, calico, calico, plush; fabrics of Central Asian production were also widely used: adras, bekasab, shai (shokhi).

Men's clothing consisted of an undershirt (koilek) and trousers, upper shoulder swing clothes and harem pants. Outer garments were worn loose, the floors were wrapped from left to right. Pants and bottom (dambal), and upper (shalbar) they were sewn the same in cut, wide in step and at the waist, short legs were usually tucked into boots. Shalbar made from camel homespun fabric, leather, suede, and from the 19th century. - from paper fabrics of dark color or from bright velvet. Since that time, the upper trousers of the Russian cut have become widespread.

Over the shirt, the men wore short (to the middle of the thighs or to the knees), tailored to the figure with the floors expanding from top to bottom, oar clothes. The most common name for such clothes is camisole or beshpent (beshmet). Camisoles were sewn from dense cotton fabrics, plush, woolen fabrics, velvet, silk, with long or short sleeves, and sometimes without sleeves at all. In the cold season, camisoles were worn with a thick lining of wool or fur. The camisole was purely home wear; leaving the aul, the man always put on other clothes over him.

Groom in a wedding suit

The most common and indispensable element of outerwear: a spacious long straight-cut robe with long and wide sleeves - shapan. Dressing gowns were sewn from a variety of fabrics: light and dense, plain and colored. "Shapans" were insulated with a layer of wool and cotton wool. Kazakhs wore robes in all seasons. In cold weather, men put on several robes. And wealthy Kazakhs, wanting to emphasize their status, wore 2-3 robes even in the warm season, and put on the most expensive one on top. shapan.

Men's suits

(Seven Rivers, S.M. Dudin, 1907)

One of the oldest forms of clothing is buy- a kind of insulated outerwear, sewn from naturally matted wool of sheep or camels. Buy sewn on a lining, covered on top with camel wool Armenian or paper cloth.

The usual winter clothes were naked sheepskin coats - tone. Such sheepskin coats were sewn from tanned sheepskin with wool inside. Wealthier Kazakhs wore covered fur coats ishik from valuable breeds of fur. Bedspreads ishik cloth, velvet, satin.

An obligatory part of the men's costume was leather belts and cloth sashes. Leather belts kise with hanging bags (okshantai), scabbard and snuffbox were often decorated with plaques, which were made of iron, brass, copper, sometimes covered with silver, blackened pattern and chasing. Such belts were an obligatory accessory for the output clothing of a Kazakh warrior, hunter and cattle breeder.

Men constantly, even at home, wore a headdress. A round cloth cap was obligatory - takiya/kepesh. Until the middle of the XIX century. Kazakhs wore high skullcaps with a pointed top, gradually a skullcap with a flat crown, sewn from four triangular wedges or cut in the form of a circle, becomes common. Top hats were sewn from felt and fur. Kazakhs wore light felt hats in summer. (kalpak) and a hat with fur trim, in winter they put on hats of a special cut (tymak or malakai). Tymak sewn from a crown and four large blades cut from felt and covered with cloth. The blades were lined with fur.

Kazakh Alimurat in a cloth robe with fur trim and malachai

(photo from Kaufman's album, 1871-1872)

The most prestigious fur was considered fox malachai. The cut of the tymak had regional features; it could be used to judge the ancestral affiliation of the Kazakh.

Kazakh in national headdress

("Turkestan Album", drawing by V.V. Vereshchagin)

In the 19th century Kazakhs of the Middle and Younger zhuzes still wore an old headdress - bashlyk(also called dalbay, zhalbagay, dalbay, kulepara), made from camel cloth and other dense fabrics. In the 19th century the most common men's shoes were simple leather boots with rounded toes and low heels, sewn into one last, without distinction on the left and right. Boots varied by season. Winter boots were high, with wide tops, as they were worn on felt stockings. (kiiz baipak).

Material overview

Feedback on the research work of a student of class 2 "a" Ahmet D. "The role and importance of national clothes for the Kazakh people"

Clothing protects a person from the effects of the environment, various natural factors, satisfying the needs of a person, and at the same time carries an aesthetic load, changing and decorating the human appearance.

The research work shows clothing as an object of material culture and reveals its rich historical and cultural heritage, reflecting the historical development of society, changes in climatic conditions, national and ethno-cultural characteristics, as well as people's aesthetic ideas about the world. The work introduces the traditions, rituals and standard of living of the people. Draws a line in the age category, social and ethnic affiliation of a person. It sufficiently reveals the types and meaning of clothing, shows the uniqueness, originality and differences in the tailoring of Kazakh costumes. The subtle parallel between the life of the Kazakhs and nature leads to the fact that the Kazakh people were very close to nature and led a nomadic lifestyle.

The project indicated clothing as a deep national color, showed that its value and beauty have not been lost, to be used to this day, and also revealed the problem - despite the fact that some products have acquired a new look, new forms, nevertheless, the current generation is not set the question of the role and significance of national clothes for their people and owns only a small part of the information on the research topic.

The survey and its results revealed the full work of the researcher on the topic. The research work “The role and importance of national clothes for the Kazakh people”, performed by a student of the 2nd “a” class Ahmet D. can be called comprehensive and disclosed.

INTRODUCTION

Clothing was necessary for warmth, but nevertheless, for the Kazakhs, its production keeps interesting secrets. From time immemorial, the national fashion of Kazakh clothing has been woven into the modern world of fashion. Now there is a western style trend. Young people are more and more exposed to the fashion, which in turn destroys Kazakh stereotypes. So there was idea creating this project.

Target of this work: the study of the role of national clothes for the Kazakh people

Subject of study: Kazakh national clothes

Research objectives:

To study the literature on the research topic;

Explore the history of Kazakh national clothes;

Find out what materials were used to make Kazakh national clothes;

Determine the purpose of the Kazakh national clothes.

From the assigned tasks, it was determined hypothesis: if you know the history of the meaning of national clothes, then you can determine its meaning

Research methods: literature analysis, questioning, practical work.

Research stages

1. Study and analysis of literature;

2. Compilation of written and practical work on the research topic;

3. Summing up the results of the study;

Novelty is to reveal the meaning of national clothes for the Kazakh people.

Practical significance: the results obtained can be used in manual labor lessons, circles, history and exhibitions.

I.MAIN PART

1.1 History of Kazakh national clothes

For centuries, Kazakh national clothes have been characterized by simplicity and rationality. It was characterized by a common form for all segments of the population, but with a certain social and age regulation. Elegance was given to clothes by fur trim, embroidery, and jewelry. The traditional materials for it were leather, fur, thin felt, cloth, which the Kazakhs made themselves. Clothes were also sewn from imported materials - silk, brocade, velvet, which were a kind of measure of the wealth of its owners. Cotton fabrics were also widely used.

Unlike the traditional clothing of some other peoples, the Kazakh costume is simple in composition, expedient and distinguished by strict elegance due to fur trim, embroidery, and inlay. It is impossible to find abundance in jewelry and blinding variegation of colors that are inherent in, say, Turkmens. Even the ceremonial clothes of Kazakh women do not cause a feeling of overcrowding in a person alien to Kazakh culture. Of course, jewelry plays a role in creating the image, but not the main one. At the same time, it should also be noted that all kinds of decorations appeared in the Kazakh costume, not because the nomads strove for beauty (in their living conditions, there was not much time to decorate decoration - constantly wandering from place to place with herds, with the whole family, household belongings in search of pastures was not an easy task), but in order to be able to determine the position of a person in society, his belonging to a certain social group of the steppe population.

From the era of the ancient Turks to the present day, the garments of the Kazakhs, along with their names, have undergone tremendous changes. Like a person who has gone through many stages of development, so his clothes have changed, improved, improved, because from the day of birth a person begins to wear clothes. Thus, history is also present in human clothing, and time leaves its traces on it. Nomadic Saks were engaged in cattle breeding. Together with cattle, they spent the winter in winter quarters, and in summer they migrated to zhailau. Most of the livestock were horses. But to say that they sewed clothes only from horse skins would be wrong.

Artistic national traditions embodied in clothes find their place in modern life. Folk clothes are constantly the object of attention of fashion designers and designers. Modern clothes created according to national motives are always original and unique.

1.2 Clothing material

The oldest traditional materials for making clothes among the Kazakhs were skins, leather, pet hair, thin felt, cloth, which the Kazakhs made themselves. They used mainly sheepskin, less often the skin of goats and foals. The poorer segments of the population were characterized by clothing made from saiga skins, hats made from the fur of foxes, otters and other fur-bearing animals. A large place among the materials for Kazakh clothing was occupied by pet hair. It was used as an insulating lining for the top dress (robes, beshpents) and hats. Many types of clothes were sewn from felt. Predominantly white wool was used for its manufacture, thin fluff from the neck of sheep was considered especially valuable.

Kazakhs have long been able to make coarse cloth from camel or mutton wool. The best fabric was obtained from the wool of young camels. Sheep wool cloth was used for clothes by poor people. It was also used where there were few camels bred.
From the fur and skins of animals, fur coats, naked sheepskin coats, hats, sleeveless jackets, winter trousers and elegant outerwear were sewn. The skin removed from the animal was dried, then smeared with sour milk "airan" mixed with bran or flour, and sometimes simply brewed bran. In winter, ayran was replaced with Kazakh cheese “kurt” diluted in water. Then the skin was rolled inside, and after three or four days it was washed and placed in heavily salted water. After the next drying, the flesh was scraped off with a special knife, the skin was kneaded by hand, and it acquired a white color. To make the skin more white, it was watered with chalk diluted in water. Dressed leather was used in clothing in combination with fabrics.

For the manufacture of naked sheepskin coats and trousers, the skin was tanned and dyed using various dyes. For example, yellow coloration was obtained by using crushed ram root boiled in boiling water, or rhubarb root, wild apple leaves and nodules; red - from the root of the plant uyran boyau, orange - from dried pomegranate peels.

Chinese paper fabrics, which came to the territory of Kazakhstan in the form of gifts, military booty, in exchange for products of the nomadic economy, were widely used in Kazakh clothing. Silk fabrics were bought mainly by feudal lords, since only noble rich people had the right to wear silk clothes. The most common were red and yellow silks.

1.3 Functions of Kazakh traditional clothing

In the Kazakh national dress, ancient traditions associated with ethnohistorical, economic and social characteristics have been preserved. It is subdivided into: bas kiim - headdresses, iyktyk kiim - clothes worn on the shoulders, beldik kiim - clothes worn on the hips, on the belt, ayak kiim - shoes.

Clothing is divided according to the features of use into casual and elegant, as well as by season: winter, demi-season and summer. In accordance with age and gender characteristics, clothing is divided into: clothes for babies (undershirt, bonnet), children's clothes (hat, shirt, pants, boots, chapan), youth clothes (skullcap, shirt, boots, pants), girl's clothes (dress with frills, jacket, skullcap), clothes of the bride (saukele, veil), clothes of the groom, young guy, middle-aged women, elderly women (kimeshek, zhaulyk - national women's hats, camisole, ichigi, sleeveless jacket), clothes for the elderly (chapan, beshmet, dambals, ichigi, cotton trousers, white shirt).

Women's traditional clothing

The complex of Kazakh women's clothing consisted of the following components: pants, over-the-shoulder clothing such as camisoles and robes. Women wore a non-opening "koylek" shirt, longer than men's. Young women and girls preferred red or colorful fabrics. In the 18th and early 19th centuries, red and blue colors predominated in clothing. With the spread of trade, dresses began to be sewn from Russian chintz and other cotton fabrics.

The collar of women's shirts was deaf, it was sheathed with a turn-down, and from the middle of the 19th century with a standing collar. In front - a straight, rather long slit with a clasp at the throat. In order not to see the naked body, the girls wore a bib over the dress. The most common form is Rice. one- "Women's bathrobe" shapan "

a triangle of fabric with ribbons sewn on top or a narrow stand-up collar with a fastener at the back, sometimes with cut and rounded lower corners.

By the end of the 19th century, a new cut of the dress appeared. It consisted of a single-panel bodice that retained its former tunic shape; a very wide skirt was sewn to it in an assembly or a pleat along the seam. This cover spread from the north. At the same time, girlish dresses appeared, on the detachable skirts of which two or three frills were sewn, and the hem ended with a wide frill. The ends of the narrow sleeves were sometimes decorated with frills.

The festive dresses of young women and girls were decorated with embroideries and appliqués made of bright fabric along the edges of the hem, sleeves, and collars.

Over the dress, women wore camisoles without sleeves and with an open collar. To decorate the camisole, young women sheathed the open collar with a wide strip of fabric in a contrasting color, finished with embroidery, braid, silver along the edges of the shelves and hem, and also sewed on silver-plated metal buckles or silver buttons.

Women's dressing gowns "shapan" are the most common clothes worn by many representatives of poor families, and they did not have any other outerwear. The main difference between a women's dressing gown and a men's dressing gown was that brighter colors of fabrics were selected for the women's shapan. Festive dressing gowns were decorated very modestly - with a border of fabric of a different color, which at the same time served for the long-term preservation of the shapan. This is also explained by the fact that elegant camisoles were sewn from the second half of the 19th century.

The bride's wedding attire was especially beautiful - an obligatory part of a girl's dowry until the beginning of the 20th century. It was sewn from expensive fabric (cloth, velvet, satin), more often red with very long false sleeves sewn at the bottom, decorated with embroidery and various decorations.

Male Kazakh costume

Men wore undershirts of two types, underpants and overpants, light outerwear and wider outerwear such as robes made of various materials. Leather belts and cloth sashes were an obligatory part of the costume.

The upper trousers of shalbar in the 18th century were sewn from camel homespun cloth and leather. They were embroidered with silk patterns of floral ornament, the ends were often sheathed with beautiful braid, galloon, and trimmed with fur. Elegant leather shalbars were worn loose.

Over the shirt, the men wore light loose clothing - a medium-length camisole. Camisoles were sewn from plain, dark fabrics, striped or variegated fabrics were less commonly used. They had a cloth lining, often insulated with a thin layer of wool.

The outer clothing of the Kazakhs differed mainly in material: dressing gowns were sewn from cloth, raincoats - from homespun cloth and felt, winter clothes - from fur.

One of the main items of Kazakh clothing was shapan - a spacious long robe. Shapan was sewn from a variety of fabrics, Rice. 2 – "Men's dressing gown "Shapan" light and dense, various colors, but mostly monophonic or darker. Inside it was insulated with a layer of wool or cotton wool. The ceremonial shapan was sewn from velvet, decorated with appliqué, tassels, and gold embroidery. Such a robe was part of the wardrobe of wealthy Kazakhs. Ton - a naked sheepskin coat was a common item of Kazakh clothing in winter. Wealthy Kazakhs sewed it from tanned sheepskins with wool inside, from the skins of four to five-month-old lambs. It took 5-6 skins of an adult sheep per tone.

Leather belts were very common in the Kazakh costume. One of these belts was kise. Special pendants-bags for stocking gunpowder and bullets, a scabbard and a snuffbox were attached to a long kisa. Often the belt itself and pendants were decorated with silver-plated copper, less often with silver plaques.

The fashion of those times made differences in clothing, and the fashion for hats was dictated by necessity, harsh natural conditions.

Kazakh headwear

The attitude to headdresses among the ancestors was special. To pull off a hat from the head and casually throw it anywhere - the Kazakhs never allowed themselves such a thing. On the contrary, the headdress was removed carefully and tried to put or hang on a raised platform. Special care was taken to ensure that he did not end up on the seat or on the floor. It was believed that otherwise the health and well-being of the owner could suffer.
Also, even today the Kazakhs do not give their own headdress, and do not allow strangers to wear it. This is tantamount to voluntarily renouncing your happiness and baring your head for troubles. Only a new, unworn hat is presented as a gift.

The headdresses of Kazakh women, like those of women of many nations, were also a kind of indicator of their marital status.

Murak- a luxurious headdress worn only by khans.

Saukele- the bride's headdress is not made according to the rules, without the so-called "headphones" and "nape". It must be very high. When the bride entered the yurt to her future husband and bowed, it was necessary that the tip of the saukele touched the hearth. Saukele was worn only for the first time after marriage - about a year, and then they took off and put on a simpler, more practical and comfortable headdress, which had a solid frame in the shape of a truncated cone, which was sheathed with an eyelet or wrapped in foil, decorated with pendants of gold and silver plaques with inserts gems. In the cone-shaped hat of the Kazakh bride (saukele), if desired, one can catch a resemblance to the decoration of the Saks who lived in these steppes more than 2000 years ago.

Rice. 3– “Women's headdress “Saukele”

The value of a saukele, trimmed with silks, trimmed with furs and adorned with precious stones, was compared in the 19th century with the value of 25 horses. And even more. It is no coincidence that saukeles were inherited, and if a woman died childless, they returned to her family.

Jelek- a smooth transparent white veil, which was attached to the top of the head and which was usually used to cover the face of the bride or wrap her completely during the performance of the ritual wedding song "Betashar".

Turban or turban- with the advent of the first-born, a special headdress was relied upon, consisting of a lower part, worn directly on the head, and an upper one in the form of a turban or turban. Both parts were necessarily made of white fabric.

Since the end of the 19th century, young women have replaced the turban with crepe de chine and silk shawls and scarves.

Kimeshek- women wore from 25 to 45 years.

Kimeshek was sewn from white fabric. Rice. four- "Headwear: skullcap and sides"

It tightly fitted the head and covered the neck, chest, shoulders and back. The front side of the kimeshek was usually decorated with satin stitch embroidery, silver plaques, and corals. It was also embroidered along the edges of the neckline. The most elegant was the kimeshek, worn for the first time by a young woman. The first kimeshk for a bride was sewn at her parents' house, and often all the decorations from her girl's bib were sewn onto it. Kimesheks are represented very widely. According to them, you can determine the age of a woman - young or old, the area where she lived, the clan to which she belonged.

Takiya- a small hat, a round skullcap with a patterned stitch on the band, which was sewn from bright fabric and always decorated with embroidery or various stripes made of beads, corals, beads, silver.

Shoshak borik - from velvet, brocade and mink fur, a girl's headdress of the late 19th century - Kulakshyn - made of felt, decorated with corals and copper plaques, and boriks worn by children, girls and akyns. It was believed that they are the most vulnerable, as their social status is unstable. And if they are vulnerable, they need protection. So on the tops of children's, girlish and headdresses of sap singers appeared uy - plumes of owl feathers, which served as a talisman.

Borik- a round hat with a fur trim, trimmed with velvet. The girl's borik differed from the man's in that the fur band was always outside, and did not turn away. Varieties of this hat - borik-zhanatai made of lamb skin.

Sheepskin Tymak - and children's made of fox fur. In the steppe conditions, with severe bad weather, tymaks (triukhi) are ideal and irreplaceable. Tymak consists of a crown and four large “blades” cut from felt and covered with fabric. The ear and occipital "blades" were sheathed with fluffy fur, wide fields descended to the neck and shoulders.

Ayyrkalpak, murak- sewn from velvet, predominantly burgundy, on a felt base, and embroidered with gold thread with floral patterns. They were worn over a cone-shaped hat trimmed with expensive fur.

Kalpak- in the summer they wore a hat made of thin white felt - a cone-shaped headdress with a narrow high crown, a rounded or pointed crown, which was sewn from two identical halves.

Skullcap- a universal headdress worn by both women and children. The skullcap was not removed even at the dinner dastarkhan. The skullcaps of children and young men were embroidered with silk, gold and silver threads, and patterns were placed on the dome on four sides - “shugla” (beam), “gul” (flower).

Boca- This is a high cone-shaped female headdress. The name "bocca" comes from the Mongolian bogtac.

Kazakh folk clothes reflect ancient traditions associated with their ethnic history, social and climatic conditions. The clothes of the rich differed from the clothes of ordinary people. So, for example, only noble people wore a fur coat covered with blue cloth and trimmed with beaver - cocton. Clothing was necessary for warmth. Fur coats were made from goat skins. Long hair was plucked out of them, leaving the undercoat. A fur coat made of such skins was called kylka zhargak. Malachai of various shapes were made from sheepskin. For headwear Rice. 5- "Clothes of noble people" a thin felt mat was used, an ornament or pattern was embroidered on top. The fashion for such a men's hat does not pass until now. And it is called - akkalpak. Kazakhs made suede from goat skins and sewed thin robes, light raincoats and trousers from it. Kazakh clothes made of dressed goat hair are soft and do not deteriorate from rain. Goat skin robes are called zhargak. Since ancient times, Kazakhs dressed girls and women beautifully. Young girls wore dresses with flounces, beshmets, camisoles, and wore beautiful straps. Worn on the head kepeshi With ookie, feet were shod in ichigi, patterned shoes. Girls of marriageable age wore beautiful headdresses - borik, patterned white scarves. In particular, the girls - brides - were very beautifully dressed up. In 1915, G. Andreev in his work “The Kyrgyz Bridge” described the bride’s clothes in the following way: “The best clothes on the bride. On a silk airy dress, over a velvet camisole, a blue silk jacket is put on - a beshmet, a brocade is thrown over the shoulders. chapan. Beautiful ringing silver ornaments hang on the braids, an ornament made of silver tenge is put on the head, the headdress is decorated uki. The girl - the bride was dressed in clothes made of expensive fabrics. Girl's headdress saukele, decorated with precious stones, beads. Later, when the bride arrived in the groom's aul, they put on her head " zhaulyk". Hats protected well from dust, sun, rain and snow.

At birth, a baby's vest was put on ( it koilek), a cap on the head ( sylau takiya), after 40 days put on a shirt ( Adam jade), later a small beshmet, chapan and little pants. The ethnographer Kh. Argymbaev wrote that an amulet was sewn on the shoulders of the child's beshmet, in places hidden from the eyes, under the collar of the shirt, in the armpits - Tumar. It was believed that it protects from the evil eye. Owl feathers were attached to the child's headdress as decoration. - uki. Small ichigi sewn from soft leather were shod on their feet. Children's clothes were decorated according to the age of the child. Clothes were decorated with various patterns, beautiful beads and beads were sewn on.

Elders, elderly people wore chapan, fur coats, beshmets, wide trousers, white shirts, dambals(underwear), leather boots , ichigi, galoshes. Men's clothing included beshmet, cut from the skin of a kulan, a quilted jacket matched to it in color, a jacket, leather trousers, all this was considered an example of modest everyday clothing.

When tailoring clothes, the age of the person was taken into account. Rice. 6– "Ichigi" Clothes for an older person were cut in a wide cut with fewer patterns. The clothes of boys and girls were sewn more beautifully.

The tailoring of Kazakh national clothes was influenced by the manner of sewing clothes of neighboring peoples: Russians, Tajiks, Kirghiz, Turkmens. This process led to the borrowing of some headgear (shawls, shawls, earflaps).

The Kazakhs sewed clothes so that they did not cause inconvenience. Weather conditions were taken into account. For the people who wore such clothes, severe frost or heat, wind or drought were not terrible, as things were durable, comfortable, practical and beautiful.

Along with homespun fabrics made on primitive horizontal looms, imported cotton, silk and woolen fabrics came into use by Kazakh nomads in ancient times. The main consumer of imported fabrics was the feudal nobility. The rest of the Kazakhs were content with fur, leather, home-made woolen products.

Rice. 7- "Tumar"

As we drew closer to Russia, Russian goods, including fabrics, began to displace Central Asian ones, factory materials replaced home-made fabrics, which was associated with the general process of destruction of the subsistence economy.

At the end of the XIX - the beginning of the XX century. Kazakhs mainly sewed clothes from factory-made cotton fabrics: chintz, calico, calico, calico, calico. The rich bought velvet, silk, satin, brocade, fine cloth. Central Asian handicraft fabrics were also used: mat, coarse calico, semi-silk fabrics (adras, bekasab, padshai, etc.).

Conclusion

The national clothes of the Kazakhs absorbed all the best that the art and talent of craftsmen could create over the centuries. It reflects the way of life of the people, the level of its production, aesthetic ideals, the influence of those ethnic components that historically formed the Kazakh people is clearly traced. Of course, the traditional costume of the Kazakhs was greatly influenced, first of all, by the nomadic lifestyle. Folk "designers" created clothes so that they were comfortable for riding a horse, warmed in the winter season and not hot and heavy in summer.

The neighboring peoples, with whom the Kazakhs were in close relationship, had a great influence on the formation of the Kazakh costume. In it you can find special features inherent, for example, in the national clothes of Russians, Tatars, Karakalpaks, Altaians, Kyrgyz, Uzbeks and Turkmens.

Unlike the traditional clothing of some other peoples, the Kazakh costume is simple in composition, expedient and distinguished by strict elegance due to fur trim, embroidery, and inlay. It is impossible to find abundance in jewelry and blinding variegation of colors that are inherent in, say, Turkmens. Even the ceremonial clothes of Kazakh women do not cause a feeling of overcrowding in a person alien to Kazakh culture. Of course, jewelry plays a role in creating the image, but not the main one. At the same time, it should also be noted that all kinds of decorations appeared in the Kazakh costume, not because the nomads strove for beauty (in their living conditions, there was not much time to decorate decoration - constantly wandering from place to place with herds, with the whole family, household belongings in search of pastures was not an easy task), but in order to be able to determine the position of a person in society, his belonging to a certain social group of the steppe population.

With the development of society, some products of applied art have acquired a new look, new forms, however, all of them have a deeply national flavor, have not lost their value and beauty, and are still used today.

Applications

Applications:

Download material