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About the Dance: Costuming From: "Splendors of the Silk Road" by Laurel Victoria GrayCOSTUMING (continued from part I) So great is the love of clothing that the gift of an Uzbek robe, or chapan, is still a favorite present for honored guests. Today the robe is typically heavily quilted, a deep blue color, and made from a silk-cotton blend. But for very special occasions to honor individuals, gold-embroideredvelvet robes are commissioned from Bukhara. Unique to Central Asia, especially Uzbekistan, is the multi-colored silk cloth known as khan atlas or "king of the satins." It is created from a resist-dyeing and weaving technique (sometimes called ikat) involving many steps. Traditionally, women raised silk-worms in their homes, feeding them mulberry leaves. The women also performed the delicate and tedious work of unwinding the silk cocoons. Once the thread was prepared for weaving, it would be taken to dyers who specialized in different colors. And since each dyer had to be paid, the more colors used, the more valuable the final product became. The patterns woven into the silk were extremely varied, as were the color combinations: saffron and burgundy; pale pink, yellow and blue; magenta, teal, and purple. Today, synthetic dyes are used and the weaving is done by machines in factories, although in the Ferghana Valley area it is still possible to find limited quantities of hand-woven silk. However, the colors and designs used in modern khan atlas are primitive compared to the sophisticated pallets and patterns of the past. Clothing was worn in true oriental fashion — layered. Although orthodox Islam forbade men to wear pure silk next to their skin, women suffered no such restriction and could wear long silk tunics, as light as butterfly wings, one on top of another. Loose trousers, sometimes fashioned from stiff brocades or rich velvets, were worn under the dresses. Vests and long robes came next, topped off by skull-caps, head-dresses, and veils. Woven trim with magical designs decorated pant cuffs, wrists, and necklines — in short all of the openings of a garment through which evil influences could enter and reach the body. Jewelry played an important role in everyday dress since it not only indicatedstatus, but served a magical purpose as well. Pendants were often hollow inside so paper — on which a prayer or a verse from the Koran was written — could be placed inside. Some items of jewelry were decorated with symbols to bless the wearer with fertility or to protect her from the evil eye. Wealth was displayed in the jewelry worn by women. Usually silver was the metal used but sometimes delicate, lacy pieces were fashioned from gold. Earrings, bracelets, necklaces, breast pieces, and crowns were decorated with pearls, turquoise, coral, and carnelian — each stone believed to have special powers. ( As my jeweler in Tashkent pointed out, pre-Islamic depictions of dancers show them wearing almost nothing but jewelry which was designed so a precious stone could be placed at important places on the body, perhaps the chakhra centers.) Among the Turkmen tribes, a bride was to be so heavily laden with jewelry that she could not stand without assistance. No less significant was the sound that the jewelry made. Bell-like pendants were specially tuned to make noises that were not only pleasant, but calming. And each set of jewelry had a distinctive sound so that even in the dark of night the identity of the wearer could be distinguished. Some of the most flattering jewelry designs known to the world come from Central Asia. The tilyakosh or "golden eyebrows" is a tiara with delicate hanging pendants which follow the curved line of the brow. The zebigardon is a pectoral ornament which fastens into the shoulders of a garment and drapes over the breast. Like the tilyakosh, it is encrusted with jewels and pearls. Intricate dangling earrings make delightful sounds and accentuate every movement of the head. The tradition of creating beautiful clothing lives on today at Tashkent's Dom Modyely (Fashion House). There, designers reinterpret ancient designs and garments and use traditional textiles and ornaments to make stunning contemporary outfits which would be welcome on the runways of Paris and Milan. And who knows, perhaps soon the splendors of the Silk Road will set the fashion in the West. ©1995, Laurel Victoria Gray |
