Dervishes
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Most of the Central Asian peoples profess Sunni Islam. From the late 14th century, Sufi doctrines started to influence local Islamic traditions, and gradually the two largest Sufi orders – the Nakshbandi and the Qadiriyyah, divided the territory of the region into two separate spheres of spiritual influence, and many of the postulates of their theory and practices impacted Moslem law and the mindset of the peoples of Central Asia.
All Sufi teachings are based on mysticism, implying direct communication with God through individual or collective acts of devotion, or dhikr, in which participants deliberately attempt to reach ecstasy. A special role in the spreading of Suffism belonged to the dervishes, who, having rejected material wealth, completely dedicate their life to the preaching of its doctrine. Joining together in groups, they led a vagabond way of life, surviving on alms which they were given in recognition of their passionate prayers, and in hope for spiritual help. The distinguishing feature of the costume of the dervishes was their tall, conical, felt caps, which are sewn together of four gores, covered with a blue cotton fabric, and embroidered with sayings from the Koran, and which in late 19th – 20th centuries one would encounter rather frequently on the streets of Central Asian cities or wandering along the roads of the steppe. The costume of the dervish’s leader included a broad belt made of felt, and a robe on which texts from the Koran were embroidered on its back. It was sewn entirely using little stitches, each being endowed with a magical significance.
15. The Ruband Veil.
The ruband facial veil was a part of the wedding attire of the highland Tadjik women of Kara-Tegin and Darvaz. It was intended to cover the bride’s face from the moment of she departed for her bridegroom’s house, through all of the ensuing ceremonies. The first time that the bridegroom’s family became acquainted with the newlywed spouse took place during the rubinon ceremony (literally meaning “to look at the bride’s face”), in which they approached, one by one, raising her veil, looking at her, and giving her presents. The covering of the bride’s face was linked with the ancient custom of avoidance, whose aim it was to protect the girl from the evil eye and other harmful forces during the wedding, a moment of great importance for the survival of her lineage. The bright, embroidered ornamentation of these veils also played a protective role. From times immemorial, roosters, abundant floral patterns, and red colors were associated with the vital energy and life-giving power of both the sun and fire. It was believed that these decorative motifs protected against danger and brought good luck, prosperity and fertility.
Veils were embroidered using a special technique called siahduzi (literally meaning “sewing in black”) or chapudzi (literally «sewing from the inside part”). The embroidery was made from the inside, (thus explaining its second name) the stitch was done in the reverse direction, and single stitches made using black threads closely covered the space between the contours of the pattern (hence the first name of technique). It was a technique that demanded great skill and a careful count of the stitches by the seamstress, which determined the clearness and preciseness of the embroidered patterns. The best material for making face veils was a homemade cotton fabric with an open weave. Rubands were made by extremely skilful seamstresses and they were rather expensive.
A family often had only one ruband, and consequently it was used at weddings by several generations of brides in the family, as well as their neighbors. In the late 19th to early 20th centuries, they became a rarity due to the disappearance of home weaving, and the complexity of the embroidery work, only being preserved as heirlooms by some families. In wedding ceremonies they have been replaced by kerchiefs and shawls.
All Sufi teachings are based on mysticism, implying direct communication with God through individual or collective acts of devotion, or dhikr, in which participants deliberately attempt to reach ecstasy. A special role in the spreading of Suffism belonged to the dervishes, who, having rejected material wealth, completely dedicate their life to the preaching of its doctrine. Joining together in groups, they led a vagabond way of life, surviving on alms which they were given in recognition of their passionate prayers, and in hope for spiritual help. The distinguishing feature of the costume of the dervishes was their tall, conical, felt caps, which are sewn together of four gores, covered with a blue cotton fabric, and embroidered with sayings from the Koran, and which in late 19th – 20th centuries one would encounter rather frequently on the streets of Central Asian cities or wandering along the roads of the steppe. The costume of the dervish’s leader included a broad belt made of felt, and a robe on which texts from the Koran were embroidered on its back. It was sewn entirely using little stitches, each being endowed with a magical significance.
15. The Ruband Veil.
The ruband facial veil was a part of the wedding attire of the highland Tadjik women of Kara-Tegin and Darvaz. It was intended to cover the bride’s face from the moment of she departed for her bridegroom’s house, through all of the ensuing ceremonies. The first time that the bridegroom’s family became acquainted with the newlywed spouse took place during the rubinon ceremony (literally meaning “to look at the bride’s face”), in which they approached, one by one, raising her veil, looking at her, and giving her presents. The covering of the bride’s face was linked with the ancient custom of avoidance, whose aim it was to protect the girl from the evil eye and other harmful forces during the wedding, a moment of great importance for the survival of her lineage. The bright, embroidered ornamentation of these veils also played a protective role. From times immemorial, roosters, abundant floral patterns, and red colors were associated with the vital energy and life-giving power of both the sun and fire. It was believed that these decorative motifs protected against danger and brought good luck, prosperity and fertility.
Veils were embroidered using a special technique called siahduzi (literally meaning “sewing in black”) or chapudzi (literally «sewing from the inside part”). The embroidery was made from the inside, (thus explaining its second name) the stitch was done in the reverse direction, and single stitches made using black threads closely covered the space between the contours of the pattern (hence the first name of technique). It was a technique that demanded great skill and a careful count of the stitches by the seamstress, which determined the clearness and preciseness of the embroidered patterns. The best material for making face veils was a homemade cotton fabric with an open weave. Rubands were made by extremely skilful seamstresses and they were rather expensive.
A family often had only one ruband, and consequently it was used at weddings by several generations of brides in the family, as well as their neighbors. In the late 19th to early 20th centuries, they became a rarity due to the disappearance of home weaving, and the complexity of the embroidery work, only being preserved as heirlooms by some families. In wedding ceremonies they have been replaced by kerchiefs and shawls.
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