The origin of the skullcap The word "skullcap" got its name from the Turkic "tube", which translates as "top, top". The skullcap is worn by the peoples of Central Asia, as well as in Afghanistan, Iran, Turkey, in the Volga region, Tatars, Bashkirs. Along with the preservation of common features, the skullcap is always distinguished by the individual handwriting of the craftsmen who created it.

Skullcap ornament. It is worth talking about ornaments in particular. Almost all of them, even the simplest ones, once had a symbolic meaning. For example, a wavy circular closed pattern meant the annual cycle, the infinity of life, the wish for longevity. Braided "rope" - union, commonwealth, marriage bonds. Floral ornament is a symbol of earthly life, gratitude to the Creator for the beauty and generosity of nature. One of the main elements of the floral ornament of the Turkic peoples, especially loved by the Tatars, is a simplified image of a tulip, a memory of distant steppes, a symbol of spring rebirth. Ornaments in the form of paired curls, reminiscent of the horns of rams, also date back to the distant nomadic past - so that the owner does not transfer livestock, he would be rich and prosperous. And there are ornaments common to the Eurasian peoples, for example, solar, solar signs - these are amulets that, according to legend, drive away illness and misfortune

The purpose of the skullcap Since ancient times, the skullcap has been an integral part of national clothes. The skullcap was not only a simple headdress, but emphasized a person as a modest, well-bred, believer. Therefore, about a person who is a true believer, living according to the rules of the Koran, they said that "he was born in a skullcap."

Skullcap Forms Russian Tatars wear skullcaps with a flat or pointed top. The forms of skullcaps are varied: low, high, pointed and with a flat top, with and without a brush, in the form of a cylinder. Skullcaps are usually sewn from velvet, embroidered with multi-colored silk threads, decorated with gold or silver thread, beads, sparkles, stones, and later with beads, glass beads, pearls.

Kalyapush and takiya There was a time when Tatar men could not be imagined without a skullcap. According to Muslim customs, hair was shaved bald and a skullcap was put on. There are two types of skullcaps - kalyapush and takiya. Taqiya is similar in shape to a knitted hat, sewn from four parts. Among the Tatars, a skullcap is usually called a kalyapush. Kalyapush is a Farsi word: kalya is a head, pushidan is a covering, i.e. “Cover your head before prayer.”

Lesson topic. Production of the national headdress "Tyubeteika"

The purpose of the lesson:

Educational. Teaching students how to make a soft-shaped headdress, cutting out details. Consolidation and deepening of knowledge, skills and abilities in the technology of processing cut details through professional thinking.

nurturing . Raising a sense of responsibility for the work done, mutual assistance, mutual control, love for the profession.

Developing. Formation of creative, professional thinking, the ability to rationally use working time, intolerance to marriage.

Lesson type: practical

Generalization of previously studied material

Consolidation of the studied theoretical material

Formation of practical, creative skills and abilities

Material and technical equipment of the lesson, visual aids:

instruction card- "Making a skullcap"

A step-by-step sample of technological processing of a headgear

Card of an individual survey "Test yourself"

Specifications for the manufacture of hats

Seam allowances

Criteria for evaluation

Learning elements - sewing machines

irons

Patterns of headwear

Lesson methods:

conversation, story

Survey of students showing technological methods

Independent work of students

Demonstration of manufactured products

During the classes

I. Organizational part

Checking attendance

Checking the readiness of student workplaces, the availability of tools

II. Induction training

Report the topic of the lesson

State the purpose of the lesson

Explanation of new material

Sewing a skullcap.

Lesson - workshop on the technology of manufacturing a national headdress - skullcaps.

In this lesson, students, together with the teacher, carry out an independent creative approach to the manufacture of a national headdress - a skullcap, while relying on knowledge of the manufacturing technology of this product.

The meaning of the lesson is as follows:

in practical and methodological terms, students learn to independently plan a given topic, applying theoretical knowledge of skills, skills develop logical thinking;

in educational terms, the ability to cooperate and communicate with each other; students are brought up on national cultural traditions.

The lesson is built in accordance with modern pedagogical requirements.

It implements the following pedagogical principles:

1. The principle of cooperation and co-creation of a teacher with students

in the educational process.

2. The principle of education on national and cultural traditions.

3. The principle of integration of theory with practice.

3. The principle of moral and aesthetic education.

Process sequence headgear processing:

Pattern of a skullcap with a solid side part and separate top wedges. We measure the circumference of the head above the ears; Divide the resulting number by four. Then we cut out four pentagons from matter, the base of which is equal to the number of centimeters obtained, and the height is 1 - 1.5 cm less. For example, if the circumference of the head is 52 cm, then the base of each pentagon will be 52: 4 = 13 cm, and the height 13 - 1 = 12 cm.

1. Sew the pentagons on the sides, seams on the inside; smooth out with a hot iron. The lining of the skullcap made of thin light matter will take exactly the same shape, only the seams on it will be on top. Then we will put the lining inside and attach with frequent stitches to the side seams of the skullcap. We adjust the bottom of the lining and sew it to the bent upper part of the skullcap, iron it with a hot iron. Skullcap is ready

III. Current briefing

Management methods:

Target bypasses

Individual work

Re-briefing (if necessary)

1. Targeted visits to student workplaces. Control over the formation of skills and abilities:

Organization of workplaces, availability of necessary devices and tools;

Compliance with safety regulations;

6. Checking homework.

IV. Final briefing

Summing up the results of production work:

Assessment of the degree of achievement of the goal of the lesson;

Analysis of typical errors, their causes and

Elimination methods.

2. Evaluation of the work performed.

4. Post the topic of the next lesson.

V. Homework organization

Repeat cutting small parts.

The job took

2nd place

I made two women's and two men's skullcaps. From different regions of Uzbekistan: tall men's from the city of Chust, low men's - Margilan, all embroidered with ripe pomegranates - from Shakhrisabz - gilam duppi and the most popular among girls - Andijan - all embroidered with roses.

Cut out of paper, patterns glued on, very small ones painted with gel pens.

Since ancient times, one of the main types of headdress in Central Asia has been the skullcap - an embroidered male or female cap, which got its name from the Turkic word "tyube" ("tobe"), meaning the top, the top of something.

Mention of headdresses resembling skullcaps are found in historical documents of the 15th-16th centuries. Samples of embroidered skullcaps dating back to the middle of the 19th century have been preserved in museum collections. By the middle of the 19th century, the choice of skullcap styles was quite diverse. There were both cone-shaped and hemispherical, square and flat ones.

In Uzbekistan, there is a huge number of the most diverse skullcaps, which are divided into several groups: Tashkent, Bukhara, Samarkand, Fergana, Khorezm-Karakalpak, Kashkadarya-Surkhandarya. They are also divided into: male and female, intended for children and babies, as well as for the elderly.

The technology of making skullcaps itself consists of several stages. A small pattern, together with the ornament of the skullcap, is embroidered separately: first - the upper part, then - the edge. The wrong side of the cotton fabric is sewn onto the embroidered parts of the future skullcap. In order to give the skullcap a solid shape, its bottom is sewn, and paper flagella soaked in glue are inserted between the lines. The same paper soaked in glue is inserted between the front and back fabrics. Thus, the skullcap retains its shape and serves its owner for a long time.
The manufacture of a skullcap from cutting to pressing goes through 16 stages, almost all of them are performed by women, and only at the last stages of giving the skullcap a traditional shape, men are involved, since pressing is a very laborious process.

Among the skullcaps of all regions of Uzbekistan, the most popular are those made in the city of Chust, Andijan region in the Ferghana Valley. They are called “chust-duppi”, high skullcaps. They have square shape, are distinguished by the simplicity and subtlety of white silk embroidery on a black background. Its main convenience is the use of a combination of classic colors: black and white. This allows you to wear it both everyday and on holidays. The “Chusti” embroidery pattern is traditional in the East: four capsicums (Kalampir) are depicted in the upper part, which are considered a symbol of life and a talisman against the evil eye. It is believed that hot pepper will scare away evil spirits, and its four pods will protect the head of a man from four cardinal directions. The four parts of the skullcap represent the four periods of a person's life: childhood, adolescence, youth and old age. The bottom of the skullcap is decorated with embroidered arches, four on each side. Each fragment of the ornament has its own meaning, the small arch is the cradle of a child, and the dots above it are the dawning light of a new life, the large arch that closes the pattern is the deathbed, illuminated by the last rays of the setting sun, and the elements between them are a difficult life path. A series of domes along the rim, as a symbol of endless births and deaths. A small dome is a beshik, a cradle, a large dome is a tovut, a building in which they are sent on their last journey. Birth, death... birth, death... and so on eight times.

In the Fergana Valley, Margilan skullcaps are also produced - Margilan duppi, they tightly fit the head, of small height. Margilan skullcaps are distinguished by an elongated and thin shape of "pods".

There is also a version that the drawing depicts a sweet almond flower - bodom. And another version is that this is a three-month-old human embryo. Some secret, esoteric and mystical symbols.
When you fold the skullcap, you get a triangle.

Women's Andijan skullcap, embroidered in the style of "iroki" - a dense cross or half-cross - apricot flowers, pomegranate and rose bushes on a white background. The serpentine path crosswise is the traditional "Ilon easy" - the track of the snake is a talisman against evil forces. Such skullcaps are worn by young girls.

Bukhara skullcaps are sewn from expensive velvet and embroidered with gold, gold relief embroidery. Previously, such skullcaps were made only by men. It was believed that if a woman embroiders with gold, then it will soon fade.

Shakhrisabza skullcaps are called "gilam duppi" - carpet skullcaps, all embroidered "iroks", a lot of ornaments, very bright colors.

One of the indispensable attributes of the Tatar national clothes are headdresses. The skullcap is an old national Tatar headdress.. The name of the skullcap comes from the Turkic word "tyube", which means "top". By appearance The skullcap is a small cap embroidered with patterns.

The first mention of the existence of skullcaps can be found in ancient times. They are found in wall painting, in sculpture, in terracotta figurines, in oriental miniatures of the 15th-16th centuries.

It is believed that skullcaps appeared in Asia long before the rise of Islam there. In those ancient times, special symbols were used on skullcaps. With the advent of Islam, the role of the skullcap has changed significantly. In the Middle Ages, a faithful Muslim could not be in public place without a headdress. It was at that time that the skullcap became an attribute of the male religious costume, subsequently receiving the status of one of its main decorations.

Considering samples of ancient skullcaps dating back to the middle of the 19th century, one cannot but note the preservation of ancient artistic traditions and some differences in embroidery, the presence of small archaism.

By the middle of the 19th century, skullcaps were quite widespread in Central Asia and were represented by a huge variety of styles. One could meet cone-shaped skullcaps, hemispherical, flat and square. At that time, faithful Muslims covered the skullcap with a turban in such a way that it could only be seen halfway.

In the 19th century, women also wore skullcaps, while initially the custom that all women had to wear skullcaps was perceived negatively. There were also children's skullcaps. They covered the heads of babies as a talisman. Children's hats had a conical shape with a hanging ribbon and a tassel at its end.
Since the middle of the 20th century, there has been a tendency to change the shape of the skullcap. They become more diverse, and the ornament that adorns the headdress expresses the local flavor and fantasies of the craftswomen. Skullcaps could be pointed and cone-shaped, round, hemispherical, tetrahedral, with a low or high rim, trimmed with a silk or velvet border.

Skullcaps were made mainly from soft materials, while the top layer and lining were attached with small stitches. The skullcap was often decorated with national patterns, made with beads, sequins or gold embroidery. Some headdresses did not have additional decoration, as they were made of velvet. The age of the owner was determined by the pattern on the skullcap - the young preferred bright and juicy shades, while the older generation wore more modest embroideries.

The history of the appearance and development of the skullcap is covered with many secrets, and today it provides rich food for the development of the imagination of researchers. Various legends and beliefs are associated with skullcaps, but today the true meaning of the language of patterns on skullcaps is increasingly forgotten. Nevertheless, ancient embroideries have survived to this day, which allow the ancient Tatar dress to please the eyes of contemporaries.

Tatar skullcap. How to sew.

There were two main types of Tatar skullcaps - those of a hemispherical shape and kalyapush in the shape of a truncated cone.

Takyya, sewn from separate wedges, belongs to the most ancient types. According to researchers, it owes its origin to the balaclava of an ancient warrior.

Kalyapush with a hard edge and a flat top appeared in the middle of the 19th century and is still popular today. There are plain and embroidered skullcaps. Velvet kalyapushi were embroidered with silk thread, gold or silver thread, and later with pearls and beads. Tastefully embroidered brocade skullcaps are the most elegant.

Older skullcaps of the first half of the 19th century are distinguished by the fact that large wavy flower and plant compositions and geometric motifs covered the entire decorated surface of the headdress.

Over time, the pattern of skullcaps changes. By the second half of the 19th century, on the upper part of the skullcap, the pattern along the circumference with a rosette in the middle was replaced by an ornament made up of three or four large bouquets covering the entire circle.

By the end of the 19th - beginning of the 20th century, large flower bouquets were replaced by small, less expressive bouquets. Nowadays, the practice of sewing skullcaps on the basis of small enterprises, joint-stock companies and individual craftsmen has become widespread.

Making a skullcap

Necessary materials: black, green or other color velvet (or silk, brocade), cotton base for lining, about 15 m of twine (you can use twisted and waxed threads from loose linen bags, white and colors of your chosen velvet bobbin threads, thin, medium and large with a slightly bent end and a large needle eye, beads or gold, silver thread, gimp).

Progress
1. Making a pattern of the required size.
2. Cutting out parts from velvet.
3. Cut out the lining.
4. Embroidering the top and edge of the skullcap.
5. Quilting parts.
6. Stitching parts of the skullcap.

pattern making

The skullcap consists of two parts: a flat round top and a hard edge. The side part is cut out on an oblique. Its length is equal to the circumference of the head plus 2 cm per seam.

The width (height of the skullcap) is 8-9 cm plus 1.5-2 cm per seam, equal to 10-11 cm. This means that for size 58 skullcaps we make an edge pattern 60 cm long and 10-11 cm wide. The height of the headgear should not exceed 8-9 cm.

Open skullcaps

With seam allowances, the prepared edge pattern is placed on the velvet so that the grain thread of the fabric is located along the oblique line. From a rectangular cut, several (about 10) skullcaps are cut at once. The lining of the edge of the skullcap is also cut out obliquely. It should be 1 cm longer and wider than the velvet part. For size 58, you will need a lining 61 cm long, 10-12 cm wide. The diameter of the top of the skullcap is 19 cm (radius is 9.5 cm). Sizes are given with seam allowances. Having made a pattern out of stiff paper, cut the top and its lining.

Skullcap embroidery

Unembroidered skullcaps are also very popular. The dresses embroidered with gold, silver thread, pearls or beads are especially elegant. A tassel was sewn in the center of the top of some skullcaps. Sometimes skullcaps were sewn from silk and brocade.

The process of embroidering parts occurs before quilting, immediately after cutting. The principle of bead embroidery is the same as in the manufacture of kalfaks. Beads can be used as one color (for example, yellow, for gold embroidery), and several colors combined in tone.

The beauty of the product depends on the artistic taste, sense of color, accuracy of the manufacturer.

Before being pulled onto the hoop, the details of the skullcap are sewn to a cotton base, on the wrong side of which a pattern is applied. With a "forward needle" seam, the pattern is displayed on the work surface.

Sewing and quilting details

The skullcap is based on hand-made thin, small stitches. To give rigidity between the rows of stitches, twine-type ropes are threaded.

Sewing must begin from the bottom of the edge of the skullcap. To do this, fold the lining with a velvet strip on the right sides and sew the bottom part on a typewriter. So that the lining does not stick out outside the skullcap, turn the product so that the velvet fabric extends 1-2 mm to the wrong side, and make a neat seam along the bottom of the skullcap.

Stepping back 3 mm from it up, make another seam. To stiffen the lower part of the dress, thread the twine into the resulting drawstring. The frontal part is ready.

Down by front side mark the height of the skullcap - 8-9 cm - and with light threads mark the line along which the side and upper parts of the skullcap will be sewn. Stitch the “forward needle” seam with slanted lines on the area formed between the stitches so that the ropes pass freely between them. Try to pick up not very thin ropes. Then the skullcap will keep its shape well. Otherwise, it will turn out unstable and will crumple. The ropes are threaded from the bottom up, starting from the bottom stitch. Having brought a large needle with a slightly bent end to the top stitch, take it out through the lining, cut the rope. Work all rows between vertical stitches in this way. Pull the fabric so that the protruding ends of the ropes go inside the product.

When sewing the ends of the strip, join the last two stitches together so that the connecting seam is less visible.

Now you need to quilt the top of the skullcap. The upper circle of the skullcap must be divided by arcuate lines into 6 parts. And each part separately, like the arcs themselves, is quilted and laid with ropes. In order for the arcuate lines to be the same and even, make a pattern. On a paper basis, substituting the pattern to the pre-drawn sides of 6 triangles, you will get 6 arcuate lines. Transfer these lines through the copy to the lining. After that, stitch the lining to the wrong side of the top of the skullcap along the intended seam. First, stitch all 6 arcuate lines and thread the ropes through them. A large needle with a string can be led from the edge to the center of the circle along the paths formed by the stitches. After piercing the gasket in the center, remove the needle, cut the thread and, slightly pulling the fabric, remove the protruding ends inward. So stitch the entire surface of the circle.

Sewing parts of the skullcap

To sew the parts evenly, divide the top and side band of the skullcap into four identical parts. Connect the parts from the wrong side at the marked points. Sew them along the previously marked stitches. Bend the protruding strip of the lining of the side part over the edges of the just connected parts of the skullcap and carefully sew.

Then turn the skullcap inside out, lightly sprinkle with water inside, put on a special form until dry. Of course, a hand-made skullcap is a valuable gift.

Nurzia Sergeeva. "Tatar embroidery", Kazan, publishing house "Magarif", 2005