Turkoman Cloak and its Clasp, or Turkmen, Chapan and Capraz

The Turkoman or Turkmen, names of the same people in English, make lined, handwoven silk cloaks for the males, females and children.   There is a certain ceremonial flair in the traditional male dress up clothing, and the women's robes are long and loose and profusely decorated. The embroidery that they add to the handwoven silk or cotton, or even store-bought cotton cloth, makes the feminine clothing very attractive.  The feminine headcoverings are sometimes spectacular, usually including a large piece of intricately wrought gilded silver.  We will discuss the headdresses in a later post; today we will show the use of the capraz on the male's dress-up cloak or chapan,  and for the ladies we discuss the canne as on the chapan in the photo below, and the flower collar or guljaka in the second photo below.

First, you might want to see what a chapan, the Turkmen or Turkoman female's dressy cloak, looks like.

  

Another variation of the embroidered silk clothing for the Turkoman female is a traditional  garment called the chyrpy.  This piece of clothing looks like the chapan, but there is one big difference. The  sleeves are not meant to wear on the arms but to hang from the shoulder seams and be drawn to the back of the cloak and banded together at about what appears to be a waistline when looking at the pattern for the garment.   The long, narrow sleeves with no opening for the hands are bound together with a fancily embroidered strip of silk or a braided, tasseled cord.  The garment is then worn over the head, not around the shoulders or the body.  

The chapan for the male is just as beautifully put together from narrow hand loomed strips of silk.  This garment is worn in the conventional manner, wrapped around the body and held together in front with a sash, a belt or by a silver fastener such as the one in the photo above.  

The fastener so illustrated in the photo above is the canne, a linking together of beautiful silver panels, often gilded and with pendants hanging from the bottom of the panels.  

But if the chapan wearer has the option of being very ostentatious in his symbolic jewelry, he will choose to fasten his embroidered silk chapan with a pair of magnificent capraz, such as these:

The outside point would be sewn to the fabric of the cloak, while a braided cord would secure the inside edge of the two pieces at the front opening of the chapan.  Click here to see more information on this complete capraz. 

Now as to the ladies' dresses, we know that they will be long and loose, but did I tell you that they will also be long-sleeved and high necked?  You probably already knew that.  Let's see what a flower collar or guljaka is.  

  The Turkoman woman wears this impressive piece of gilded silver as a brooch clasped or laced to the top opening of her cloak or tunic, just at collar level.  For that reason the Turkic name of this piece translates into English as flower collar.   In this photo it is shown on a woman's shawl of handwoven silk with rich, fine silk embroidery in the ancestor symbol pattern.  The shawl is made from the same kind of silk as the male and female garments of the finest quality. 

We will continue the discussion of traditional Turkoman adornment for future posts.  

Contact me for further information on the availability of similar items, or browse through the online shop at Crafts of the Past at Artfire.  The shop includes Turkoman, Kazakh, Afghan and Uzbeki items and Yemen silver pieces.  Most of the Turkoman and the Yemen pieces are from around 1900 or before, while some of the Afghan, Kazakh and Uzbeki may date from the first half of the 1900s.  

Turkoman Ancestor Commemoration in Gilded Silver Ornaments

The motive or tribal consciousness of the Turkoman is expressed in the ornamentation of their homes, their animals and themselves.  To this day in Turkmenistan, their outdoor bread ovens made of clay bear the ancestral commemorative symbol: the ram's horn.   You will almost certainly see the symbols in the carpets, on the walls of their tents or homes, in the embroidered panels of their chapans (men's cloaks) and the yokes of the women's dresses and the edging of their head covering.  Perhaps the most important place for the symbol is the grave marker.

The wood amulet was worn when they were mountain dwellers.  And the dagdan, an amulet made from the wood of the dagdan tree is still highly prized.  It not only commemorates the spiritual practices of their ancestors, but the trees are still there in the mountains, the origin of the Turkoman.  The dagdan carries the power of the ancestor and of the mountain.

But the ancestor symbol is most striking when we see it mounted atop a gilded silver amulet (prayer box) with the prayers and blessings sealed inside.  Such a piece of jewelry is usually worn by women, just as the wood dagdan is worn by women and children.  Here is an example of a gilded silver amulet (acar bag) made by the Western Yomud tribe in the first third of the 1900s:

The central motif at the top of this amulet has an abstraction of a ram's head, the carnelian serving as the head and the outward curving gilded silver forms are the horns.  That is a very noticeable ram's head when the piece is worn.  More abstract are the embossed forms of the horns surrounding and dividing the carnelians on the front of the amulet.  

You also note that the ram's horn is so decorative that it has a floral quality.  This reveals the Turkoman's instinct to abstract the essence of floral and arboreal forms as well as their beautiful water symbols in pieces such as this: 

The flowing, almost rippling shapes that are purposely not gilded, but remain silver in order  more powerfully to suggest water in movement.  See more about this piece at http://www.artfire.com/ext/shop/product_view/craftsofthepast/3889681/Turkoman

Still, the mountain and the ancestor motifs are two of the three most important and most universal symbols among the Turkoman.  In my next blog post, I will discuss their symbols for the family.  

Reference: Dieter and Reinhold Schlechter, Old Silver Jewellery of the Turkoman, 1983.