Skull_crusher99
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Nice read.
Gilgit Baltistan-Culture Thread
- Thread starter WAJsal
- Start date
WAJsal
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I think this was a brilliant idea shared by @Talwar e Pakistan , and @saiyan0321 . I will look to merge all threads under this one and keep updating it, thanks all...
WAJsal
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Same here, depends really on the size of the house. These are the normal rooms, not kidding. My mother house in Ghizer is huge, huge rooms. One massive Drawing room, the pillar structure is also there. In some houses the central courtyard is also big and it also acts like a garden leading to the back door. It's an extraordinary work or architect once you think about it and how it serves in different enviorments.
Read this for more understanding...
I think this was a brilliant idea shared by @Talwar e Pakistan , and @saiyan0321 . I will look to merge all threads under this one and keep updating it, thanks all...
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Inside View Of A Pamiri House
The Pamiri house is a single large room, with compartments and elevated portions used for different purposes and occasions. The exquisitely and colorfully decorated house, with carpeted walls, are a delight for the eyes. Elements of faith have been embedded in the architecture, structure, of the house; the five pillars denote the Panjutan (five members of the prophet’s (PBUH) family. There are many similarities in the houses built in different parts of the Giglit-Baltistan and Chitral regions, and the ones in Badakhshan region of Tajikistan, shown in the photographs below. A very prominent feature of the Pamiri houses is the central roof-opening, used for ventilation and letting the light in.
The entrance/exit
The sitting area
Different compartments inside the house
Different utensils and photographs depicting the region’s history at display
Handicrafts
A man dressed in the traditional winter Pamiri attire
Exterior view of the house that is also being used a museum
Inside views of a Pamiri House | PAMIR TIMES | Voices of the Mountain Communities
------------------------------------------------------------------------------------------------
This is what almost all houses in Gilgit look like, the roof is exactly the same. Go in Hunza, Ghizer, this is just so refreshing to see, so homely for me. The designing on the walls is usually the same and they have a hole in the roof, as they install a, 'chula', or you can say a heater. Good to see, thought i'd share.
@Mr.Meap ,@Slav Defence ,@HRK ,@unleashed ,@PARIKRAMA ,@Levina ,@krash ,@Color_Less_Sky ,@Ammara Chaudhry ,@Zibago ,@Daneshmand ,@Gufi ,@Shah01 ,@The Eagle ,@anant_s ......
Ladakh shares similarities with GB, plus same Buddisht history. I would still say different people.
Wait, i will try to find some pictures for you.
We used to have these bedsheets, should i share my mother's work hanging on our walls?Bhai show us some of your personal collections, after all you are a GBian (i hope i got that right).
When in school,we used to have an art and craft exhibition once in a year,where such stuff used to be exhibited.
I tell my mother to start making it a business rather than a habit, she doesn't give it much thought...
Not too sure.
WAJsal
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@Levina , found this on the internet. Though i will search my photo albums later...
For now these should help...
I could swear it's ghizer, this is such a typical house. They are not big structures and such houses have big gardens on the back side and the interior as i have shared it well-known.
And not to forget, this is also quite common. For example we have an Ibex head in our house in Ghizer, Yasin.
This is Baltit Fort...
This structure is also quite beautiful and the interior is magnificent...
https://onelongpeel.wordpress.com/tag/baltit-fort/
For now these should help...
I could swear it's ghizer, this is such a typical house. They are not big structures and such houses have big gardens on the back side and the interior as i have shared it well-known.
And not to forget, this is also quite common. For example we have an Ibex head in our house in Ghizer, Yasin.
This is Baltit Fort...
This structure is also quite beautiful and the interior is magnificent...
https://onelongpeel.wordpress.com/tag/baltit-fort/
Levina
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Definitely!
You forgot that I was tagged by you in that thread and I guess I had replied too.
Would luv to see them.
That's fine.I tell my mother to start making it a business rather than a habit, she doesn't give it much thought...
As long as such art is passed on to next generation i don't think I will be complaining.
Cool.
I expected a sloped roof. But I'm surprised at the flat roof.
Indeed the fort is beautiful. It looks like Ladakh.
But I found what I was looking for-alternating layers of wood and stones.
See this is what we have in himachal>>>
krash
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You really want me to open another thread demanding to see those pictures?
Oh cmon!
WAJsal
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I'll try to blur my face and all and see how it goes...
krash
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FineI'll try to blur my face and all and see how it goes...
VCheng
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The five tiers of the roof are supposed to represent the five pillars of Islam. What great symbolism!
WAJsal
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Shuqa: A simple but elegant winter wear from Gilgit-Baltistan
The traditional dress of Gilgit Baltistan is unique and has its links to a rich history spanning many centuries. The traditional cloths are closely connected to the way of life, limited available local resources, climatic conditions and local cultural values. Over centuries Silk, cotton, woolen and leather material have been traditionally used to make traditional dresses.
Because of cold climatic conditions woolen clothing are important part of the traditional winter clothing.. Shuqa is the most distinct winter clothing of the region. Shuqa has remained unchanged and perfectly functional for centuries. Historically it has its roots in mountainous region of Tajikistan, Pamir, Badakhshan and Iran.
Shuqa is made from local woolen fabric called patti. This fabric is prepared by hours of hard work by local people. Sheep’s are raised by the local farmers. Wool is obtained by shearing the sheep. The next stage is to card the wool and spin the thread. Weaving the fabric in the local vertical loom is a long hard work. Sewing the garment into desired design of shuqa , coats,jackets and traditional caps is only the last stage. In the past local women were preparing the garment by hand stitch. Hand stitching was finer than today’s machine stitch. The clothing which sewn by hand use to last for years. Unlike the modern age people of the area who have multiple sets of cloths for day to day use , the people in the past probably had a single or a couple of shuqas which they expected to last for years. That is the reason for shuqa to be so durable. In addition the design of the traditional cloths are very efficient. Because of the cost of the fabric only very little or no cloth was wasted while cutting and sewing.
Shuqa is designed to fulfill the multipurpose tasks. It is full length and usually worn on other dress. It covers the body from shoulder to ankles protecting against harsh cold weather. The longs sleeves of Shuqa are very useful. They are designed in a way that they can be used muffler, scarf or mittens. Sometimes the farmers use Shuqa sleeve to carry wheat, fruit or other stuff. Shuqa was a very useful clothing for long travels. In the past horses were used for long travel through the mountainous valleys. Shuqa was designed in a way it was easy for horse riding. One can easily ride on a horse back wearing this warm garment. It coves the whole body of the rider and still remains comfortable. Shuqa could also be used as an emergency blankets by travelers, hunters and shepherds
President Mamnoon Hussain wearing a traditional Shuqa
Shuqa are of different colors. White shuqa is popular for ceremonial use or formal dressing. For work and daily use brown or gray Shuqa is used more.
Embroidery on shuqa is eye catching. Normally Qalami embroidery is used on chest, back and corners. Beautiful designs of embroidery are used on shuqa specially prepared for groom. Presenting cloths to a guest is sign of hospitality and honour in GilGit Baltistan. People present cloths to their relatives and guests in the time of weddings. Presenting shuqa to honorable national or international guests is a local custom.
A local hunter wearing Shuqa
shuqa specially prepared for groom. Presenting cloths to a guest is sign of hospitality and honour in GilGit Baltistan. People present cloths to their relatives and guests in the time of weddings. Presenting shuqa to honorable national or international guests is a local custom.
In summary shuqa is efficiently designed according to the social , cultural and climatic need of the area. Much can be learned from these historical designs of dresses.
Elders dance wearing Shuqa
Zaib R Mir is a needle and thread artist and artisan from Ghizer Valley Gilgit Baltistan. She works to promote and preserve cultural heritage of gilgit Baltistan.
The traditional dress of Gilgit Baltistan is unique and has its links to a rich history spanning many centuries. The traditional cloths are closely connected to the way of life, limited available local resources, climatic conditions and local cultural values. Over centuries Silk, cotton, woolen and leather material have been traditionally used to make traditional dresses.
Because of cold climatic conditions woolen clothing are important part of the traditional winter clothing.. Shuqa is the most distinct winter clothing of the region. Shuqa has remained unchanged and perfectly functional for centuries. Historically it has its roots in mountainous region of Tajikistan, Pamir, Badakhshan and Iran.
Shuqa is made from local woolen fabric called patti. This fabric is prepared by hours of hard work by local people. Sheep’s are raised by the local farmers. Wool is obtained by shearing the sheep. The next stage is to card the wool and spin the thread. Weaving the fabric in the local vertical loom is a long hard work. Sewing the garment into desired design of shuqa , coats,jackets and traditional caps is only the last stage. In the past local women were preparing the garment by hand stitch. Hand stitching was finer than today’s machine stitch. The clothing which sewn by hand use to last for years. Unlike the modern age people of the area who have multiple sets of cloths for day to day use , the people in the past probably had a single or a couple of shuqas which they expected to last for years. That is the reason for shuqa to be so durable. In addition the design of the traditional cloths are very efficient. Because of the cost of the fabric only very little or no cloth was wasted while cutting and sewing.
Shuqa is designed to fulfill the multipurpose tasks. It is full length and usually worn on other dress. It covers the body from shoulder to ankles protecting against harsh cold weather. The longs sleeves of Shuqa are very useful. They are designed in a way that they can be used muffler, scarf or mittens. Sometimes the farmers use Shuqa sleeve to carry wheat, fruit or other stuff. Shuqa was a very useful clothing for long travels. In the past horses were used for long travel through the mountainous valleys. Shuqa was designed in a way it was easy for horse riding. One can easily ride on a horse back wearing this warm garment. It coves the whole body of the rider and still remains comfortable. Shuqa could also be used as an emergency blankets by travelers, hunters and shepherds
President Mamnoon Hussain wearing a traditional Shuqa
Shuqa are of different colors. White shuqa is popular for ceremonial use or formal dressing. For work and daily use brown or gray Shuqa is used more.
Embroidery on shuqa is eye catching. Normally Qalami embroidery is used on chest, back and corners. Beautiful designs of embroidery are used on shuqa specially prepared for groom. Presenting cloths to a guest is sign of hospitality and honour in GilGit Baltistan. People present cloths to their relatives and guests in the time of weddings. Presenting shuqa to honorable national or international guests is a local custom.
A local hunter wearing Shuqa
shuqa specially prepared for groom. Presenting cloths to a guest is sign of hospitality and honour in GilGit Baltistan. People present cloths to their relatives and guests in the time of weddings. Presenting shuqa to honorable national or international guests is a local custom.
In summary shuqa is efficiently designed according to the social , cultural and climatic need of the area. Much can be learned from these historical designs of dresses.
Elders dance wearing Shuqa
Zaib R Mir is a needle and thread artist and artisan from Ghizer Valley Gilgit Baltistan. She works to promote and preserve cultural heritage of gilgit Baltistan.
WAJsal
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My cap, My Pride: The Women’s Caps from Gigit-Baltistan
Zaib R. Mir
Gilgit-Baltistan has an incredibly rich and diverse cultural heritage. The colorful cultural heritage of the region is visible in the local customs, local festival , music and traditional dresses. The unique cultural heritage, has attracted people from all over the world.
The colorful caps of women have become one of the most recognizable symbols of the people of Gilgit-Baltistan.
Caps, as symbols, can be full of meanings. They make a statement about our identity and define our place in the comity of cultures. A cap can reveal the origin of a person and his cultural links. The shapes , designs , embroidery and the materials that are used to create the caps make them a piece of art. Knowing about traditional caps can give us knowledge about our historical links and cultural heritage.
The caps of Gilgit Baltistan have their influence from the neighboring China, central Asia, Iran and turkey. In addition slight variations in the caps of different region make them distinct from each other but shows the close linkage between the tradtions of different regions. Every cap has a specific name in major languages of the area. The material used , type of embroidery and design of caps also have some variations in different regions of Gilgit Baltistan. Very little information is available about these variations in different regions.
Traditional Iraghi Cap
It has different names in regional languages. In Shina and Khowar language of upper Ghizer It is called Khoi , in Brushaski ( in Hunza , Nager and Yasin) it is called Phartsun or Pharsen whereas in wahki it is called sekeed . Iraghi cap is the most elegant cap.It is made with beautiful , delicate embroidery. Traditionally silk thread was used to embroider on a thick cotton fabric. The beautiful colors and designs of embroidery are very distinct. Now a days embroidery is made on doosooti and charsooti cloth for making the caps. It takes 3 – 4 months of 2-3 hours daily hard work to make traditional Iraghi cap. It is an integral part of brides dress in the region. The regional difference of the cap can be identified by the height of the cap. In hunza, The head band or Totur (which is called preshu in upper ghizer ) is narrow or shorter, while in other parts of the region specially in Ghizer the preshu is wider and taller. The taller headbaned used to be considered a symbol of grace in Ghizer traditionally.
The piece of pure silver jewelry worn in front of the Iraghi cap is called SILSILA in Gilgit, Hunza and Ghizer and tumar in Baltistan. It seems Silsila has close linkage to central asia. Similar kind of jewelry is used in Tajikistan, Badakhshan and other parts of central Asia. It is made from pure silver by local jewllers. It is specially made for weddings , and hundreds of years old family owened Silsila are inherited from generation to generation. It is a symbol of family pride.
Ghizer Iraghi cap (Left) and Hunza Iraghi cap (right)
Parts of Traditional cap of Gilgit Baltistan
Qalami cap
The embroidery done on this type of cap is Qalami. This type of embroidery is relatively easier than Iraghi. It is done on relatively thick white cotton cloth. The design is traced by a pen or pencil ( Qalam means pen). The embroidery is done by hand on the traced design.
Qalami style embroidery
Plain Cap,
This is a simple version of traditional cap. Traditionally no embroidery is used on plain cap. It is made from colorful cloths. It is easy to make and less time consuming and not costly . Traditionally bright colour valvet or other cloth is used to make the plain cap.
Plain cap
Philtai or phultai cap
This is another form of traditional cap, It has its roots in Tajikistan and wakhaan. It is mainly worn by ladies in wakhi area of Ishkoman vally in Ghizer and also in Gojal. Small strings are passed inside the head band. It is hand made, but there is no embroidery on it. Mostly bright single color velvet is used in this type of cap.
Zardozi cap
I had written in a previous article about need of preservation of zardozi. This kind of traditional embroidery is fading away from Gilgit Baltistan. It is almost impossible to find this kind of art and craft production Gilgit market or handicraft stores in Hunza. Basically Silver or golden thread, called Kalabatu or qalabatu is used in this kind of embroidery. This was used mainly to make traditional caps. This is the form of embroidery which has disappeared . because of lack of economic interest, time consumption, lack of interest of new generation and many other reasons. Hardly a few artisans from our older generation are alive in Ghizar valley who can tell and teach about this form . Urgent action is action is required to preserve this centuries old form of embroidery of our are. I would request NGOs, and people who are interested in preserving our thousands years old history and art to come forward to preserve zardozi.
To be continued...
Zaib R. Mir
Gilgit-Baltistan has an incredibly rich and diverse cultural heritage. The colorful cultural heritage of the region is visible in the local customs, local festival , music and traditional dresses. The unique cultural heritage, has attracted people from all over the world.
The colorful caps of women have become one of the most recognizable symbols of the people of Gilgit-Baltistan.
Caps, as symbols, can be full of meanings. They make a statement about our identity and define our place in the comity of cultures. A cap can reveal the origin of a person and his cultural links. The shapes , designs , embroidery and the materials that are used to create the caps make them a piece of art. Knowing about traditional caps can give us knowledge about our historical links and cultural heritage.
The caps of Gilgit Baltistan have their influence from the neighboring China, central Asia, Iran and turkey. In addition slight variations in the caps of different region make them distinct from each other but shows the close linkage between the tradtions of different regions. Every cap has a specific name in major languages of the area. The material used , type of embroidery and design of caps also have some variations in different regions of Gilgit Baltistan. Very little information is available about these variations in different regions.
Traditional Iraghi Cap
It has different names in regional languages. In Shina and Khowar language of upper Ghizer It is called Khoi , in Brushaski ( in Hunza , Nager and Yasin) it is called Phartsun or Pharsen whereas in wahki it is called sekeed . Iraghi cap is the most elegant cap.It is made with beautiful , delicate embroidery. Traditionally silk thread was used to embroider on a thick cotton fabric. The beautiful colors and designs of embroidery are very distinct. Now a days embroidery is made on doosooti and charsooti cloth for making the caps. It takes 3 – 4 months of 2-3 hours daily hard work to make traditional Iraghi cap. It is an integral part of brides dress in the region. The regional difference of the cap can be identified by the height of the cap. In hunza, The head band or Totur (which is called preshu in upper ghizer ) is narrow or shorter, while in other parts of the region specially in Ghizer the preshu is wider and taller. The taller headbaned used to be considered a symbol of grace in Ghizer traditionally.
The piece of pure silver jewelry worn in front of the Iraghi cap is called SILSILA in Gilgit, Hunza and Ghizer and tumar in Baltistan. It seems Silsila has close linkage to central asia. Similar kind of jewelry is used in Tajikistan, Badakhshan and other parts of central Asia. It is made from pure silver by local jewllers. It is specially made for weddings , and hundreds of years old family owened Silsila are inherited from generation to generation. It is a symbol of family pride.
Ghizer Iraghi cap (Left) and Hunza Iraghi cap (right)
Parts of Traditional cap of Gilgit Baltistan
Qalami cap
The embroidery done on this type of cap is Qalami. This type of embroidery is relatively easier than Iraghi. It is done on relatively thick white cotton cloth. The design is traced by a pen or pencil ( Qalam means pen). The embroidery is done by hand on the traced design.
Qalami style embroidery
Plain Cap,
This is a simple version of traditional cap. Traditionally no embroidery is used on plain cap. It is made from colorful cloths. It is easy to make and less time consuming and not costly . Traditionally bright colour valvet or other cloth is used to make the plain cap.
Plain cap
Philtai or phultai cap
This is another form of traditional cap, It has its roots in Tajikistan and wakhaan. It is mainly worn by ladies in wakhi area of Ishkoman vally in Ghizer and also in Gojal. Small strings are passed inside the head band. It is hand made, but there is no embroidery on it. Mostly bright single color velvet is used in this type of cap.
Zardozi cap
I had written in a previous article about need of preservation of zardozi. This kind of traditional embroidery is fading away from Gilgit Baltistan. It is almost impossible to find this kind of art and craft production Gilgit market or handicraft stores in Hunza. Basically Silver or golden thread, called Kalabatu or qalabatu is used in this kind of embroidery. This was used mainly to make traditional caps. This is the form of embroidery which has disappeared . because of lack of economic interest, time consumption, lack of interest of new generation and many other reasons. Hardly a few artisans from our older generation are alive in Ghizar valley who can tell and teach about this form . Urgent action is action is required to preserve this centuries old form of embroidery of our are. I would request NGOs, and people who are interested in preserving our thousands years old history and art to come forward to preserve zardozi.
To be continued...
WAJsal
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Nating from Baltistan
In Baltistan woman wear a beautiful spherical cap. It is called Nating in local language. Embroidery or silver colour lower boundery of the cap makes it very beautiful. They wear a piece of jewelry in front of the cap. The piece of jewlary is called tumar. Tumar is usually made of pure silver by native jewelers.
Inovation in the traditional cap
KADO has introduce new innovative design in the traditional cap to attract the young generation and non local and international buyers. In this new design velvet is used as base material. Iraghi embroidered headband is attached to the base material.
Perak
Perak is historical ceremonial headdress was worn in region of Baltistan and Ladakh. Perak is made of strap of leather and cloths. It is covered by stones like lapis lazuli, corals and turquoise. This kind of cap has disappeared from the region. I had seen a perak in a local hand craft shop at Hotel Serena in Gilgit.
Dayani Gujjuri or Gujori Cap
Gujjar tribe is a very important tribe which is concentrated in the Indo-Gangetic plains, the Himalayan region, eastern parts of Afghanistan, and parts of Gilgit Baltistan. Darmander in Ghizer is one of the many places where almost 100 percent population consist Gujjar tribe. Gujjars also live in Qumri, Minimerg and other parts of Diamer and nalter in Gigit. Gujjars are mostly herdsman by occupation. Gujjar are very hard working hospitable people. Gujjar headdress or cap is very unique in its design. It is called Dayani.The cap is designed to fully cover the hair. There is extension of cap on backside to covers the hair on the back. The cap has beautiful embroidery and sometimes jewelry and ornaments are attached to it.
Dayani
Role of local Artisans and artists
Thanks to the local artisans and artists who have kept our cultural heritage alive for centuries without any significant economic benefits. The amount of work these people do in this regard is enormous. It is very recently that some of these artists have started earning a negligible amount of money for their work. Majority of the artisans still don’t have access to the handicraft market.
Role of local handicraft shops in promotion of our cultural heritage,
Over time the handicraft shops have played a very major role in the preservation and promotion of our cultural heritage. They introduce and sell our handicrafts to local and international tourists. They play a key role in the preservation of our antique embroidery, traditional dresses and other objects. Gilgit Hunza arts and handicrafts international is one of those many shops. It has the privilege of being located in the luxurious Serena hotel, so it has more exposure to the international tourist. We should appreciate the services of all these handicraft shops that are playing their role in this regard.
Role of NGOs
In recent year local and international NGOs have played significant role in preservation and promotion of our cultural heritage. KADO and Aga Khan Foundation are two major NGO in this regard.
Role of provincial Government
Provincial government can play a major role to promote and preserve our cultural linkage. They need to work to establish small local businesses and industry of handicrafts which can improve the economic conditions of our people. Thanks to the present government for celebrating my Cap day on September 1 , 2016. This will play a role in signifying the importance of our cultural heritage.
Zaib R. Mir is a needle and thread Artist and Artisan from Ghizer. At present she lives in Muscat, Oman. She works actively to promote and preserve the cultural heritage of Pakistan.
In Baltistan woman wear a beautiful spherical cap. It is called Nating in local language. Embroidery or silver colour lower boundery of the cap makes it very beautiful. They wear a piece of jewelry in front of the cap. The piece of jewlary is called tumar. Tumar is usually made of pure silver by native jewelers.
Inovation in the traditional cap
KADO has introduce new innovative design in the traditional cap to attract the young generation and non local and international buyers. In this new design velvet is used as base material. Iraghi embroidered headband is attached to the base material.
Perak
Perak is historical ceremonial headdress was worn in region of Baltistan and Ladakh. Perak is made of strap of leather and cloths. It is covered by stones like lapis lazuli, corals and turquoise. This kind of cap has disappeared from the region. I had seen a perak in a local hand craft shop at Hotel Serena in Gilgit.
Dayani Gujjuri or Gujori Cap
Gujjar tribe is a very important tribe which is concentrated in the Indo-Gangetic plains, the Himalayan region, eastern parts of Afghanistan, and parts of Gilgit Baltistan. Darmander in Ghizer is one of the many places where almost 100 percent population consist Gujjar tribe. Gujjars also live in Qumri, Minimerg and other parts of Diamer and nalter in Gigit. Gujjars are mostly herdsman by occupation. Gujjar are very hard working hospitable people. Gujjar headdress or cap is very unique in its design. It is called Dayani.The cap is designed to fully cover the hair. There is extension of cap on backside to covers the hair on the back. The cap has beautiful embroidery and sometimes jewelry and ornaments are attached to it.
Dayani
Role of local Artisans and artists
Thanks to the local artisans and artists who have kept our cultural heritage alive for centuries without any significant economic benefits. The amount of work these people do in this regard is enormous. It is very recently that some of these artists have started earning a negligible amount of money for their work. Majority of the artisans still don’t have access to the handicraft market.
Role of local handicraft shops in promotion of our cultural heritage,
Over time the handicraft shops have played a very major role in the preservation and promotion of our cultural heritage. They introduce and sell our handicrafts to local and international tourists. They play a key role in the preservation of our antique embroidery, traditional dresses and other objects. Gilgit Hunza arts and handicrafts international is one of those many shops. It has the privilege of being located in the luxurious Serena hotel, so it has more exposure to the international tourist. We should appreciate the services of all these handicraft shops that are playing their role in this regard.
Role of NGOs
In recent year local and international NGOs have played significant role in preservation and promotion of our cultural heritage. KADO and Aga Khan Foundation are two major NGO in this regard.
Role of provincial Government
Provincial government can play a major role to promote and preserve our cultural linkage. They need to work to establish small local businesses and industry of handicrafts which can improve the economic conditions of our people. Thanks to the present government for celebrating my Cap day on September 1 , 2016. This will play a role in signifying the importance of our cultural heritage.
Zaib R. Mir is a needle and thread Artist and Artisan from Ghizer. At present she lives in Muscat, Oman. She works actively to promote and preserve the cultural heritage of Pakistan.
WAJsal
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My Cap, My Identity: Men’s caps from Gilgit-Baltistan
Ziab R Mir
The cultural heritage of Gilgit Baltistan is rich, beautiful and unique. This unique cultural heritage manifests in local traditions, music and local dress. The traditional dress plays a central role in identity of of a person. Traditional clothing of the region is influenced by local culture, geography and weather. Traditional cap of Gilgit Baltistan has played a major role to define the identity of people of Gilgit Baltistan. In Gilgit Baltistan the men wear tradtional cap.The cap has different names in the major local languages. In Shina and Khowar languages the cap is called Khoi ,in brushaski it is called Phartsun or Pharsen and in Wakhi it is called sekeed . The design of cap is slightly different in Baltistan and it is called Nating in Balti.
Tradtional cap is soft round toped woolen hat. It is made by local artisan and is available in various colors. White caps are most popular in the region and considered as a part f formal local dress. In many areas people specially the older generation still wear their traditional cap all the time with pride. They consider it a sign of honor. Whether they are at home in bazar , local celeberations or place of worship they prefer to wear their cap. They will have their different caps for work, cap for formal dressing and for routine day to day business.
Historical linkage. Very little research has been done about the local traditional cap and its origin. Its roots can be traced to thousands of years back. There is a similarity found between the traditional cap of Gilgit Baltistan and ancient Greek Kausia.It was worn in ancient Macedonia during the Hellenistic era.
A 3rd century BC, Terracotta statues from Athens depicting ancient Macedonians wearing the kausia ( Wikipedia).
Making a woolen patti from local wool is long process. Local artisans make it. Once the woolen patti is ready , it is sewn into a cap by local tailors. The cap has two parts. The cylinder part which is about 10 to 12 inches long and the round part which is sewed and fitted on the top of cylinder part. Once the cap is sewn the rim of the cap is rolled upwards towards the top forming a band. The band of Gilgit cap is thin in contrary the chitrali phakol has a thick band.
A Feather in your cap
The most striking feature of the Gilgit cap is the peacock plume and the feather stuck in front or on the side of the cap. It gives a very elegant look to the cap. It is considered a part of formal dress cap and used in groom’s dress. Very little information is available about the history and significance of feather and peacock plume on Gilgit cap. The feather in your cap term is an idiomatic phrase. It is derived from an old custom of certain warrior tribes. In certain areas and tribes anew feather was added to the worrier,s cap for every enemy slain. Similarly same thing was applied for hunters. A hunter was given the a feather of the bird as an appreciation. These customs were practiced indigenous people of modern north America, Mongols, Turcomans, Austrian, Scottish and Hungarians. The feather in our cap is probably linked to those old customs of brave warriors and hunters. Killing the beautiful birds to get peacock plume or feather can not be justifiedin this modern age . Instead some synthetic material should be used to save the precious wild life. The example of alternative synthetic hat for royal guards of Buckingham to save the bears can be followed in this regard.
Flower in your cap
In many parts of Gilgit Baltistan a small fresh flower is stuck in front and side of the the cap. Flower is a symbol of freshness, fragrance and livelihood. When the spring season starts sometimes the farmers and shepherds stuck a pine tree leave to symbolize life .
Elders in Hunza dancing with flower in their cap
Shepherd dancing, with a pine leave in his cap.
Money in your cap
On of the custom of many regions in Gilgit Baltistan is to stuck money into the cap while someone is dancing. This symbolizes the love and respect to the dancer from his friends relatives and fans. The dancer gives this money to the musicians once the dance is finished.
Cap as a storage sack
The men who wear their traditional cap for work sometimes use it as their small storage sack. For shepherds and farmers its is very common to keep small needles , threads, nail, a piece of cigarette a piece of paper and pencil in their cap. It works as a very essential emergency toll box.
Money in cap ( photo GB songs .com)
Balti cap
Balti men wear a beautiful cap. Balti cap is called nating. It is a woolen cap which is semispherical in shape. It is mostly brown, gay or white color. White color balti cap is most eye catching. White is the mnost commonly used color. Presenting a cap to your guest is sign of extreme honor.
Balti Nataing
I know it's a bit long, but enjoy...
@shimshali ,@Gikmet Baltee ,@Syed.Ali.Haider ,@Joe Shearer ,@Levina ,@Irfan Baloch ,@waz ,@saiyan0321 ,@Kambojaric ,@Taygibay , and others....
@Side-Winder , could you please share it on Social media sites?
Ziab R Mir
The cultural heritage of Gilgit Baltistan is rich, beautiful and unique. This unique cultural heritage manifests in local traditions, music and local dress. The traditional dress plays a central role in identity of of a person. Traditional clothing of the region is influenced by local culture, geography and weather. Traditional cap of Gilgit Baltistan has played a major role to define the identity of people of Gilgit Baltistan. In Gilgit Baltistan the men wear tradtional cap.The cap has different names in the major local languages. In Shina and Khowar languages the cap is called Khoi ,in brushaski it is called Phartsun or Pharsen and in Wakhi it is called sekeed . The design of cap is slightly different in Baltistan and it is called Nating in Balti.
Tradtional cap is soft round toped woolen hat. It is made by local artisan and is available in various colors. White caps are most popular in the region and considered as a part f formal local dress. In many areas people specially the older generation still wear their traditional cap all the time with pride. They consider it a sign of honor. Whether they are at home in bazar , local celeberations or place of worship they prefer to wear their cap. They will have their different caps for work, cap for formal dressing and for routine day to day business.
Historical linkage. Very little research has been done about the local traditional cap and its origin. Its roots can be traced to thousands of years back. There is a similarity found between the traditional cap of Gilgit Baltistan and ancient Greek Kausia.It was worn in ancient Macedonia during the Hellenistic era.
A 3rd century BC, Terracotta statues from Athens depicting ancient Macedonians wearing the kausia ( Wikipedia).
Making a woolen patti from local wool is long process. Local artisans make it. Once the woolen patti is ready , it is sewn into a cap by local tailors. The cap has two parts. The cylinder part which is about 10 to 12 inches long and the round part which is sewed and fitted on the top of cylinder part. Once the cap is sewn the rim of the cap is rolled upwards towards the top forming a band. The band of Gilgit cap is thin in contrary the chitrali phakol has a thick band.
A Feather in your cap
The most striking feature of the Gilgit cap is the peacock plume and the feather stuck in front or on the side of the cap. It gives a very elegant look to the cap. It is considered a part of formal dress cap and used in groom’s dress. Very little information is available about the history and significance of feather and peacock plume on Gilgit cap. The feather in your cap term is an idiomatic phrase. It is derived from an old custom of certain warrior tribes. In certain areas and tribes anew feather was added to the worrier,s cap for every enemy slain. Similarly same thing was applied for hunters. A hunter was given the a feather of the bird as an appreciation. These customs were practiced indigenous people of modern north America, Mongols, Turcomans, Austrian, Scottish and Hungarians. The feather in our cap is probably linked to those old customs of brave warriors and hunters. Killing the beautiful birds to get peacock plume or feather can not be justifiedin this modern age . Instead some synthetic material should be used to save the precious wild life. The example of alternative synthetic hat for royal guards of Buckingham to save the bears can be followed in this regard.
Flower in your cap
In many parts of Gilgit Baltistan a small fresh flower is stuck in front and side of the the cap. Flower is a symbol of freshness, fragrance and livelihood. When the spring season starts sometimes the farmers and shepherds stuck a pine tree leave to symbolize life .
Elders in Hunza dancing with flower in their cap
Shepherd dancing, with a pine leave in his cap.
Money in your cap
On of the custom of many regions in Gilgit Baltistan is to stuck money into the cap while someone is dancing. This symbolizes the love and respect to the dancer from his friends relatives and fans. The dancer gives this money to the musicians once the dance is finished.
Cap as a storage sack
The men who wear their traditional cap for work sometimes use it as their small storage sack. For shepherds and farmers its is very common to keep small needles , threads, nail, a piece of cigarette a piece of paper and pencil in their cap. It works as a very essential emergency toll box.
Money in cap ( photo GB songs .com)
Balti cap
Balti men wear a beautiful cap. Balti cap is called nating. It is a woolen cap which is semispherical in shape. It is mostly brown, gay or white color. White color balti cap is most eye catching. White is the mnost commonly used color. Presenting a cap to your guest is sign of extreme honor.
Balti Nataing
I know it's a bit long, but enjoy...
@shimshali ,@Gikmet Baltee ,@Syed.Ali.Haider ,@Joe Shearer ,@Levina ,@Irfan Baloch ,@waz ,@saiyan0321 ,@Kambojaric ,@Taygibay , and others....
@Side-Winder , could you please share it on Social media sites?
VCheng
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I enjoy material like this that highlights long-standing cultural traditions the world over. The people in the northern areas, outside of the main commercialized tourist traps, are awesome: simple, generous and straight up. The pity is that their land remains in a legal limbo from a political standpoint. Regularizing GB as a part of Pakistan is long overdue, but its effect on the claim on the rest of Kashmir is the problem.
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