قفطان

(تم التحويل من Algerian Kaftan)
"Caftan" redirects here. For a specific 8th-century caftan, see Caftan (Metropolitan Museum of Art).
رجل يرتدي قفطان.
Kurdish man wearing a kaftan. Illustration by Max Karl Tilke published in Oriental Costumes: Their Designs and Colors (1922), Georgian National Museum, Tbilisi.

القفطان ( أحيانًا تهجّى القفطان ) قطن رجل أو عباءة الحرير زرّرا أسفل الواجهة، بالأكمام الممتلئة، الوصول إلى الكواحل و داما بوشاح. إنّها ملابس تقليديّة في شّرق البحر المتوسّط.

It may be made of wool, cashmere, silk, or cotton, and may be worn with a sash. Popular during the time of the Ottoman Empire, detailed and elaborately designed garments were given to ambassadors and other important guests at the Topkapı Palace.

Variations of the kaftan were inherited by cultures throughout Asia and were worn by individuals in Russia (North Asia, Eastern Europe and formerly Central Asia), Southwest Asia and Northern Africa.

Styles, uses, and names for the kaftan vary from culture to culture. The kaftan is often worn as a coat or as an overdress, usually having long sleeves and reaching to the ankles. In regions with a warm climate, it is worn as a light-weight, loose-fitting garment. In some cultures, the kaftan has served as a symbol of royalty.

العالم العربي
Arab Culture template.png

هذه المقالة هي جزء من سلسلة:
الثقافة العربية

الدين
الفن
الأدب
الشعر
الموسيقى
المطبخ
السياسة
الجغرافيا
اللغة العربية
الزي

التاريخ

The origins of the kaftan are uncertain, but it is believed to have first appeared in ancient Mesopotamia.[1][2] It is described as a long robe as far as the calves sometimes or just under the knee, and is open at the front and the sleeves are slight cut at the wrists or even as far as to the middle of the arms.[بحاجة لمصدر]

Abbasid era

During the Islamic golden age of the Abbasid era, the cosmopolitan super-culture[مطلوب توضيح] spread far and wide to Chinese emperors, Anglo-Saxon coinage, but also in Constantinople too (current day Istanbul). They were mimicking and imitating Baghdad culture (capital of the Abbasids).[بحاجة لمصدر]

In the 830s, Byzantine Emperor Theophilus, who fought the Abbasids on the battlefield and built a Baghdad-style palace near the Bosporus, went about in kaftans and turbans. Even as far as the streets of Ghuangzhou during the era of Tang dynasty, the Abbasid kaftan was in fashion.[3]

The kaftan became a luxurious fashion,[when?] a richly styled robe with buttons down the front. The Caliphs wore elegant kaftans made from silver or gold brocade and buttons in the front of the sleeves.[4] The Caliph al-Muqtaddir (908–932) wore a kaftan from silver brocade Tustari silk and had his son one made from Byzantine silk richly decorated with figures. The kaftan was spread far and wide by the Abbasids and made known throughout the Middle East and North Africa.[5]

الأنواع

القفطان التركي

The caftan appears to be the oldest Turkish dress, this costume can be traced as far back as the Hun and Göktürk periods.[6] The kaftan was the favourite garment worn in Turkic states of Central Asia, the Turkic Empire in India, the Seljuk Turks and the Ottomans.[7] It was the most important component of the Seljuk period and the oldest known examples of this robe are said to have been found in Hun tombs.[8] The costume of the Gokturk period consisted of long kaftans that are closed with a belt at the waist, these kaftans can be observed in Gokturk statues.[9][10]

The Seljuk Sultan Ahmad Sanjar who ruled from 1097 to 1118 gave 1000 red kaftans to his soldiers.[11] In 1058 as well as the period of the Seljuk Sultan Malik-Shah I, the Seljuk Turks wore kaftans and excavations discovered a child's kaftan dating back to the reign of Sanjar-Shah who ruled from 1185 or 1186 to 1187.[12][13][14]

The tiles in the Kubadabad Palace depict Turkish figures dressed in kaftans.[15] The palace was built for Sultan Aladdin Kayqubad I who ruled from 1220 to 1237. Furthermore, typical Seljuk depictions from the 11th to the 13th century depict figures dressed in Turkish style kaftans.[16] The kaftan was also worn by the Anatolian Seljuks who had even gifted kaftans to the first Ottoman Sultan, Osman I.[17][18] In connection with the inheritance of Osman I, the historian Neşri described a kaftan in the list of inherited items: "There was a short-sleeved kaftan of Denizli cloth".[19]

In an excavation in Kinet in Turkey, a bowl dating back to the early 14th century was found with a depiction of a man wearing what appears to be a kaftan.[20]

Kaftans were worn by the sultans of the Ottoman Empire. Decoration on the garment, including colours, patterns, ribbons, and buttons, indicated the rank of the person who wore it. In the first half of the 14th century Orhan Ghazi captured Bursa and made it the Ottoman capital. One of the chief specialties of Bursa was gold embroidery among other weaving related specialties, an archive notes that two kaftans made of the finest Bursa gold-brocaded velvet were prepared for the circumcision of Geliboulu Bey Sinan Pasha's two sons in 1494.[21][22]

Ibn Battuta who had visited Anatolia witnessed that a mudarris was wearing a gown embroidered with golden pieces and that a Seljuk Bey gifted a kaftan that was embroidered with golden threads.[23] From the 14th century through the 17th century, textiles with large patterns were used. By the late 16th and early 17th centuries, decorative patterns on the fabrics had become smaller and brighter. By the second half of the 17th century, the most precious kaftans were those with yollu: vertical stripes with varying embroidery and small patterns – the so-called "Selimiye" fabrics.[بحاجة لمصدر]

Most fabrics manufactured in Turkey were made in Istanbul and Bursa, but some textiles came from as far away as Venice, Genoa, Persia (Iran), India, and even China. kaftans were made from velvet, aba, bürümcük (a type of crepe with a silk warp and cotton weft), canfes, çatma (a heavy silk brocade), gezi, diba (فارسية: دیبا), hatayi, kutnu, kemha, seraser (سراسر) (brocade fabric with silk warp and gold or silver metallic thread weft), serenk, zerbaft (زربافت), and tafta (تافته). Favoured colours were indigo, kermes, violet, pişmiş ayva or "cooked quince", and weld yellow.[بحاجة لمصدر] Silk or wooled vests embellished with couched gold thread or silk embroidery probably represent the introduction of a Turkish feature into an Arab aesthetic.[24]

Nearly 2,500 caftans and other garments belonging to subsequent sultans from the 15th to the 19th century are preserved in the Topkapı Palace museum.[25] The Topkapı Palace houses 21 kaftan that belonged to Mehmed II, 77 kaftan that belonged to Suleiman the Magnificent, 13 that belonged to Ahmed I, 30 that belonged to Osman II and 27 that belonged to Murad IV.[26]

Depiction of Ertugrul wearing a kaftan
Ottoman Sultan Suleiman the Magnificent in a kaftan of complex woven fabric.
A young member of the Ottoman court dressed in a navy velvet caftan woven with gold. Variously attributed to Gentile Bellini or Costanzo da Ferrara, with a caption in Persian by a later hand. Isabella Stewart Gardner Museum

القفطان الجزائري

The kaftan has been historically documented to have been worn in Algeria in the beginning of the 16th century and the presence of the kaftan in Algeria dates far back to the Rustamid period[27] and is attested during the Zirid period in the 10th century as well as the Zayyanid period.[28][29] Following the Ottoman tradition, the male kaftan, known as the kaftan of honour, was bestowed by the Ottoman Sultan upon the governors of Algiers who, in turn, bestowed kaftans upon the Beys and members of distinguished families.[30][31] In his Topography and General History of Algiers, Antonio de Sosa (es) described it as a coloured robe made of satin, of damask, of velvet and silk and having a form that reminded him of the priests' cassocks.[32] The Dey wore the kaftan with dangling sleeves; the khodjas (secretaries) wore a very long cloth based kaftan, falling to the ankles; the chaouchs (executors of the justice of the dey) were recognized by a green kaftan with sleeves either open or closed, according to their rank. The kaftan was also worn by the janissaries in the 17th and part of the 18th century.[32] It continued to be worn by male dignitaries well into the 20th century.[32]

The female kaftan, on the other hand, evolved locally and derives from the ghlila,[33] a mid-calf jacket that combined Morisco and Ottoman influences, but which evolved following a very specific Algerian style from the sixteenth century onward.[34] Between the sixteenth and seventeenth century, middle-class women started wearing the ghlila. The use of brocades and quality velvet, the profusion of embroidery and gold threading were not enough to satisfy the need for distinction of the wealthiest Algerians who choose to lengthen the ghlila all the way to the ankles to make a kaftan that became the centrepiece of the ceremonial costume, while the ghlila was confined to the role of daily clothing.[33] The introduction of gold thread embroidery into North Africa itself is reputed to have been introduced through Turkish rule.[35]

In 1789, the diplomat Venture de Paradis described the women of Algiers as follows:

When they go to a party, they put three or four ankle length golden kaftans on top of one another, which, with their other adjustments and gilding, may weigh more than fifty to sixty pounds. These kaftans in velvet, satin or other silks are embroidered in gold or silver thread on the shoulders and on the front, and they have up to the waistband big buttons in gold or silver thread on both sides; they are closed in front by two buttons only.

— Venture de Paradis، [33]

Several types of kaftans were developed since then, while still respecting the original pattern. Nowadays, the Algerian female kaftans, including the modernised versions, are seen as an essential garment in the bride's trousseau in cities such as Algiers, Annaba, Bejaia, Blida, Constantine, Miliana, Nedroma and Tlemcen.[36]

The wedding costume tradition of Tlemcen, known as chedda of Tlemcen.,[37] which features the Algerian caftan, was inscribed to the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO in 2012, in recognition of its cultural significance.[38]

Dey of Algiers Mezzo Morto Hüseyin Pasha wearing a yellow kaftan in 1687, by Andreas Matthäus Wolfgang.
Mufti of Algiers wearing what appears to be crimson kaftan in 1817, British Library.
A female kaftan offered by Ali Abdi Pacha of Algiers to the crown of Sweden on the occasion of a peace treaty, 1731.

القفطان المغربي

ظهوره في العصر الموحدي

تعود أصول القفطان المغربي إلى القرن الثاني عشر ميلادي في عهد الدولة الموحدية[39] حيث كان سلاطين الدولة الموحدية يبحثون على لباس مهيب يليق بمكانة السلطان المغربي وتم صنع  هذا اللباس المغربي انطلاقا من لباس قبائل مغربية ومزجه مع منسوجات السفيفة والعقاد التي كانت تصنع بفاس.[40] حيث كانت تعتبر فاس المدينة الصناعية الأولى عالميا سنة 600 هجرية الموافق ل 1203 ميلادية لما تحويه من معامل ومصانع لنسج الثياب ومنها كان يصنع القفطان المغربي.[41] ويقول ليون الأفريقي في كتابه وصف أفريقيا عن مدينة فاس :《يوجد بفاس خمسمائة وعشرون دار للنساجين وهي أبنية كثيرة ذات طبقات عديدة  و قاعات فسيحة كقاعات القصور، تضم كل قاعة عددا كثيرا من عمال نسج الكتان. و هناك ايضا مائة وخمسون معملا لقصاري الخيوط يقوم معظمها بجوار النهر…》[42]

القفطان المغربي خلال القرن 12 كان داكن اللون بأكمام قصيرة، ارتدى الرجال من فوقه قطعة سوداء أو داكنة اللون من الصوف تسمى البرنوس. كان الجزء الأمامي من البرنوس أقصر من الظهر لتسهيل المشي أو ركوب الخيل. و كان له قب أو غطاء رأس يوفر الدفء في الشتاء. أيضا، الجلابة مع البرنوس كانت شائعة جدا لدى الرجال المغاربة.[43]

  • السلطان المغربي أبو حفص عمر المرتضي و هو يرتدي قفطان مغربي رفقة سفراء من قشتالة يحاولون اقناعه بالانضمام لحلفهم.

    السلطان المغربي أبو حفص عمر المرتضي و هو يرتدي قفطان مغربي رفقة سفراء من قشتالة يحاولون اقناعه بالانضمام لحلفهم.

القفطان المغربي لباس سلاطين الدولة المرينيين والمغربيات منذ القرن الخامس عشر

خلال العهد المرينيين في المغرب اصبح القفطان المغربي لباس السلاطين المغاربة بامتياز[44] و خلال القرن 15 ميلادي اي الموافق للعهد الوطاسي في المغرب كان القفطان المغربي لباسًا نسويًا بفاس حيث يصفه ليون الأفريقي في كتابه 《و لباس النساء جميل، إلا أنهن في أيام الحر سوى قميص يحزمنه بنطاق لا يخلو من قبح، ويلبسن في الشتاء ثيابا عريضة الاكمام ومخيطة من الأمام مثل ثياب الرجال》.[45]

وقد كان من عادة أهل فاس ان يقدموا قفاطين مغربية مع جهاز العروس خلال العهد الوطاسي الشيء الذي لا يزال المغاربة يصرون على الحفاظ عليه. يقول المؤرخ إبراهيم حركات :《 و تقضي العادة ان يقدم ثلاثة قفاطين, ثلاتة فساتين وعدة أقمصة وشربيلا (نعل مغربي) و أغطية للفرش مزخرفة ووسائد وثمانية فرش وأربع وسائد مطرزة توضع إلى جانب الصوانين بالإضافة إلى زربية وثلاث اغطية لسريرنوم وأشياء أخرى. جهاز المرأة كان يكبد الرجل المتوسط الحال نفقات باهضة لا تلبث تفقره، أما والد الخطيبة فيتحمل من ذلك أضعافا مضاعفة 》[46] الشيء الذي يد لمدى عمق ارتباط القفطان المغربي بالثقافة المغربية.

المنصورية لباس مغربي مستوحى من القفطان المغربي

خلال العهد السعدي بالمغرب سيعرف هذا اللباس لأول مرة باسم "المنصورية" نسبة إلى السلطان المغربي المنصور الذهبي الذي كانت تصنع له خصيصا بفاس قطعة من هذا اللباس ونسبت إلى اسمه.و المنصورية عبارة عن لباس مكون من قطعتين السفلية أو الدفينة عبارة عن قفطان مغربي من ثوب سميك والفوقية عبارة عن قفطان مغربي شفاف. يقول المؤرخ أحمد بن خالد الناصري في كتابه الاستقصا لأخبار دول المغرب الأقصى«إِن اللبَاس الْمُسَمّى بالمنصورية وَهُوَ لِبَاس من الملف لم يكن مُسْتَعْملا قبله وَهُوَ أول من اخترعه وأضيف إِلَيْهِ فَقيل المنصورية»[47][48] كما يذكر المؤرخ إبراهيم حركات في لباس السلطان السعدي:《المنصور إتخذ زيا خاصا أدخل فيه القفطان والمنصورية التي نسبت إليه وهو أول من استعمل المنصورية في لباسه وصار هذا الزي يتخذه بعده الملوك والفقهاء.[49]

أما القفطان المغربي النسائي في القرن 16 كان مصنوعًا بشكل عام من الصوف الأزرق أو القماش الحريري ومزين بخيوط ذهبية. القفطان كان بلا أكمام ومغلق بأزرار ذهبية. كان الحزام أو المضمة عبارة عن وشاح حريري غني باللآلئ، مكملا بغطاء ذهبي طويل، تم ربطه كالذيل في أجزائه الداخلية ويصل إلى الأرض.[50]

  • السلطان المغربي المنصور الذهبي و حاشيته بلباس المنصورية

    السلطان المغربي المنصور الذهبي و حاشيته بلباس المنصورية

  • لالة مسعودة والدة السلطان المنصور الدهبي بالمنصورية :قطعتين من القفطان المغربي

    لالة مسعودة والدة السلطان المنصور الدهبي بالمنصورية :قطعتين من القفطان المغربي

القفطان المغربي في عهد الدولة العلوية

إهتم ملوك وسلاطين الدولة العلوية بمظهرهم وأناقتهم، فكان القفطان جزءا من لباسهم المخصص للظهور في المناسبات والحفلات التي تقام في القصر. و يذكر مؤرخ الدولة العلوية ونقيب أشرافها "مولاي عبدالرحمان بن زيدان" في كتابه أن السلاطين العلويين كانوا يحتفظون بالقفاطين المصنوعة من ثوب الملف في صناديق خشبية ومكسوة.[51]

القفطان المغربي النسائي في القرن السابع عشر كان لباسا فضفاضا مصنوعا من الصوف أو المخمل أو اي لون ويغطي الجسم كامله، الا أنه كان مفتوحا من العنق وكان لهذا النمط طوقا أو خطا على مستوى الخصر وكان حواف القفطان مطرزة بخيوط ذهبية. بالإضافة إلى ذلك تم تثبيت القفطان بأحزمة واسعة مصنوعة من الحرير والذهب الذي يحيط الخصر. وكان القفطان المغربي يرتدى من طرف العروس خلال حفل الزفاف بالمغرب.خطأ استشهاد: إغلاق </ref> مفقود لوسم <ref> Senegalese kaftans are formal wear in all West African countries.

قفطان فارسي

Persian kaftan robes of honour were commonly known as khalat or kelat.[52]

North Asia and Eastern Europe

روسي

Gotlandic picture stone showing men in kaftan-like attire
Russian kaftans of tsar Peter the Great, 1680-90

في روسيا قفطان الكلمة مستخدم لنوع آخر من الملابس : نوع مجال إبداع رجل بالأكمام الضّيّقة. بالقفاطين الرّوسيّة للقرن التّاسع عشر كانوا نوع الملابس الخارجيّة المنتشر على نطاق واسع بين الفلّاحين والتّجّار. حاليًّا هم يُسْتَخْدَمُ في اختتام الطّقوس الدّينية للطائفة الأكثر حفاظًا من المؤمنون القدماء. أيضًا الرّوسيّ الرّوب (رياسا)، أو، بعناية أكثر التّكلّم، روب قليل (بودرياسنيك) نوع معدّل قليلاً لقفطان قديم فقط.

في روسيا، the word "kaftan" is used for another type of clothing: a style of men's long suit with tight sleeves. Going back to the people of various Baltic, Turkic, Varangian (Vikings) and Iranic (Scythian) tribes who inhabited today's Russia along with the Slavic population, kaftan-like clothing was already prevalent in ancient times in regions where later the Rus' Khaganate and Kievan Rus' states appeared.[بحاجة لمصدر]

The Russian kaftan was probably influenced by Persian and/or Turkic people in Old Russia.[53] The word "kaftan" was adopted from the Tatar language, which in turn borrowed the word from Persia.[54] In the 13th century, the kaftan was still common in Russia. In the 19th century, Russian kaftans were the most widespread type of outer-clothing amongst peasants and merchants in Old Russia. Currently in the early 21st century, they are most commonly used as ritual religious clothing by conservative Old Believers, in Russian fashion (Rusfashion), Russian folk dress and with regards to Russian folklore.[55]

قفطان يهودي

Jewish children with a school teacher in Samarkand, wearing kaftans (circa 1910).

Hasidic Jewish culture adapted a silky robe (bekishe) or frock coat (kapoteh, Yiddish word kapote or Turkish synonym chalat) from the garb of Polish nobility,[56] which was itself a type of kaftan. The term kapoteh may originate from the Spanish capote or possibly from "kaftan" via Ladino. Sephardic Jews from Muslim countries wore a kaftan similar to those of their neighbours.[بحاجة لمصدر]

جنوب شرق آسيا

In Southeast Asia, the kaftan was originally worn by Arab traders, as seen in early lithographs and photographs from the region. Religious communities that formed as Islam became established later adopted this style of dress as a distinguishing feature, under a variety of names deriving from Arabic and Persian such as "jubah", a robe, and "cadar", a veil or chador.[57]

أوروبا والولايات المتحدة

Americans returning from journeys on the hippie trail helped popularise the kaftan.

In the recent era the kaftan was introduced to the West in the 1890s, Queen Victoria's granddaughter Alix of Hesse wore a traditional Russian coronation dress before a crowd which included Western on-lookers, this traditional dress featured the loose-fitting Russian kaftan which was so exotic to Western eyes.[58][مطلوب مصدر أفضل] This was one of the first times a Western woman, a high-status Western woman who had also been seen in fashionable Western dress no less, was seen wearing something so exotic. The traditional Russian kaftan resembles the kaftans worn by the Ottoman sultans; it was in stark contrast to the tight-fitting, corseted dresses common in England at that time.[بحاجة لمصدر]

The kaftan slowly gained popularity as an exotic form of loose-fitting clothing. French fashion designer Paul Poiret further popularized this style in the early 20th century.[بحاجة لمصدر]

In the 1950s, fashion designers such as Christian Dior and Balenciaga adopted the kaftan as a loose evening gown or robe in their collections.[59] These variations were usually sashless. This style had also began appearing as high fashion.[46]

American hippie fashions of the late 1960s and the 1970s often drew inspiration from ethnic styles, including kaftans for women and men. These styles were brought to the United States by people who journeyed the so-called "hippie trail".[59] African-styled, kaftan-like dashikis were popular, especially among African-Americans. Street styles were appropriated by fashion designers, who marketed lavish kaftans as hostess gowns for casual at-home entertaining. The popularity of Kaftans went high in mass market and their cheap imports.[46] Given the materials and the style of the Kaftan, it has shown to symbolize serving as royalty.[60] The types of forms of dresses and kaftans were among the rich.[61]

Diana Vreeland, Babe Paley, and Barbara Hutton all helped popularize the kaftan in mainstream western fashion.[62] Into the 1970s, Elizabeth Taylor often wore kaftans designed by Thea Porter. In 1975, for her second wedding to Richard Burton she wore a kaftan designed by Gina Fratini.[63]

More recently, in 2011 Jessica Simpson was photographed wearing kaftans during her pregnancy.[58][مطلوب مصدر أفضل] American fashion editor André Leon Talley also wore kaftans designed by Ralph Rucci as one of his signature looks.[64] Beyoncé, Uma Thurman, Susan Sarandon, Kate Moss, Mary-Kate and Ashley Olsen, and Nicole Richie have all been seen wearing the style.[65][مطلوب مصدر أفضل] Some fashion lines have dedicated collections to the kaftan.

القرون الوسطى

أثناء في التّصميمات الكبيرة للقرن الرّابع عشر والألوان الهادئة كانت مستخدمة، هؤلاء أصبحوا كلاهما صغار ومضيئون في القرن القادم. كانت بالنصف الثّاني للقرن السّابع عشر أثمن قماش هؤلاء مع يولو - خطوط رأسيّة بالتّطريزات المختلفة والأنماط الصّغيرة، ما يسمّى بقماش سيليميي.

معظم القماش صُنِّعَتْ في إسطنبول والكيس، لكنّ البعض جاء من حتّى فينيسيا, جنوا, إيران, الهند وحتّى الصّين. كان لدى كلّ واحد سمات محدّدة جدًّا وسُمِّيَ وفقًا لذلك : كانت هناك قطيفة، الصّوف، بüرüمكüك، كانفيز، جاتما، جيزي، ديبة، هاتيي، كتنو، كيمها وسيراسر وسيرينك وزيربافت وتافتا وآخرون كثيرون، أكثر الألوان في كثير من الأحيان المستخدمة كانت الصّين أزرق، تركيّ أحمر، البنفسج، بي آي ؟آية النّغمات الموسيقيّة أو طبخ السّفرجل، والزّعفران الأصفر.

معرض


انظر أيضاً

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