Salwar

Last updated
Salwar
Salwar Suit.jpg
Woman wearing a traditional salwar.
Material
Materials
Place of origin South Asia
ManufacturerVarious

Salwar or shalwar is cloth worn from the waist to the ankles, covering both legs separately. It is the lower-garment of the shalwar kameez suit which is widely-worn in South Asia. It is known for its lively hues, rich fabrics, and embroidery. [1] [2] [3] The outfit has been a part of Punjabi tradition of India and Pakistan for centuries. [4] [5] It is also the national dress of Pakistan, [6] [7] and since the later 1960s, the salwar is being used in government offices in Pakistan. [8] Salwar can be distinguished from the Punjabi suthan which is shorter than the salwar.

Contents

Types

History

Early history

Shalwar is a lower garment, with different regions having different types. The earliest form of the shalwar originated in Central Asia and its use was spread to South Asia as well as the Arab world, Turkey and wherever the Turks established their empires in the 12th century. [9] [10] The Ottomans spread the use of the salwar throughout its empire. [11] Salwar was brought in South Asia after the arrival of Muslims in the 13th century. It was first worn by Mughal nobles. The use of the salwar in the Punjab region has been the result of influences from the Middle East, Central Asian Turks [12] and finally, the Afghans.

In Punjab, there is a similar but older dress similar to the salwar known as suthan. [13] The Punjabi suthan suit which is made up of the head scarf, kurta/kurti and Punjabi suthan. [14] Dogri pajama and the churidar. The term salwar kameez also includes the Kashmiri Phiran/suthan outfit.

In the Punjab region, the salwar was made using a large amount of material but had no pleats or folds. The large salwar eventually gave rise to the Punjabi salwar. [15]

Punjabi salwar

In its strictest sense, the salwar is baggy and loose straight down the legs, and gathered loosely at the ankles. During the medieval period, people adopted the Iraqi style of salwar in Multan and neighbouring Sindh. [16] [17] This type of salwar is traditionally very baggy and gathered at the ankles. It is still worn by the Kurdish community in Iraq. The presence of the baggy salwar was noted by Alberuni in the 11th century A.D. [16] and continued to be envogue between the 16th and 18th centuries C.E. in Multan [18]

The Multani salwar is similar to the loose Punjabi suthan. Therefore, the distinction between the loose Punjabi suthan and the loose Multani salwar is fine and centres on the tight ankle band in the suthan, and on the suthan beginning to fit closer to the legs below the knees.

The original Punjabi loose salwar was not as baggy as the Multani style but was wide, with the gathering at the ankles being wide enough to cover the feet. Originally, up to ten yards of cloth was used to make Punjabi salwars. [19] The original Punjabi salwar was also not as baggy as other forms of the salwar, such as the type worn in Afghanistan (partug), the Balochi salwar, [20] or the loose Punjabi suthan, and gathers more quickly below the knees and ends in a tight band. Eventually the modern Punjabi salwar came into being which is slim fitting and does not have wide ends as before.

Another style of salwar is the Pothohari salwar of the Pothohar area of the Punjab region. [21] The Pothohari salwar retains the wideness of the Punjabi suthan. The kameez is also wide. The chunni is a remnant of the large chadar popular in West Punjab known as salari [22] and the large Phulkari worn in various areas of the Punjab region. However, the Pothohari salwar suit did not attain universal acceptance. The Bahawalpuri salwar is also wide and baggy [23] with many folds. The material traditionally used for the Bahawalpuri shalwar and suthan is known as Sufi, which is a mixture of cotton warp mixed with silk weft and gold threads running down the material. [24] [25]

Punjabi kameez

The Punjabi Kameez is a traditional outfit worn by both men and women in the Punjab region of South Asia, which includes parts of India and Pakistan. It consists of a long tunic or shirt, typically with long sleeves and a loose fit, paired with loose-fitting pants called salwar. The outfit is often accompanied by a scarf or stole, known as a dupatta, which is draped over the head or shoulders. The Punjabi Kameez is known for its vibrant colors, intricate embroidery, and rich fabrics, which vary depending on the occasion and the wearer's social status. It is a popular and versatile garment that can be worn for both casual and formal occasions, and has gained popularity worldwide due to its comfort and style.

Female dress: Punjabi salwar suit

The Punjabi salwar suit is worn in the Punjab in India and Pakistan. It consists of the chunni (head scarf), jhagga (kameez) and the salwar when worn by women. The chunni can be of varying lengths. The jhagga (kameez) is made up of two rectangular pieces sewn together with side slits, similar to a tunic. A kurta is also worn.

The salwar is similar to pajamas or pants, wide at the top and tightened loosely around the ankles with hard material, called paunchay. In the Punjab, the salwar kameez is also known as the chunni jhagga salwar suit.

Male Dress: Punjabi salwar suit

In some parts of the Punjab region, especially the urban areas of Punjab, Pakistan, [26] males wear the men's Punjabi suit. The upper garment is made of the straight cut kurta/kameez and the salwar resembles a slim fit pajama. In the past, the suthan was also commonly worn by men, [27] [28] a trend which can still be seen in some parts of the region (especially Jammu and Himachal Pradesh).

Jhagga

The Ghaznavid Turks popularised the salwar/tunic attire in Afghanistan. [29] [30]

Kashmir region

The use of the suthan or the salwar has been adopted in other areas. People in Jammu have changed the traditional attire from the peshwaj (flowing to the ankles) [31] to the kurta and Dogri suthan. The Phiran is worn in Kashmir [32] traditionally flowed to the ankles, is now of varying lengths and is worn with a loose suthan. Kashyap Bandhu is regarded as the person responsible for spreading the use of the suthan with the phiran amongst the communities that resisted to adopt its use, eventually leading to the use of the salwar. [33] However, the traditional Kashmiri suthan is loose, similar to the styles worn in Afghanistan [34] with some wearing styles similar to the Dogri suthan. The Punjabi salwar suit has also become popular. [35]

Elsewhere in India and Pakistan, Muslim communities have traditionally worn the style of salwar worn by the Mughals combining them with Mughal upper garments such as the jamma. However, the salwar is now worn by members of various communities in India and Pakistan. [36]

Sindh

In Sindh, Shalwar Kameez or (Suthan ain Khamis) in Sindhi worn by men are of two types, one is worn usually in lower/south of Sindh which has wider ankles and does not get narrow at ankles this type of Shalwar is called (Kancha), other has narrow ankles worn mostly in upper/north of Sindh and is called (Suthan/Salwar), both has very less pleats, the Khamis is also made of different styles, traditionally Sindhi men used to wear either short or long Angrakho which is tied at either side or in middle, the shorter one was called Angelo, other style was called Kiriyo/Puthiyo, then the short Kurtas called (Pehrān/Pehriyān) were commonly worn, which used to be collarless like Angrakho and was tied at either side or in middle, and had half way slit opening in front unlike angrakhas which used to be completely slitted in front. The Pehrān/Pehriyān were also used to be embroidered with Sindhi bhart and mirrorwork. Above Angelo and Pehrān men also wore (Koti, Sadri, Gidi). During British Raj, the colllars were introduced in Sindh, the Sindhi men started wearing Pehran with collars and buttons, also during that time the english long coats and jackets were introduced. The upper garment of Sindhi men was mostly short either till waist or till midway to thighs, except for some men, but today the modern Khamis reaches at least till knees, the modern Khamis can have (Gol daman) round cut at end corners or (Chokor Daman) square cut, this is now a everydays clothing of Sindhi men. The clothes are adorned with Ajrak and topi or Patko (Turbans), but usually on everyday life, a various colored floral or checkered piece of cloth on shoulder or as turban, also used as a handkerchief, and for the protection from the heat of sun.

Women in Sindh wear Salwar/Suthan which is almost similar to men, but back in time some women of lower Sindh used to wear a very baggy Salwars called "Chareno" but these are not normally worn now. Many Sindhi women also wore churidar pajamo (Sohri Suthan). Traditional Sindhi women Suthan and Pajamo are made of bright colors and rich fabrics like soosi, silk, satin, velvets and brocades which are heavily embroidered at ankles (Pācha). The Salwars are worn with the Cholo (kameez) or Ghagho (frock) which are also heavily intricately embroidered with Sindhi bhart and other embellishments called Gaj, Aggoti, Gichi, back in time the Salwars were sometimes used to be hidden under a wide Paro/Peshgeer (Skirt), specially when a women went outside and over the head women wore a wide and long veils called Rawo/Gandhi/Pothi/Chuni/Salur. [37] [38]

Bangladesh

The traditional male dress in Bangladesh is the lungi and Panjabi. Men also wear a shirt called Kaabli. The traditional female dress is the sari but women also wear the Salwar Kameez.

Afghanistan

The salwar is a traditional garment in Afghanistan worn by men as the Khet partug outfit. The Khet is the tunic, similar to a robe and the partoog is the Afghanistan salwar, with multiple pleats. The male dress also includes the perahan tunban. The Pathani suit [39] has become popular since the 1990s. [40] [41] The female Punjabi suit is also popular in Afghanistan which is called the Panjabi. [42] [43]

Punjabi suthan and kurta suit

The outfit predates the salwar suit but is complementary to it.

Etymology

The word suthan is derived from the Sanskrit word svasthana, [15] which means tight fitting trousers. This, in turn, derives from the Central Asian word samstamni. [44] [45] The suthan are trousers cut straight and tight, as opposed to the salwar, which is baggy and can be full of folds. [46] The tight suthan is loose to the knees, but the loose Punjabi suthan is loose to the lower legs and very tight at the ankles. The salwar ends in a band which is loose fitting. Despite this difference, people use the words suthan and salwar interchangeably to refer to loose suthans and salwars, [47] with the loose suthan resembling the salwar. [48]

Prior to the use of the term pajama, the term suthan was used. Therefore, the woollen pajamas of Gilgit [49] are also referred to as suthan. [50] However, these are not of the Punjabi variety. The churidar pajama was also referred to as suthan. [51]

The word suthana was also used in Hindi, to refer to pajamas. [52]

History

20th (Punjab) Regiment of Bengal Native Infantry. Painting by Walter Fane (1828-85), 1868 20th (Punjab) Regiment of Bengal Native Infantry. Painting by Walter Fane (1828-85), 1868.jpg
20th (Punjab) Regiment of Bengal Native Infantry. Painting by Walter Fane (1828-85), 1868

Suthan

The use of the suthan in the Punjab region [53] also called suthana in Punjabi is a survival of the ancient svasthana. [44] [54] Svasthana referred to a lower garment which can be described as a type of trousers. The svasthana was in use amongst the rulers in the Mauryan times (322–185 BCE). [55] Evidence of the use of svasthana amongst the ruling classes has also been observed in North India during the Kushan Empire between the 1st and 3rd centuries C.E. [56] It was noted in use during the Gupta Empire between 4th and 6th centuries C.E. [57] and during King Harsha's [58] rule during the 7th century C.E. [59]

A version of the svasthana has been noted in ancient India which sticks to the calves with narrow circumferences of the lower opening. [60] This is similar to the Punjabi ghuttana which is loose at the thighs and tightens at the knees and ends at the calves (with some versions ending at the knees and the lower legs being naked). [61] This suggests that the use of the suthan is indigenous to the Punjab region. Ultimately, however, the svasthana could have been introduced to ancient India from Central Asia, [62] but its use became popular amongst the general people in the local area during the medieval period, [63] particularly, the 7th century C.E. [58] The wearing of the suthan and kurta continued to be prevalent during the Mughal period between 1526-1748 C.E. [64] and has been in use in unbroken succession since ancient times. [65] The National Review (1925) notes that the suthan was in much use in the Punjab, generally in white washable cloth but on feast days of rich material such as Lahore silk. [66] The svasthana was worn with the tunic called varbana [67] which was tight fitting.

Kurta/Kurti

Saraiki kurti Saraiki children wearing cloths & saraiki Fashion ofr children.JPG
Saraiki kurti

The use of side slits in the straight cut Punjabi kurta can be traced to the 11th century C.E. [68] female kurtaka worn in parts of north India and was a short shirt, with sleeves extending from the shoulders, to the middle of the body, and had slashes on the left and the right sides. [69] This is the same as the modern straight cut kurta which has side slits and worn by women in Punjab. [70]

In modern usage, a short kurta is referred to as the kurti. However, traditionally, the kurti is a short cotton coat [71] [72] (without side slits) and is believed to have descended from the tunic of the Shunga period (2nd century B.C.). [73] The local style of kurti also includes the type that flares out around the waist. [74]

The traditional Punjabi kurti is front opening and is buttoned. Traditionally, a chain of gold or silver called zanjiri is woven into the buttons. [75] The use of the kurti by women has been noted during the 1600s [76] [77] to the present day. The kurti can be front opening from below the neck to the waist, or cover the back but leave the stomach exposed with some styles fastening at the back. A variation of the kurti, known as a bandi, is sleeveless and is worn as a pullover with no side slits and front opening. A longer version of the bandi is known as a chemise which has a lace around its hem. [78] Both bandi and chemise traditionally have been worn by women indoors. Somer versions are worn as pullovers with no side slits and font opening. The choli is referred to as kurti in Punjabi which can be half or full sleeved and be hip [79] length.

Design

Punjabi women in west Punjab [80] [81] and east Punjab [80] (which includes Haryana and Himachal Pradesh) traditionally wore the Punjabi suthan suit which was made of a head scarf, upper garment and suthan. [82]

Types

The Punjabi suthan is of two types: loose to above the ankles and tight at the ankles, or loose to the knees, and then cut straight and tight to the ankles. [83]

Loose Punjabi suthan

It was noted by Alberuni in the 11th century C.E. that the local drawers are of gigantic proportions. [16] This could point to the loose Punjabi suthan which, unlike the Punjabi salwar, has multiple pleats and is very baggy with many folds. The suthan can also be arranged in plaits. [84] Up to 20 yards of cloth can be used which hangs in innumerable folds. [85] Some varieties, such as those of Chakwal, can use between 30 and 40 yards of cloth which are made with overhanging pleats. [86]

The material used for the suthan is traditionally coloured cotton with silk lines going down and is called sussi. [87] Sussi was manufactured in various places such as Hoshiarpur, Amritsar, Multan and Jhang. [88]

Instead of the Punjabi salwar paunchay at the bottom of the salwar, which are loose, [21] the Punjabi suthan is gathered midway between the knees and the ankles to fit closely to the leg and end in a tight band at the ankles which is what distinguishes the two lower garments. [21] The tight band of the suthan is a remnant of the ancient svasthana trousers which were tight fitting to the thighs. The use of loose material is a local development. The pleats of the suthan either gather in circles resembling bangles, or fall vertically to the ankles. As the distinction between the loose Punjabi suthan and the baggy salwar rests on the ankle band, some view the loose Punjabi suthan as another version of the salwar, [89] with the definition of suthan being reserved for the tight Punjabi suthan. The loose suthan is primarily a female costume, but in some areas, such as Rawalpindi, was worn by men too, [90] which is also called tambi when worn by men. [91] [92] The loose suthan was also worn by men in Bannu (Khyber Pakhtunkhwa) [93] which has historical and cultural connections with the rest of the Punjab region. [94] [95]

Tight Punjabi suthan

The tight Punjabi suthan is a variation of the ancient svasthana, and was still popular in the Punjab region in the 19th century. The tight suthan is baggy from the knees up [96] and tight from the knees down to the ankles [97] (a remnant of the tight fit ancient svasthana). The tight suthan remained popular in the East Punjab into the 1960s. [21] In Multan, the tight suthan remained popular till the early 21st century. [98] The Punjabi suthan is part of male and female attire and is part of traditional dress in the hills of Punjab, Pakistan, including Bannu. It is still a traditional garment in Jammu where it is held in high regard. [99] The Gaddi [100] community wear the garment, especially in Pathankot [101] and Nurpur (Gurdaspur District).Its variation known as the churidar suthan is worn in the Punjab mountainous region [102] especially by the Gujjar community in the foothills of Punjab, India, [100] [103] and Himachal Pradesh [104] whereby the upper part is loose but below the knees, the tight part is sewn in folds to create a bangles look. When worn in Jammu, the suthan is referred to as Dogri pants [105] or Dogri suthan. This is the basis of the churidar pyjama, which in the Punjab region is also known as the (full length) ghuttana [106] which was adopted in Lucknow during the 19th century. Where the churidar suthan is tight up to the knees and wide above, the churidar pajama is tight below the calves and slightly loose above. [107] The waist fits closer than the suthan.

In the late 19th century, the slim line riding breeches known as Jodhpuri, [108] were developed along the lines of the tight fitting Punjabi suthan, albeit the churidar [109] is cited as an inspiration. [110] Since the creation of India and Pakistan, women of the meo community of Rajasthan have adopted the salwar called khusni which, like the Punjabi suthan, is tight below the knees and loose above and is worn with a long kameez. [111]

Upper garments

Punjabi women wore the suthan with a kurta, kurti, kameez [112] or jhaga. The kurti could be straight cut ending at the waist or be a mini version of the anga, [74] which is a gown flowing to below the knees and even to the ankles (akin to the anarkali) also known as an angarkha [113] [114] and peshwaj [115] which is similar to a loose coat and wadded with cotton. [116]

Variations

Sometimes women replaced the suthan with a churidar pajama, (a tradition noted by Baden-Powell in 1872 in his book Hand-book of the Manufactures and Arts of the Punjab) [117] which would then be covered with a Punjabi Ghagra when going outdoors. The Punjabi ghagra has its origins in the candataka which continued as a popular female dress in the seventh century. [118] The use of the svasthana was also popular in this period. However, the candataka ended at the thighs and the svasthana may have been used to cover the lower legs thus giving rise to the tradition of wearing the ghagra and the suthan together. Older Punjabi women wore churidar pajama and long kurta. These different styles were popular during the 1960s in East Punjab. [21] Certain members of the Punjabi community however, were wearing the suthan and kurti on its own without the Punjabi Ghagra, a tradition documented in the Gazetter of Hoshiarpur District 1883-84 [119] and also in the 1915 Hissar Gazetteer [120] Punjabi women (and men) also wore the ghutanna, a type of pajama which was shorter than the full length pajama, and was tight and ended at the calf. [121]

Although the use of the Suthan subsequently spread to the Jammu area of the Punjab region, [121] Sindh [122] (where it was not traditionally worn) and Kashmir, in the plains of the Punjab region, the suthan was replaced with the Punjabi version of the salwar and the Punjabi kameez which gained more and more popularity during the 1960s. [21]

See also

Related Research Articles

<i>Kurta</i> Various forms of loose and long shirts or tunics worn traditionally in South Asia

A kurta is a loose collarless shirt or tunic worn in many regions of South Asia, and now also worn around the world. Tracing its roots to Central Asian nomadic tunics, or upper body garments, of the late-ancient- or early-medieval era, the kurta has evolved stylistically over the centuries, especially in South Asia, as a garment for everyday wear as well as for formal occasions.

The Punjabis are an Indo-Aryan ethnolinguistic group associated with the Punjab region, comprising areas of northwestern India and eastern Pakistan. They generally speak Standard Punjabi or various Punjabi dialects on both sides.

Clothing in India varies with the different ethnicities, geography, climate, and cultural traditions of the people of each region of India. Historically, clothing has evolved from simple garments like kaupina, langota, achkan, lungi, sari, to perform rituals and dances. In urban areas, western clothing is common and uniformly worn by people of all social levels. India also has a great diversity in terms of weaves, fibers, colors, and the material of clothing. Sometimes, color codes are followed in clothing based on the religion and ritual concerned. The clothing in India also encompasses a wide variety of Indian embroidery, prints, handwork, embellishments, and styles of wearing clothes. A wide mix of Indian traditional clothing and western styles can be seen in India.

<span class="mw-page-title-main">Dupatta</span> Cloth wrap worn as a shawl, scarf, or veil in South Asia

The dupattā, also called chunni, chunari,chundari, lugda, rao/rawo, gandhi, pothi, orna, and odhni is a long shawl-like scarf traditionally worn by women in the Indian subcontinent. Traditionally, in India, the dupatta is part of the women's lehenga or ghagra/chaniya choli. A lehenga is a three-piece outfit which is made up of a skirt, called a ghagra or chaniya; a blouse, called a choli, and a dupatta. The dupatta is worn over one shoulder, and traditionally, married women would also wear the dupatta over the head in temples or in front of elders.

<span class="mw-page-title-main">Patiala salwar</span> Type of salwar (trouser)

A Patiala salwar is a type of female trousers which has its roots in Patiala City in the Northern region of Punjab state in India. The King of Patiala in earlier times wore a Patiala salwar as his royal suit. The Patiala Salwar has a close resemblance to the Pathani suit, which has loose layers similar to those of a salwar, and a long, knee-length top known as a kameez. The garment is no longer customarily worn by men, but has classically transformed itself with new cuts and styling into a women's garment.

<span class="mw-page-title-main">Punjabi culture</span> Arts, cuisine, dress, etc. of Punjab

Punjabi culture grew out of the settlements along the five rivers which served as an important route to the Near East as early as the ancient Indus Valley civilization, dating back to 3000 BCE. Agriculture has been the major economic feature of the Punjab and has therefore formed the foundation of Punjabi culture, with one's social status being determined by landownership. The Punjab emerged as an important agricultural region, especially following the Green Revolution during the mid-1960's to the mid-1970's, has been described as the "breadbasket of both India and Pakistan". Besides being known for agriculture and trade, the Punjab is also a region that over the centuries has experienced many foreign invasions and consequently has a long-standing history of warfare, as the Punjab is situated on the principal route of invasions through the northwestern frontier of the Indian subcontinent, which promoted to adopt a lifestyle that entailed engaging in warfare to protect the land. Warrior culture typically elevates the value of the community's honour (izzat), which is highly esteemed by Punjabis.

Churidars, also churidar pyjamas, are tightly fitting trousers worn by both men and women in the Indian subcontinent. Churidars are a variant of the common shalwar pants. Shalwars are cut wide at the top and narrow at the ankle. Churidars narrow more quickly so that contours of the legs are revealed. They are usually cut on the bias, making them naturally stretchy, which is important when pants are closefitting. They are also longer than the leg and sometimes finish with a tightly fitting buttoned cuff at the ankle. The excess length falls into folds and appears like a set of bangles resting on the ankle. When the wearer is sitting, the extra material is the "ease" that makes it possible to bend the legs and sit comfortably. The word churidar is from Hindi and made its way into English only in the 20th century. Earlier, tight-fitting churidar-like pants worn in India were referred to by the British as Moghul breeches, long-drawers, or mosquito drawers.

Pakistani clothing refers to the ethnic clothing that is typically worn by people in the country of Pakistan and by Pakistanis. Pakistani clothes express the culture of Pakistan, the demographics of Pakistan, and cultures from Punjab, Sindh, Balochistan, Khyber Pakhtunkhwa, Gilgit-Baltistan, and Kashmir regions of the country. The clothing in each region and culture of Pakistan reflect weather conditions, way of living, the textiles and embroidery used and its distinctive style which gives it a unique identity among all cultures.

A pencil suit is a variety of salwar kameez. The suit follows the principles of a pencil skirt and merges it with the traditional salwar kameez.

<span class="mw-page-title-main">Shalwar kameez</span> Trousers and tunic worn in South Asia

Shalwar kameez is a traditional combination dress worn by men and women in South Asia, and Central Asia.

<span class="mw-page-title-main">Punjabi ghagra suit</span> Outfit worn by Women in Punjab, India

The Punjabi ghagra is a four-piece outfit known as tewar or 'ti-or' which was traditionally worn by Punjabi women throughout the Punjab region with the outfit comprising a head scarf (Phulkari), kurta or kurti, ghagra and either a suthan or the Punjabi salwar (trousers). In modern times, the ghagra is worn by women in parts of Haryana, rural parts of south West Punjab, parts of Himachal Pradesh and during performances of Giddha in East Punjab.

<span class="mw-page-title-main">Punjabi Tamba and Kurta</span> Type of sarong and shirt, traditional costume in Punjab

Punjabi Kurta and Tamba are traditional costume for men of Punjab.

<span class="mw-page-title-main">Punjabi clothing</span> Clothing style associated with people of the Punjab region

In the Punjab region, people wore cotton clothing. Both men and women wore knee-length tops. A scarf was worn over the tops which would be draped over the left shoulder and under the right. A large sheet would be further draped over one shoulder which would hang loose towards the knees. Both male and female wore a dhoti around the waist. Modern Punjabi dress has retained the dhoti, but over its long history has added other forms of dress.

<span class="mw-page-title-main">Pheran</span> Kashmiri traditional dress

Pheran or Phiran is the traditional outfit for both males and females in Kashmir.

<span class="mw-page-title-main">Sindhi clothing</span> Clothing style of Sindh

Sindhi clothing are a part of the Sindhi culture. Sindhi women and men wear the Shalwar Qameez or the Kurta with Pyjama. Women also wear Sari or ghagra. However, before the adoption of the Shalwar kameez, kurta, the Sari as well as other articles of clothing, Sindhis had their own traditional costumes.

The people of Jammu have the following traditional clothing:

<span class="mw-page-title-main">Khyber Pakhtunkhwa clothing</span> Traditional clothing worn in Khyber Pakhtunkhwa, Pakistan

The traditional clothing and accessories worn in Khyber Pakhtunkhwa varies according to the area of the region. The following outfits are generally worn in the area, starting to north to south:

Kurti top is an upper garment worn in the Indian subcontinent encompassing waistcoats, jackets and blouses.

There are two types of Saraiki shalwar suits which originate in the southern area of Punjab, Pakistan. These are the Bahawalpuri shalwar suit and the Multani shalwar suit. The two main suits from that area.

Pathani Suit is an ethnic outfit for men in the South Asian culture. Basically it is a Muslim dress similar to Salwar kameez. It comprises three garments Kurta, Salwaar, and a vest, which is optional. Pashtun suit is popular among men as formal wear and worn on special occasions such as marriages and festivals. It is also called Khan suit and Pashtun suit.

References

  1. ↑ The Tribune Pran Nevile 27 May 2000
  2. ↑ Lois May Burger (1963) A Study of Change in Dress as Related to Social and Political Conditions in an Area of North India
  3. ↑ Textiles, Costumes, and Ornaments of the Western Himalaya by Omacanda Hāṇḍā
  4. ↑ 1892 Punjab Gazeetter Archived 2014-05-01 at the Wayback Machine
  5. ↑ Kumar, Raj (2008) Encyclopaedia of Untouchables Ancient, Medieval and Modern
  6. ↑ Basic facts about Pakistan, Issue 5 (1950)
  7. ↑ Nelson,Lise . Seager,Joni (2008) A Companion to Feminist Geography
  8. ↑ Qadeer. Mohammad (2006) Pakistan - Social and Cultural Transformations in a Muslim Nation
  9. ↑ "HISTORY OF SALWAR KAMEEZ". szhaider.fashion.20m.com. Retrieved 2021-05-09.
  10. ↑ Jirousek, Charlotte. "Islamic Clothing." In Encyclopedia of Islam. New York: Macmillan Pub. 2005.
  11. ↑ Annette Lynch, Mitchell D. Strauss (2014) Ethnic Dress in the United States: A Cultural Encyclopedia
  12. ↑ Martin, Richard C. (2004) Encyclopedia of Islam and the Muslim World: A-L, Volume 1
  13. ↑ Dr Singh, Daljit (2004) Punjab Socio-Economic Condition (1501-1700 A.D.)
  14. ↑ Sidhu Brard, Gurnam Singh (2007) East of Indus: My Memories of Old Punjab
  15. 1 2 Paintings and Lifestyles of Jammu Region: From 17th to 19th Century A.D Raj Kumar
  16. 1 2 3 Kumar, Raj (2008) Encyclopaedia of Untouchables Ancient, Medieval and Modern
  17. ↑ Said,Hakim Mohammad (1990) Road to Pakistan. 1. 712 - 1858
  18. ↑ Dasti, Humaira Faiz (1998) Multan, a province of the Mughal Empire, 1525-1751
  19. ↑ Yarwood, Doreen (2011) Illustrated Encyclopedia of World Costume
  20. ↑ Punjab district gazetteers, Volume 7, Part 1 (1923)
  21. 1 2 3 4 5 6 Mohinder Singh Randhawa. (1960) Punjab: Itihas, Kala, Sahit, te Sabiachar aad.Bhasha Vibhag, Punjab, Patiala.
  22. ↑ Kehal, Harkesh Singh (2011) Alop ho riha Punjabi virsa Lokgeet Parkashan ISBN   978-93-5017-532-3
  23. ↑ Current Opinion, Volume 25 (1899)
  24. ↑ Extracts from the District & States Gazetteers of the Punjab, Pakistan, Volume 2 (1976)
  25. ↑ The Pakistan gazetteer, Volume 5 (2000)
  26. ↑ Malik, Iftikhar Haider (2006) Culture and Customs of Pakistan
  27. ↑ Punjab District and State Gazetteers: Part A (1911)
  28. ↑ Land revenue settlement reports 1876
  29. ↑ Jirousek, Charlotte. “Islamic Clothing.” In Encyclopedia of Islam. New York: Macmillan Pub. (2004)
  30. ↑ Flood, Finbarr Barry (2009) Objects of Translation: Material Culture and Medieval "Hindu-Muslim" Encounter
  31. ↑ Textiles, Costumes and Ornaments of the Western Himalayas O Handa
  32. ↑ Paintings and lifestyles of Jammu Region: 17th to 19th Century A.D Raj Kumar
  33. ↑ Cultural Heritage of India- Kashmiri Pandit Contribution. The Publication of Kashmir Sabha, Calcutta (1999-2000)
  34. ↑ Asoke Kumar Bhattacharyya, Pradip Kumar Sengupta Foundations of Indian Musicology: Perspectives in the Philosophy of Art and Culture (1991)
  35. ↑ Dhar, Somnath (1986) Jammu and Kashmir folklore
  36. ↑ Subba, J.R (2008) History, Culture and Customs of Sikkim
  37. ↑ I am a Sindhi: The Glorious Sindhi Heritage and Culture and Folklore of Sindh J P Vaswami
  38. ↑ Sindh and The Races That Inhabit the Valley of the Indus Richard F Burton
  39. ↑ "Celebrating Indianness". .indiatimes.com. Mar 27, 2011. Retrieved 27 March 2014.
  40. ↑ "Perahan Tunban 'Mens clothes'". afghanistan-culture.com. Archived from the original on 3 December 2013. Retrieved 27 March 2014.
  41. ↑ Culture and Customs of Afghanistan By Hafizullah Emadi
  42. ↑ Afghanistan clothing
  43. ↑ Pia Karlsson, Amir Mansory (2007) An Afghan dilemma: education, gender and globalisation in an Islamic context
  44. 1 2 Archaeological Congress and Seminar Papers: Papers Presented at the 4th Annual Congress of the Indian Archaeological Society and the Seminars Held at Nagpur on the 10th, 11th, and 12th Nov. 1970, Volume 4, Part 1970
  45. ↑ Subbarayappa, B. V. Indo-Soviet Seminar on Scientific and Technological Exchanges Between India and Soviet Central Asia in Medieval Period, Bombay, November 7–12, 1981: Proceedings
  46. ↑ Edward O'Brien (of the Indian Civil Service ) (1881) Glossary of the Multani Language Compared with Punjábi and Sindhi
  47. ↑ John, A (2009) Two dialects one region: A sociolinguistic approach to dialects as identity markers.
  48. ↑ Dhavalikar, Madhukar Keshav (2003) Archaeology of western India
  49. ↑ Knight, E.F. (1996) Where Three Empires Meet: A Narrative of Recent Travel in Kashmir, Western Tibet, Gilgit, and the Adjoining Countries
  50. ↑ Kapur, Manohar Lal (1992) Social and economic history of Jammu and Kashmir State, 1885-1925 A.D.
  51. ↑ Census of India, 1981: Himachal Pradesh. Series 7
  52. ↑ The University (1982)Panjab University Research Bulletin: Arts, Volume 13, Issue 1 - Volume 14, Issue 1
  53. ↑ W.H. Allen, 1925 The National Review, Volume 86
  54. ↑ Catherine Ella Blanshard Asher, Thomas R. Metcalf (1994) Perceptions of South Asia's visual past
  55. ↑ Vishnu, Asha (1993) Material Life of Northern India: Based on an Archaeological Study, 3rd Century B.C. to 1st Century B.
  56. ↑ Archaeological Congress and Seminar Papers: Papers Presented at the 4th Annual Congress of the Indian Archaeological Society and the Seminars Held at Nagpur on the 10th, 11th, and 12th Nov. 1970, Volume 4, Part 1970
  57. ↑ Mohapatra, Ramesh Prasad (1992) Fashion Styles of Ancient India: A Study of Kalinga from Earliest Times to Sixteenth Century Ad
  58. 1 2 A.V. Narasimha Murthy, K.V. Ramesh (1987). Giridharaśrī: essays on Indology: Dr. G.S. Dikshit felicitation volume
  59. ↑ Journal of the Uttar Pradesh Historical Society Journal, Volume 23, Parts 1-2 (1950)
  60. ↑ Bahl, Vinay (2005) What Went Wrong with "history from Below": Reinstating Human Agency as Human Creativity
  61. ↑ Proceedings - Punjab History Conference (2001)
  62. ↑ Indian Institute of Advanced Study Transactions, Volume 17
  63. ↑ Thapliyal, Uma Prasad (1978) Foreign elements in ancient Indian society, 2nd century BC to 7th century AD.
  64. ↑ Misra, Rekha (1967) Women in Mughal India, 1526-1748 A.D
  65. ↑ Aniruddha Ray, Kuzhippalli Skaria Mathew (2002) Studies in history of the Deccan: medieval and modern : Professor A.R. Kulkarni felicitation volume
  66. ↑ W.H. (1925) The National Review, Volume 86
  67. ↑ J. J. Bhabha (1969) Mārg̲, Volume 23 Marg Publications (1969)
  68. ↑ Ghurye, Govind Sadashiv (1966) Indian Costume
  69. ↑ Yadava,Ganga Prasad (1982) Dhanapāla and His Times: A Socio-cultural Study Based Upon His Works
  70. ↑ Sharma, Brij Narain (1966) Social life in Northern India, A.D. 600-1000
  71. ↑ Punjab District Gazetteers: Rawalpindi District (v. 28A) (1909)
  72. ↑ Compiled and published under the authority of the Punjab government, (1939)Punjab District and State Gazetteers: Part A].
  73. ↑ Panjab University Research Bulletin: Arts, Volume 13, Issue 1 - Volume 14, Issue (1982)
  74. 1 2 Punjab District Gazetteers: Sirmur state, 1934
  75. ↑ Kehal, Harkesh Singh (2011) Alop ho riha Punjabi virsa bhag dooja. Lokgeet Parkashan. ISBN   978-93-5017-532-3
  76. ↑ Dr Daljit Singh (2004) Punjab Socio-Economic Condition (1501-1700 A.D.)
  77. ↑ Sanjeev Prasad Srivastava, R. P. Srivastava (2001) Studies in Panjab Sculpture
  78. ↑ Dr SIngh, Sadhu (2010) Punjabi boli di virasat. Chenta Prakashan. ISBN   817883618-1
  79. ↑ Arabinda Biswas, India. Indian Costumes (1985) Ministry of Information and Broadcasting. Publications Division
  80. 1 2 Archived 2013-12-03 at the Wayback Machine The Salwar Revolution Article
  81. ↑ Punjab District Gazetteers: Mianwali district (v. 30A) (1915)
  82. ↑ Sir Jadunath Sarkar (1958) Essays presented to Sir Jadunath Sarkar
  83. ↑ Punjab District Gazetteers: pt. 1 Muzaffargarh district, 1929
  84. ↑ Wace, E.G. (1874) Report on the land revenue settlement of the Hazara District of the Punjab : 1868 - 1874
  85. ↑ Punjab District Gazetteers (1932)
  86. ↑ Punjab District Gazetteers 1907 Jhelum District ..
  87. ↑ Punjab District Gazetteer: Reprint of Ludhiana District and Malerkotla State Gazetteer, 1904
  88. ↑ Gauba, Anand (1988) Amritsar, a study in urban history, 1840-1947
  89. ↑ Singh, Daljit (2004) Punjab Socio-Economic Condition (1501-1700 A.D.)
  90. ↑ Punjab District Gazetteers, Volume 28, Part 1 Rawalpindi. (1909)
  91. ↑ Bailey, Thomas Grahame (1919) An English-Panjabi Dictionary: Romanized
  92. ↑ Gazetteer of the Rawalpindi District, 1893-94
  93. ↑ Khyber.Org [usurped]
  94. ↑ Social & Religious Life in Bannu Excerpts from Gazetteer of the Bannu District, 1887 (present day Khyber Pakhtunkhwa, Pakistan formerly of British Punjab Province) [usurped]
  95. ↑ Pakistan Studies Centre, University of Sind, 2005 -Grassroots, Volume 33
  96. ↑ Baden Henry Baden-Powell 1872) Hand-book of the Manufactures & Arts of the Punjab: With a Combined Glossary & Index of Vernacular Trades & Technical Terms ... Forming Vol. Ii to the "Hand-book of the Economic Products of the Punjab" Prepared Under the Orders of Government page 115 the tight suthan was also worn in Bannu which is now in Khyber Pakhtunkhwa, Pakistan, formerly of British Punjab Province
  97. ↑ Letters from India and Kashmir (1874)
  98. ↑ Chaudhry, Nazir Ahmad (2002) Multan Glimpses: With an Account of Siege and Surrender
  99. ↑ Raina, A.D. (1968) Field study in Jammu and Kashmir
  100. 1 2 Hāṇḍā, Omacanda (1998) Textiles, Costumes, and Ornaments of the Western Himalaya.
  101. ↑ Shashi, Shyam Singh (1977) The Gaddi Tribe of Himachal Pradesh: A Sociological Study
  102. ↑ GORE, Frederick St. John. (1895) Lights & Shades of Hill Life in the Afghan and Hindu Highlands of the Punjab. A contrast ... With maps and illustrations, etc
  103. ↑ Sharma, V. P. Kohler-Rollefson, Ilse Pastoralism. Morton, John in India: A scoping study
  104. ↑ Kumar Suresh Singh, B. R. Sharma, Anthropological Survey of India, A. R. Sankhyan (1996) Himachal Pradesh
  105. ↑ "Banerjee, Sanhati. The Rockstar Dhoti (15.01.2012)". Archived from the original on 2013-06-03. Retrieved 2015-06-28.
  106. ↑ Abdul Halim Sharar, Rosie Llewellyn-Jones, Veena Talwar Oldenburg (2001) The Lucknow Omnibus
  107. ↑ Hankin, Nigel B. (1994) Hanklyn-Janklin, or, A stranger's rumble-tumble guide to some words, customs and quiddities Indian and Indo-British
  108. ↑ Singh, Jaisal (2007) Polo in India
  109. ↑ Biswas, Arabinda (1985) Indian Costumes
  110. ↑ Albert, Jack (2011)It's a Wonderful Word: The Real Origins of Our Favourite Words
  111. ↑ Partap Chand Aggarwal (1971) Caste, religion, and power: an Indian case study
  112. ↑ Sir Jadunath Sarkar, Hari Ram Gupta (1958) Sir Jadunath Sarkar Commemoration Volumes: Essays presented to Sir Jadunath Sarkar
  113. ↑ Rajaram Narayan Saletore (1974) Sex Life Under Indian Rulers
  114. ↑ Panjab University Research Bulletin: Arts, Volume 13, Issue 1 - Volume 14, Issue 1 (1982)
  115. ↑ B. N. Goswamy, Kalyan Krishna, Tarla P. Dundh (1993) Indian Costumes in the Collection of the Calico Museum of Textiles, Volume 5
  116. ↑ Punjab District Gazetteers - District Attock Year Published 1930 BK-000211-0160
  117. ↑ Baden-Powell, Baden. Henry (1872) Hand-book of the Manufactures and Arts of the Punjab
  118. ↑ Uma Prasad Thapliyal (1978) Foreign elements in ancient Indian society, 2nd century BC to 7th century AD
  119. ↑ Gazetteer of the Hoshiarpur District: 1883-84. Sang-e-Meel Publications, 2001.
  120. ↑ "Archived copy" (PDF). Archived from the original (PDF) on 2014-05-01. Retrieved 2014-11-25.{{cite web}}: CS1 maint: archived copy as title (link)
  121. 1 2 Paintings and lifestyles of Jammu Region: 17th to 19th Century A.D Raj Kumar
  122. ↑ S. P. Chablānī Economic conditions in Sind, 1592 to 1843 (1951)
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.