Gulsinya Gibadullina
Modern explanatory dictionary Russian language T. F. Efremova explains the meaning of the words PATTERN and ORNAMENT as follows:
"PATTERN"
a) A drawing that is a combination of lines, colors, shadows, etc.
b) A complex weave, a picturesque arrangement of something that forms or resembles such a pattern.
"ORNAMENT"
An artistic decoration, a pattern characterized by a rhythmic arrangement of geometric or stylized plant and animal elements of the design.
Tatar patterns and ornaments have three types of motives: geometric, floral-vegetal and zoomorphic. The patterns were used by masters in architecture, embroidery, painting, and wood carving.
Tatar ornament with floral and plant motifs is the most common. There are three directions in floral and plant motifs: steppe, meadow and garden.
Motifs depicting poppies, tulips, forget-me-nots, and carnations are more typical for the steppe direction.
Carnation motif
Tulip motif
Poppy motif
For meadow motifs - flowers of rose hips, bells, chamomile, cornflowers.
Rosehip motif
Bell motif
And garden motifs are characterized by dahlias, chrysanthemums, roses, and asters.
Dahlia motif
The most common are two flowers that are used in the Tatar ornament. This is a tulip and carnation.
Publications on the topic:
"Towel Decoration" Lesson summary on appliqué based on national ornaments (senior group) Goal: developing multicultural competence in older children preschool age. Objectives: 1. Instill respect and love for the native land.
Card index of Russian, Mordovian, Tatar folk games for senior preschool age HISTORY OF RUSSIAN FOLK GAMES The culture of every nation includes the games it created. For centuries, these games have accompanied everyday life.
“Acquaintance with the Dymkovo toy. Drawing Dymkovo patterns»Program tasks O: introduce Dymkovo toys, Dymkovo patterns;.
Literary lounge “Autumn motives” Literary lounge “Autumn motives”. Goal: to develop aesthetic perception autumn nature through artistic speech and music.
Hello, dear friends and guests of your favorite site! Gorodets painting is one of the traditional decorative crafts and is worth...
Autumn is the brightest and most wonderful time, in which many different colors rage. We spend every year with our replacement Svetlana Makarova.
I don’t know about you, but I live in the rhythm, so to speak, of one of the proverbs, “Prepare your sleigh in the summer.” It seems that the New Year holidays have just recently passed.
Municipal educational institution
"Average secondary school No. 20"
Anzhero-Sudzhensk
Tatar folk ornament in embroidery
Work on the XV Regional Conference
“Live, Kuznetsk land!”
st. Cherednichenko, 7-1,
Zagornova Arina Andreevna,
st. Socialist, 1-3
students of class 7 "A" of municipal educational institution "Secondary School No. 20"
Anzhero-Sudzhensk
Supervisor:
Augustan Irina Alekseevna,
higher technology teacher
Introduction
People live in our city different nationalities: Ukrainians, Germans, Belarusians, Russians, including Tatars, whose population in the city is more than five thousand. True story The history of the Tatars in Siberia begins only from the time of the great Genghis Khan, who led this people at the beginning of the 13th century after the birth of Christ. The decorative and applied arts of the Tatars are very diverse and have their roots in the deep historical past. Therefore, it became interesting for us to find out for ourselves and introduce the younger generation of our city to one of the types of decorative and applied arts Tatar people– embroidery.
Tatar folk ornament in embroidery represents a bright and unique page artistic creativity people. Being the main means of decorative and applied art, it at the same time reflects the complex history of the formation and development of the people, their culture and art. The ornament of the Tatar people was formed as a result of a long process of its historical development and wide interaction with neighboring and distant peoples. The difficult conditions of the ethnic formation of the people determined the commonality of many types of their art with the art neighboring peoples, as well as with the art of the peoples of the East. Each era in the life of a people left a certain imprint on its fine art, ornament, and style.
Beautiful examples of Tatar ornament found vivid expression in various works centuries-old creativity of the people: in subtle patterns jewelry, colorful embroidery and patterned fabrics, carved plastic tombstones, headdresses, multi-colored mosaics of leather shoes, home decorations. Along with the artistic and ethnic aspects, the ornament reveals quite clearly the features of everyday life, economic activity and the ideology of the people, the historical environment that is in different eras introduced various layers into it. By its nature, the Tatar ornament is deeply connected with ancient agricultural culture. The beginning, which was laid long before the formation of Volga Bulgaria. However, in some of its manifestations, very ancient roots are felt, going back to the distant pastoral culture of the nomadic ancestors of the Kazan Tatars.
IN modern conditions, girls don't do much decorative creativity. U younger generation other interests arise, but we always need to remember the history of not only our people, but also those who live next to us, a history that is based on a deep relationship with nature and the way of life of the people.
Target: Making a Tatar folk ornament on a napkin.
Tasks:
1.Study literature on Tatar folk ornaments in embroidery.
2. Get acquainted with embroidered items in the city museum.
3. Embroider napkins with Tatar ornaments.
Ornament is a peculiar handwriting of the people
Embroidery is one of the oldest and popular types female fine arts. According to Professor N. Vorobyov, this type of art was associated with the seclusion of women who rarely left the house and used their leisure time for needlework. Young and old women of all social strata of the city and village knew how to embroider. Craftswomen for a long time winter evenings created elegant and cheerful patterns using a variety of motifs and floral combinations. Unlike the Russians, Ukrainians, Mari and other peoples, the Tatars did not use embroidery in clothing, but decorated household items: towels, napkins, tablecloths, bedspreads and window curtains, namazlyks (prayer rugs) (Appendix 1). Footwear was also embroidered - boots (ichigs), shoes (Appendix 2), as well as headdresses - kalfaks, kalfachkas, erpeks (head covers), skull caps. In the funds of the city museum there are two women's headdresses - kalfaks. One is embroidered with pearls on blue velvet (AKM o.f. No. 15868, VT No. 446). It was handed over by Biktimirova Nazifa. Kalfak was embroidered by her mother at the beginning of the 20th century. The second kalfak is embroidered with pearls on brown velvet (AKM o.f. No. 3187, VT No. 1090). It belonged to Zulfiya Garifyanova, born in 1897, repressed from Bashkiria in 1931. It was passed on by her granddaughter Zemfira Pozdneeva (Appendix 3). Corduroy and velvet were used to make men's and women's hats. Colored and white beads, as well as fake pearls, were used to decorate headdresses. Embroidery with beads and fake pearls was carried out both along the contour and in filling the patterns. The most richly embroidered kalfaks and skull caps were decorated with twisted metal spirals, gold fringe, tassels, and sparkles. The patterns used in chain and gold embroidery are distinguished by a wide variety of motifs and an abundance of their variations. The patterns are clear and contoured. Tambour patterns in Tatar embroidery had significant influence on the ornament of the Bashkirs, Chuvash, Udmurts and Uzbeks. Women's dresses sometimes had frills embroidered on them. Most of these things are related to interior design. The furnishings and decoration of the Tatar house had a number of features. It was not customary to divide the house into rooms, or to load it with unnecessary furniture, so skillfully embroidered curtains and canopies appeared. The house became especially colorful during wedding celebrations - everything was decorated with embroidered and woven items of the newlywed. This custom, demonstrating the hard work and skill of the bride, is still alive in some rural areas. The traditions of folk embroidery are also preserved in the villages in connection with the Sabantuy holiday - young daughters-in-law give their products to the winners of sports competitions.
Embroidery was usually done on bright, saturated material - green, yellow, purple, burgundy. They embroidered with twisted silk, gilded or silver cord, beads, and pearls. Great value was given to the ornament, which consisted of geometric and floral motifs. In the composition of the blooming garden created by the craftswomen, one could recognize red poppies and yellow-eyed daisies, tulips and pansies. Kazan towels embroidered with silver and gold thread on white silk were especially beautiful.
Patterned weaving was also widespread, also associated with everyday life and having the character of a home craft. The ornament reveals similarities with Central Asian and Azerbaijani carpets, while the color structure (the predominance of red and its various shades) has no analogues.
Embroidery ornament of the 19th-20th centuries. basically consists of plant, geometric and zoomorphic motifs. All these types of ornaments originate in the culture of the distant ancestors of the Tatars. A feature of the ancient ornament is the curvilinear interpretation of patterns and motifs, “based on the technique of appliqué, vestibule, and mosaic.” The large share of floral patterns in Tatar embroidery, apparently, must be explained by the antiquity and popularity of the vestibule. The influence of the technical principle on the nature of the ornament is confirmed by counted and line embroidery, in which, on the contrary, geometric ornament dominates, and patterns of plant, zoomorphic origin are highly geometricized. We saw this pattern on towels stored in the museum (Appendix 4). Historical cultural and economic relationships with the peoples of the East, Western Asia and Asia Minor played a role in the improvement and consolidation of floral and plant motifs as traditional for Tatar folk embroidery. In Tatar art XIX-XX centuries floral ornament is least of all connected with the ancient symbolism of the divine forces of nature, but is determined by purely artistic tasks of reflection, glorification of the wealth, harmony and beauty of the eternally living flora. Observing nature and being inspired by it, the craftswoman still quite rarely reproduced real shapes. Although, if you compare embroidery with other types of Tatar folk arts, it stands out for its most realistic interpretation of floral and plant motifs. No matter how different floral ornaments in embroideries of other Volga peoples, up to late XIX century, among them there are almost no reproductions of specific plant species, whereas in the Tatar one this can sometimes be determined “with botanical accuracy.” And yet, plant patterns and in Tatar embroidery, as a rule, collective images. Moreover, on one branch, on one stem, the artist’s imagination combines completely different flowers, fruits and leaves (we encounter something similar in bouquet compositions). But the most conventional, generalized reproduction of plant images, the use of forms that real nature has never known, does not interfere with the impression of the vitality of the embroidered pictures of flowering gardens, the colorful motley grass of the steppes, forests, and fields.
Tatar folk ornament represents a bright and unique page in the artistic creativity of the people. Being the main means of decorative and applied art, it at the same time reflects the complex history of the formation and development of the people, their culture and art. Beautiful examples of Tatar ornament have found vivid expression in various works of centuries-old creativity of the people: in fine patterns of jewelry, colorful embroidery and patterned fabrics, carved plastic tombstones, headdresses, multi-colored mosaics of leather shoes, home decorations. The motifs and patterns of various household products, as well as the ornamentation of the home, reflect the richness of the artistic thinking of the people, a subtle sense of rhythm, proportion, understanding of shape, silhouette, color, and material. Along with the artistic and aesthetic aspects, the ornament quite clearly reveals the peculiarities of the life, economic activity and ideology of the people, the historical environment that in different eras introduced various layers into it. By its nature, the Tatar ornament is deeply connected with the ancient agricultural culture, which began long before the formation of Volga Bulgaria. However, in some of its manifestations, very ancient roots are felt, going back to the distant pastoral culture of the nomadic ancestors of the Kazan Tatars.
Pattern on the end of the towel. Tambour. Second half of the 19th century. Collection of NM RT. Pattern on namazlik. Fragment. Tambour. Mid XIX V. Collection of NM RT.
These roots are associated with types of art typical of nomadic culture, in which the development of ornamentation was based mainly on the technique of appliqué and mosaic on leather and wool, chain embroidery, felting, etc. These types of ornamentation techniques that have survived to today in folk art, contributed to the development of curvilinear motifs, patterns and a generally unique style, which had a significant influence on later ornament associated with other types of ornamentation techniques (stone carving, wood carving, some types of jewelry technology, etc.).
The stability of the ornament, associated with the life, traditions and customs of the people, led to the peculiar coexistence of two types of ornament - ancient pastoral and agricultural, which gave rise to the development of a number of derivative patterns. Various historical layers determined the diversity and complexity of the ornament, which, in the process of its long development, already in the first half of the 16th century. had pronounced stylistic features associated with the artistic traditions of the Volga-Kama Bulgars and Golden Horde Tatars.
Comparative historical study shows that while the Tatar ornament contains a number of common Turkic elements, it also contains a very archaic group that reveals a connection with the ornament of the ancient Altai art of the first millennium BC. A large group of ornaments of the medieval period (starting from Bulgar times), related to the ornaments of the peoples of Oguz-Pecheneg origin, is widespread, which indicates an ancient ethnogenetic connection of the Tatar people with the Oguz-Pecheneg group of Turkic-speaking peoples. At the same time, the Tatar ornament contains elements that reveal kinship with the ornament of the tribes and peoples of the Kipchak language group.
There is no doubt that complex historical conditions the formation of the culture and art of the people predetermined the presence in the Tatar ornament of elements of the ornament of other tribes and nationalities, which played a certain role in the culture and ethnogenesis of the Kazan Tatars. Therefore, the study of Tatar ornament requires the use of materials on the folk art of a number of other peoples. Unfortunately, art history and ethnographic literature in the field of folk fine arts and especially the ornamentation of the Turkic-speaking peoples of the East and the Finno-Ugric peoples. Materials on the ornamentation of the Volga-Kama Bulgars are also scarce, from which mainly the works of urban professional artisans (jewelers, bone carvers, stone). It should be noted that in my research I have to compare the folk ornament of the Kazan Tatars with the ornament of urban products of the Volga-Kama Bulgars. This is quite acceptable, since the creativity of professional artisans during the Middle Ages was closely intertwined with folk art and reflected it artistic traditions and concepts.
Attention to the Tatar ornament is caused not only by problems associated with their scientific nature and of particular interest to art critics, ethnographers, and historians, but also by the practical tasks of creative development of the rich ornamental heritage of the people by artists, architects, and masters of the art industry.
The realistic basis for the perception of reality, reflected in folk ornament, gives the works of Tatar masters and craftswomen especially great artistic and educational value. The realism of the Tatar ornament is based on its deep relationship with the nature and life of the people, with those technical methods pattern creation, which determined the organic nature of the pattern with the material and purpose of the household product.
Elena Motorina
I present to your attention didactic games to familiarize children with the Tatar ornament middle preschool age. Games selected in accordance with the new requirements for the corner "Tugan irem Tatarstan» .
Didactic game"Find a Pair" (domino)
Target games:
Learn children find identical pictures and connect them into chains. Fix the names of elements Tatar ornament.
Develop attention, observation, logical thinking. Cultivate an interest in art Tatar people.
Rules games:
Dominoes are exciting board game, which uses plates. This plate is divided into two parts, the domino set includes 28 plates.
The game is designed for 2-4 players. The plates are mixed. Each player takes 6 cards. Other cards in "reserve" in the middle. Each player takes turns, clockwise, lays out 1 card so that one of the card pictures is the same as one of the outer pictures on the playing field. If the player does not have a suitable card, then he goes to "reserve" and takes cards until he finds the one he needs. If there are no more cards in "reserve" the player misses his turn. If no player can move, the game is over.
Didactic game“Make a pattern on a napkin”
Target games:
Learn children compose Tatar national pattern or ornament on a napkin.
Develop the ability to compose beautiful compositions. Enrich the dictionary children, names. Develop fine motor skills, hand-eye coordination.
Cultivate an interest in history Tatar people and their traditions
Rules games:
The game uses "napkins" white, yellow and red colors, elements Tatar ornament - tulips, bells, leaves.
Option 1. Each player takes one "napkin" and selecting elements Tatar ornament puts a pattern on it.
Option 2. The player is given "napkin" with a pattern already laid out on it. He needs to put the same pattern on his "napkin".
Didactic game"Find and name"
Target games:
Learn children find and name elements Tatar ornament: tulip, bell, leaf, make pairs of them. Enrich your vocabulary children, names Tatar national ornament.
Develop attention and memory.
Cultivate an interest in art Tatar people.
Rules games:
The game uses large, divided into two parts, and small cards. Each player takes 1-2 large cards. The small cards are shuffled.
Option 1 The presenter shows one small card at a time, calling Tatar element which is depicted on it. Players must find the item on their big card, name it again, and place it on the second empty part of the big card.
Option 2 The presenter shows one small card at a time, without naming Tatar element, which is depicted on it. Players must find this item on their large card, name it, and place it on the second empty part of the card.
Option 3 Players are asked to find all the elements of a tulip (bell, leaf) on small cards, name this element and put them on the second empty part of the large card.
