What folk crafts is Tatarstan famous for? Tatar folk democratic and applied art. Mortgage and bran weaving

Tatar culture mektebe weaving

The main defining feature of which is the collective nature of creativity, manifested in the continuity of centuries-old traditions. First of all, the technological techniques of manual labor are continuous, passed on from generation to generation of folk craftsmen. Works of traditional handicraft bring to us many artistic images that connect our time with the culture of antiquity. Emerging at the earliest stages of human development and accompanying people at all stages of their lives, folk art forms the basis of national culture.

Since ancient times, when making objects necessary for everyday life, the master sought to give them beautiful shape, decorate them with ornaments, i.e. thereby turning ordinary things into works of art. Often the shape of the product and its ornament also had a magical, cult purpose. Thus, one and the same object could simultaneously satisfy a person’s real needs, meet his religious views and correspond to his understanding of beauty. This syncretism is characteristic of art, which was inseparable from folk life.

Tatar folk arts and crafts, being part of both the material and spiritual culture of the ethnos, includes various types of artistic creativity associated with the design of homes, costumes, traditional ritual and festive culture. Over the course of centuries, Tatar folk art has developed into a unique synthesis of sedentary agricultural and steppe nomadic culture. In the most developed types of Tatar folk art (leather mosaic, gold embroidery, tambour embroidery, jewelry, mortgage weaving) the traditions of the ancient sedentary urban and steppe nomadic cultures are clearly visible. A special role in the formation of this art belongs to the Kazan Khanate - a state with highly developed craft traditions, the origins of which are connected with the urban crafts of the Volga Bulgaria and the Golden Horde. After the collapse of the Golden Horde, the nomadic elements overwhelmed its once powerful and vibrant urban culture. And only in settled areas, primarily in the Kazan Khanate, was its legacy accepted and continued to live and develop, constantly enriched and nourished by the traditions of the local Finno-Ugric and Slavic-Russian population, reaching its highest peak in the 18th - mid-19th centuries.

Andrianova Arina, Makarova Daria

Folk arts and crafts: painting on wood and the history of painting in the Republic of Tatarstan

Target: Analysis of the state and development trends of folk art crafts of the Republic of Tatarstan.

Tasks: 1. cultivate a sense of patriotism through artistic heritage our region;

2. instill a love for folk traditions;

3. to develop skills in working using established traditional folk methods of wood painting.

Object of study: wood painting

Subject of research: painting technology

Study participants: school students

Hypothesis: Stimulating interest in folk art, and gaining skills and abilities in this area is possible only through close acquaintance and immersion in historical roots through independent creativity.

Relevance: Folk arts and crafts of the Republic of Tatarstan are an integral part national culture. They embody the centuries-old experience of aesthetic perception of the world, facing the future, and preserve deep artistic traditions, reflecting the identity of the culture Tatar people. Folk arts and crafts of our Motherland are both a branch of the artistic industry and a field of folk art. A combination of traditions, stylistic features and creative improvisation, collective principles and views of an individual, hand-made products and high professionalism - characteristic features creative work of craftsmen and craftsmen of the Republic of Tatarstan.

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III International Scientific and Practical Conference "Discovery"

Municipal Budgetary Educational Institution

"Yulduz Secondary School"

research work

The work was completed

Andrianova Arina, Makarova Daria

5th grade students

MBOU "Yulduz Secondary

secondary school"

Chistopol municipal district of the Republic of Tatarstan

Head of work

Andrianova Irina Kabirovna

teacher fine arts

Russian Federation

Chistopol, RT-2016

I. Introduction…………………………………………………………………………………4

II. Theoretical part

1. Features of the folk crafts of our region………………………5

1.1. The history of wood painting………………………….5

1.2. Peculiarities Tatar ornament ………………………………….7

III. Practical part

1. Practical significance of folk crafts……………………… 10

Product material………………………………………………………. …………………10

IV. Conclusions…………………………………………………………………………………..11

V. Sources……………………………………………………………..12

INTRODUCTION

Subject research work: Folk arts and crafts: painting on wood and the history of painting in the Republic of Tatarstan

Target: Analysis of the state and development trends of folk art crafts of the Republic of Tatarstan.

Tasks: 1. cultivate a sense of patriotism through the artistic heritage of our region;

2. instill a love for folk traditions;

3. to develop skills in working using established traditional folk methods of wood painting.

Methods: - the method of compositional and artistic analysis was used in detailed study artistic painting on wood;

The method of longitudinal research (conducted over a long time) was based on the study of literature on the art of the Republic of Tatarstan, visiting local history museums, in order to get acquainted with Tatar crafts; practical classes at the fine arts club.

Object of study:wood painting

Subject of research:painting technology

Study participants: school students

Hypothesis: Stimulating interest in folk art, and acquiring skills and abilities in this area, is possible only with close acquaintance and immersion in historical roots through independent creativity.

Relevance: Folk arts and crafts of the Republic of Tatarstan are an integral part of national culture. They embody the centuries-old experience of aesthetic perception of the world, looking to the future, and preserve deep artistic traditions that reflect the originality of the culture of the Tatar people. Folk arts and crafts of our Motherland are both a branch of the artistic industry and a field of folk art. The combination of traditions, stylistic features and creative improvisation, collective principles and views of an individual, hand-made products and high professionalism are characteristic features of the creative work of craftsmen and craftsmen of the Republic of Tatarstan.

Theoretical part.

1. Peculiarities of folk crafts of our region.

The history of wood painting

One of the most ancient types of folk crafts, which for several centuries have been an integral part of the everyday life and original culture of the people, is artistic painting. Archaeologists claim that the architecture of the Kazan Tatars dates back to the urban buildings and estates of the ancient Bulgars. One of the advantages of this architecture is the art of ornamentation using the technique of wood carving. Examples of such ornamentation from the time of ancient Bulgaria have not reached our time. However, the high skill of its carvers is evidenced by an oak facing plate found in the village of Bilyarsk on the site of the Bulgarian city of Bilyar from a wooden tombstone of the 12th century (it is kept in National Museum Republic of Tatarstan). The front side of the overlay is decorated along the border with carved floral patterns, indicating the experience and high artistic level of wood processing.

A remarkable expert on Tatar folk ornaments, the first doctor of art history in the Volga region, Fuad Valeev (1921-1984) wrote that the ornamentation of the Tatar dwelling in various historical periods was performed using different techniques: for the end of the 18th - early XIX century, notched and contour carvings were characteristic; in the 19th century, “blind” and contour carvings became especially widespread, from the end XIX century- saw blade of European origin.

The main means of decorating Tatar buildings are pointed and keeled pediment niches, pilasters, columns, patterns in the form of a rectangular or square grid, round floral rosettes, triangular or rhombic pyramids, plaits, etc. The miracle of artistic processing of canne mora wood is the creation of a soft play of chiaroscuro due to the fine and frequent relief. Another thing is a kind of polychrome (striped) coloring.

Using the simplest straight and curvilinear geometric, as well as floral patterns and their combinations, the Tatar master delights with his ability to create complex and bizarre compositions using stencils to decorate a house, fence, or gate.

In the second half of the 19th century, colored glazing of the lower parts of window sashes on the facade and pediment, and in the city - on balconies and terraces, became widespread. The most preferred colors are red, yellow, purple, green, blue and their shades. The hobby of the village rich is painting on wood the plane of the pediment niches along the facade; The most popular painting subjects are the “tree of life” and lush flower bouquets. However, this fashion during the formation of Russian capitalism was in fact only a revival of the art of painting, developed during the time of the Golden Horde.

Tatar ornamentation with wood carvings and other methods of home decoration were influenced in the process of their development local traditions peoples of Turkic and Finno-Ugric origin, and later Russians. Wood painting has developed in modern folk art of the republic in a certain new quality - in the form of the Tatar “Khokhloma”, which has become widespread in the creation of souvenir products.

The products differed from traditional Khokhloma ones, both in purpose, shape, and color scheme. When painting products, craftsmen use Tatar ornamental motifs and a color scheme characteristic of national art. (see appendix)

1.2. Features of the Tatar ornament

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 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. 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 form, silhouette, color, and material. There are several types of ornament:

1. Floral and plant ornament. Richest world plants have always inspired folk craftsmen and craftswomen in their creativity. Floral ornament is becoming widespread in almost all types of folk art and amazes with the abundance of floral motifs, the picturesqueness of their interpretation, and the richness of color combinations.

2. Zoomorphic ornament. Nature gave creators of folk art the opportunity to widely observe the world of living images. The bird motif has been most consistently preserved in the works of the people. Many beliefs, fairy tales and legends are associated with the image of a bird. In the minds of the people, since ancient times, the bird has been a symbol of the sun and light, a mediator between the human soul and the sky. Even in the recent past, the custom of the Tatars was fortune telling by bird calls. You can find a wide variety of variations of mainly contour images of birds. Most often they are presented with open beaks and wings, two heads and tails branched to the sides. Doves are usually interpreted in a paired heraldic composition.

3. Geometric ornament. Among the diverse motifs and patterns of the Tatar ornament significant place occupy geometric ones. True, they are inferior in their distribution to floral and plant patterns, but nevertheless they are also widely used in decorating rural homes, jewelry and patterned weaving.

The system of constructing patterns has been familiar to man since ancient times.

The composition of the patterns was based on the creation of certain rhythms, repetitions, and alternation of various motifs.

The following compositions are found in the ornament: a ribbon composition is formed from rapports having parallel guides; a heraldic (reverse) composition is based on the symmetry of the image with respect to the vertical, and in some cases, the horizontal axis.

Mesh (carpet).

Central radial or radical, rosette composition. In this composition, the pattern is based on axial rays emanating from one center.

Composition in the form of a flower bouquet.

Color:

The Tatar ornament is characterized by multicolor, which begins from the base. Preference was given to bright rich colors: green, yellow, purple, blue, burgundy and red. A colored background is mandatory in multi-color embroidery. It enhances one range of colors and softens another. In general, it contributes to the creation of rich color harmony. Thanks to the colored background, the composition of the ornament became clear, rhythmic and soft in color transitions.

In colors plant patterns and their elements there is a great sense of freedom: leaves, flowers, buds, even on one branch, were made in different colors. And besides, individual flower petals, their veins, and individual leaf elements were made in several tones. Favorite technique color composition is the technique of contrasting “warm” and “cold” tones. The background usually has a red, white and red color scheme. The patterns usually feature from 4 to 6 different colors. The predominant place is occupied by blue, green, yellow and red tones. Despite the color saturation and brightness of patterned fabrics, they do not seem overly variegated, thanks to the colored background, which extinguishes the bright color relationships. Rich patterns are distinguished by the richness of the colors used: green, blue, yellow, indigo, red, violet. All these colors are taken in full tones and have various shades. The color schemes of the patterns are characterized by a combination of green and red, blue and purple. Usually the master or craftswoman sought to create bright color contrasts. With any combination of colors and their brightness, and the overall color scheme, the impression of flashy variegation is never created. This is facilitated by a colored background, which softens or, on the contrary, reveals individual color spots.

Practical part.

2.1. The practical significance of painting on wood

What a master needs:

Materials. The main material for painting is paint. When painting wood, the same paints are used as in painting: oil, tempera, gouache, watercolor, as well as aniline dyes. Tools.

The main tool of a painting master is a brush. Most often, round squirrel and core brushes of different sizes are used for painting: - round squirrel brushes No. 1 and No. 2 with medium-length bristles (for contour work and outlining with black paint), - round squirrel brushes No. 2 and No. 3 for applying red paint,

Flat synthetic or bristle No. 4,5,6 for applying primer and for varnishing. The ideal brush for painting should resemble a drop, a seed, or a candle flame. The wooden tip of the brush is also working - it is used as a “poke” for applying dots: “seeds”, “dewdrops”. A palette is needed to mix paints and remove excess paint from the brush.

Final finishing of a painted product. The varnish coating allows you to protect painting on wood from exposure external environment: moisture, temperature changes, active substances. In addition, covering materials - drying oil, varnish, mastic - give the product additional decorative effect. Finishing a product with varnish is also a kind of art. It happens that a beautifully painted item loses its attractiveness under incorrectly selected or poorly applied varnish. It is no coincidence that at artistic painting enterprises there is a profession called lachila. Oil varnish PF-283 (4C) has proven itself with the best side and most suitable for the job. It is best to put the polished item in a clean box with a lid, wiped with a damp cloth, or simply cover it with a box on top so that less dust accumulates and the smell of varnish does not spread. When dry, a glossy elastic surface is formed, which has increased physical and mechanical properties and is resistant to contact with water.

Conclusion:

So, summing up the results of the study, we conclude that national painting changes the very image of the product. It becomes more expressive at the level of color scheme, rhythm of lines and proportionality. It is an integral part of the identity of the Tatar people. Wood painting has long attracted the attention of folk craftsmen in architectural art. Fortunately, in the Republic of Tatarstan today various types of wood painting have been preserved and are developing, echoing the peoples of Russia, and acquiring their own national peculiarity in household items.

Conclusion

We are convinced that we should become familiar with folk culture as early as possible. Having mastered special skills and especially abilities, you become involved in the production of objects of decorative and applied art with passion. This has a positive effect on the overall artistic development, formation creativity, accustoms to diligent, conscientious work.

In the process of completing the work, we painted decorative boards and learned painting techniques. Our task was to get acquainted with the history of the development of the artistic craft of the Tatar people, awaken interest in folk art among peers, and give the joy of creativity, which we successfully accomplished.

List of used literature

1. Album "Folk artistic crafts of Russia" Comp. Antonov V.P. M., 1998.

2. Alferov L.G. Painting technologies. Tree. Metal. Ceramics. Fabrics. – Rostov-on-Don: Phoenix, 2001.

3. Voronov V.S. Encyclopedia of applied creativity. – M., 2000.

4. Valeev F.Kh. Ancient art Tatarstan. – Kazan, 2002. – 104 p.

5.Culture of the peoples of Tatarstan\author-comp. L.A. Kharisova. – Kazan, 2005. – 367 p.

6. Nurzia Sergeeva “Ebiemnen sandygy.” - Kazan, 1995

7. Folk craft: - St. Petersburg, State Russian Museum, Palace Editions, 2000 - 12 p.

8. Fuad Valeev. "Tatar folk ornament". - Kazan, 2002

Application

Fig.1

Examples of merging geometric and floral patterns

Floral ornament

Fig.2

Examples of varieties of Tatar ornaments

Fig.3

Modern examples of wood painting

Set of plates with Tatar ornaments

Are you interested in the history, culture and traditions of the Tatar people, our region? Do you know how traditional Tatar shoes were made - ichigi boots and shoe shoes? How do Tatar bast shoes differ from Russian ones? Why do women's headwear - kalfak - have different sizes? To find out all this, you need to visit our exhibition “Ungan halkymnyn osta kullary: Tatar halyk Һөnərləre” - “Golden hands of masters: folk crafts of the Tatars”.

For many centuries, the traditional crafts of the Tatars have been jewelry and gold embroidery, leather mosaics, tambour embroidery and embedded weaving, woodworking and felting. Thanks to traditions and preserved products made by the hands of masters of the past, crafts known for their originality and popularity have developed.

The National Museum of the Republic of Tatarstan preserves one of the largest collections of products and tools of Tatar craftsmen. Many of them represent traditional crafts, the secrets of which have been passed down from generation to generation. When creating a new work, the true master not only relied on the experience of past centuries, but also tried to find his own original solution.

Nowadays, the best traditions of folk arts and crafts are being revived in Tatarstan. Maintaining continuity, folk craftsmen create works of art that correspond to new forms of life, making extensive use of national ornaments and traditional techniques.

At the exhibition you can see rarities of crafts and crafts of the 19th-20th centuries. and products of modern masters.
Among them are paintings on velvet made by Luiza Faskhrutdinova, elegant works by leather mosaic masters Sofia Kuzminykh, Ildus Gainutdinov, Nailya Kumysnikova and others.

The creators of the exhibition hope that it will be of interest to the visitor not only for its content, but also for its interactive areas. The exhibition includes master classes on gold embroidery, leather mosaics, wood carving, and calligraphy; museum activities “We don’t miss drinking tea”, “Visiting the stove”; interactive theatrical excursions “Living Exposition”.

Most ancient writing Turkic runic. From the 10th century to 1927, writing based on Arabic script existed; from 1928 to 1936, Latin script (Yanalif) was used; from 1936 to the present, writing on a Cyrillic graphic basis was used, although there are already plans to transfer Tatar writing to Latin. Tatars speak the Tatar language of the Kipchak subgroup of the Turkic group of the Altai family. The languages ​​(dialects) of the Siberian Tatars show a certain proximity to the language of the Tatars of the Volga region and the Urals. Literary language The Tatars were formed on the basis of the middle (Kazan-Tatar) dialect.

The traditional dwelling of the Tatars of the Middle Volga and Urals was a log hut, separated from the street by a fence. The external façade was decorated with multicolor paintings. The Astrakhan Tatars, who retained some of their steppe cattle-breeding traditions, used a yurt as a summer home.

Kuzikmyaki are hot flatbreads made from unleavened dough, folded in half, with any filling: be it potatoes with onions, wheat porridge with butter, pumpkin puree, poppy seeds and many more options! Chak-chak is an oriental sweet made from dough with honey. Tatar pilaf - Echpomchak pilaf is especially popular among the Tatars - they put lamb in the filling.

The clothing of men and women consisted of trousers with a wide step and a shirt (for women it was complemented by an embroidered bib), on which a sleeveless camisole was worn. Outerwear was a Cossack coat, and in winter a quilted beshmet or fur coat. The men's headdress is a skullcap, and on top of it is a hemispherical hat with fur or a felt hat; Women have an embroidered velvet cap (kalfak) and a scarf. Traditional shoes were leather ichigi with soft soles; outside the home they wore leather galoshes. Women's costumes were characterized by an abundance of metal decorations.

Like many other peoples, the rituals and holidays of the Tatar people largely depended on the agricultural cycle. Even the names of the seasons were designated by a concept associated with a particular work: saban өste spring, the beginning of spring; It's summer, haymaking time.

Its time is after the end of spring field work and the beginning of haymaking. On this holiday, residents of some villages became guests of others. Those who went to visit sewed outfits, baked pies, and took with them the carcasses of dried geese. They arrived on decorated carts, entered the village with music and songs, children opened the decorated field gates for the guests. The hosts set the table anew for each newly arrived guest. In the evening a common dinner was organized. On all days of the visit, the owners heated the baths: kunakny khormeshe muncha bath is the highest honor for a guest. This is the customary belief among the Tatars. The Vienna holiday strengthened family and friendly relations, united the village and the surrounding area: people felt like one family during this holiday

According to the old, old tradition, Tatar villages were located on the banks of rivers. Therefore, the first beyram “spring celebration” for the Tatars is associated with ice drift. This holiday is called boz karau, boz bagu “watch the ice”, boz ozatma seeing off the ice, zin kitu ice drift. All residents, from old people to children, came to the river bank to watch the ice drift. The youth walked dressed up, with accordion players. Straw was laid out and lit on floating ice floes. In the blue spring twilight these floating torches were visible far away, and songs followed them.

Tatar wedding ceremonies are so diverse that it is impossible to tell about them all. Every marriage was preceded by a conspiracy, in which the Yauch (matchmaker) and one of the older relatives participated on the part of the groom. If the bride's parents agreed to the marriage, during the course of the conspiracy, issues were resolved about the size of the bride price, the bride's dowry, the time of the wedding, and the number of invited guests. After the conclusion of the “marriage contract”, the bride was called yarashylgan kyz - the matched girl. For 3-5 weeks, the parties prepared for the wedding. The groom collected the bride price, bought gifts for the bride, her parents and relatives, pillows, feather beds and other belongings. The bride was completing the preparation of the dowry, which she had begun to collect at an early age. It consisted of homemade dresses, underwear, as well as gift clothing for the groom: embroidered shirts, trousers, woolen socks, etc. Relatives of both parties were busy organizing the upcoming wedding.

There was a belief in various master spirits: water - suanasy, forests - shurale, earth - fat anasy, brownie oy iyase, barn - abzar iyase, ideas about werewolves - ubyr. Prayers were held in groves called keremet; it was believed that an evil spirit with the same name lived in them. There were also ideas about other evil spirits - gins and peri. For ritual help they turned to the yemchi - that’s what healers and healers were called. Believing Tatars, with the exception of a small group of Kryashens (including Nagaybaks), who were converted in the XVI XVIII centuries Orthodoxy, Sunni Muslims.

The basis of the ichizh craft as a mass production of Tatar patterned footwear from the leather of boots (chitek, ichigi) and shoes (bashmak, chuvek) is the tradition of artistic processing of leather using the kayula kun mosaic technique, rarely embossing. Shoes are created from patterned multi-colored pieces of leather (morocco, yuft), sewn end to end, using unique technology hand stitching, weaving and at the same time decorating the product. Mass distribution The Tatars acquired the jewelry craft. This was due to the high level of its development, dating back to the Middle Ages, and the preservation of traditions both in production technology and in the design of jewelry. Jewelers worked with gold (altyn), silver (komesh), copper (bakyr) and their alloys.

Tatars have school education in the Tatar language. It is taught according to the all-Russian program and textbooks translated into Tatar language. Exceptions: textbooks and lessons of Russian language and literature, English language and others European languages, OBC, commands in physical education lessons can be in Russian. There is also Tatar-language education in some faculties of Kazan universities and in kindergartens. Secular school with a ten-year training period began to exist among the Tatars with the introduction of compulsory secondary education for all citizens of the USSR. Previously the role educational institutions performed madrasah.

The national music of the Tatars - the people of Eurasia with a centuries-old history and distinctive culture - is an integral part of world civilization. Its emotional content and musical style are manifested in the most concentrated form in the lyrical lingering song, presented here in the interpretation of recognized masters of folk music performance. But the traditional song is not only a monument to folk song; it is still heard today in radio and television programs, concert programs. Getting to know Tatar music will allow you to better understand the spiritual culture of a people with a rich historical destiny.

Description of the presentation by individual slides:

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Folk crafts Performed by: I category teacher Khakimzyanova Liliya Gabdraufovna

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History of national costumes of the Tatars Clothing is the most significant attribute of a particular nation. In the Middle Ages, one quick glance at a person was enough to determine who he was by nationality, whether he was rich or poor, married or not. Of course, over time, clothing loses its national “color,” but it still remains one of the basic and vital things in a person’s life. Traditional clothing Tatars from the Middle Ages - open shirts, women's dresses, hats, robes, shoes - like ordinary people, and the aristocrats largely coincided. Tribal, tribal, social and clan differences in clothing were expressed mainly in the cost of the materials used, the richness of the decor, and the number of wardrobe items worn. The clothes, created over centuries, were very beautiful and more than elegant. This impression was created by finishing the clothes with expensive furs, traditional embroidery, decorated with beads and lurex, and braided ribbons.

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It is worth noting that the traditional clothing of the Tatars was greatly influenced, first of all, by the nomadic lifestyle. Tatar craftsmen designed and sewed clothes so that they were comfortable for riding a horse, warm enough in the winter and not hot and heavy in the summer. As a rule, for sewing clothes they used materials such as leather, fur, thin felt from camel or lamb wool, cloth, which they made themselves. In a word, the material used was everything that was constantly at hand for people who have been involved in cattle breeding for centuries.

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Let's see how the Tatar's clothes changed from his birth and in the process the shirt was put on no earlier than six months later. And only at the age of 3–4 years, children began to be dressed in clothes very similar to the clothes of adults. Children's clothing for boys and girls was similar. There were no “girls” and “boys” clothes, and gender differences were evident in jewelry and accessories and colors. The clothes of girls and women, as a rule, were in bright colors of blooming nature: red, blue, green. As for boys, as well as men, their clothes were mostly black and blue colors. Girls from the age of three until marriage wore simple silver earrings and modest, smooth rings. At the age of 15–16, that is, having reached marriageable age, girls wore a full set of silver jewelry on holidays: earrings, chest jewelry, bracelets and rings. Once married, the modest girl’s attire was replaced by numerous massive rings, earrings and belt plaques.

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Maturity period Tatar men and women were celebrated not only with a maximum set of jewelry, but also with changes in costume. The cut of shoes, robes, dresses, and hats changed. Women aged 50–55 tended to wear simple jewelry again, and gave away their expensive jewelry to their daughters and young relatives.

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The traditional headdress for men was a skullcap (tubyatay), which was a small cap placed on the top of the head, on top of which they put on all kinds of fabric and fur hats (burek), felt hats (tula ashlyapa), and ritual attire (turban). The earliest and most widespread type of skullcap was cut from four wedges and had a hemispherical shape. To preserve the shape and for hygienic reasons (a method of ventilation), the skullcap was quilted, placing twisted horsehair or cord between the lines. The use of various fabrics and ornamentation techniques in sewing allowed artisans to create an endless variety of variations. Bright embroidered skullcaps were intended for young people, and more modest ones for old people. A later type (kalyapush) with a flat top and a hard band - initially became widespread among the urban Kazan Tatars, probably under the influence of Turkish-Islamic traditions (fas).

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The upper headdresses were round “Tatar”, cone-shaped caps, cut from 4 wedges with a fur band (kamal burek), which were also worn by Russians, in particular in the Kazan province. Among the townspeople, cylindrical hats with a flat top and a hard band made of black astrakhan fur (kara burek) and gray Bukhara merlushka (danadar burek) were common. The headdresses of Tatar women, in addition to their main purpose, also indicated marital status housewives. For married women they differed in different tribes and clans, but for girls they were of the same type. Unmarried girls It was customary to wear a “takiya” - a small hat made of fabric, and a “burek” - a hat with a fur band. They were sewn from bright fabrics and always decorated with embroidery or various stripes made of beads, corals, beads, and silver.

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Leather boots - ichigi - are considered the national footwear of the Tatars. It was them that the Tatars wore everywhere and all seasons. For winter, these were high boots with a wide top; for summer, boots were made of soft rawhide leather with high heels and a curved toe. Women's shoes were decorated with embroidery and appliqué. An important element in Tatar clothing was the belt. To decorate it, the Tatars used wide, decorated silver and gold buckles. The belt was considered an inseparable thing of a living person, symbolizing his connection with the human world.

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Women's jewelry is an indicator of a family's material wealth and social status. As a rule, jewelry was made of silver, gilded and inlaid with stones. Preference was given to brown carnelian and bluish-green turquoise, which were endowed with magical powers. Lilac amethysts, smoky topaz and rock crystal were often used. Women wore rings, rings, bracelets different types, various fasteners for “yak chylbyry” gates, braids. Even at the end of the 19th century, a chest sling was required - a synthesis of amulet and decoration. Jewelry was passed down in the family by inheritance, gradually being supplemented with new things. Tatar jewelers - "komesche" - usually worked on individual orders, which led to a wide variety of objects that have survived to this day. Traditionally, a Tatar woman would wear several items at the same time - all kinds of chains with pendants, watches, and always one with a hanging Koran, complemented by beads and brooches.

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The traditional clothing of nomads remained until the beginning of the 20th century. After the conquest of the Tatar khanates by the Moscow principality, the introduction of Russian culture began. The fashion has come for round felt hats with a flat top - fez. Wealthy Tatars wore a fez, and a shorter fez, a skullcap, was worn by the poor. Today, modern Tatars wear European clothes. True, modern Tatar folklore and amateur song and dance ensembles wear European clothes, mixed with Islamic clothing of the 18th century. and the beginning of the 19th century, they put a skullcap on their head and dance, dance, sing songs, convincing people that they are performing in national Tatar clothes.