Among the ancestors of the Tatars there were many artisans. Masters lived in almost every village. There were those whose products were worth their weight in gold. Such craftsmen were known far beyond the village.
Alas, the ancestors of the Tatars lost many types of crafts even before the 1917 revolution. By the beginning of the 20th century, they stopped weaving carpets and complex patterned fabrics, stone carving and some jewelry crafts disappeared. Only in some villages did craftsmen continue to embroider with gold on headdresses - skullcaps and kalfaks, felt products from felt, and weave lace. The ones that lasted the longest were wood carving, simple patterned weaving, embroidery, silver nielloing, and the making of leather mosaic shoes.
Where did the artels work?
In the 1920s, Tatar craftsmen united into artels. Using them you can trace the geography of the existence of folk crafts on the territory of the republic.
- Gold embroidery - Kazan.
- Leather mosaic - Kazan.
- Embroidery - Kazan, Kukmorsky district, Chistopol.
- Patterned shoes - Kazan, Arsky, Laishevsky, Pestrechinsky, Dubyazsky (now Vysokogorsky) regions.
- Weaving - Menzelinsk, Naberezhno-Chelninsky (Sarmanovsky), Alekseevsky, Laishevsky districts.
- Felt carpet making - Dubyazy (Vysokogorsk region).
- Wood carving - Sabinsky, Mamadyshsky districts.
- Lace making - Rybnaya Sloboda.
- Jewelry craft - Kazan, Rybnaya Sloboda.
- Artistic metal - Arsk.
- Ceramics - Laishevsky district.
How weaving looms were dispossessed
In the 1920s, Tatar artisans began working in artels. It was then that our craftsmen became famous throughout the USSR, as well as in Europe and the world, because their products were exported. In those years, the works of Tatar craftsmen were exhibited in Paris, Monza Milano, Leipzig, Riga, Prague, and Vienna.
At the All-Union Agricultural and Handicraft Exhibition in Moscow in 1923, an entire pavilion of the Tatar Republic was dedicated to their work. Visitors saw tambour embroidery, headdresses embroidered with silver thread, jewelry, ceramic jugs, carved wooden dishes and boxes. And at the exhibition “The Art of the Peoples of the USSR,” craftsmen presented products using the techniques of artistic weaving, gold embroidery, leather mosaic and others.
Everything changed by the early 1930s. Old-timers recalled that in Tatar villages, which were famous for their artistic crafts, jewelers, weavers, and carpet makers were classified as kulaks. During dispossession, weaving looms and other ancient craft tools and implements were burned. Some continued to practice their craft secretly, but most chose not to take risks.However, in the 1980s, researchers noted that traditional folk arts still survived as home crafts. They mostly did what was needed in everyday life with their own hands - they wove rugs and rugs, wove utensils from wicker, and hung carved frames on windows. But only single craftsmen were engaged in tambour embroidery, carpet weaving, and silver plating. But the techniques and patterns used by the artisans still changed. What did Tatar craftsmen prefer in the old days?
Mortgage and bran weaving
Patterned fabrics from multi-colored linen, hemp and wool threads were woven by hand on wooden looms. Since ancient times, threads have been dyed with vegetable, and later with aniline dyes. Tatar craftswomen used their own weaving techniques and knew how to correctly thread the threads into the loom so that even the most complex weaving pattern could be formed. Wide white towels with red patterns were used for various ceremonies, for example, weddings or when greeting guests with bread and salt.
Samples of towels of the early 20th century from the collections of the State Museum of Fine Arts of the Republic of Tatarstan Photo:
Handmade carpet weaving
Probably many people have seen checkered paths in villages. To make them, craftswomen spent months collecting scraps of fabric, sorting them by color and rolling them into balls. In the old days, not only rugs, but also brightly colored carpets were woven on handlooms. The ornaments were usually large, geometric in green-blue and golden-yellow tones. For contrast, the background of the carpet was most often dark. They usually wove several panels, which were then joined and trimmed with a border. By the way, carpets and wall panels were also made from felt.
Handmade wool carpet. Yelabuga, 1980s Photo:
Tambour embroidery
Embroidery is considered one of the oldest types of artistic creativity of the Tatars. It was used to decorate household items, folk costumes. Tambour embroidery was called by the type of seam used in it, similar to a chain with a simple anchor weave. The chain stitch was used to make the contours of the patterns and fill in large elements - petals, leaves. To speed up the process, the craftswomen used a hook rather than an ordinary needle.
Velvet pillow embroidered with chain stitch, 1960s Photo:
Gold embroidery
Such embroidery decorated headdresses, dresses and camisoles, bedspreads and hasite - a breast belt. Bouquets and golden feathers were embroidered on thin velvet, velor, and sometimes on silk and other thin fabrics, as well as on leather. They used not only metal gold and silver threads, but also gimp - a thin wire twisted into a spiral. Over time, silver and gold threads were used less and less, usually coated copper threads.
Gold embroidery with gimp. Photo: AiF/ Nail Nurgaleev
Bulgarian cross stitch
This type of embroidery is more recent and was widespread in the 20th century. The Bulgarian cross resembles regular cross stitch, only the crosses are superimposed on one another in such a way that the result is an element similar to an eight-pointed snowflake. Cross stitch used to be used to embroider, for example, wedding and other homespun shirts, towels, pillowcases, curtains, and tablecloths.
Lace weaving with bobbins
The most famous lacemakers lived in Rybnaya Sloboda and Pestretsy. Serfs also wove lace napkins, runners, and collars; their work was even sold abroad, called “Brussels” lace. Were on the products and geometric patterns, and plant ornaments, images of animals. In Rybnaya Sloboda, lace products were edged with thick thread, which distinguished the products from the work of other masters. At the beginning of the 20th century, Tatar lacemakers received a prestigious award at an exhibition in Chicago.
Leather mosaic
This ancient craft of the Tatars has received worldwide recognition. Tatar craftsmen mainly made patterned boots - ichigi from multi-colored pieces of leather, assembled into plant and flower patterns. They say that even Torzhok gold seamstresses, trying to keep up with Tatar craftsmen, began to decorate shoes with gold embroidery. Later they began to make shoes, pillows, tobacco pouches and other products using the leather mosaic technique. This fishery is still alive today.
Ichigi. Photo: AiF/Maria Zvereva
Ceramics
It was common among the Kazan Tatars until the 16th century, and was revived only in the middle of the 20th century. In the old days, craftsmen made not only dishes for everyday use - jugs, dishes, etc., but also glazed facing tiles with geometric and floral patterns and decorative bricks with bows, which were used for decoration in construction. For beauty, the jugs were covered with white, red or gray clay, and stripes were applied to create a design. Each master branded his work; by this sign one could recognize the craftsman’s hand.
Glazed pottery, 1960s Photo:
Artistic metal processing
The ancestors of the Tatars made household utensils, decorations for clothing, weapons, and horse harness from copper, bronze, and silver. They used different techniques - casting, embossing, embossing, stamping, metal engraving. From the 16th century, craftsmen switched to making various vessels, trays, and forged chests. Coppersmiths, as the masters of artistic metal processing were called, were in every Tatar village. Most of them minted kumgans - a jug with a narrow neck, spout, handle and lid. The noses of kumgans were made, for example, in the form of the heads of animals and birds.
Engraved copper tray and bowl, 1980s Photo:
Jewelry craft
The ancestors of the Tatars were fluent in the techniques of blackening, casting, engraving, minting, stamping, inlaying with gems, engraving on gems, and cutting precious stones. The most delicate work went to filigree workers. They made jewelry, for example, using the lumpy filigree technique - when gold and silver wires ended in several curls united into a cone. The center for the production of such complex jewelry was Kazan. They made bracelets blackened on silver, openwork hair decorations - chulpas, which were woven into braids. The hand of the master was so noticeable in each product that the jewelers did not even put their mark, they say, so everyone will recognize it. Ancient rings, rings, and earrings are kept as relics in Tatar families. In Kryashen villages, women's breastplates made of minted coins and plaques have been preserved.
Women's chest jewelry with filigree. Photo: AiF-Kazan/ Ruslan Ishmukhametov
Wood carving and painting
Craftsmen made household utensils from wood - chests, dishes, spinning wheels, horse bows, carts. We used oak, birch, maple, linden, aspen, and pine. These products were characterized by elegant carved ornaments and bright color painting. At the beginning of the 20th century, many craftsmen made wooden painted spoons with floral patterns. IN Soviet years such a concept as “Tatar Khokhloma” appeared. Khokhloma souvenirs were produced in workshops at timber industry enterprises. In reality, the ancestors of the Tatars did not use the black background characteristic of Khokhloma in painting on wood. Black color was rarely used in wood painting, only to separate elements. More often they used bright red, orange, and gold paints.
Wood carving. Photo: AiF-Kazan/ Ruslan Ishmukhametov
Tatars (self-name, Tat. Tatars, tatar, plural Tatarlar, tatarlar) are a Turkic people living in the central regions of the European part of Russia, the Volga region, the Urals, Siberia, Kazakhstan, Central Asia, Xinjiang, Afghanistan and the Far East .
They are the second largest people in the Russian Federation after the Russians. They are divided into three main ethno-territorial groups: Volga-Ural, Siberian and Astrakhan, sometimes Polish-Lithuanian Tatars are also distinguished. Tatars make up more than half of the population of the Republic of Tatarstan (53.15% according to the 2010 census). The Tatar language belongs to the Kipchak subgroup of the Turkic group of the Altai family of languages and is divided into three dialects: Western (Mishar), Middle (Kazan-Tatar) and Eastern (Siberian-Tatar). Believing Tatars (with the exception of a small group of Kryashens who profess Orthodoxy) are Sunni Muslims.
Kazan Tatars. Lithograph by G.-F. H. Pauli
Family and household traditions and rituals
Family and kinship relations of the Tatars have gone through a difficult path of development. By the 18th century large families began to disappear, there was a tendency towards the formation of small families. However, broad mutual assistance continued to be practiced between relatives in household matters during weddings and celebrations of the birth of children. Traditionally, the family dominated, based on patriarchal principles with some elements of female seclusion.
The most significant family events among the Tatars, as well as among other peoples, were the wedding and the birth of a child.
There were three types of marriages. Either the girl was matched, or she went to her beloved without the permission of her parents, or she was kidnapped without her consent. The most common was marriage through matchmaking.
The groom's parents chose the bride, then a matchmaker was sent. After the agreement, the bride's relatives began to prepare for the wedding. The day before the wedding, the groom's parents sent the bride a ransom and gifts. During the wedding and at the wedding dinner, the bride and groom were not present; they were represented by their fathers. The wedding ended with the serving of sherbet to the groom's relatives, which served as a sign of collecting money for the bride.
Among the Tatars, a wedding was always preceded by a conspiracy, in which the groom’s side was represented by a matchmaker and one of the older relatives. If the bride's parents agreed to the marriage, during the conspiracy the issues of the size of the bride price and the bride's dowry were resolved, the time of the wedding and the number of invited guests were discussed. After this, the bride was already called the betrothed girl. Young people whose parents decided to marry their children could often meet for the first time only at their own wedding.
City woman's wedding suit. The end of the 19th - the beginning of the 20th century.
Preparations for the wedding lasted 3-5 weeks. At this time, the groom collected the bride price, bought gifts for the bride, her parents and relatives, and the bride completed the preparation of the dowry, which she began collecting at the age of 12-14. It usually consisted of homespun dresses, underwear, and gift clothing for the groom. These were embroidered shirts, trousers, woolen socks, etc. Relatives on both sides were busy organizing the upcoming wedding.
The wedding ceremony itself and the first wedding feast took place in the bride's house. Guests and close relatives of the bride and groom gathered at noon. At this time, the groom was at his parents’ house, and the bride, surrounded by her friends, spent the day in the so-called newlyweds’ house, which was located either in the summer house of the girl’s family or in the house of her closest relatives.
In the wedding gathering, the mullah performed the wedding ritual, which opened with a prayer appropriate to the occasion. After this, the marriage was considered concluded.
At this time, the bride saw off her friends and sisters, after which the ceremony of consecrating the newlyweds’ bed was performed. Guests from the bride's side came to the wedding house, and each of them had to touch the feather bed with their hands or sit on the edge of the bed, and some even allowed themselves to lie down. Guests threw a few coins into a special saucer. After the guests left, the bride remained in the house with one of the older women, who taught her how to receive the groom.
In the evening, the smartly dressed groom, accompanied by his groomsmen, went to the wedding venue. The groom and his escort were greeted with ritual jokes. The bride's side tested the groom for modesty, sharpness of thinking and other qualities. After the ritual treat for the groom, the guests escorted him to the bride, but before entering her house, the groom had to pay a ransom.
The next morning, the newlyweds were invited to the bathhouse, then the groom's parents went there. In the afternoon, the ritual of caressing the back was performed. The bride was invited to the hut, where only women were, and sat on her knees, facing the corner. The girl sang sad songs about submission to fate. The groom's mother, her sisters, and the groom's older sister took turns approaching the bride, stroking her on the back, speaking kind words and instructing her on how to behave with her husband. After this, they gave the bride gifts or money.
In the evening, the guests went home, before which members of related families exchanged gifts. The bride's relatives gave the guests scarves and other small items, and in return the guests gave money.
But this is only the first stage of the wedding. The groom lived with the bride for a week, after which he returned to his parents' house, and the young wife continued to live with her family, and her husband came to her every night. This could last from several months to several years. During this time, the young husband had to pay the full amount of the dowry, if he could not do this before the wedding, or build a house for his family. It often happened that by the time we moved to new house the couple already had several children.
When the young wife moved to a new house, a second wedding feast was held. On the appointed day, the groom sent a carriage with horses, decorated with ribbons and bells, to pick up the bride. The dowry was placed in this cart, and the young wife, children (if they already had them), younger brothers or children of relatives were seated here. The parents of the young woman sat in other dressed-up carriages, then the matchmakers and matchmakers, and the cortege set off for the new home of the young couple.
Here the spouses and their guests were met by the husband's relatives and parents. His older sister and mother were holding a freshly baked loaf of bread and a cup of honey in their hands. One of the men brought a calf to the cart, symbolizing prosperity. A pillow was placed on the ground. The daughter-in-law descended from the cart, leaning on the calf, and stood on the cushion. Then she broke off a piece of the loaf and, dipping it in honey, ate it. Sometimes the girl was fed honey from a spoon by her husband's mother. This tradition expressed a good attitude towards the daughter-in-law and wishes for a prosperous life for the young family. Then the young wife performed the ritual of consecrating the home, sprinkling the corners and foundation of her new home. It was believed that after this she would get along well with her new relatives.
And finally, the wedding feast began, at which the young husband served the invited men, and the young wife served the women.
The birth of a child was a joyful event for the family. Men and women were invited separately to the feast on the occasion of the birth of a baby. Tatar educator and historian Kayum Nasyri describes this ritual as follows: “When all the guests are gathered, the child is brought on a pillow to the mullah. He asks the parents what to name the child. The mullah places the child with his feet towards the Kaaba and reads a prayer, then says three times: “Let your precious name be such and such.” Each of the guests is presented with honey and butter. When treating himself, the invitee puts as much money as he can on the tray.”
Wedding rituals remain vibrant and interesting to this day in some families: receiving the bride price (kalym), the dowry of the bride herself (byrne), the religious ceremony of marriage (nikah) and other rituals.
Social traditions and rituals
Kitchen, table etiquette traditions
The Tatar national cuisine is interesting and diverse, which developed not only on the basis of its ethnic traditions. It was greatly influenced by the cuisines of neighboring peoples. The inheritance from the Bulgars in the Tatar cuisine was katyk, bal-may, kabartma, complemented by the Tatar chak-chak, ech-pochmak, Chinese cuisine gave dumplings and tea, Uzbek - pilaf, Tajik - pakhleve.
Numerous travelers who visited Kazan called national cuisine nourishing and tasty, simple and refined, they were surprised by the variety and rare combination of products, as well as hospitality, which was remembered for a long time. According to the ancient Tatar custom, a festive tablecloth was laid out in honor of the guest and the best treats were put on the table: sweet chak-chak, sherbet, linden honey, and, of course, fragrant tea. Hospitality in the East has always been highly valued. “An inhospitable person is inferior,” Muslims believed. It was customary not only to treat guests, but also to give gifts. According to custom, the guest responded in kind. People used to say: “Kunak ashy - kara karshi,” which means “Guest treats are mutual.”
Hospitality was considered one of the main virtues even among the Bulgars. This was fully demonstrated during the reception of the embassy of the Baghdad caliph, who arrived at the request of the Bulgarian king Almush in the summer of 922 to promote the adoption of Islam in Volga Bulgaria. While still on the way, the king's sons and brothers greeted the guests with bread, meat and millet. Ambassador Susana was especially struck by his cordial formal reception in the royal yurt. After a hearty meal, the guests were invited to take the remaining food to their home.
In May 1722, the Russian Tsar Peter I experienced the breadth of Kazan hospitality as he set out on a campaign against Prussia. In the house of the wealthy Kazan merchant Ivan Mikhlyaev, Peter celebrated his fiftieth birthday. Many servants, bowing to the king at the waist, brought in “first cold dishes of meat and fish, then hot, then roast, followed by cakes, then sweets, and pies were served in between liquid dishes.”
Islam imposed special norms and rules for eating. According to Sharia, it was forbidden to eat pig meat, as well as some birds, for example, falcon, swan - the latter were considered sacred.
In the ninth month of the Muslim lunar calendar, Ramadan, when the Koran was sent down to earth, all Muslims over 12 years of age were obliged to keep 29-30 days of fasting - complete abstinence from food and drink during daylight hours. Sharia called for moderation in food not only during the fast, but also in everyday life.
One of the main food prohibitions concerned wine and other alcoholic beverages. The Koran notes that in wine, like in gambling, there is good and bad, but there is more of the former. “Wine is the obvious root and source of sins, and whoever drinks it loses his mind. He doesn’t know God, he doesn’t respect anyone...” said the prophet Muhammad.
According to adab - Islamic ethics - any meal began with washing hands. Before starting the meal, the Muslim said: “Bismillah arra hman arrahim” (“In the name of Allah, the merciful and merciful”), and the meal also ended with prayer. Men and women ate separately. The famous Tatar educator and encyclopedist Kayum Nasyri, in his book on education, described a number of rules that are mandatory during meals: “Sit down at the table as soon as the food is served, don’t keep yourself waiting. Eat with your right hand; if respectable people are gathered at the table, do not reach for food with your hand before them - this is bad manners. In moderation great benefit“You will be healthy in body, clear in mind, strong in memory.”
The basis of nutrition was meat, dairy and plant foods. Lamb was considered the favorite meat of the Tatars, and poultry was prized. Popular meat dishes were pilaf and dumplings, which were traditionally served to the young son-in-law and his friends.
Milk was used mainly in processed form. After settling, cream was obtained, then butter. The favorite Tatar drink - katyk - was prepared from fermented milk, which was used to prepare suzma - Tatar cottage cheese. Another type of cottage cheese is eremchek, kort.
Of the variety of dishes, the most typical are, firstly, soups and broths (shulpa, tokmach), meat, dairy and lean. Secondly, baked flour products are common among the Tatars - beleshi, peremyachi, bekken, ech-pochmak, sumsa and others stuffed with meat, potatoes or porridge. Thirdly, the presence of the “Tea table - the soul of the family,” as the Tatars say, emphasizes its importance in the table ritual. Tea with baked goods sometimes replaces breakfast or dinner; tea is an indispensable attribute of welcoming a guest. Tea was also praised in Tatar folk tales: “In this world, Allah has many different delicious dishes, but they cannot be compared with tea, the main medicine. You won’t find so many valuable and healing properties; in others it will turn the hungry into well-fed people, and the old and sick into young people.”
Tea was served with a treat made from sweet dough: katlama, kosh-tele, chak-chak - a mandatory treat at a wedding, brought by the bride, as well as her parents. They readily drank honey with tea. It was used to prepare a mandatory treat in honor of the birth of a child - alba puree and a wedding delicacy - bal-may. Sherbet, a sweet fruit and honey drink, was also used during the wedding ceremony; the bride sent it to the guests, who, after drinking the sherbet, put money on her tray as a gift.
Kazan cuisine, which has absorbed the culinary traditions of the Bulgars, Tatars, Russians, the influence of the East and Europe, is rich in a wide variety of everyday and festive table. To this day, not only the wonderful recipes of national cuisine have been preserved, but also the warm hospitality of the people that has existed for centuries.
Rituals and holidays are an expression of the emotional and aesthetic life of the people. Traditionally, the festive culture of the Tatars included both religious (Kurban Bayram, Eid al-Adha, Ramadan) and secular holidays celebrated at certain times of the year.
Calendar cycle of national holidays and rituals Tatar people begins with Nowruz, which was celebrated on the day of the vernal equinox (March 21) solar calendar. Shakirds (students of the madrasah) went around houses with songs wishing well-being and health and in return received treats from the owners.
Soon after Nowruz, it was time for spring sowing, the most beautiful time of the year, and the Sabantuy holiday was held. The history of Sabantuy is as ancient as our people themselves. Already in 921, the ambassador who arrived to the Bulgars from Baghdad, the famous researcher Ibn Fadlan, described this Bulgar holiday in his writings. Already two weeks before the holiday, the collection of gifts for the winners and preparation for the holiday began. “The horse senses the approach of Sabantuy in advance,” says a Tatar proverb. The culmination of the holiday was the Maidan - competitions in running, jumping, national wrestling (keresh), and, of course, horse racing, sung in poetry and songs, causing admiration and delight - the decoration of the Tatar holiday.
At the beginning of summer, it was time for special holidays to meet relatives - the Jiens, who arrived the day before and stayed for 3-4 days. In the evening, youth celebrations took place with songs and dances, round dances and fun games, acquaintances between boys and girls were made, and future marriages were planned.
Muslim holidays were considered especially revered. The most significant of them is Eid al-Adha. Kurban Bayram, or, as it is also called, Eid al-Adha (Sacrifice) is one of the most important Muslim holidays. This is a day of remembrance of the mercy of Allah, when he held Ibrahim’s hand at the throat of his own son, whom he was about to sacrifice to the Creator.
Rembrandt. Abraham's Sacrifice
Instead of a son, Ibrahim sacrificed a lamb to the Creator. This sacrifice became the basis of the holiday. On holidays, all believers focus their thoughts and aspirations on the idea of self-sacrifice, which is expressed in the ritual of slaughtering a sacrificial animal.
The word "Muslim" means one who has submitted. This word was first used by Ibrahim, and he called himself surrendered to the will of Allah. And the word “Islam” comes from “aslam” - “to submit.” All professing Islam are completely subordinate and obedient to the Divine will.
Animals prepared for sacrifice are usually decorated with bells and necklaces, and sometimes painted. This is done so that on the Day of Judgment every Muslim will recognize the animal that was personally sacrificed to him. The road to paradise, as Islam teaches, leads through a bridge over the abyss - sirat, which is thinner than a woman’s hair, sharper than a sword blade and hotter than a flame. You can cross it only on sacrificial animals that will stand at the bridge, and every Muslim will quickly find his animal by color and decoration.
The sacrificial animals must be without the slightest defect: a camel must be at least five years old, a bull or goat - one year, a sheep - seven months. After the sacrificial animal is slaughtered, it is imperative to feed the poor and hungry. No guest should leave on this day without a treat.
There are a number of rules for performing the ritual:
You cannot sharpen knives near the sacrificial animal; they should be prepared in advance.
The animal's eyes must be covered with a scarf, henna placed on its head, and a lollipop in its mouth.
One animal cannot be slaughtered in the presence of others; they must stand as far away as possible.
The meat of sacrificial animals is not washed; it is thoroughly cleaned and cut into small pieces. The meat is boiled in water, to which onions and salt are added.
During three holidays, a family can eat only a third of the meat, treating neighbors and guests, the rest is supposed to be distributed to the poor. The more meat distributed on this holiday, the easier it will be for a Muslim to cross the bridge over the abyss.
Before the holiday, fairs are held in almost all cities where you can buy a sacrificial animal. In some Muslim countries, more than a million head of livestock are slaughtered.
Eid al Adha
This is the holiday of breaking the fast after the end of fasting in the month of Ramadan. The fast lasts 30 days. During fasting, you cannot drink or eat all day until sunset, entertainment is strictly prohibited, and you cannot dip your head in water. During Ramadan, the gates of heaven are open to everyone, and if a true believer strictly observes fasting, then all his sins are burned away.
Start of Ramadan in different countries proclaimed in different ways: by the firing of a cannon, the beating of drums, the raising of flags over the minarets. After the signal, Muslims must go to the mosque for prayer. Throughout the entire fast, every believer must repeat the following words: “I intend to fast for the month of Ramadan from dawn to sunset solely for the sake of Allah!”
During fasting, one must not slander or commit ungodly acts. Fasting for Muslims is a favorable time for reconciliation. Having forgotten the grievances, you can invite a person with whom you have quarreled for a long time to visit and make peace with him. It is absolutely necessary to make peace with those you have offended.
Eid al-Adha begins on the first day of the month following Ramadan, Shawwal. The holiday lasts 3-4 days, which are non-working days in Muslim countries. During these days, the prophet bequeathed to give alms to the poor and to treat them. A mandatory holiday treat is sweets: dates, sweet fruits, etc. On the eve of Eid al-Fitr, believers try to gather all family members together and not let them leave the house. It is believed that on this day the house is visited by the souls of deceased ancestors.
On the day the fast ends, after visiting the mosque, people go to the cemetery, and the men of the village or neighborhood visit the families of those whose relatives died during the year to express condolences again.
The rest of the holiday day is devoted to fun: music is played everywhere, everyone sings and dances, fairs are held. The holiday lasts until late at night.
The theme of national holidays is widely covered in folklore, legends and stories, in the works Tatar writers, composers and artists.
Since 1992, the two religious holidays Eid al-Adha (Muslim) and Christmas (Christian) have been included in the official holiday calendar of the Republic of Tatarstan. The tradition of celebrating Sabantuy is still alive today. Traditional folk holidays enriched with new ones, which reflected social and political changes in society. The main one was Republic Day, August 30. It was on this day in 1990 that Tatarstan adopted the Declaration of State Sovereignty. Republic Day reflects both ancient traditions and modernity. This is a memory of the past and aspiration to the future. On this day, the cities and villages of the republic bloom, the entire multinational people of Tatarstan gather to see a festive theatrical performance under open air with historical customs and traditions, horse racing, national wrestling, ensemble performances vintage instruments and folklore groups.
Embroidery, weaving
Embroidery is one of the oldest and popular types female visual arts. The development of this type of art was associated with the seclusion of women who rarely left the house and used their leisure time for needlework. 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). Most of these things are related to the interior design of the home.
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 most valuable embroidered works were kept at the bottom of chests for years and were taken out on the occasion of major holidays.
The house became especially colorful during wedding celebrations - everything was decorated with embroidered and woven items of the newlywed. This custom, which demonstrates the bride's hard work and skill, is still alive in some rural areas.
The traditions of folk embroidery are also preserved in the villages in connection with the Sabantui holiday - young daughters-in-law give their products to the winners of sports competitions and games.
Embroidery also plays a big role in the ritual that celebrates the birth of the first child: a young mother gives towels to her relatives and neighbors.
Embroidery was usually done on bright, rich material - green, yellow, purple, burgundy. They embroidered with twisted silk, gilded or silver-plated cord, beads, and pearls. Great importance 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.
Gold embroidery on velvet
Kazan towels, embroidered with silver and gold thread on white silk, were famous for their special beauty; they were known far beyond the borders of the region.
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. Most Tatar women knew the weaving technique, but fabrics with complex and multi-colored patterns were usually made by special craftsmen found in each village.
Calf friezes. Velvet, gold threads. XIX century
Gold-embroidered towels - "Cauldron Solge". XIX century
Patterned towels
The Muslim religion, with a more abstract concept of God, did not cultivate his image and in this respect differed, for example, from the Christian or Buddhist. According to the prohibition of the Prophet Muhammad, it was also forbidden to depict any living creature: a person, a bird, an animal. In this regard, Muslims developed calligraphic patterns, as well as shamail.
Shamail is a painting depicting the holy places of Islam, containing, along with suras (chapters from the Koran), philosophical sayings, aphorisms, quotes from the poetic masterpieces of the East, made in beautiful Arabic script. Shamails were painted with blue, blue, and green paints on glass or paper with decorative inserts made of velvet or foil.
Shamails simultaneously served as a source of information about the philosophical foundations of Sharia and universal rules of life, expressed folk ideas about beauty and spirituality, and contained folk wisdom along with religious instructions.
The aphorism accepted in the East: “The beauty of a person is in the beauty of his writing, and even better if it is from a wise person” represented the ethical basis of this unique phenomenon of fine art, known only among the Kazan Tatars.
Calligrapher Ali Makhmudov. Shamail. Lithograph from a handwritten original. 1851
The traditions of building houses of the Kazan Tatars have evolved over centuries under the influence of the religious, aesthetic and cultural characteristics of the region’s population. Most often, residential buildings were surrounded by a fence on the front side. The houses were 2 meters away from the red line of the street. On the one hand, this arrangement was associated with the influence of Islam and the seclusion of women, and on the other hand, this tradition dates back to Bulgarian times, when the deep location of buildings was based on defense purposes. A characteristic feature was also the division of the home into male and female halves.
Pediment niche of a rural house
The decorative decoration of a Tatar house differs from the traditional decoration of Russian homes. Russian craftsmen used mainly wood carving; the Tatars, on the contrary, used mainly a rich palette of colors. The historian of Kazan M. Khudyakov in his “Essays on the history of the Kazan Khanate” in the 20s of the 20th century wrote: “Color is the main element Tatar art, and in this use of decorative coloring the kinship of the Tatars with the East is most strongly reflected. The Tatars pay special attention to the coloring of the gates. Nowhere is the difference in decorative decoration between the Russians and the Tatars more pronounced than in the color of the gates, which among the Russians are decorated only with wooden carvings...” The basic range of colors is almost always the same: green, blue, white and yellow. All colors were taken pure, without halftones, which made the painting of the gates rich and bright.
However, not only color, but also patterned carving was an important element in home decoration. Images of the sun and geometric signs, birds, flowers and mythological symbols can still be seen on old houses and gates.
Interior of a rural house. The end of the 19th - the beginning of the 20th century.
The interior decoration of the house was also original. The decoration of the walls with fabric decorations with bright colors, woven and embroidered towels, canopies, tablecloths, napkins, namazliks (prayer rugs), and shamails gave a special picturesqueness to the interior of the home. The sleeping places were enclosed with a curtain (charshau) and a canopy (chybyldik). According to ethnographers, the main features of the Tatar interior bear the imprint of a distant nomadic past.
The middle of the 18th century marked the beginning of a new stage in the development of Tatar architecture. Its characteristic feature was coming into close contact with Russian culture and, as a result, the perception of elements of Western European culture. The architecture of Tatar bai houses and mosques acquired the stylistic characteristics of Baroque and Classicism, while preserving the traditional features of the layout and forms of Bulgarian architecture.
The music of the Tatar people, like other types of art, has gone through a centuries-old path of historical development. Mode-intonation (pentatonic) and rhythmic features have common features with the musical traditions of the Turkic and Finno-Ugric peoples of the Volga region, which makes it possible to assume a connection between the lyrical Tatar tunes and the historical musical epic of the pagan era.
The entire diversity of Tatar musical folklore can be divided into songwriting and instrumental music. It was in the song that the emotional life of the people, their sorrows and joys, holidays and customs, life and historical development. The song creativity of the Tatars includes ritual (calendar, wedding), historical (baits) and lyrical songs. In folk music, only solo singing, traditionally monophonic, developed.
In the ancient songs and folklore dances of girls with their plasticity and grace, shy movements, there is no hint of scope, freedom or revelry. Monotonous movements with small steps almost in the same place in the Tatar folk dance, as well as lingering sad songs, speak eloquently about the modest reclusive life of Muslim girls.
The most common instruments of Tatar musical folklore are the accordion-talyanka, kurai (like a flute), kubyz (violin), surnay (oriental musical instrument).
Sacred music was part of the musical culture. Islam as an official religion influenced not only the culture as a whole, but also the development musical art. There is no direct prohibition of music in the Koran, so it is present in the Muslim cult, helping believers comprehend the contents of this holy book, which was recited. The melodies of the recitations of suras (parts of the Koran) were orally transmitted from generation to generation within the walls of religious educational institutions.
The formation of professional Tatar music and a school of composers occurs by the middle of our century. It was then that such names as S. Saidashev, N. Zhiganov, M. Muzafarov, D. Faizi and others appeared. They managed to create a new original style, creatively combining folk traditions with the forms and genres of European professional music.
The Republic of Tatarstan has a rich historical and cultural heritage. The combination of at least four types of cultural influences (Turkic, Finno-Ugric, Bulgarian and Slavic-Russian), as well as two religions (Islam and Christianity) determines the uniqueness of these places, the originality of art, as well as cultural and historical values.
The art and cultural heritage of the people, like a mirror, reflected the life and way of life of our ancestors, national characteristics, ideals of beauty and religion, changes in socio-economic conditions and contacts with other peoples.
Speaking about the historical heritage and culture, it should be borne in mind that, along with common cultural traditions, there are various ethnic groups of Tatars with their own characteristics. Kazan is the spiritual center of the main ethnic group of the Tatar people - the Kazan Tatars, who became the basis in the formation of the Tatar nation.
Historical aspects
The vibrant, original art and culture of the Tatars inherits the traditions of the Volga Bulgaria state, the Golden Horde and the Kazan Khanate. The influence of Islam, adopted in 922, was also significant. The runic writing that existed among the people was replaced by Arabic, which gave impetus to the development of science, philosophy and literature. Islam created and strengthened the main traditions of the Tatar-Bulgar culture. Muslim spiritual kinship allowed the Volga Bulgars to maintain trade and diplomatic relations with the vast world of Islam and opened the way to the east: to Holy Mecca, Egypt, Turkey, Iran. Images of pre-Islamic pagan mythology - images of birds, animals and humans are replaced by floral, plant and geometric patterns, which become dominant. At this time, in Rus', biblical-Christian pictorial motifs were established in art, and in Bulgarian decorative art, as in the countries of the East, aesthetic and artistic principle becomes patterned and decorative. Amazing works of Bulgarian masters have survived to this day - examples of jewelry, works in bronze, silver and gold.
A new stage in the development of culture and art is associated with the inclusion of Bulgaria into the Golden Horde in 1236, whose imperial culture was a symbiosis of Turkic, Mongolian and Central Asian cultural traditions with their characteristic pomp of ornament and richness of decor, using various precious metals, stones and gems. Special meaning acquires the creation of items related to the decoration of a horse and the equipment of a warrior, the production of weapons and other artistic products inherent in the Turkic nomadic environment.
The town-planning traditions of Volga Bulgaria continue to develop. Travelers and wealthy merchants, diplomats and politicians were amazed by the beauty of the majestic khan's palaces, cathedral mosques with high minarets, mausoleums decorated with white and blue tiles, covered with glass glaze and gold leaf. The city of Bulgar in the 12th-14th centuries represented a huge urban planning complex for that time, from which even in 1722, the time of Peter I’s visit, about 70 white stone buildings remained. Then the king ordered by his decree to protect them as historical and architectural monuments. The area of the second largest city in Bulgaria, Bilyar, reached 530 hectares (Kyiv at that time occupied 150, Paris - 439).
With the collapse of the Golden Horde, a number of independent Tatar states appeared: the Astrakhan, Kazan, Siberian and Kasimov khanates. The Kazan Khanate played special role in the fate of the Tatar ethnic group, since it was the Kazan Tatars who turned out to be the consolidating core in the process of forming the Tatar nation. The capital of the state continues to develop the best traditions of architecture and architecture. Many white stone and brick structures are being erected on the territory of the Kazan Kremlin. Prince Andrei Kurbsky, one of the conquerors of Kazan, wrote: “On the mountain there is a fortress, a royal palace and high stone mosques, where their dead kings are buried.” Ivan the Terrible was also amazed at the “extraordinary beauty of the city fortress...” Characteristic of that time was the appearance of stone tombstones with rich carved ornamentation, metal products and jewelry that contain features of the “eastern” Baroque - a style common in the art of Azerbaijan and Asia.
In the second half of the 16th century, the Kazan Khanate joined the Russian state. Immigrants from Moscow, Novgorod, Pskov and other Russian cities who came to Kazan brought some elements of Russian culture, which in turn did not remain free from the influence of the culture of the East. This was manifested in a partly changed architecture of churches (decorative techniques, oriental ornamental details), the appearance of lush oriental patterns, polychrome, not characteristic of Russian art, but rooted in it as a result of borrowing artistic examples of Tatar culture. A unique work of architecture is the cathedral eight-minaret Kul-Sharif mosque, destroyed on the territory of the Kazan Kremlin in 1552. The ninth central dome of this temple, towering above the other eight, personified the victory of the cross over the crescent. The architecture of the temple has no analogues in Russian architecture of that time, but it has much in common with the architecture of the East.
In the architecture of one of Orthodox churches Kazan - Peter and Paul Cathedral - also contains not only Russian and European, but also many oriental elements.
A striking example of historical and cultural interaction between Russia and the Kazan Khanate are the famous “Kazan hat” and “Monomakh’s hat” - two surviving crowns of the Russian tsars. Both of them came to the Russian tsars from the Tatar khans and are classic examples of Tatar decorative and applied art; they are richly inlaid with precious stones and gems, decorated with elaborate floral patterns inherent in Tatar folk ornaments. The “Kazan Cap,” as well as the Khan’s throne, brought from Kazan by Ivan the Terrible and called the throne of Boris Godunov, are currently stored in the funds of the Armory Chamber of the Moscow Kremlin.
The Tatar influence was no less noticeable in everyday culture. This refers to the Turkic names of items of Russian clothing. For example, ancient Russian shoes - chobots, boots - were borrowed from the Tatars, as were the caftan, Cossacks, sash, and sheepskin coat. Many words related to trade and household use have also been passed down: altyn, barn, arshin, bazaar, grocery, booth, profit, money, caravan and others. Many well-known names in Russia came from Tatar families: Aksakov, Derzhavin, Karamzin, Turgenev.
The Russians also became acquainted with some of the basics of state culture through the Tatars. The entire population was registered through a census. A harmonious system of taxes, duties and taxes was introduced.
TO 19th century With the advent of manufacturing, decorative art experienced a flourishing period. It was then that classic examples of gold embroidery and tambour embroidery with rich ornaments, jewelry with elegant filigree, colorful women's kalfaki headdresses, and decorative towels with the finest patterns were created. During this period, the classic Tatar costume took shape, a unified national style was formed in the exterior and interior of the home, in ritual and household items.
Nowadays, the original traditions of Tatar folk art are acquiring a special artistic significance. Research work is being carried out with the organization of expeditions, thanks to which the museums of Kazan and other cities of the republic are replenished with products and exhibits of cultural and historical value. In the form of folk artistic crafts, there is the production of patterned mosaic shoes (Arsk Association) and artistic weaving (Alekseevskaya Factory). Professional artists create unique designs that receive recognition at the world level (in 1994, at an exhibition in Pakistan, the Tatar artist I. Fazulzyanov received the first prize for a piece of jewelry - hasite). Studying folk art products, modern artists create jewelry using the lumpy filigree technique, tablecloths and towels embroidered with vestibule, leather inlaid shoes, national souvenirs and memorable gifts.
Turkic writing has ancient traditions. Already in the 5th-6th centuries, common Turkic runic graphics were widely used. Samples of ancient Turkic writing are well preserved on stone steles of that time.
In the 10th century, along with Islam, Arabic writing penetrated into Volga Bulgaria. Literacy was taught in the mekteb ( Primary School) and madrasah ( high school). The adoption of Arabic script contributed to the establishment of close cultural ties with the East, the development of literature and education. As the scientist G. Davletshin notes: “Islam, unlike paganism, was a religion with a developed written culture. Literature, in particular poetry, became a means of disseminating scientific and theological ideas. Often scientific and theological treatises were written in verse.” An example of a work that used material drawn from the Koran is the famous “Poem about Yusuf” by the great 13th-century Bulgarian poet Kul Gali. Totally agree Lately this poem was published in Kazan about 80 times. In 1983, by decision of UNESCO, the 800th anniversary of this largest representative oriental poetry.
The subsequent centuries of literary development gave whole line outstanding names and works, such as “Gulis-tan bittyurki” by Saif Sarai, “Tukhva-i Mardan” and “Nury Sodur” by Mukhamedyar and many others. All these works indicate a high level of development written literature and spiritual life in general, being the most valuable monuments of medieval eastern poetry and philosophy.
If in the first seven centuries of its existence Tatar literature knew only the poetic genre, then from the 18th century great development prose also receives. The 19th and early 20th centuries were marked by the appearance of a whole galaxy of outstanding writers, such as G. Tukay, K. Nasyri, G. Kamal, M. Gafuri, G. Iskhaki, F. Amirkhan, G. Ibragimov and others.
The first book in the Tatar language was published in Leipzig (Germany) in 1612, and in Russia the first Tatar book edition appeared in 1722.
Until 1928, the Tatars used Arabic script. In 1928-1938, writing was introduced based on the Latin alphabet, and since 1938 - based on the Russian alphabet (Cyrillic). Russian graphics do not reflect the entire diversity of phonetics of the Tatar language, so at present there is a question of returning to the Latin graphics.
The oral folk art of the Tatars includes fairy tales, legends, baits (works of an epic nature), songs, riddles, proverbs and sayings. The epic about Idegei, which is available to many Turkic peoples, has been preserved. It has recently been republished after being banned in 1944.
According to the latest population census of 2010, 143,803 Tatars live in the Sverdlovsk region, which is 2.7% of total number Tatars living in Russia.
On the territory of the Sverdlovsk region there are:
National-cultural autonomy of the Tatars of the Sverdlovsk region.
Deputy Chairman: Bakirova Saria Khamatkhanovna
620077 Yekaterinburg,
+7 343 377-64-09
fax +7 343 377-53-75
+7 343 377-53-76
Yekaterinburg city Tatar national-cultural autonomy.
Safiullina Eliza Alpautovna
620073 Ekaterinburg, st. Shvartsa, 6, bldg. 2, apt. 40
st. March 8, 33 a, House of Peoples of the Urals
+7 343 239-69-52
+7 912 68-39-949
This email address is being protected from spambots. You must have JavaScript enabled to view it.
Sverdlovsk Regional Tatar and Bashkir Society named after. M. Gafuri.
Nadyrov Sufkhat Lutfullovich
620085 Ekaterinburg, st. Krestinsky, 23, apt. thirty
st. March 8, 33 a, House of Peoples of the Urals
+7 343 218-49-30
This email address is being protected from spambots. You must have JavaScript enabled to view it. ">
Public organization "Local National-Cultural Autonomy of the Tatars of Yekaterinburg"
Chairman: Yakhin Vladislav Fidusovich
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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. develop skills in working using established traditional folk methods of wood painting.
Object of study: wood painting
Subject of study: 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, facing the future, and preserve deep artistic traditions, reflecting 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. A combination of traditions, stylistic features and creative improvisation, collective principles and views of an individual, hand-made products and high professionalism- characteristic features of the creative work of craftsmen and artists of the Republic of Tatarstan.
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III International Scientific and Practical Conference "Discovery"
Municipal Budgetary Educational Institution
"Yulduz Secondary School"
research
The work was completed
Andrianova Arina, Makarova Daria
5th grade students
MBOU "Yulduz Secondary
comprehensive school"
Chistopol municipal district of the Republic of Tatarstan
Head of work
Andrianova Irina Kabirovna
art teacher
Russian Federation
Chistopol, RT-2016
Full title of the work topic | Artistic crafts of the Republic of Tatarstan: wood painting |
Section name | "The language of sounds and colors" |
Kind of work | Research |
Age nomination | 10-12 years |
Andrianova Arina, Makarova Daria |
|
Place of study | MBOU "Yulduz Secondary comprehensive school" Chistopol municipal district of the Republic of Tatarstan |
Class | |
Place of work | Circle "Palette" |
Head of work | Andrianova Irina Kabirovna teacher of fine arts MBOU "Yulduz Secondary" comprehensive school" Chistopol municipal district of the Republic of Tatarstan Email: [email protected] |
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
Research topic: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. develop skills in working using established traditional folk methods of wood painting.
Methods: - the method of compositional and artistic analysis was used in a detailed study of 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 study: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.
- 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 from a wooden tombstone of the 12th century found in the village of Bilyarsk on the site of the Bulgarian city of Bilyar (it is kept in the National Museum of the 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 carried out in different techniques: for the end of the XVIII - early XIX century, notched and contour carvings were characteristic; in the 19th century, “blind” and contour carvings became especially widespread, with late XIX century - rip saw 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 through 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 developed in modern folk art of the republic in a certain new quality - in the form of the Tatar “Khokhloma”, which became widespread in the creation 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 Attachment)
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, geometric ones occupy a significant place. 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 in relation to the vertical, and in some cases, to 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, saturated 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.
There is great freedom in the colors of plant patterns and their elements: leaves, flowers, buds, even on the same branch, were made in different colors. And besides, individual flower petals, their veins, and individual leaf elements were made in several tones. A favorite technique of color composition is the contrasting juxtaposition of “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 different 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 core brushes No. 1 and No. 2 with medium-length bristles (for contour work and outlining with black paint), - round squirrel brush 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 the painting on wood from the effects of the 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 to be the best and is 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 dried, 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 one should join as early as possible folk culture. Having mastered special skills and especially abilities, you become enthusiastically involved in the production of objects of decorative and applied art. This has a beneficial effect on overall artistic development, the formation of creativity, and teaches 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, arouse 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 applied creativity. – M., 2000.
4. Valeev F.Kh. Ancient art of 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
The most ancient writing is the 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 day, 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. The literary language of the Tatars was 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.
Kuzikmäki 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 this or that 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 what is commonly believed 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 groom (the groom) and one of the older relatives participated. 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 Nagaibaks), 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 a unique hand-stitching technique that weaves and at the same time decorates 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.
The Tatars have school education in Tatar language. It is conducted according to the all-Russian program and textbooks translated into the Tatar language. Exceptions: textbooks and lessons of Russian language and literature, in English and other 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. A secular school with a ten-year period of study began to exist among the Tatars with the introduction of compulsory secondary education for all citizens of the USSR. Before this, the role of educational institutions was played by madrassas.
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.
But living outside our historical homeland, we never considered ourselves elements of another culture. Multinational politics of the former Soviet Union scattered representatives different nationalities throughout the entire territory of the USSR. Since the beginning of the 20th century, a fairly large diaspora of Kazan Tatars has lived in Uzbekistan. Number of resettlers
The number of Tatars in Uzbekistan increased sharply after the establishment of Soviet power.
We were able to integrate into the local specifics of life, perceive the culture and customs of the region. But for everyone living here, we have always remained, first and foremost, Kazan Tatars. The fact that the Tatars are “Kazan” was certainly emphasized in order to draw a line between the Crimean Tatars living here and resettled to Uzbekistan during the Great Patriotic War. We have preserved our customs, language, culture, way of life, national dishes... and much more that we considered ours, native, inseparable from Tatarstan itself. Perhaps they didn’t remember us so often in Tatarstan itself, considering that we probably live here on our own... But we didn’t just live, but with our way of life we showed and promoted ours to the indigenous population, and to many other peoples living in Uzbekistan. Tatar way of life and our Tatar culture.
One of the priority directions in the development of Tatarstan is the revival, preservation and development of the national cultural heritage, folk crafts, and decorative arts. Perhaps you would be interested in how folk crafts are preserved and revived in the Tatar diasporas living outside Tatarstan. To view the range of my souvenir products on the subject of Tatarstan, follow the link Tatar leather souvenirs nbsp; or handmade souvenirs. Based on the presented works, it is clear that they were all developed on the basis of the Tatar folklore and ethnographic heritage.
“Leather souvenir purse. »“Leather souvenir bag with the coat of arms of Kazan. » Folk art being one of the manifestations of national self-awareness, it shows the inextricability of the connection between the cultures of the Tatars living in diasporas and the culture of their historical homeland.
We have other Tatars here (in Tashkent) who are engaged in folk arts and crafts. Perhaps in the future, at one of the exhibitions or some other event, the Chamber of Crafts of Tatarstan will be interested in using our example to show the preservation, revival and development of the decorative and applied arts of the Tatars in diasporas outside the boundaries of their historical homeland.
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