Bashkir folk ornament. Bashkir ornament: photo and description, features of the pattern and traditional elements Bashkir ornament on a plate

Any national creativity is quite interesting to study. After all, it was formed by absorbing the traditions of the people, its important features, attitude to life, nature, to each other. National history is learned through applied folk art. In this context, we will consider the Bashkir ornament. Let's get acquainted with its distinctive features, history, pattern complexes and much more.

What is it?

Let's start our conversation with a definition.

Bashkir ornament is a pattern that is based on the harmonious repetition of plant, geometric or zoomorphic elements. This is creativity that belongs to the applied arts. Masters and craftswomen adorned utensils, weapons, and festive and everyday clothes with a similar ornament.

History

Having examined the photo of the Bashkir ornament, the reader, of course, will ask the question: why are these patterns used? The fact is that in the ornament folk craftsmen expressed their idea of ​​the triple structure of the world. If you are familiar with examples of applied art of other peoples, you will find a noticeable similarity. And this is not accidental: the triple rhythm of life is characteristic of very many ethnic groups.

Ornament itself is one of the most ancient forms of creativity, artistic activity of a person. As a component of the fine arts, the Bashkirs developed such patterns gradually. The first images were quite simple and naive: a twig or flower, a stem of a plant, a fragment of a shell, or seeds pressed into wet clay.

Over time, the images became more complex. The artist thought over their composition, harmonious balance. Then the authors began to attach a certain symbolic meaning to the Bashkir ornament.

Variants of images among the Bashkirs are as follows:

• Geometric patterns.
• Vegetable patterns.
• Curved patterns.

We can find ancient examples of Bashkir ornaments and patterns on various materials: leather, linen, wood or metal.

Features of the Bashkir pattern

Let's present the main distinctive features of the Bashkir ornament:

• Bright, multicolored, with different elements.
• Symmetric.
• Patterns are located with a border, rosettes, mesh. Sometimes it is all used together.
• The compositional zone is determined by the size, purpose, and shape of the product.
• The elements are arranged in 2-4 rows, the canvas is composed of rhythmically repeating elements.
• The central field is decorated with larger elements, and the upper zones are decorated with smaller ones, the pattern is mirrored on them.

Color preferences

Consider the shades characteristic of the Bashkir ornament:

• Polychrome: multicolor and bright.
• The coloristic image is a contrast of bright pure colors.
• Red, yellow, black, green prevail. Less common are blue and blue, scarlet, orange.
• The background of the product is black or red. White and yellow are much less common.

Central symbolic meaning

We have indicated above that the ancient masters applied patterns for a reason. The ornament carried a certain meaning.

If we look at the stencils of the Bashkir ornament, we will be amazed at their geometric correctness and symmetry. The pattern reflects the perception of the world by the people. In this reality, everything is opposed: day - night, life - death, light - darkness, masculine - feminine, left - right. These pairs determine the symmetry of the pattern.

The figures depicted here seem to confront each other. But in order to determine their integrity, the connection with each other, the master necessarily introduces the central object into the ornament. It acts as a connecting element between oppositions.

Let's turn again to the stencils of Bashkir ornaments and patterns. The central figures here are as follows:

• Female. Symbolizes the goddess, the mother of everything on earth.
• Image of a tree. Here, too, everything is unambiguous - the plant denotes the tree of life.
• Rhombus. And this geometric figure is difficult to understand for a modern person. The ancients believed that the rhombus is a symbol of land and arable land.

Curious elements of the pattern

The ornament of the Bashkir people is also the following elements that are interesting to study:

• ¥. This symbol is called "kuskar". It figuratively depicts a curl of ram's horns. In addition, among the ancient peoples, kuskar often acted as a symbol of both herbs and plants in general.
• ֔֕. One of the solar signs that were characteristic of almost all the peoples of the world. The ancients revered the sun, worshiped him. The star, like today, was considered the source of life. This solar sign resembles a circle with rays radiating from it.
• ... The symbolic image of the heart, so familiar to modern people. However, among the Bashkirs, this symbol did not mean tenderness, passion and love, but hospitality.

It is important to note that the Bashkir folk ornament reflects the very first stages of the development of national culture. This is the period when the Bashkirs did not yet accept Islam.

Application in applied arts

Bashkir national ornaments were widely used in the following:

• Decoration of collars, fasteners, necklines, clothing hemlines, sleeve edges. However, aesthetics were not in the first place here. If the edge of the clothes was decorated with an ornament, this supposedly made a person protected from damage, an evil eye.
• Decoration of elements of houses, residential buildings. The same was done not only for visual appeal. So the ancient Bashkirs sought to protect their home from evil spirits. Ornaments covered shutters, gates, window frames, roofs.
• Many household items were made amulets for the owners, applying a symbolic image of the eye on them. In this case, the rhombus was drawn face-to-face, and the triangle - in profile. By the way, the Bashkirs paid great attention to the last geometric figure. They revered the triangle as a symbol that can protect them from enemies, dark forces, evil spirits and other negative influences.

Ornamental complexes

If you purchase a coloring with a Bashkir ornament, you will find in it one of six (or a collection of several at once) main ornamental complexes characteristic of the arts and crafts of this people.

Let's list them:

• Simple geometric patterns. Masters depicted triangles, rectangles, squares, crosses, rhombuses, circles, geometric rosettes-swirls. All these figures bizarrely folded into an overall complex picture. Such an ornamental pattern, for example, could be a border or a rosette.
• Spirals, horn-shaped and heart-shaped figures, palmettos, traveling waves and invariable triangles. All kinds of amulets were decorated with such patterns.
• Vegetable patterns. The ornament, copying the natural patterns of nature, was most characteristic of the design of the national dress of the Bashkirs, the tambour embroidery on it.
• Eight-pointed stars of complex outline, polygons, paired horn-like curls, multistage rhombuses, bizarre polygons with "branches". These elements of the pattern were formed according to the master's plan into a more complex ornament. Most often - in nets, complex sockets.
• Heraldic compositions. The family coats of arms contained symbolic images of animals, birds, and plants. There were also eight-pointed stars. Another frequent options are nail-like, fork-shaped figures.
• Diamonds, squares, the image of eight-pointed rosettes, X-shaped figures and even stylized sketches of a person. All this was characteristic of weaving, line, counting embroidery.

Features of Bashkir embroidery

And today the embroideries of Bashkir craftswomen still amaze admiring spectators. These works are characterized by the following:

• Most often, it is the floral pattern that is used.
• For drawing, the following colors are preferred: yellow, green and red. Moreover, the shades do not flow smoothly, but always contrast with each other.
• Fabric appliqué and oblique mesh embroidery are characterized by frequent use of spiral patterns.
• Non-contour satin stitching and weaving is a choice of X-shaped and diamond-shaped patterns.
• The following distinctive techniques are also often used: the elements of the ornament are located with a border, a solid grid or rosettes.

Knitting shawls

Bashkir arts and crafts cannot be imagined without downy shawls. The fishery was developed in several areas at once:

• Baymaksky.
• Abzelilovsky.
• Khaibullinsky.
• Beloretsky.
• Zianchurinsky.
• Kugarchinsky.

Orenburg downy shawls are also known throughout the country. The climatic conditions of these regions made it possible to keep a certain breed of goats, whose down was both thin and strong, elastic. Its spinning qualities were recognized as the highest. It was from such fluff that yarn was made for amazing Bashkir shawls.

They belong to a unique type of weaving. After all, these shawls were woven on looms. Patterned openwork shawls are closer to our theme. They were knitted only by hand on only two long knitting needles. Distinguished between the middle and the border of the product, teeth were made on the sides. Pattern - Bashkir geometric ornament. The family down-knitting trade is still popular in the republic.

Applied art can tell a lot about the earliest history of a people. Each element of the ornament here is not accidental - it performs a specific task. What we saw on the example of Bashkir patterns.

Ornament- one of the oldest forms of human visual activity, known since the Paleolithic era. In translation from Latin, ornament is "decoration", "pattern". The original images were simple-minded: a twig, a fragment of a shell, drawn over wet clay, or plant seeds pressed into it. Over time, real seeds were replaced with their images. Already in the Neolithic era, the ornament of ceramics is not a random set of strokes, stripes, dashes, but a thoughtful, compositionally verified drawing filled with symbolic content.

The very special place of ornament in the culture of traditional society can be judged by the activity of its use. They were used to decorate clothes (everyday, festive, ritual), women's jewelry, various objects (household utensils and religious objects), dwelling, its decoration, weapons and armor, horse harness.

The Bashkir ornament is characterized by both geometric and curvilinear plant patterns. The form depends on the technique of execution. Geometric motifs are made using the technique of counting embroidery and weaving. Curvilinear floral - in the technique of applique, embossing, silver notching, in the technique of free embroidery (tambour, or "oblique mesh"). Typically, patterns were applied to wood, leather, metal, canvas. There are various ornamentation techniques: wood carving and painting, leather embossing and carving, metal processing, appliqué, abusive and embedded weaving, knitting, embroidery.

Literature:
Essays on the culture of the peoples of Bashkortostan. Compiled by Benin V.L. Ufa, publishing house: Kitap, 1994

Sections: Technology

Goals:

1. Cognitive:

• to acquaint students with the Bashkir ornament with its contrasting colors;
• to clarify and systematize knowledge about the arts and crafts of the Bashkirs.

2. Developing:

• continue work on the development of creativity and independence, artistic taste and imagination;
• teach to depict the Bashkir ornament and arrange the elements of the ornament in the composition.

3. Educational:

• to foster interest in the creativity of the Bashkir people.

Registration:

• recordings of Bashkir melodies;
• posters and drawings of Bashkir ornament;
• matryoshka and boot templates;
• paints, brushes, pencils, colored paper, glue;
• works of local craftswomen.

In the Bashkir pattern - the color of honey, wheat,
Beauty of endless meadows and steppes,
The color of the blue sky, the fertile land,
The color of the red flowers, the purity of the springs.
We hear the lingering song of the kurai
In the interweaving of the colors of the nature of the canvas.
In the Bashkir pattern - sesena legend
And the generosity of the people, their kindness.

R.B.Dautova

During the classes

1. Learning new material.

Introductory speech of the teacher:

Beauty is inherent in human nature itself. With it, a person seeks to fill the world around him, endow the tools of labor and objects accompanying him in everyday life. This area of ​​material culture is called arts and crafts.

The origins of Bashkir arts and crafts are lost in the mists of time. The needs of the nomads for weapons and equipment, and of the farmers for tools, contributed to the widespread development of crafts. This, in turn, opened a wide path to the emergence of arts and crafts, which was embodied in weaving, embroidery, artistic and decorative processing of wood and metal, in the design of the national costume and home decorations. Through all this, the Bashkirs expressed their attitude to nature and to the life of society.

In ancient times, all decorations of decorative and applied art played the role of talismans and amulets, protected a person from the evil eye, from the influence of evil forces and spirits. Over time, man's ideas about the world have changed, and the purpose of jewelry has also changed. They gradually lost their original magical function and became just objects of decoration.

The pre-revolutionary arts and crafts of the Bashkirs were most often limited to the needs of the family. Marriage was an important event in the life of the family. A large number of woven and embroidered things were prepared for the wedding:

• patterned shashaw (large curtains for dividing the house into male and female halves);
• wedding suit for girl and groom, towels, napkins, tablecloths, scarves.

In the period of preparation for the wedding, the creative abilities of the girl and her skills as an embroiderer and weaver were most fully revealed.

One of the varieties of arts and crafts among the Bashkirs is knitting down shawls. This fishery was very well developed in Abzelilovsky, Baymaksky, Beloretsky, Zianchurinsky, Kugarchinsky, Khaibullinsky districts, as well as in the Orenburg region. Due to the natural and climatic conditions in these regions, a special breed of goats was bred, giving fluff, thin, and at the same time strong, fibrous-elastic, with high spinning properties: yarn for woven and knitting shawls was made from it. Bashkir woven shawls are a unique type of weaving. These shawls were not knitted but weaved on looms. Also, openwork patterned shawls were made, knitted by hand on two long needles. Craftswomen distinguish between the middle and the border in the scarf, the edges end with teeth. The pattern is geometric. The art of knitting down shawls is preserved and continues to develop in the republic - it is mainly a family down-knitting trade. (Show products.)

One of the most important conditions for the further and successful development of modern arts and crafts is a deep and comprehensive study of folk art. That is why applied art is studied so diligently today, its origins and history of development are revealed. The best works of folk artists are identified, collected and published in the form of albums. And modern artists and folk craftsmen rely on this experience in their work.

The Bashkir ornament is successfully mastered by local craftsmen for the production of carpets, scarves, elements of clothing decoration, wooden dishes, gift souvenirs and other products. (Display of products.)

One of the most popular types of arts and crafts of the Bashkirs is folk ornament.

Translated from Latin, "ornament" means "decoration, pattern". The Bashkirs have long adorned horse harness, household utensils, clothes, shoes, and dwellings with a diverse, bright and colorful ornament. The bride's dowry included pillow cases, tablecloths and other household items, embroidered with lush patterned ornaments. If there were elderly family members in the groom's family, a prayer rug was embroidered by the daughter-in-law on a dark blue or dark green canvas for them. At the same time, ornamental drawings were created, stored and passed on from generation to generation in the family.

The ornament is the product of a long historical development. It retains layers of various periods of cultural development, traces of complex interactions and interactions between tribes and peoples. The semantic ancient meaning of the ornament is largely forgotten and the modern person perceives it as an ornament, a pattern.

In folk art, ornament is the main art form, representing a unique and important layer of the artistic memory of the people.

The Bashkir ornament is symmetrical, the patterns are located either with a border, with separate rosettes, or with a solid grid, or all these techniques are used simultaneously. Its compositional structure is determined by the purpose, shape and size of the decorated objects, for example, the kelyams (carpets) are dismembered into a field and a canvas.

The field is made up of elements arranged in two, three, and sometimes in four rows, and the canvas is made up of a rhythmically repeating ribbon ornament. The canvas of the towel is decorated with three rows, the central field is brightly and colorfully ornamented with larger elements, and the upper and lower stripes are smaller and mirror each other.

In terms of color, the Bashkir ornament is polychrome, i.e. bright, multicolor. The coloristic image (i.e. the color solution) is based on the contrasts of strong and pure colors: red, yellow, black, green, less often blue, blue, orange, purple, and scarlet prevail. The background of the products is most often red, black, less often yellow and white. The Bashkirs identified these colors with the fertility of the earth, the luminary, the dawn and everything beautiful in nature.

Some symbols and elements of the ornament have their own semantic meaning: kuskar is a symbol of curled ram horns and a symbol of herbs.

The improvisation of this symbol with additional spiral curls led to the formation of various ornamental patterns and many other options.

One of the elements of the Bashkir ornament is a solar sign - a circle, a simplified image of the sun in the form of a circle with rays or a vortex rosette.

Heart-shaped element representing hospitality.

The origin of the ornament and its ancient meaning are associated with the religious worldview of people who sought to decorate clothes and household items to appease evil spirits, protect themselves from them, or give themselves strength. Many of these elements are found in other nations.

While decorating their products, people talked about themselves, about their kind, about the surrounding life, nature, therefore, one can give another definition to ornament - this is the symbolic-graphic language of the people, expressing their feelings and concepts.

In Bashkir arts and crafts, six main ornamental complexes are distinguished:

	Ornamental complexes	a brief description of	Application	Examples of
1	The first complex (the oldest).	Includes simple geometric shapes. The main principle of the composition is borders and rosettes.	When decorating products made of wood, leather, painting and sometimes in embroidery and applique.
2	Second complex.	Creates curvilinear patterns from various spirals, horn-shaped and heart-shaped figures, traveling waves.	It is found in embroidery, fabric appliqué, in the design of shoes with woolen tops.
3	Third complex.	Vegetable patterns.	In women's and men's clothing.
4	Fourth complex.	Combines a group of complex patterns. These are eight-pointed stars, stepped rhombuses, or various polyhedra.	Carpets, sharshaws, tablecloths, towel ends are decorated.
5	Fifth complex.	In the form of paired images of birds and animals, separated by floral ornaments.	For ladies' headbands and shoe appliques.
6	Sixth complex.	Includes geometric patterns, simple and complex.	In the ornament of clothing and home furnishings.

2. Anchoring.

1. To consolidate the knowledge gained on the Bashkir ornament, you paint ready-made Bashkir dolls and boots templates.

In the Bashkir family, they tried to make things look elegant, therefore, interesting patterns were invented for these purposes. And you should paint your chosen templates in the traditions of the Bashkir people, using elements of the Bashkir ornament, the main colors that the Bashkirs used to draw up patterns.

2. Who coped with the first task, proceeds to the second: make up a carpet pattern.

Carpets covered the floor in the tirma (yurt), bunk beds. They slept on carpets, rested, they decorated their homes. Imagine that you are in a weaving workshop and as a designer you need to come up with patterns for your rugs.

3. Summing up.

Analysis of the work performed.

When analyzing, pay attention to the elements of creativity, to the color combination.

Ministry of Education of the Republic of Bashkortostan (Bashkiria) "href =" / text / category / bashkortostan__bashkiriya_ / "rel =" bookmark "> Bashkortostan

Subject area: history and culture of Bashkortostan

Supervisor: teacher of the Bashkir language and literature of the highest category

2012 r.

1. Introduction 3-4

2. Bashkir folk ornament 5-8

3. Ornamental complexes of the Bashkir people 8-9

4. Woodcarving among the Bashkirs 9-10

5. Embossing on leather 10-11

6. Bashkir national dress 12-13

6.1. Women's national costume 13-14

6.2. Men's national costume 14-15

7.Conclusions 15-16

5.List of references 17

6. Application

Introduction

Beauty is inherent in human nature itself. With it, a person seeks to fill the world around him, endow the tools of labor and objects accompanying him in everyday life. This area of ​​material culture is called arts and crafts.

Decorative and applied art is a great social and artistic phenomenon, which the researchers of decorative art also call "the visual aesthetic and moral code of the people."

The most ordinary things were done by ordinary people in everyday life, giving them joy. The concept of folk arts and crafts can be explained as an area of ​​artistic creativity, initially associated with the people, their history, customs, festivals, with economic and commercial activities, with the construction of housing, the manufacture of clothing, utensils, tools.

The word ornament originates from the Latin word ornamentum, which means "decorated." The word decorative is also of Latin origin (Latin decoris), it means "decoration, beauty." In ancient times, the purpose of all these things was somewhat different. Ornament and decorative ornaments played the role of talismans and amulets, protected a person from the evil eye, from the influence of evil forces and spirits. Over time, man's ideas about the world have changed, and the purpose of ornamentation and decorative ornaments has also changed.

The ornament is the product of a long historical development. It retains layers of various periods of cultural development, traces of complex interactions and interactions between tribes and peoples. The semantic ancient meaning of the ornament is largely forgotten, and modern man perceives it as an ornament, a pattern.

The art of each nation has its own traditions, its own distinctive, historically formed ornament, which is an important and peculiar layer of the artistic memory of the people and its symbolic and graphic language. The origins of the decorative and applied art of the Bashkirs, just like other people, go back centuries.

The relevance of our work is that we live in a world of new designs. But we must not forget that folk art is a universal means of "spiritual communication of thousands and thousands of people" ()

Research object is the study of literature on this topic, the implementation of skills and abilities in the lessons of the history and culture of Bashkortostan, in the lessons of the Bashkir language and literature, music and fine arts.

Research methods are observation, examination of museum exhibits, illustrations, use of the Internet, study of literature.

Research hypothesis: we will assume that the study of the decorative and applied art of the Bashkirs makes it possible to more effectively assimilate the program material on the history and culture of Bashkortostan. Promotes the study of cultural heritage in high school, develops observation and attentiveness at work.

Based on the hypothesis the purpose of our work is an:

Promotion of the study of the cultural heritage of the Bashkir people;

The desire of peers to in-depth study of the arts and crafts of the Bashkir people;

Education of aesthetic feelings.

To achieve this goal, we have put forward the following tasks:

1) consider the literature on this research topic;

2) to form students' elementary ideas about the cultural heritage of the Bashkir people;

3) to reveal the various connections between man and nature.

2. Bashkir folk ornament

The folk arts and crafts of the Bashkirs absorbed the peculiarities of the culture of different eras. It brought to us its best traditions, in which the people put their understanding of beauty, the desire to create beauty.

The decorative and applied arts of the Bashkir people are diverse. The Bashkirs decorated household and household items, clothes, shoes with patterns.

In the folk art of the Bashkirs, there is no figurativeness due to the strong influence on the spiritual life of the religion of Islam, which prohibited the image of any material objects, but nevertheless the art itself remained as “the richest storehouse of ornaments, materials, processing techniques and manufacturing techniques, giving rise to a variety of combinatorial methods and further stylization and schematization of the plot side of art "

In folk art, ornament is the main art form, representing a unique and important layer of the artistic memory of the people.

In terms of color, the Bashkir ornament is polychrome, bright, multi-colored, the coloristic image is built on the contrasts of strong and pure colors; it predominates:

red - the color of heat and fire

yellow is the color of abundance and wealth

black - the color of the earth and fertility

green is the color of eternal greenery,

white - the color of purity of thoughts, peacefulness

blue is the color of love of freedom,

brown is the color of withering old age. In the patterns of the haraus headbands, there was a yellow-orange and red-brown scale. The background of the products is most often red, black, less often yellow and white, which the Bashkirs identified with the fertility of the earth, the luminary, the dawn and everything beautiful in nature.

Ornament is an indispensable component of the decoration of things. For the Bashkirs, this is a pattern that is formed by a combination of geometric, zoomorphic and plant figures and elements. Depending on the purpose, the ornament was located with a border, separate rosettes or a continuous grid. To decorate clothes, they used mainly an ornament of geometric and floral elements, located with a border, less often with rosettes.

In the Bashkir ornament, there are the following pronounced groups of motives:

cuscar- the symbol of curled ram horns and the symbol of herbs - the theme of nomadic pastoralists and its later modifications: spiral and S-shaped curls,

as well as rhombuses with its many-sided variations.

Kuskar - https://pandia.ru/text/78/007/images/image004_100.jpg "width =" 272 "height =" 187 ">

The origin of the ornament and its semantic meaning are associated with the religious worldview of people who sought to decorate clothes and household items to appease evil spirits, protect themselves from the evil eye or give themselves strength.

One of the elements of the Bashkir ornament is a solar sign - Ocircle, a simplified image of the sun in the form of a circle with rays or a vortex rosette ☼, which are mainly used to decorate the spruce trees.

Swastika element , found in the Bashkir ornament, is a symbol of fertility, the sun, a crossed hammer, lightning, is used as an ornamental motif in the folk art of many ancient cultures, in the ancient world, in Central and South America, and Medieval Europe. He was given a certain meaning of a guardian, a guardian from evil forces, a symbol of the sun, life and good. Heart-shaped element for hospitality. "Href =" / text / category / applikatciya / "rel =" bookmark "> applications.

Most of all, this complex was widespread in the mountainous Bashkortostan.

Second complex presents curvilinear patterns: spirals, heart-shaped and horn-shaped figures, waves, which were used to decorate mainly items of nomadic life. These types of ornaments are typical for the steppe regions of Bashkortostan.

Third complex, widespread throughout the territory of the settlement of the Bashkirs, it is represented by a stylized floral ornament.

Fourth complex, which experienced a significant influence of neighboring regions - Tatars, Chuvashes, Mari, Russians and others - is represented in the western regions of Bashkortostan. This is a group of intricate patterns associated with various types of weaving. This includes multi-stage compositions of rhombuses, triangles, which were complemented by paired spiral curls.

Fifth complex the ornamental one is represented by adornments in the form of women's headbands, appliqués on shoes in the form of paired images of animals and birds, separated by floral ornaments. It was distributed in the southeastern part of Bashkortostan and the Trans-Urals.

Sixth complex includes geometric weaving and embroidery patterns:

Squares and rhombuses, simple, ledged, serrated, with extended sides, with paired horn-like curls at the tops, eight-pointed rosettes and others. Patterns of this group, widespread in the western and northern parts of Bashkortostan and the Trans-Urals, were used in the ornamentation of clothing and home furnishings.

4.Wood carving among the Bashkirs

This is one of the earliest types of decorative art. In Bashkortostan, woodcarving became more developed where there were many linden and birch forests. Saddles, stirrups, cases for weapons, dishes, parts of a weaving machine and others were ornamented with carvings.

Among the various objects of artistic craft, a special place among the Bashkirs is occupied by products made of wood and wood materials. Suffice it to point to buckets with an openwork handle or horse saddles with beautiful bows. The high technique of their decoration, the variety of forms and subjects attracted the attention of Russian and foreign researchers back in the 17th and 18th centuries. In these objects, on the one hand, huge reserves of talent were manifested, on the other, they are the products of hard and painstaking work, when rich human imagination and ingenuity were given wide scope. Speaking about the objects of decorative and applied art of the Bashkirs, we must take into account one more important point: a minimum of tools of a master woodworker, in most cases an ax and a knife. These and other aspects of the Bashkir folk craft are described in detail in the recently published book "Carving and painting on wood among the Bashkirs. Its author is a famous ethnographer who has devoted her entire life to the study of Bashkir traditional culture.

The rare gift of carving became a lifelong concern for some men. Carved ladles, bowls and tubs for kumis made by their golden hands were in great demand at local bazaars and fairs. Experienced carvers carefully kept and passed on the secrets and secrets of applied art from generation to generation. Young masters enriched and improved it. The decorative and applied arts of the Bashkirs have undergone periods of rise and decline in their history. But still, to this day, it has carried wonderful examples of cultural works created by the hands of folk craftsmen from the Bashkirs. One of the important conditions for the further successful development of modern arts and crafts is a deep and comprehensive study of folk art. Therefore, scientists are so diligently studying Bashkir applied art today, finding out its origins and history of development. The best works of folk artists are identified, collected and published in the form of albums. And applied artists and craftsmen in their work rely on this experience. [1,31]

5.Skin embossing

One of the traditional types of arts and crafts of all nomadic peoples. Before embossing, the leather was dyed reddish-brown using an infusion of willow or oak bark. The soaked blanks were placed on a wooden stamp and kept under pressure until dry. Sometimes the background was etched with copper sulfate, and it became darker than the pattern. Carved ornament was also widely used. Although the carved ornament is older than embossing, it remained in the life of the Bashkirs much longer, and the traditions of carved ornament reached the beginning of the 20th century.

The shamrock was the main figure in leather ornamentation. In addition to embossing, leather goods were decorated with metal overlays with silvering or gilding and embossing. Almost all items of nomadic life: flasks for kumis, cases for weapons, bags for shot, powder flasks, ceremonial harness, belt and saddle bags, were decorated with various types of ornaments.

6.Bashkir national dress

The national costume of the Bashkirs took shape over the centuries. There was no single general Bashkir costume and could not be, because each Bashkir tribe had its own differences. The main materials in the manufacture of clothing were homemade cloth, fabrics from plant fibers, leather, sheepskin, fur, wild nettles and hemp.

The costume of young and middle-aged people differed from the Bashkirs in brightness. Preference was given to red in combination with green and yellow, less often blue was used. Old white clothes were decorated with red - embroidery or applique. For outerwear, especially for the elderly, black fabrics were used.

6.1. Women's national costume

The clothes of women of all nations are distinguished by a wealth of decorative trimmings. The basis of the Bashkir women's costume is a underwear dress (kuldek) with frills, decorated with a woven pattern and embroidery. Ruffles, cuffs, and pintucks on the chest appear on dresses only at the beginning of the 20th century. The surviving old dresses, which are in the collection of the Bashkir Museum of Local Lore, are made of bleached canvas, decorated with a woven Pattern and embroidery. They have whole flocks, side wedges, wide armholes, large square gussets. The turn-down collar was usually made of a factory-made, softer fabric (satin, chintz), and the chest cut was fastened with a cord. The hem and sleeves are edged with red stripes of a branded pattern, and the red satin of the collar is embroidered with a counting satin stitch. The way the details are sewn together indicates that the dress was made at least one and a half centuries ago. The tunic-like cut of clothing is the most widespread in the national costume of the peoples of the region. The originality of each individual costume develops as the ethnic group develops. This is evidenced by the evolution of the Bashkir women's dress. In the process of its formation by the XVIII century. a gathered chintz or satin hem is sewn just below the waist, since a narrow homespun canvas did not always allow the dress to be of the required length. Women's camisole with the same fitted cut is widespread almost throughout the entire area of ​​residence of the Bashkirs. Only its finish differs.

A special place in the folk wardrobe of Bashkir women was occupied by swing bishmets (north) and elena (south) made of plain cloth. They were usually decorated with coins, appliqué and braid. Later examples show "epaulettes". Elen and bishmat have common cut features and belong to the Turkic traditional straight-back cut. Helen is more flared at the hem and lengthened almost to the ankles.

Women and girls stood out for their elegant embroidered clothes. A dense pattern covered the skirt and sleeves of the dress, the hem and brisket of the apron. The floral ornament of fancifully curved branches with leaves and flowers, made with a vestibule, was located on dark (black, dark blue, purple) satin. The manner of embroidery with outlining the contour in one color and filling the figures with another gave the drawing a special dimension. Such sets (dress and apron) were prepared for the wedding; in the chests of the young one could find several pairs of embroidered clothes brought to the husband's house as part of a dowry. The girl's skill was assessed by her ability to vary the pattern. A peculiar art was embroidery with beads, sequins, pearls, metal thread on the back of headdresses-caps. The headdress of women first of all emphasized her social status, marital status. Before marriage, girls wore round hats (takya), caps: sewn and knitted. Elderly women wore a cotton scarf (yaulyk) over a cap or quilted cap (blunt). In prosperous families, women wore: high hats made of valuable furs (kamsat burek). Attire: bright bedspreads (kushyaulyk), white embroidered ones (tastar) served young women. Helmet-shaped caps with an occipital lobe (kashmau) look original. They were decorated on a helmet with coral mesh and pendants, the blade was embroidered with beads and cowrie shells. The pendants on the helmet, reaching to the eyebrows, hid half of the woman's face, the blade covered the luxurious braids, so as not to serve as a temptation. Kashmau perfectly illustrates the observance of Sharia law in everyday life, which defined a woman as a vessel of sin.

One of the significant elements of the women's costume was bibs (selter, yara), covering the cut of the dress. The shape of the bib is not the same in different places: from triangular to rounded, from short to long, reaching to the hips. However, they all serve the same purpose: to protect from the penetration of evil spirits, and at the same time to cover up the same sinful essence of a woman. Women's jewelry (various kinds of earrings, bracelets, rings, braids, clasps) were made of silver, corals, beads, and coins. Turquoise, carnelian, corals played the role of amulets.

6.2. Men's national costume

Bashkir men's national costume made of a shirt, pants, woolen stockings and boots. A skullcap was worn on the head, a fur hat (burok) over it. A camisole or Cossack was worn over the shirt. Outerwear was a cloth sekmen and a fur coat, they were necessarily belted.

Men's footwear was quite varied: boots, leather shoes, ichigi (sitk), shoe covers. Men's saryk shoes were decorated with small triangles made of leather along the bottom of the bootleg.

Belts were adornments for men's clothing: bilbau, kaptyrga and kemar. With the help of the bilbau, the Bashkirs belted their outer clothing. This belt was made by the Bashkirs themselves, it was woven from threads of dark colors and was edged with fringe.

Kaptyrga is a narrow belt belt with a pattern embossed on its outer surface, with a hook-like buckle at one end and a hole at the other.

In great fashion, wealthy Bashkirs once had dandy sashes, which were called kemir, with rather expensive engraved copper or even silver buckles, richly decorated with badges with semiprecious stones - agate, carnelian, turquoise. In the old days, sashes were also valued very dearly: for one kemir, the rich gave a couple of bulls.

conclusions

Beauty is inherent in human nature itself. With it, a person seeks to fill the world around him, endow the tools of labor and objects accompanying him in everyday life. The visual arts of the Bashkirs were very diverse both in terms of technique and motives.

The Bashkir folk ornament had a great influence on the ornaments of other peoples and was itself enriched with drawings transferred from other cultures. The Bashkir ornament is now successfully mastered by local craftsmen for the production of carpets, scarves, shirts, blouses, napkins, wooden dishes, and gift souvenirs.

The Bashkir ornament is very ancient, but even now it has not lost its relevance. If you walk through the city, or any village, you can see the Bashkir ornament on houses, posters.

In the Bashkir ornament, you can find motives of Siberian, Central Asian, Volga origin, as well as analogues in the art of Hungary and Bulgaria.

The Bashkir ornament has its own specific features that distinguish it from the ornament of even the peoples closest in cultural and ethnic kinship. Despite the many motives characteristic of other peoples, the Bashkir ornament represents a unique formation. Some of its elements, the most ancient, are known among other peoples, thousands of kilometers away to the west and east. There are elements characteristic of the art of most of the peoples of Eurasia. This testifies to the fact that the culture of the Bashkir people was born in a single channel of the development of world culture, in the process of active contacts with the tribes of the Turkic East and the Finno-Ugric population. This is the reason for the complexity, versatility of the pictorial language of the Bashkir people, which tells about the history of the development of their culture.

The multinational people of Bashkiria highly respect the traditions of the region and love their culture - the culture of our ancestors. We think that the Bashkir ornament will be passed down from generation to generation.

Literature

1. The culture of Bashkortostan: a study guide for 8th grade students. Ufa, State Unitary Enterprise "Ufa Polygraph Plant", 2002, pp. 31-34.

2. Folk arts and crafts of Bashkortostan-Ufa: Bashkir publishing house "Kitap", 1995, p. 6-12.

3. Essays on the culture of the peoples of Bashkortostan. Compiled by Benin, publishing house: Kitap, 1994, pp. 4-8.

4. Native Bashkortostan: textbook for grade 6 / Aznagulov G., 2nd ed. –Ufa: Kitap, 2008, pp. 86-102.

5. G History and culture of Bashkortostan: Textbook. pos. for teaching Wed specialist. uch. z.-2nd ed. and additional - Ufa: Galem 2003, pp. 254-261.

6. Bashkir folk clothes.-1st ed. - Ufa: Kitap, 1995, p.5-16

7.Information from the Internet:

"Images. ***** ›Bashkir pattern

http: // bashkort. ***** / textbook / index. html

FEDERAL EDUCATION AGENCY

UFA STATE ACADEMY

ECONOMY AND SERVICE

TEST

By discipline: "Culturology".

On the topic: "Bashkir ornament".

Completed by: Sitnikova Yu.A.

Group: GZ-2, Code: No.

Checked by: Assistant Professor of Cond. Chem. sciences

Timofeeva M.Yu

Introduction ………………………………………………………………… ... 3

1.Ornament as a phenomenon of national Bashkir culture ………… .3

2.The structure of the ornament …………………………………………………… 4

3.The meaning of ornament in the history of cultural development ............................................................. 6

Conclusion ……………………………………………………………… ... 6

References ………………………………………………………… ..7

INTRODUCTION

Ornament- one of the oldest forms of human visual activity, known since the Paleolithic era. In translation from Latin, ornament is "decoration", "pattern". The original images were simple-minded: a twig, a fragment of a shell, drawn over wet clay, or plant seeds pressed into it. Over time, real seeds were replaced with their images. Already in the Neolithic era, the ornament of ceramics is not a random set of strokes, stripes, lines, but a thoughtful, compositionally verified drawing filled with symbolic content.

The very special place of ornament in the culture of traditional society can be judged by the activity of its use. They were used to decorate clothes (everyday, festive, ritual), women's jewelry, various objects (household utensils and religious objects), dwelling, its decoration, weapons and armor, horse harness.

The Bashkir ornament is characterized by both geometric and curvilinear plant patterns. The form depends on the technique of execution. Geometric motifs are made using the technique of counting embroidery and weaving. Curvilinear floral - in the technique of applique, embossing, silver notching, in the technique of free embroidery (tambour, or "oblique mesh"). Typically, patterns were applied to wood, leather, metal, canvas. There are various ornamentation techniques: wood carving and painting, leather embossing and carving, metal processing, appliqué, abusive and embedded weaving, knitting, embroidery.

1. ORNAMENT AS A PHENOMENON OF THE NATIONAL BASHKIR CULTURE.

Bashkir ornament- one of the phenomena of the national Bashkir culture, reflecting its originality and specific features. Ornament for the Bashkir people was the only form of artistic and visual creativity. The almost complete absence of realistic images of animals, people and landscapes in Bashkir folk art was due to the influence of Muslim culture, namely, the prohibition of Islam to depict living things. Islam not only excluded from art all other images, except for ornament, but also determined the extreme stylization of its form, the spread of geometric ornament. Nevertheless, the northern regions of the Muslim world knew the widespread use of images of animals in ornamentation, often stylized, and sometimes even of a relatively realistic nature.

Paganism, with its magical, totemistic and animistic ideas, had a significant impact on the ornament, its content and form. The adoption and spread of Islam led to the destruction of a single system of pagan ideas and beliefs. However, pagan motives associated with folk myths have long and firmly lived in arts and crafts.

As the visual culture of the people developed, art was increasingly associated with the aesthetic needs of people. The coloristic solution of patterns is the brightest manifestation of national originality in art. The Bashkir ornament is almost always multi-colored, with a predominance of warm colors: red, green, yellow. Less commonly used blue, light blue, lilac colors. The color gamut was greatly influenced by the appearance of aniline dyes. Their use destroyed the traditional flavor, which was based on more restrained color combinations, since before the advent of aniline dyes, the Bashkirs used natural ones. Natural colors of wool took part in the creation of the traditional color: white, gray, black. The color matching in the Bashkir ornament was contrasting: green and yellow patterns on a red background, red and yellow on black. The background has always been active, for it more often bright red, yellow and black colors were chosen, much less often - white canvas.

2. STRUCTURE OF THE ORNAMENT.

Bashkir ornament(both individual elements and the whole composition) is almost always symmetrical. The composition very succinctly and figuratively tells about the perception of the world by people. The whole world contains phenomena given only in opposition: day - night, life - death, light - darkness, masculine - feminine, left - right, etc. This is shown through the symmetry of opposing animal figures. In order for the opposites in the mutual struggle not to destroy each other, a third element of the composition is needed, delimiting them - the golden mean, the starting point, the symbolic image of the axis of the world. Thus, the ornament reflected the ancient ideas about the triple rhythm of life, characteristic of most peoples.

The central figure in such compositions was most often a female figure, sometimes an image of a tree. Sometimes the symbolic rhombus occupied the central place. Such substitutions are not accidental and logical, since both the female figure (the image of the goddess of all that exists), and the tree (the tree of life), and the rhombus (the symbol of the land-arable land) are symbols of fertility, the life-giving principle.

On the Bashkir kharauses, one can find both a highly stylized anthropomorphic figure in the center of the composition, and an image of a tree.
The composition of the patterns of the Bashkir Kharauses is multivariate. It cannot be viewed as a simple borrowing of an ornamental plot. The combination of horses, trees, humans, birds in one composition does not contradict folk ideas. "In Bashkir folklore," notes the researcher MM Sagitov, "in critical situations, the horse takes the form of a sacred family tree of poplar, the mighty branches of which raise the hero to an unattainable height and thereby save him from the pursuing enemy. The motive of the transformation of a horse into a family tree is typical for Turkic-Mongolian epos ".

Compositions with horses on kharauses are also interesting because in the upper corners of the composition above the horses there are symmetrically located figures representing two birds that represent the sky. "In Bashkir folklore," notes MM Sagitov, "three worlds are usually depicted: heavenly, earthly and underground or underwater. Ordinary people live on earth, and the underworld is inhabited by spirits and monsters hostile to people and celestials." Similar compositions with two horses and birds above them, facing the central figure, are found not only among the Bashkirs, but also in the Chuvash and Russian embroidery, in the ornament of the Finno-Ugric peoples.

The patterns on the kharaus reflected the representations of the pre-Islamic period of the history of the Bashkirs. Islamic culture has determined a high degree of stylization of originally realistic forms, which complicates the "reading" of the ornament and the reconstruction of the most ancient ideas of the people.

With the help of signs-amulets, a person believed to protect himself from harmful spirits, the evil eye and other misfortunes. This designation of the ornament corresponded to its location on clothing and on the dwelling. In clothes, the edges, cuts, openings were first of all decorated with ornaments: collars, cutouts, fasteners, edges of sleeves and hem. Clothing in itself was considered sufficiently reliable protection of a person from harmful influences from the outside, but the vulnerability of clothing was holes through which evil spirits could penetrate, and therefore they needed additional protective power. The edges decorated with a pattern were considered inaccessible to negative influences, the seams were made double, and among some peoples, clothes along the seams were additionally stitched with colored threads. "It is no coincidence that on the decorative products of most peoples, embroidery patterns are located along the seams and sides of clothing or along the edges of flat products. In this light, it is interesting to note that the ancient Türkic terms generally accepted in the Bashkir language for embroidery - seeu, mystery - in their original sense go back to the concepts of "limit", "frame", "border" (from the book of N. V. Bikbulatov, R. G. Kuzeev and S. N. Shitova "Decorative creativity of the Bashkir people").

In decorating the dwelling, they proceeded from the same ideas: "My house is my fortress," and therefore, first of all, it is necessary to decorate the places where evil spirits might enter the house. Decorated, first of all, gates, shutters and window frames, as well as the edges of the roof. The simplest and most common form of amulet amulet in the Bashkir ornament was a triangle, less often a rhombus. Both of these figures are a symbolic image of the eye: a triangle in profile, a rhombus in front. The eye in the image was endowed with magical power, being the most reliable remedy for the evil eye. Triangles-amulets can be found in the decoration of saryk shoes, on women's clothing and on other items. The idea that the image of a triangle can protect from harmful external influences was widespread among many peoples. The amulet, calculated that at any moment he must interfere with evil forces, was depicted as directed to all four cardinal directions, in extreme cases - to two.

3. THE IMPORTANCE OF THE ORNAMENT IN THE HISTORY OF CULTURE DEVELOPMENT.

Ornament as a phenomenon of national culture refracts in itself its various facets. Since culture is constantly tuned to self-reproduction, the transmission from generation to generation of traditional forms of culture is of great importance. The original interpretations of certain ornamental motifs and plots have long been forgotten, but this becomes unimportant when techniques and plots are transmitted from generation to generation, since the very fact of continuity is important. Continuity is the main quality of traditional national culture, thanks to which some plots or elements of ornament can exist without changing for centuries and millennia. Such stability of the ornament helps in the study of bygone folk ideas, and also allows you to use it as a historical source.