Municipal educational institution

"Secondary school No. 20"

Anzhero-Sudzhensk

Tatar folk ornament in embroidery

Work on the XV Regional Conference

“Live, Kuznetsk land!”

st. Cherednichenko, 7-1,

Zagornova Arina Andreevna,

st. Socialist, 1-3

students of class 7 "A" of municipal educational institution "Secondary School No. 20"

Anzhero-Sudzhensk

Supervisor:

Augustan Irina Alekseevna,

higher technology teacher

Introduction

People of various nationalities live in our city: Ukrainians, Germans, Belarusians, Russians, and including Tatars, whose population in the city is more than five thousand. True story The history of the Tatars in Siberia begins only from the time of the great Genghis Khan, who led this people at the beginning of the 13th century after the birth of Christ. The decorative and applied arts of the Tatars are very diverse and have their roots in the deep historical past. Therefore, it became interesting for us to find out for ourselves and introduce the younger generation of our city to one of the types of decorative and applied arts Tatar people– embroidery.

Tatar folk ornament in embroidery represents a bright and unique page in the artistic creativity of the people. Being the main means of decorative and applied art, it reflects at the same time complex history formation and development of the people, their culture and art. The ornament of the Tatar people was formed as a result of a long process of its historical development and wide communication with neighboring and distant peoples. The difficult conditions of the ethnic formation of the people determined the commonality of many types of their art with the art of neighboring peoples, as well as with the art of the peoples of the East. Each era in the life of a people left a certain imprint on its fine art, ornament, and style.

Beautiful examples of Tatar ornament have found vivid expression in various works of centuries-old creativity of the people: in fine patterns of jewelry, colorful embroidery and patterned fabrics, carved plastic tombstones, hats, multi-colored mosaics of leather shoes, home decorations. Along with the artistic and ethnic aspects, the ornament reveals quite clearly the features of everyday life, economic activity and the ideology of the people, the historical environment that in different eras introduced various layers into it. By its nature, the Tatar ornament is deeply connected with ancient agricultural culture. The beginning, which was laid long before the formation of Volga Bulgaria. However, in some of its manifestations, very ancient roots are felt, going back to the distant pastoral culture of the nomadic ancestors of the Kazan Tatars.

IN modern conditions, girls don't do much decorative creativity. U younger generation other interests arise, but we always need to remember the history of not only our people, but also those who live next to us, a history that is based on a deep relationship with nature and the way of life of the people.

Target: Making a Tatar folk ornament on a napkin.

Tasks:

1.Study literature on Tatar folk ornament in embroidery.

2. Get acquainted with embroidered items in the city museum.

3. Embroider napkins with Tatar ornaments.

Ornament is a peculiar handwriting of the people

Embroidery is one of the oldest and popular types female visual arts. According to Professor N. Vorobyov, this type of art was associated with the seclusion of women who rarely left the house and used their leisure time for needlework. Young and old women of all social strata of the city and village knew how to embroider. Craftswomen for a long time winter evenings created elegant and cheerful patterns using a variety of motifs and floral combinations. Unlike the Russians, Ukrainians, Mari and other peoples, the Tatars did not use embroidery in clothing, but decorated household items: towels, napkins, tablecloths, bedspreads and window curtains, namazlyks (prayer rugs) (Appendix 1). Footwear was also embroidered - boots (ichigs), shoes (Appendix 2), as well as headdresses - kalfaks, kalfachkas, erpeks (head covers), skull caps. In the funds of the city museum there are two women's headdresses - kalfaks. One is embroidered with pearls on blue velvet (AKM o.f. No. 15868, VT No. 446). It was handed over by Biktimirova Nazifa. Kalfak was embroidered by her mother at the beginning of the 20th century. The second kalfak is embroidered with pearls on brown velvet (AKM o.f. No. 3187, VT No. 1090). It belonged to Zulfiya Garifyanova, born in 1897, repressed from Bashkiria in 1931. It was passed on by her granddaughter Zemfira Pozdneeva (Appendix 3). Corduroy and velvet were used to make men's and women's hats. Colored and white beads, as well as fake pearls, were used to decorate headdresses. Embroidery with beads and fake pearls was carried out both along the contour and in filling the patterns. The most richly embroidered kalfaks and skull caps were decorated with twisted metal spirals, gold fringe, tassels, and sparkles. The patterns used in chain and gold embroidery are distinguished by a wide variety of motifs and an abundance of their variations. The patterns are clear and contoured. Tambour patterns in Tatar embroidery had a significant influence on the ornamentation of the Bashkirs, Chuvash, Udmurts and Uzbeks. IN women's dresses sometimes the frills were embroidered. Most of these things are related to interior design. The furnishings and decoration of the Tatar house had a number of features. It was not customary to divide the house into rooms, or to load it with unnecessary furniture, so skillfully embroidered curtains and canopies appeared. The house became especially colorful during wedding celebrations- everything was decorated with embroidered and woven items of the newlywed. This custom, demonstrating the hard work and skill of the bride, is still alive in some rural areas. The traditions of folk embroidery are also preserved in the villages in connection with the Sabantuy holiday - young daughters-in-law give their products to the winners of sports competitions.
Embroidery was usually done on bright, saturated material - green, yellow, purple, burgundy. They embroidered with twisted silk, gilded or silver cord, beads, and pearls. Great 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. Kazan towels embroidered with silver and gold thread on white silk were especially beautiful.
Patterned weaving was also widespread, also associated with everyday life and having the character of a home craft. The ornament reveals similarities with Central Asian and Azerbaijani carpets, while the color structure (the predominance of red and its various shades) has no analogues.
Embroidery ornament of the 19th-20th centuries. basically consists of plant, geometric and zoomorphic motifs. All these types of ornaments originate in the culture of the distant ancestors of the Tatars. A feature of the ancient ornament is the curvilinear interpretation of patterns and motifs, “based on the technique of appliqué, vestibule, and mosaic.” The large share of floral patterns in Tatar embroidery, apparently, must be explained by the antiquity and popularity of the vestibule. The influence of the technical principle on the nature of the ornament is confirmed by counted and line embroidery, in which, on the contrary, geometric ornament dominates, and patterns of plant, zoomorphic origin are highly geometricized. We saw such a pattern on towels stored in the museum (Appendix 4). Historical cultural and economic relationships with the peoples of the East, Western Asia and Asia Minor played a role in the improvement and consolidation of floral and plant motifs as traditional for Tatar folk embroidery. In Tatar art XIX-XX centuries floral ornament least of all connected with the ancient symbolism of the divine forces of nature, but due to purely artistic tasks of reflection, glorification of the wealth, harmony and beauty of the ever-living plant world. Observing nature and being inspired by it, the craftswoman still quite rarely reproduced real forms. Although, if we compare embroidery with other types of Tatar folk applied art, it stands out for its most realistic interpretation of floral and plant motifs. No matter how different the floral patterns in the embroidery of other Volga peoples are, up to late XIX century, among them there are almost no reproductions of specific plant species, whereas in the Tatar one this can sometimes be determined “with botanical accuracy.” And yet, plant patterns in Tatar embroidery, as a rule, collective images. Moreover, on one branch, on one stem, the artist’s imagination combines completely different flowers, fruits and leaves (we encounter something similar in bouquet compositions). But the most conventional, generalized reproduction of plant images, the use of forms that real nature has never known, does not interfere with the impression of the vitality of the embroidered pictures of flowering gardens, the colorful motley grass of the steppes, forests, and fields.

The secret of this effect, however, is quite simple, although it is dissolved in the rhythmic pattern of the embroidery. This is an asymmetry that, in general, does not disturb the balance of embroidery patterns, but introduces that very naturalness, spontaneity that is characteristic of real nature - the primary source of inspiration for folk artists. The inexhaustible imagination of craftswomen in search of new ones artistic solutions boldly transforms a geometric, zoomorphic ornament into the category of a plant one, and the richness of the latter, multiplied by the infinite number of variations of the same theme in the individual creativity of needlewomen, does not leave the impression of poverty and monotony of embroidery. Even among works from the same area, it is difficult to find patterns that literally repeat in design. A significant role in creating the impression of richness and variety of ornament is played by the inherent polychrome nature of Tatar embroidery, when the same motifs are made in different colors and are perceived as different.

Types of Tatar embroidery patterns

Floral and plant motifs Tatar embroideries can be combined into three groups. According to the classification proposed by F. X. Valeev, these are motifs of steppe, meadow (partly forest) and garden origin. Images of garden flowers (dahlias, peonies, asters, chrysanthemums) are more typical for the embroideries of city women, while the simple peasant life was closer to the not so bright, but immensely dear to the heart images of native forests, fields, and meadows.

Almost every floral and plant motif in Tatar embroidery is based on a combination of curvilinear and geometric shapes. So, for example, a wavy line, overgrown with all kinds of twigs, leaves, flowers, extending in one or different directions, turns into a popular “grapevine” motif.

The soft, smooth outlines of cloud-shaped and palmet-shaped figures are distinguished, going back to the simplest paired curls and spirals . With the help of rosette forms, images of both conventional and specific buds and flowers are created - often multi-petal garden flowers (peonies, dahlias, etc.).

A motif close to the image of peonies in embroidery.

Carnation motif in Tatar ornament

Geometric ornament In embroidery, in most cases, an auxiliary role is assigned. Thus, the motifs of a meander (tied and broken), spiral, staple, oncoming wave, plait, braid, rope, etc. are used in compositions of borders and borders. Complex geometric shapes - rosettes with scalloped edges, a heart-shaped motif, etc. act as a frame for the leading floral and plant motifs.

In more pure form geometric motifs are found in counted embroidery. For example, the geometric pattern on the ends of towels made with colored interlacing is mainly formed by various combinations of straight and broken lines of a lattice made of zigzags, triangles, squares, rhombuses (simple, paired, crenate). On the “sүrәkә” covers in the border strip, light ornamental ribbons are created with threads of attachment: rhythmic repetition of two or three intersecting zigzags or alternation of spiral and rhombus motifs with extended sides. For embroidery on top of a golden background of headbands, a hexagonal rosette, an eight-pointed star, a stepped triangle, a square or rhombus with different internal designs, and an X-shaped figure are typical. On wedding scarves "tүgәrәk yaulyk" the geometric ornament is represented by motifs of a rhombus, square, rosette, corners, etc. These scarves are also characterized by a geometric ornament (leaf-shaped patterns).

From linear geometric motifs The most common and traditionally used are the following: wave motif (Fig. 1), oncoming wave (Fig. 2), rope motif (Fig. 4), scalloped (Fig. 3), spirals (Fig. 8), zigzag motifs are less common (Fig. .7), the motif of a rope (Fig. 5), braiding (Fig. 6), and a meander (Fig. 11-12), which has become widespread in embroidery patterns.

Zoomorphic motifs - characteristic of the decorative and applied arts of the Russian and Finno-Ugric peoples, they are very rare in Tatar embroidery. One of the reasons for this is the prohibitions of the Muslim religion on the depiction of living beings. This leads to a certain one-sidedness in the development of the ornamental art of the Tatars. However, the “taboo” on the depiction of living beings has given rise to many options for types of ornamentation that are not prohibited by religion. And yet, despite the strictest canons dictated by religion, the creativity of individual folk craftsmen It also reproduced living images inhabiting the surrounding world, and there was also room for the depiction of fairy-tale, fantastic heroes. However, it is quite difficult to establish images of birds, butterflies, horses, etc. in embroidery patterns of the 19th century - they are so stylized, processed in the spirit of floral patterns. Zoomorphic motifs are interpreted more realistically in gold embroidered stitching. An additional difficulty in detecting zoomorphic motifs is the multicolored vestibule. Therefore, in embroidery with continuous polychrome filling it is more difficult to read the zoomorphic beginning than in embroidery where the vestibule draws only contour lines.

In the embroidered patterns of the towel there is such a detail as the motif of a tree-flower separating the horses of one pair. This motif is nothing more than a pictorial trace of two widespread cults in paganism: mother earth and trees. Since the times of matriarchy, the fertile power of the earth has been personified in the image of a female deity, and its symbolic image in the form of various forms vegetation. The sacred tree of life, the source of vitality, a symbol of fertility, and the receptacle of the souls of ancestors was also depicted. The motif of a tree-flower in a towel is the core of a three-part composition, the plot of which could once have meant a scene of worship of symmetrically standing horsemen to a female deity, or tree.

In the embroidered pattern at the ends of wedding greaves, the vestibule not only outlines the contours of the motifs, but also participates in filling out its elements. The lower parts of a peculiar bouquet of leaves of various shapes and sizes are filled with a carpet seam, and the upper parts are filled with a zigzag mesh vestibule. If the towel reflected graphically laconic lines that evoked an association with the image of horses, then in other products we notice that the “bush bouquet” resembles a giant butterfly, with wings spread out in flight, and the trefoil that completes the top of the bouquet is nothing more than two-headed bird. This simplification and generalization of the image, characteristic of folk art, ultimately gave birth to a new independent conventional ornamental sign.

Zoomorphic motifs in Tatar embroidery patterns

Significant place in decorative arts The Tatars were interested in graphics. Letters of the Arabic alphabet, made in complex script, were used to decorate the headpieces and endings of books, and to design shamails for the interior of homes. This tradition is also slightly reflected in embroidery. Thus, some embroideries of the last century (towels, handkerchiefs, pillowcases, more often namazliks) are accompanied by text - sayings, dedications, good wishes, embroidered in Arabic script.

The ornamentation of modern embroideries basically continues the traditions of folk embroidery of the past. Floral and plant patterns remain as popular among the people as before. This is to a large extent due to the fact that the chain stitch remains the leading technique today.

Embroidery of napkins

When choosing a pattern for our napkins, we noticed that in the book by F.Kh. Valeev patterns used in tambour and gold embroidery are distinguished by a wide variety of motifs and an abundance of their variations. However, having familiarized ourselves with the embroidered products of the city museum, we saw towels made in counted satin stitch with a geometric pattern (Appendix 4). We interviewed quite a few friends and neighbors to find women who were engaged in embroidery.C with great difficulty, but we were still lucky enough to meet two residents of our city: Bakirova Nuranya Abunakirovna and Aksanova Sarah. They showed us their products, which they embroidered in their youth. Their products, made with satin stitch and cross stitch, bore little resemblance to Tatar ornaments (Appendix 5). These women came to our city in the 30s as children, so it is clear that their work was influenced by the trends of urban life and the residents of other nationalities living nearby.

On our products we decided to show the traditional embroidery of Tatar women, made with a chain stitch.

The chain stitch is used not only in embroidery, but also in finishing the product. Outwardly it looks like a chain. Based on the nature of the stitches in Tatar embroidery, there is a low tambour (elme), sewn with large stitches, and

The vestibule is high, embroidered with small stitches, creating the impression of a raised lace (kupertken elme). In the latter case, thick threads of twisted silk were usually used. To embroider the napkins, we took floral and plant patterns traditional for Tatar embroidery, and embroidered the edges with the popular “grapevine” motif.

Photo of embroidered napkins.

Conclusion

While working on the project, we found out that embroidery is one of the popular and traditional types of Tatar folk art. In ancient times, young and old women of all social strata of the city and village knew how to embroider. Studying the literature, we came to the conclusion that there is very little literature on the special study of Tatar folk ornaments, as well as the decorative and applied arts of the Tatars in general. However, we found out that in the development of ornaments in embroidery, Tatar masters and craftswomen achieved great virtuosity, creating numerous patterns and techniques for their construction. They perfectly understood the meaning of harmony, form, rhythm, and the laws of color relationships. In the days of hoary antiquity, decorations and patterns of things, clothing, and buildings were given the meaning of a symbol, a talisman protecting the owner of an object or clothing from hostile and invisible forces. Ornamental decorations were also signs that helped define tribal, social and social status person. We can observe these features in Russian arts and crafts, which characterizes folk art as universal, “planetary”, but at the same time maintaining a pronounced national character.

Attention to the Tatar ornament is caused not only by problems associated with their scientific character and of particular interest to art historians, ethnographers, historians, but also practical tasks creative development of the rich ornamental heritage of the people by artists, architects, and masters of the art industry.

As a result of literature research, we learned that Tatar women used many types of embroidery, but the most ancient type of Tatar creativity is tambour embroidery. This seam belongs to the oldest species embroidery techniques of Asian peoples. This technique became dominant among the Tatars, subsequently penetrating the work of the Chuvash-Anatri and Russians of the Middle Volga region. However, while working in the city museum and getting acquainted with the creativity of the residents of our city, we did not discover this particular embroidery technique. In order to revive a forgotten type of creativity, we embroidered napkins using a chain stitch.

As a result of our research, we came to the conclusion that the creativity of our peoples has a lot in common. Notable role in this process also refers to those ethnocultural relationships that constantly existed among the Tatars and their ancestors with neighboring peoples. Among our peoples different customs and traditions, but this does not interfere with our existence. We are interested and want to know the traditions of other peoples.

We hope that our material will arouse students’ interest in the works folk art Tatars, history, will help in nurturing artistic taste and developing creative abilities.

Life's twists and turns take us around,

But again and again

Unite all nations

Harmony, friendship and love.

Bibliography

1. Valeev F.Kh., Tatar folk ornament. Kazan, 2002.-295 p.

2. Gulova F.F.Tatar folk embroidery / Ed. R.G. Mukhamedova, Kazan, Tatar book publishing house, 1980 .-332 p.

3. Goryaeva N.A., decorative and applied art in human life: Textbook. For 5th grade. educational institutions/ Ed. B.M. Nemensky.- M,: Education, 2000.-176 p.: ill.

4. N.G. Klimova., Folk ornament in the composition of artistic products. - M.: - Fine Arts, 1993

Annex 1 . Prayer mat

Appendix 2.
Shoes of Tatar women

Appendix 3.

Embroidered headdresses from the city museum collection.

Appendix 4. Embroidered towels from the city museum collection

Appendix 5 Aksanova Sarah and her product

Appendix 6. Embroidered items by Nuranya Abunagirovna Bakirova.

Ornament is a beautiful storyteller. Take a closer look at him, and he will tell you about his land and the time when he was born, about his people and the events that he experienced with him.

Let's study our ornament - Tatar - together with Guzelya Fuadovna Valeeva-Suleimanova, Doctor of Art History, chief researcher at the Institute of History named after Sh. Mardzhani of the Academy of Sciences of the Republic of Tatarstan, professor at the Kazan University of Architecture and Civil Engineering.

– Guzel Fuadovna, why is the history of the Tatar pattern interesting?

Ornament is a pattern that decorates products and objects of various shapes and sizes - from jewelry to architectural buildings. The ornament is many-sided and varied. This is a universal art form.

The Tatar ornament evolved over thousands of years, starting from the era of the ancient Turkic Khaganates and even earlier - from primitive era. He has come a very long way of development. It always reflected nature and symbolically significant objects and images for humans.

Therefore, if we take an ancient ornament, we can see the world around us in it, natural phenomena, characteristic of the distant ancestors of the Tatars who lived in Altai, Central and South Asia. So, to patterns that have ancient origin It is necessary to include the motif of lotus, rosettes, heart-shaped, palmettes (stylized image of palm leaves). The last motif, depending on the interpretation, is associated with East Asian art and the art of the Huns and the art ancient Greece. Influence Greek culture was felt by Great Bulgaria, which occupied the territory of Crimea and the Azov region with their Greek colonies.

The appearance of the lotus motif can be explained by the residence of our ancestors in the territories Far East, Central and Western Asia. It is noteworthy that the combination of East Asian palmette and lotus motifs is found among the Turkic-speaking peoples of the Volga and Ural regions only in the ornament of the Kazan Tatars

After the ancestors of the Tatars found themselves on the territory of the Volga-Kama region, new motifs appeared in the ornament. They are associated with the flora and fauna of a given region. In the pre-Mongol period of Volga Bulgaria, stylized images of elk, fox, marten, falcon, etc. were popular in ornaments. Patterns from wildflower motifs are often found: daisies, bells, forget-me-nots, poppies, etc. Patterns associated with steppe culture are also preserved, such , as a tulip motif, caragana bush, images wild geese etc.

During the era of the Golden Horde, the ornament reflects the influence of Mongolian and Chinese arts, for example, cloud-shaped motifs appear, a braided motif, in new interpretation you can see the image of a lotus. More often there are motifs depicting foreign animals - lion, peacock, roe deer, etc., fantastic motifs - dragons, sphinxes, two-headed birds - are becoming popular. As is known, the Golden Horde included many tribes - the ancestors of the current Turkic peoples: Kipchaks, Oguzes, etc. This mixture of cultures had an impact on the ornamentation of the Kazan and Volga Tatars in general.

During the era of the Kazan Khanate into Tatar ornamental art strongly influenced by Turkish and Iranian cultures. Thus, the ornament is replenished with motifs from the repertoire of garden flowers - dahlias, asters, poppies, peonies and others, which were popular in the patterns of imported oriental fabrics.

Conquest of the Kazan Khanate and its inclusion in the Russian state had a strong influence on the specifics of Tatar pattern making. Russian art was fundamentally religious, Christian. As for the Russian ornament, to this day it has visual basis associated with the desire to realistically convey certain images.

Among the Tatars, since the adoption of Islam, the ornament has a conventionally decorative, abstract symbolic and sometimes metaphorical basis. There is no visual realistic interpretation of images in it. It's about about another way of thinking in art, which is within the framework of the Muslim artistic worldview associated with the aesthetic doctrine of Islam.

If we return to the Tatars who found themselves part of the Russian state, there were also periods of forced baptism. The Tatar community opposed him and tried to defend themselves even at the level figurative language art. During this period, prohibitions on images of living beings were strengthened and motifs based on the image of a cross disappeared. Tatar embroiderers did not cross-stitch (except baptized Tatars), and this embroidery technique spread among them only in the 1960s.

As a result, we will see more of the influence of Tatar ornament in Russian art than vice versa.

– What about Arabic geometric motifs?

The so-called arabesques and girihi are those types of patterns that were invented by the Arabs in the field of ornament. They have become universal in Muslim art and are found in the works of almost all Muslim peoples. Girikhs and arabesque ornaments decorated architectural monuments Bulgar, they can be seen on archaeological fragments from the disappeared khan's buildings of the Kazan Kremlin.

Geometric compositions in the form of girikh and complex interweaving of geometric and floral patterns in arabesque patterns became widespread in the medieval monumental architecture of Islam. And among the Tatars, with the conquest of the Kazan Khanate, monumental architecture, as a type of architecture associated with the ruling class, ceased to develop. It was revived at the end of the 19th century, in connection with the decrees of Empress Catherine II, who allowed the Tatars to build stone mosques and houses of the nobility.

– In what form is ornament present in life today?

Now the Tatar ornament is being revived in the works of modern professional artists and folk craftsmen and amateur artists. It can also be seen on some monumental buildings in Kazan and other cities of the republic, in the spatial-objective and everyday environment. The ornament decorates interior items: shamaili, laukhe, wall plates, decorative ceramics; ritual and household items - namazliks, towels, tablecloths, trays, boxes, etc.; costume elements (dresses, vests, hats, shoes).

Some individually, others in small workshops are engaged in modeling and sewing clothes and their components in Tatar style. For those who wish, it is possible to order a Tatar pattern printed on clothing. There are craftswomen who embroider patterns of Tatar ornaments and work with both gimp and gold threads. The ornament is popular in wood and ceramic products, especially in wall plates, in jewelry. Master jewelers working in the technique of openwork filigree, popular for the Tatars, using precious stones, choose ancient ornamental forms for their products...

To be continued.

Interviewed by Guzel Ibragimova

Municipal educational institution

"Secondary school No. 20"

Anzhero-Sudzhensk

Tatar folk ornament in embroidery

Work on the XV Regional Conference

“Live, Kuznetsk land!”

st. Cherednichenko, 7-1,

Zagornova Arina Andreevna,

st. Socialist, 1-3

students of class 7 "A" of municipal educational institution "Secondary School No. 20"

Anzhero-Sudzhensk

Supervisor:

Augustan Irina Alekseevna,

higher technology teacher

Introduction

People of various nationalities live in our city: Ukrainians, Germans, Belarusians, Russians, and including Tatars, whose population in the city is more than five thousand. The real history of the Tatars in Siberia begins only from the time of the great Genghis Khan, who led this people at the beginning of the 13th century after the birth of Christ. The decorative and applied arts of the Tatars are very diverse and have their roots in the deep historical past. Therefore, it became interesting for us to find out for ourselves and introduce the younger generation of our city to one of the types of decorative and applied art of the Tatar people - embroidery.

Tatar folk ornament in embroidery 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. The ornament of the Tatar people was formed as a result of a long process of its historical development and wide interaction with neighboring and distant peoples. The difficult conditions of the ethnic formation of the people determined the commonality of many types of their art with the art of neighboring peoples, as well as with the art of the peoples of the East. Each era in the life of a people left a certain imprint on its fine art, ornament, and style.

Beautiful examples of Tatar ornament have found vivid expression in various works of centuries-old creativity of the people: in fine patterns of jewelry, colorful embroidery and patterned fabrics, carved plastic tombstones, hats, multi-colored mosaics of leather shoes, home decorations. Along with the artistic and ethnic aspects, the ornament quite clearly reveals the peculiarities of life, economic activity and ideology of the people, the historical environment that in different eras introduced various layers into it. By its nature, the Tatar ornament is deeply connected with ancient agricultural culture. The beginning, which was laid long before the formation of Volga Bulgaria. However, in some of its manifestations, very ancient roots are felt, going back to the distant pastoral culture of the nomadic ancestors of the Kazan Tatars.

In modern conditions, girls do little decorative arts. The younger generation has other interests, but we always need to remember the history of not only our people, but also those who live next to us, a history that is based on a deep relationship with nature and the way of life of the people.

Target: Making a Tatar folk ornament on a napkin.

Tasks:

1.Study literature on Tatar folk ornaments in embroidery.

2. Get acquainted with embroidered items in the city museum.

3. Embroider napkins with Tatar ornaments.

Ornament is a peculiar handwriting of the people

Embroidery is one of the oldest and most popular types of women's fine art. According to Professor N. Vorobyov, this type of art was associated with the seclusion of women who rarely left the house and used their leisure time for needlework. Young and old women of all social strata of the city and village knew how to embroider. Craftswomen spent long winter evenings creating elegant and cheerful patterns using a variety of motifs and floral combinations. Unlike the Russians, Ukrainians, Mari and other peoples, the Tatars did not use embroidery in clothing, but decorated household items: towels, napkins, tablecloths, bedspreads and window curtains, namazlyks (prayer rugs) (Appendix 1). Footwear was also embroidered - boots (ichigs), shoes (Appendix 2), as well as headdresses - kalfaks, kalfachkas, erpeks (head covers), skull caps. In the funds of the city museum there are two women's headdresses - kalfaks. One is embroidered with pearls on blue velvet (AKM o.f. No. 15868, VT No. 446). It was handed over by Biktimirova Nazifa. Kalfak was embroidered by her mother at the beginning of the 20th century. The second kalfak is embroidered with pearls on brown velvet (AKM o.f. No. 3187, VT No. 1090). It belonged to Zulfiya Garifyanova, born in 1897, repressed from Bashkiria in 1931. It was passed on by her granddaughter Zemfira Pozdneeva (Appendix 3). Corduroy and velvet were used to make men's and women's hats. Colored and white beads, as well as fake pearls, were used to decorate headdresses. Embroidery with beads and fake pearls was carried out both along the contour and in filling the patterns. The most richly embroidered kalfaks and skull caps were decorated with twisted metal spirals, gold fringe, tassels, and sparkles. The patterns used in chain and gold embroidery are distinguished by a wide variety of motifs and an abundance of their variations. The patterns are clear and contoured. Tambour patterns in Tatar embroidery had a significant influence on the ornamentation of the Bashkirs, Chuvash, Udmurts and Uzbeks. Women's dresses sometimes had frills embroidered on them. Most of these things are related to interior design. The furnishings and decoration of the Tatar house had a number of features. It was not customary to divide the house into rooms, or to load it with unnecessary furniture, so skillfully embroidered curtains and canopies appeared. The house became especially colorful during wedding celebrations - everything was decorated with embroidered and woven items of the newlywed. This custom, demonstrating the hard work and skill of the bride, is still alive in some rural areas. The traditions of folk embroidery are also preserved in the villages in connection with the Sabantuy holiday - young daughters-in-law give their products to the winners of sports competitions.
Embroidery was usually done on bright, saturated material - green, yellow, purple, burgundy. They embroidered with twisted silk, gilded or silver cord, beads, and pearls. Great 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. Kazan towels embroidered with silver and gold thread on white silk were especially beautiful.
Patterned weaving was also widespread, also associated with everyday life and having the character of a home craft. The ornament reveals similarities with Central Asian and Azerbaijani carpets, while the color structure (the predominance of red and its various shades) has no analogues.
Embroidery ornament of the 19th-20th centuries. basically consists of plant, geometric and zoomorphic motifs. All these types of ornaments originate in the culture of the distant ancestors of the Tatars. A feature of the ancient ornament is the curvilinear interpretation of patterns and motifs, “based on the technique of appliqué, vestibule, and mosaic.” The large share of floral patterns in Tatar embroidery, apparently, must be explained by the antiquity and popularity of the vestibule. The influence of the technical principle on the nature of the ornament is confirmed by counted and line embroidery, in which, on the contrary, geometric ornament dominates, and patterns of plant, zoomorphic origin are highly geometricized. We saw such a pattern on towels stored in the museum (Appendix 4). Historical cultural and economic relationships with the peoples of the East, Western Asia and Asia Minor played a role in the improvement and consolidation of floral and plant motifs as traditional for Tatar folk embroidery. In Tatar art of the 19th-20th centuries. floral ornament is least of all connected with the ancient symbolism of the divine forces of nature, but is determined by purely artistic tasks of reflection, glorification of the wealth, harmony and beauty of the ever-living plant world. Observing nature and being inspired by it, the craftswoman still quite rarely reproduced real forms. Although, if we compare embroidery with other types of Tatar folk applied art, it stands out for its most realistic interpretation of floral and plant motifs. No matter how different the plant patterns are in the embroideries of other Volga peoples, until the end of the 19th century, among them there are almost no reproductions of specific plant species, while in Tatar this can sometimes be determined “with botanical accuracy.” And yet, plant patterns in Tatar embroidery, as a rule, are collective images. Moreover, on one branch, on one stem, the artist’s imagination combines completely different flowers, fruits and leaves (we encounter something similar in bouquet compositions). But the most conventional, generalized reproduction of plant images, the use of forms that real nature has never known, does not interfere with the impression of the vitality of the embroidered pictures of flowering gardens, the colorful motley grass of the steppes, forests, and fields.

Any nation during its existence has used various ornaments and patterns. Many images of stunning beauty have come to us from time immemorial. Each nation has its own unique style, depending on many factors. Culture, location on the planet and the individual characteristics of each master play a role. One cannot help but be glad that these national ornaments and patterns are an art that has reached our days and has not disappeared to this day.

Any people during their existence used various ornaments and patterns

The tendency to keep dishes with folk paintings at home and decorate the interior with ornaments and patterns is becoming more fashionable every day. Even if you are not an artist, you can purchase stencils or print them. Then already ready-made templates use it this way, your inner voice will tell you.

Folk workshops, where you can order such stencils or invite an artist, usually exist in the outback. But even in the capital, if you wish, you can find craftsmen who can apply both a simple ornament or pattern, and a more complex one. Decorating, for example, a child’s room with such painting is a great joy for children.

There are geometric ornaments that do not carry any subtext. There are those that contain some meanings and symbols.

Russian ornament: stencils that are easy to make yourself

Russian ornaments, for example, on embroidery, are known to everyone. Everyone has seen folk costumes at least once in their life. This is the kind of beauty that comes out of the hands of masters. And these are not the most difficult options. You can’t say anything - art is art. And Rus' has always been rich in talent.

If you decide to take up the art of ornamentation, you need to start with stencils, which are simpler. And it’s worth starting with a Russian ornament. If you can’t purchase stencils, you can make them yourself. Anyone can do these, you just need to show perseverance and patience.

If you decide to take up the art of ornamentation, you need to start with stencils, which are simpler

Once you get simple patterns, you can switch to more complex ones.

Gallery: ornaments and patterns (25 photos)

Buryat patterns: song of the steppe

The Buryat ornament, like the paintings of all Mongol-speaking representatives, basically consists of simple geometric figures:

• broken lines;
• zigzags;
• circles;
• diamonds;
• other figures.

If the hand is at least a little trained at the most simple drawings, you can take up Buryat ornaments and Mongolian designs. Here are some of them. It is easy to discern Buddhist motifs and Bashkir style in them.

Yakut ornament

Yakut works of art patterns amaze with their beauty. It is especially difficult to look away from works done in gold. Keeping in mind Yakut gold, it would be surprising not to see it in folk art.

It seems to be nothing complicated, but it looks magical.

Yakut works of art patterns amaze with their beauty

As in any form of art, there are also simpler ornaments. From geometric shapes Yakut people loves to use circles.

Tatar pattern: patterns of a great people

Tatar and Bashkir craftsmen specialized in bright ornaments and patterns. This is especially visible in national clothes(headdresses, shoes with multi-colored mosaics).

Decorating your home with stunningly beautiful carpets is one of the main highlights Tatar nation. Any home, whether rural or urban, was always filled with carpets that were superior in beauty to Persian ones. The Tatars have always been dominated by bright floral motifs.

Embroidered flowers can be seen not only on clothes, but also on household items. Towels, pillowcases, tablecloths, aprons, prayer rugs.

We can talk about headscarves for a very long time. Every house has a whole chest filled with such scarves. Everyday, festive, wedding - for each event there is its own scarf, and for each scarf - its own special pattern. This is such a beauty - a Tatar and Bashkir embroidered scarf that you can’t take your eyes off it

Tatar and Bashkir craftsmen specialized in bright ornaments and patterns

The most widespread was the art of ornamentation in carved wooden architecture. Then came embroidery, patterns on shoes and carpets. Fabric applique occupied a very small place among the Tatar people. But on the other hand, in this application, interestingly, oriental and Greek motifs were clearly visible.

The most popular was and remains floral ornament. Trefoil, carnation, tulip, dahlias, peonies and chrysanthemums - all this is very popular among Tatar craftswomen.

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Looking at these works of folk craft, I want the house to have at least one such pattern, pleasing to the eye.

Geometric patterns in the interior: the trend of the season

Geometric solutions in interior design are the most fashion trend of the year. Strictness, harmony, aristocratic aesthetics - all this admires and is used in the work of designers more and more often.

Geometric style came to homes in different forms:

• like furniture
• as accessories
• like patterns and ornaments.

Such ideas are embodied today by designers in the design of apartments and offices.

Geometric solutions in interior design are the most fashionable trend of the year

Simple and beautiful. And this becomes the motto of fashionable modern designers and customers of such interiors who strive for harmony.

Oriental patterns: visiting a fairy tale

Oriental patterns are gaining popularity again today. More often they are used for painting fabrics, silk, and large canvases. Eastern ornament is based on rhythm and construction of elements, on abstraction and stylization of real things. The roots of this art go back to the culture of Persia and Mesopotamia. Each of the patterns symbolizes something. For example, an ordinary rosette is a symbol of the universal cycle. Made in the shape of a flower, it had many varieties. This is only one of the few symbols that have been deciphered. What other patterns hide within them may remain an eternal mystery.

Oriental patterns are gaining popularity again today

The most common motifs of oriental patterns are the plant motif, magical birds and the World Tree. The latter combines a lot of symbols along with real details. The oriental pattern has another feature. This is carpet filling. It is difficult to find an unoccupied space on the surface of the pattern. Lines, leaves, cones, spikelets, blades of grass - the entire space is filled with them. In particular, this technique is used in architecture, the manufacture of decorative dishes and clothing.

Patterns for children: creating together with kids

Developing a child’s abilities by teaching him the art of patterns and ornaments is a way that gives excellent results. Try making a light floral pattern first. Below are step-by-step instructions that make everything very easy to do.

The operating procedure is as follows:

Draw the selected area into eight identical sections. Draw horizontal lines and start making the ornament.

Complete the following sketch.

Add some small details at your discretion.

The unnecessary lines along which the sketch was made must be erased with an eraser.

So much interesting and useful material!!! This is how much literature and information has been shoveled. to provide us with all this for use. Simply a treasure trove. This is such a find for me! Thanks a lot. Good luck to everyone in your creativity.

It’s strange, but only now have I begun to truly perceive national patterns and ornaments. Here, for example, is a Tatar ornament. I lived my whole life in Kazan, I am a Tatar by nationality, and everything folk somehow passed me by...

It all started with an offer from a book publishing house to illustrate the Koran (gift copy), but only with Tatar ornaments. At first I thought that I could handle it quickly; I have a lot of material on oriental themes. I made sketches, showed them to the customers, they liked them, but they said that with the kind of ornaments I suggested, they could order the Koran in the United Arab Emirates.

This is where I realized the “ease” of my attitude towards work! And I went to the Lenin Library! Covered herself with books on Tatar ornaments, historical essays about the creation of folk crafts, fortunately the Tatar people have a lot of them! One leather mosaic is worth it! And the gold embroidery on folk costume, and embroidery on towels!

So, having been imbued with the real thing, something pure and correct, I felt such an emotional uplift in myself! What I want to create and create! Now I just fell in love with the theme, and I really want to show everyone the beauty of national patterns!

1. Here the Tatar ornament is based on leather mosaic ornaments, often used in the manufacture of national boots.

2. Tatar leather boots. Of course, there are more beautiful ones, but they are personally mine.

3. Continuing the theme of leather mosaic patterns are individual fragments of patterns that I reproduced on 10x10 cm tiles.

6. Tatar pattern on tiles 10x10 cm.

7. Gate. Painted on gold leaf, the work is framed in a baguette.

8. Mirror "Tatar pattern". The inspiration for painting this mirror was an embroidered tablecloth I saw from 1884, in National Museum RT. The tablecloth is of course fantastically beautiful! Embroidery!

9. Kul-Sharif Mosque framed with Tatar ornaments. 25x35 cm

National souvenirs are in great demand. I was convinced of this when my personal exhibition “Oriental motifs in painting on ceramic tiles” was held on the territory of the Kazan Kremlin museum-reserve, in the main mosque of Kul-Sharif. The interest was very great, fortunately, the curators of the exhibition constantly extended it, for which special thanks to them. After all, the flow of tourists from spring to autumn is simply huge. And I’m glad that my works “fit” into general color souvenir products and that you can offer something else besides the classic set - chak-chak and skull caps.

My new works, presented at the next personal exhibition in the Kul Sharif mosque “Iridescence of patterns”, Tatar ornament, in 2013.

Mirror "Tatar window", made based on house carvings in Tatar villages.

Mirror "Tatar tints"

Panel from tiles "Tatar Song". Overglaze painting, firing 830 C. 50 x 50 cm

Panel of tiles "Tatar pattern" 40 x 40 cm. Overglaze painting, firing 830

Set of plates with Tatar ornaments