Artistic crafts of the Republic of Tatarstan: painting on wood. Virtual information program "Peoples of the Middle Urals: Tatars

Tatar decorative and applied art is a bright and multi-colored palette of ancient art, the origins of which go back to the times of the state of the Volga Bulgaria, the period of the Golden Horde and the era of the Kazan Khanate.

Tatar folk art, like the creativity of any nation, has a single nature and develops stable ornamental complexes and motives in its arsenal, develops its own style and rhythm. There are several types of ornament - floral, plant, zoomorphic, geometric, with a great variety of transformations and stylizations. In all its diversity and beauty, this ornament manifested itself in many forms: leather mosaic, embroidery, jewelry, ceramics, stone and wood carving, calligraphy.

A deeply original and traditional art form of the Kazan Tatars is Jewelry Art... Perfectly using artistic expression material, Tatar jewelers skillfully combined various techniques processing of metal with bright contrasting stones in color, while achieving an exceptional decorative effect. The products of the jewelers were very diverse and were associated mainly with various jewelry. women's clothing- these are collar fasteners (yaka chylbyry), and bracelets (chulpa), sling (hasite), plaques, earrings, bracelets, etc. Tatar artisans possessed various techniques and means of ornamentation jewelry: casting, engraving, filigree, gritting, nielloing, inlaid with gems. The technique is unique for the Tatar jewelry art lumpy filigree, in which the ornamental filling branches rise volumetrically in the form of a low or high cone of dense curls. In the technique of lumpy filigree, usually only expensive and valuable jewelry was made.

A unique kind of applied art of the Tatars was art leather mosaic, which has ancient traditions dating back to the Bulgar times. Multicolor patterned ichigi have become remarkable, unique in their way. The patterned footwear of the Kazan Tatars and their ancestors, the Bulgars, is close to the boots found during the excavations of the Pazyryk burial mounds of the 5th century. BC NS. in Altai. Such patterned shoes in the XVI - XVII centuries was part of the ceremonial clothing not only of the Tatar, but also of the Russian nobility.

Leather shoes were made from mosaic stitching of multi-colored leather, resulting in an unusually colorful and richly ornamented composition. Pieces of leather were sewn end-to-end from colored silk and, in some cases, gold or silver threads. Such stitches have not been recorded in the art of other nations..

One of traditional species Tatar folk art is embroidery, which is distinguished by a wide variety of used motives and color combinations... At the beginning of the 19th century, gold embroidery became widespread. Women's headdresses - kalfaks, in which the embroidery pattern was created by the contrast of long and short stitches, a combination of shiny and matte surfaces, and the use of gimp, are distinguished by the originality of the gold embroidery compositions, the expressiveness of plastics. Placing pieces of paper or leather under the threads, Tatar embroiderers achieved a special effect: the embroidery did not just lay on the fabric, but created a relief surface. Many embroidered products are closely related to everyday rituals- decorative towels, napkins, tablecloths made up the bride's dowry, some of the things were given to the groom and his relatives, towels were also an attribute national holiday Sabantui.

Weaving v applied arts Tatars occupied a large place. There were several types of weaving, the manufacture and decoration of which depended on the weaving technique: mortgage, branded, elective weaving. Ornamentation of woven items is usually geometric, but stylized floral and zoomorphic motifs are encountered.

On turn of XIX-XX centuries in the cities of the Middle Volga region and the Urals in the folk art of the Muslim Tatars, paintings of religious content in the form of compositions based on Arabic calligraphy are gaining special popularity. These sacred sayings written oil paints on reverse side glass and illuminated with foil, were known to the Tatars under the term "Shamail". In the texts of the Tatar Shamails, as a rule, certain Koranic suras and religious sayings were used. Considering the best decoration dwellings, shamails played the role of amulets and occupied a certain place in the interior - above the door, or on the "southern" wall, thus indicating the direction to the Kaaba. Shamaili was created by both folk craftsmen and professional calligraphers.

Currently leading place in the decorative and applied arts of the Republic of Tatarstan is creativity professional artists who turn to the traditions of Tatar folk art, to the Bulgar heritage, discovering the world of national artistic imagery and a rich arsenal of techniques for processing metal, fabric, leather, etc. Traditions of folk art play a decisive role in shaping the image contemporary art Tatarstan and its national identity.

Are you interested in the history, culture and traditions of the Tatar people, our region? Do you know how the traditional Tatar shoes were made - ichigi boots and shoe-shoes? What is the difference between Tatar sandals and Russians? Why do women's headwear - kalfak - have different sizes? To find out all this, you need to visit our exhibition “Ungan khalkimnyn osta kullary: Tatars khalyk Һөnurlure” - “Golden hands of masters: folk crafts of the Tatars”.

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

V National Museum RT has preserved one of the largest collections of products and tools of Tatar masters. Many of them represent traditional crafts, the secrets of which have been passed down from generation to generation. Creating a new piece, true master not only relied on the experience of past centuries, but also tried to find his own original solution.

Today in Tatarstan they are reborn best traditions folk arts and crafts. Maintaining continuity, folk craftsmen create works of art that correspond to new forms of life, widely using national ornaments and traditional techniques.

At the exhibition you can see the rarities of crafts and trades of the XIX-XX centuries. and products modern masters.
Among them are paintings on velvet by Luiza Faskhrutdinova, exquisite products by leather mosaic masters Sofia Kuzminykh, Ildus Gainutdinov, Nailya Kumysnikova and others.

The creators of the exhibition hope that it will be interesting to the visitor not only for its content, but also for its interactive zones. The exhibition hosts master classes in gold embroidery, leather mosaic, woodcarving, calligraphy; museum activities“We don’t miss our tea”, “Visiting the stove”; interactive theatrical excursions "Revived Exposition".

There is an enterprise in the Alekseevsky district, where not only do everything by hand, but also on artifacts. The machines, as well as the method of production, have not changed here since the founding. There used to be thousands of weaving factories all over the country. Gradually, manual labor began to be considered a relic of the past, replaced by machine labor. A hand-weaving factory in the Alekseevsky district of Tatarstan, one of three in Russia that still exists. And the oldest of the three. The factory in Shakhunya is 45 years old, in Cherepovets it is 77 years old, and Alekseevskaya will be 90.

For 90 years, only people and raw materials have changed here. Everything else is machine tools, a building from those times. The factory is located on the second floor. Previously, the first was also occupied, but had to be rented out to a grocery store. The management says that the rent helps to survive, the production cannot be called profitable - the products are for an amateur. Worth fantastic money though. For example, a towel woven using abusive technique (this is the most laborious work, when a weaver manually weaves each thread into the fabric, creating a pattern) costs 5,500 rubles. This is an average price, depending on the complexity of the pattern, the cost can go up to 10 thousand! But there is also budget options- 300-500 rubles each.

To say that this brings us a lot of profit, that it is possible to make money on it - no. It's easier to shut down production, as many have done. It's just that the republic supports folk crafts - it provides orders, all guests who come to Tatarstan receive gift sets - tablecloths, napkins. Not a single sabantuy can do without a personal towel-towel, - says Elizaveta Terentyeva, manager of the Alekseevskaya hand-weaving factory.
There are 10 craftswomen behind the machines, despite the high price at which their goods are sold, their salaries are not high - 10 thousand rubles a month. Therefore, only pensioners work here.

Alekseevskaya factory is, perhaps, the only factory in true understanding of this word - having employees, premises. All the rest, for example, the national footwear factory in Arsk, "fell apart" into private entrepreneurs. It is more profitable - the workshop can be set up right in the apartment, manual labor does not require large areas. But only until the moment when the master is overgrown with orders. Then you need to hire employees, rent a room. True, a rare business survives to this stage.

I have been doing Tatar leather mosaic for the third year. Before that, since 1992, I was a shoemaker. The first year is the hardest. At this stage, everyone closes - it’s hard to sell products, until someone finds out what you are doing ... I was supported by my studio, I was engaged in shoe repairs and that is the only reason I survived, ”master Rustem Emeleev tells the story of his craft. He sews shoes, bags, leather goods with Tatar national ornament.

Ichigi - Tatar boots cost 30 thousand rubles. Chuvyaki - "ballet shoes" in the modern - 2500. 70% of this amount are consumables, wages, rent, taxes. 30% manufacturer's margin.

Sometimes we give it to souvenir shops at a wholesale price and there a profit of 8-10%. This happens in winter, when it is not a season. You go to wholesalers just for the sake of money turnover. Say what it is profitable business it is impossible - I sold the goods, bought the material, paid the salary, - says Emeleev.

Craftsmen in Tatarstan are supported at the state level. Last year Rustem Emeleev received a grant of 300 thousand rubles, and this year he also plans to submit documents.

For homeworkers, this is very good money, but for manufacturers it is not enough, although thanks a lot for that, I updated the sewing machines with this money, '' says the entrepreneur.

State support is received by the masters who work on traditional techniques... The total amount of grants is 3-4 million rubles per year.

There are handicrafts and souvenirs. On a souvenir skullcap, a drawing was stamped with gold paint, and on a skullcap from a master - gold embroidery. "Souvenirka" costs 200 rubles, and a product of folk art from 1000 rubles. In terms of cost, it cannot compete with souvenir products, therefore, state support is provided to craftsmen who are engaged in traditional crafts. Otherwise, we may lose these craftsmen, lose our equipment, ”says Nuri Mustafayev, director of the State Budgetary Institution Center for the Development of Folk Arts and Crafts of the Republic of Tatarstan.

However, not everyone is running for grants. Craftsmen complain about the cumbersome reporting process and refer to grants as the “hook” they want to be placed on.

You have to account for him - where did you spend, what you bought, how many people you took to work, how much money you earned ... And if you didn’t earn because you couldn’t sell? I am engaged in woodcarving, I need a good CNC machine, it costs 1.5 million rubles, but they give only 300 thousand. I am missing, I must add. But I can't add my own money under the contract, I have to take a loan from them. Why do I need it? - thinks the master of woodcarving Alexander Gavrilov.

According to Gavrilov, grants are good for those who are engaged in "small things" - they will be able to recoup money quickly.

Who buys the arts and crafts? Tourists rarely buy expensive exclusive things in Kazan. These products are usually sold on traveling exhibitions or events organized by Tatar organizations abroad or in the regions of Russia. Among tourists in Tatarstan, inexpensive handicrafts are sold well - jewelry, garments - they are taken for themselves and for gifts.

The most popular product is the one that can be used or worn - clothes, wallets, cups, plates. This is what people buy. Objects of art - no, - Nuri Mustafayev advises those who are going to do folk crafts. Moreover, it is better to focus on women - they leave in the shops more money than men. The maximum that the strong floor is spent on is a magnet. But magnets if they are not made by hand from leather, wood or metal and do not have a pronounced national ornament, they have nothing to do with folk crafts - these are souvenirs.

These words are confirmed by Gavrilov. These are not the best times for artists.

We used to make wooden apples, which everyone loved. But today even they are not for sale. I put them for 800 rubles, they cost 8 months and are not for sale. Most likely not before works of art now - eat, dress, relax, go. This is what people think about, says the master.

Now Gavrilov, in addition to apples, is trying to sell a panel made of wood "Shurale". He worked on it for 3 years. Initially, he set the price of 2 million rubles, now he has reduced it to 1.2 million. Waiting for buyers.

By the way about magnets. So far, all the magnets, mugs, spoons with views of Kazan sights are something without which no tourist leaves - from China. Catalogs with images are sent to the Celestial Empire, they are taken back by carriages finished products... Now they want to change the situation. It will not be possible to completely switch to our own production; doing everything here is too expensive. Therefore, they want to start by buying only fittings there, and applying the ornament here.

On July 1, we will announce a competition for best souvenir Tatarstan. This will help to make the souvenir products brighter and more diverse. We hope that we will oust Chinese products from the market, - says the director of the State Budgetary Institution Center for the Development of Folk Arts and Crafts of the Republic of Tatarstan.

Today, 1,500 people work in Tatarstan in folk arts and crafts. Not a single craft is lost, but the consumer's taste is lost. He does not see the difference between stamp and real handwork, the artists complain, and often chooses a Chinese counterfeit instead of works of art. To show the difference, in the shops, artists began to display cheap counterparts next to their products. The goal is twofold, not just to educate the buyer. "Cheat" on them is 100% - 200%, but it turns out all the same much cheaper than your own product. The income from their sale helps to justify your costs.

Andrianova Arina, Makarova Daria

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

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

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

2. to instill a love for folk traditions;

3. to form the skills of working according to the established traditional folk methods of painting on wood.

Object of study: painting on wood

Subject of study: painting technology

Study participants: school students

Hypothesis: Arousing interest in folk art, and obtaining skills and abilities in this area, perhaps only with close acquaintance, and immersion in historical roots through independent creativity.

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

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III International Scientific and Practical Conference "Discovery"

Municipal Budgetary Educational Institution

"Yulduz secondary school"

research

The work was done

Andrianova Arina, Makarova Daria

5th grade students

MBOU "Yulduz average

comprehensive school"

Chistopol municipal district of the Republic of Tatarstan

Work manager

Andrianova Irina Kabirovna

teacher visual arts

Russian Federation

Chistopol, RT-2016

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

II. Theoretical part

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

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

1.2. Features of the Tatar ornament ………………………………… .7

III. Practical part

1. The practical significance of folk craft ......................................................................... 10

Product material ………………………………………. …………………ten

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

V. Sources …………………………………………………………… ..12

INTRODUCTION

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

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

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

2. to instill a love for folk traditions;

3. to form the skills of working according to the established traditional folk methods of painting on wood.

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

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

Object of study:painting on wood

Subject of study:painting technology

Study participants: school students

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

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

Theoretical part.

1. Features of the folk craft of our region.

The history of wood painting

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

Wonderful connoisseur of Tatar folk ornament, the first doctor of art history in the Volga region Fuad Valeev (1921-1984) wrote that the ornamentation of the Tatar dwelling in various historical periods performed in different techniques: for late XVIII - early XIX century was characterized by notched and contour carving, in the 19th century, "blind" and contour carving was especially widespread, with late XIX century - sawn cut of European origin.

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

Using the simplest straight lines and curvilinear geometric, as well as floral patterns and their combinations, the Tatar master admires the ability to create complex and bizarre compositions using a stencil to decorate a house, a fence, a gate.

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

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

The products differed from the traditional Khokhloma products, both in purpose and in shape and color. When painting products, craftsmen use motives of the Tatar ornament and colors typical for national art... (see Attachment)

1.2. Features of the Tatar ornament

Tatar folk ornament presents a bright and original page artistic creation people. As the main medium of arts and crafts, it reflects at the same time complicated history formation and development of the people, their culture and art. Excellent examples of Tatar ornament found a vivid expression in various works of centuries-old creativity of the people: in fine jewelry patterns, colorful embroidery and patterned fabrics, carved plastic headstones, headdresses, multi-colored mosaics of leather shoes, home decorations. The motives and patterns of various household products, as well as the ornamentation of the dwelling, reflect wealth artistic thinking people, a subtle sense of rhythm, proportion, understanding of form, silhouette, color, material. There are several types of ornament:

1. Floral and floral ornament. Richest world plants have always inspired folk craftsmen and craftswomen in their work. Floral ornament becomes widespread in almost all types of art of the people and amazes with the abundance of floral motifs, picturesque interpretation of them, richness of color combinations.

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

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

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

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

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

Mesh (carpet).

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

Composition in the form of a flower bouquet.

Colour:

The Tatar ornament is characterized by multicolor, which starts from the base. The preference was given to bright saturated colors: green, yellow, violet, blue, burgundy and red. A colored background is a must in multicolor embroidery. It enhances one color gamut and softens another. In general, it contributes to the creation of rich color harmony. Thanks to the colored background, the composition of the ornament became clear, rhythmic and soft in color transitions.

In the colors of plant patterns and their elements, one can feel great freedom: leaves, flowers, buds, even on one branch, were performed in different colors... And besides, individual flower petals, their veins, individual elements of the leaves were made in several colors. A favorite method of color composition is the method of contrasting "warm" and "cold" tones. The background usually has a red-white and red color scheme. The patterns usually feature from 4 to 6 different colors. The predominant place is taken by blue, green, yellow and red tones. Despite the color saturation and brightness of patterned fabrics, they do not seem overly variegated, thanks to the colored background that dampens the vibrant color ratios. The rich patterns are distinguished by the richness of the colors used: green, blue, yellow, blue, red, purple. All these colors are taken in full tones and have various shades... The color schemes of the patterns are characterized by a combination of green and red, blue and purple. Usually a craftsman or craftswoman strove to create vivid color contrasts. With any combination of colors and their brightness, and the general color scheme, the impression of flashy variegation is never created. This is facilitated by a colored background, which softens or, on the contrary, brings out individual color spots.

The practical part.

2.1. The practical significance of painting on wood

What the master needs:

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

The main tool of a painting master is a brush. Most often, for painting use round squirrel and kolinsky brushes of different sizes: contouring work and outlining with black paint), - round squirrel No. 2 and No. 3 for applying red paint,

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

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

Output:

So, summing up the results of the study, we conclude that the national painting changes the very image of the product. It becomes more expressive at the level colors, rhythm of lines and proportionality. It is an integral part of the identity of the Tatar people. Wood painting has long attracted the attention of craftsmen in architectural art... Fortunately, the Republic of Tatarstan has survived and is developing today. different kinds painting on wood, echoing with the peoples of Russia, and acquiring, national identity in household items.

Conclusion

We are convinced that one should, as early as possible, join folk culture... Mastering special skills and especially skills, you are enthusiastically involved in the manufacture of objects of decorative and applied art. This has a beneficial effect on the overall artistic development, the formation of creativity, teaches you to diligent, conscientious work.

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

List of used literature

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

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

3. Voronov V.S. Encyclopedia of Applied Art. - M., 2000.

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

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

6. Nurziya Sergeeva "Ebiemenen Sandygy". - Kazan, 1995

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

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

Application

Fig. 1

Examples of the fusion of geometric and floral ornaments

Floral ornament

Fig. 2

Examples of varieties of Tatar ornament

Fig. 3

Modern samples of painting on wood

Set of plates with Tatar ornament

In May 2010, Tatarstan will celebrate its anniversary. For 90 years the people of our republic have been making history with dignity native land and keeps the traditions of the fathers. V last decade special attention is paid to the revival of folk crafts.

Every year in Kazan, everything is revealed more masters and lovers of embroidery, beading, leatherwork. For their unification and legal support in 2002, the Chamber of Crafts of the Republic of Tatarstan was created. Its initiator and director, Nuri Mustafayev, shares his memories.

In 1998, being the Deputy Minister of Economy of the Republic of Tatarstan and Director of the Department of Small and Medium Business, I noticed that some of the business representatives are engaged in the production of souvenirs. Factories and plants that previously produced products of traditional crafts went bankrupt in the 90s. Purchasing power declined, markets were destroyed, and government support was lost. Nevertheless, enthusiasts remained. Then we are with working group turned to the government of the Republic of Tatarstan with a request to establish an Art Council and prepare a program of state support for folk crafts and crafts. The government went to meet us. The Art Council includes Zilya Valeeva, Guzel Suleimanova, leading experts from the Ministry of Culture and museums. We developed the program jointly, it was adopted on December 30, 1999. It provided for the creation of infrastructure state support folk crafts. After all, the artist had nowhere to turn to present his product for examination, to get advice, to enlist the support of the state, at least in the form of financial assistance to pay for exhibition events. The Chamber of Crafts is one of the steps in the implementation of this program.

- Nuri Amdievich, how did you look for the masters?

In terms of their products, publications in the media, they were encouraged to contact the Department of Entrepreneurship Support. Initially, the Chamber consisted of 43 people. Today, there are 380 members-masters, artists, artisans different directions... They made their works using Tatar and Russian traditional ornaments, forms that clearly testify: this is a product of the Republic of Tatarstan, it was made by our people.

The first serious step was the publication of the book "Tatar Folk Ornament". The book became the basis for many masters, it represents the history of Tatar folk ornament from archaic times to the present day. Then a catalog was published with photographs of the first masters, their names. There are about 22 people in total: tanners, jewelers, wicker workers, etc. Two years later, the newly published catalog already featured 180 masters.

- At what exhibitions did you have a chance to show our Tatarstan products?

In 2002, our exposition went to France for the first time, to Dijon. This exhibition was a discovery not so much for us as for the French. They saw that in Russia there are not only nesting dolls, balalaikas, trays and samovars. Russia is also rich in alternative crafts! We presented an oriental ornament. The people flocked to the "Days of Tatarstan". As I remember now: I stand on the stage and see how the policeman lowers the barrier and says: there are no seats! And standing! Then exhibitions became regular: Germany, Portugal, Italy, Poland, Spain. Craftsmen used to make products right at the exhibition. Embroidered in gold, knitted. It was difficult for our translator to run 30 meters there, 30 meters back. We aroused keen interest. Suffice it to say that after three or four days we saw our skullcaps in cafes and discos among young people! By the way, in December last year we were awarded an international prize for improving entrepreneurship and service in the “Narodniks” nomination.

- What other activities are planned to spread culture among the masses?

After the formation of the Chamber of Crafts, the State Center for Folk Arts and Crafts was established. An offsite exhibition is planned for summer in places of compact residence of Tatars: Yekaterinburg, Tyumen, Tobol, the cities of the Volga region and Central Russia. The School of Crafts was opened on April 1st. And the Chamber of Crafts makes films about crafts.

BEAD WEAVING IN THE TATAR TRADITIONS

Lomonosov brought beads to Russia from Egypt. The technique of weaving jewelry was strictly kept secret by each girl. Later, beadwork took root among the Tatars, initially not being their folk craft. Gradually, it absorbed the Tatar traditions. In Tatarstan, bead jewelry simultaneously carries traces of both Orthodox and Muslim cultures. Beaded works of art can be found today at any Kazan fair dedicated to folk crafts. Per last month exhibitions were held in the Art Gallery, the Center for Russian Folklore, and the National Exhibition Center.

Modern masters say that the craze for beads in Kazan began 12 years ago. Hippie-style baubles were in vogue. For many bead weaving lovers, it all started with them. Threads were more affordable than beads. Then there was no literature, no good beads. Czech beads are considered to be the best; now they are freely sold in special stores. Beads from Taiwan are also in demand.

Inna Chernyaeva is a beadwork master of the Republic of Tatarstan, a member of the Chamber of Crafts. She herself is from Ryazan, she has been living in Kazan for about nine years. Her works, among others, represented Tatarstan at international events... Inna's main job is a teacher at the center children's creativity Azino. In addition, she conducts master classes for adults.

Inna breaks the stereotypes that beading is a girl's business primary school and pensioners. She is a young woman who wants to open her own shop in the spring to sell beadwork. Inna Chernyaeva does not include either Russians or Tatar ornaments... Her main focus is bijouterie. She talked about Tatar traditions in beading as an observer.

There are products among my works that are traditionally considered their own in Tatarstan. Although, to be honest, I spied on them from the Irish. Tatarstan people also define works with malazite and green beads as their own. In our republic, Tatars love jewelry that covers the neck and chest. Leaving to Moscow for Sabantuy, I noticed that there the representatives of the Tatar diaspora prefer long beads.

- What distinguishes our masters at traveling exhibitions?

Our craftsmen are very distinctive. They put on National costumes... In addition, the overwhelming majority of them do not stoop to bring products made in China to the exhibition. Our artists do everything with their own hands. The Kazan line is traced in all products. For example, jeweler Irina Vasilyeva exports exclusively what was worn by Kazan Tatars. And, of course, Tatarstan products have richer patterns and bright colors.

There are several schools of bead-weaving: Moscow, St. Petersburg, Western ... If there were a Kazan school, what would be its distinguishing feature?

Firstly, embroidery (including beads) on velvet in traditional colors: blue, burgundy, green. Secondly, jewelry that covers the chest and neck.

The soul of the people lives in dances, songs and undoubtedly in works of art, made with their own hands. National culture alive as long as it is passed from mouth to mouth, from hand to hand, from generation to generation.

I am glad that in Tatarstan they do not forget about maintaining the spiritual and cultural heritage... We are stepping over the ninety-year milestone without losing our identity, our face.

MARIA MAKSIMOVA, "IT"