What products of folk crafts are manufactured in Tatarstan. Recipe and filigree
But living outside the historical homeland, we never considered themselves elements of another culture. The multinational policy of the former Soviet Union scattered representatives of different nationalities throughout the USSR. In Uzbekistan, since the beginning of the 20th century, a sufficiently numerous diaspora of Kazan Tatars lived. Number of transfer
uzbekistan Tatars increased sharply after the establishment of Soviet power.
We were able to integrate into local specifics of life, perceive the culture and customs of the region. But for all living here, we always remained primarily precisely Kazan Tatars. The fact that the Tatars are "Kazan" - certainly emphasized that they would carry out a line between the Crimean Tatars living here in Uzbekistan during the Great Patriotic War. We have retained our customs, language, culture, lifestyle, national dishes ... and much more, which was considered our own, intense from Tatarstan himself. Perhaps about us and not so often remembered in Tatarstan itself, believing that we probably live here by themselves .... But we didn't just live, but our lives were shown and promoted to the indigenous population, and many other people living in Uzbekistan our Tatar lifestyle and our Tatar culture.
One of the priority directions in the development of Tatarstan is the revival, the preservation and development of the national cultural heritage, folk crafts, decoratively applied art. Perhaps you would be interested in how folk crafts in the Diasporas of the Tatars living outside of Tatarstan are preserved. To view the range of my souvenir products on Tatarstan's subject, follow the link Tatar leather souvenirs NBSP; or handmade souvenirs . Based on the presented works, it is clear that all of them are based on the Tatar folk and ethnographic heritage.
"Purse leather souvenir. ""Leather souvenir handbag with the coat of arms of Kazan. »Folk creativity As one of the manifestations of the national self-consciousness shows the continuity of the connection of the cultures of the Tatars living in diasporas, with the culture of historical homeland.
We have here (in Tashkent) there are other Tatars engaged in folk crafts and crafts. Perhaps in the future at one of the exhibitions or any other event, the chamber of the crafts of Tatarstan will be interested in our example to show the preservation, revival and development of decorative and applied art Tatars in diasporas beyond the historical homeland.
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Introduction
Theme of research work: Folk artworks: painting on the tree and the history of painting in the Republic of Tatarstan
Purpose:Analysis of the status and trends of the development of folk art fishes of the Republic of Tatarstan.
Tasks:
1. Relieve a sense of patriotism through the artistic legacy of our region;
2. Check out love for folk traditions;
3. To form work skills on the existing traditional folk methods of wood painting.
Methods: -the composition of the composition and artistic analysis was used in a detailed study of artistic painting on a tree;
the method of Longitudinal study (conducted for a long time) was based on the study of the literature on the art of the Republic of Tajikistan, a visit to local history museums, in order to familiarize themselves with Tatar fisheries; Practical classes on the mug of visual art.
Object of study:painting on a wood
Subject of study:painting technology
Research participants:students of the school
Hypothesis: Improvement of interest in folk art, and getting skills and skills in this area, perhaps only with a close acquaintance, and immersing in historical roots through independent creativity.
Relevance:Folk art fishes of the Republic of Tatarstan are an integral part of domestic culture. They are embodied by the centuries-old experience of the aesthetic perception of the world, facing the future, the deep artistic traditions are preserved, reflecting the originality of the culture of the Tatar people. The folk artists of our Motherland are both the industry of the art industry, and the field of folk art. The combination of traditions, style features and creative improvisation, collective principles and views of a separate personality, the guides of products and high professionalism are the characteristic features of the creative work of masters and artists of the fisheries of the Republic of Tatarstan.
Theoretical part.
1.1. Features of the folk fishery of our region.
The history of painting on a tree
One of the most ancient types of folk crafts, which for several centuries were an integral part of the daily life and the original culture of the people, is artistic painting. Archaeologists argue that the architecture of the Kazan Tatars dates back to the city buildings and the estates of the ancient Bulgarians. One of the advantages of this architecture is the art of ornamentation in a wood thread technique. Samples of such ornamentation of the pores of the ancient Bulgaria did not reach our time. However, the high masrass of the Bilyar found in the village of Bilyar, found in the village of Bilyar, found in the village of Bilyar, an oak facing lining from the wooden tombstone of the XII century (it is kept in the National Museum of the Republic of Tatarstan). The front side of the lining is decorated on a border with a carved ornament of a vegetable character, testifying to experience and high artistic level of wood processing.
The wonderful connoisseurs of the Tatar folk ornament, the first in the Volga region, the doctor of art history Fuad Valeev (1921-1984) wrote that the ornament of Tatar dwellings in various historical periods was carried out in different techniques: for the end of the XVIII - the beginning of the XIX century, the lavetled and contour carving was characterized in the XIX century Especially widespread the carving "deaf" and contour, from the end of the XIX century - propycious European origin.
The fixed assets of the decoration of Tatar buildings are silicon and cylindic frontal niches, pilasters, columns, patterns in the form of a rectangular mesh or square outlines, round floral sockets, triangular or rhombic pyramids, harnesses, etc. The miracle of artistic wood processing Cannes Mora - creation due to the small and frequent relief of the soft game of black and white. Another one is a kind of polychrome (striped) coloring.
Using the simplest straight and curvilinear geometric, as well as floral patterns and their combinations, the Tatar wizard admires the ability to create complex and bizarre compositions in the decoration of the house, fences, gates using the stencil.
In the second half of the XIX century, color glazing the lower parts of the window curls on the facade and on the front of the window, and in the city - balconies and terraces was widely widespread. The most preferred colors are red, yellow, violet, green, blue and their shades. Hobbating rustic breedes - painting on the tree of the plane of the front-distance niche by the facade; The most running plots of painting is the "Tree of Life" and lush flower bouquets. However, this mode of pores of the formation of Russian capitalism was in fact only the revival of the art of painting, developed during the Golden Horde.
Tatar ornamentation of wood thread and other ways to decorate housing in the process of their development experienced the influences of local traditions of the peoples of Turkic and Finno-Ugric origin, and later than the Russians. The painting on the tree developed in the modern folk art of the republic in some new quality - in the form of Tatar "Khokhloma", which was distributed in the creation of souvenir products.
Products differed from traditionally khokhloma, both for its intended and form, color scheme. Masters when painting products use the motifs of Tatar ornament and a color gamut characteristic of national art. (see Attachment)
1.2. Features of Tatar ornament
Tatar folk ornament presents a bright and peculiar page of the artistic creativity of the people. As the main means of decorative and applied art, it reflects at the same time a complex history of the formation and development of the people, its culture and art. Excellent samples of the Tatar ornament found a vivid expression in various works of centuries-old creativity of the people: in thin patterns of jewelry, colorful embroidery and patterned tissues, carved plastic of tombstones, heads, multicolored mosaic leather shoes, housing decorations. In motifs and patterns of various household products, like the ornamental dwellings, the wealth of artistic thinking of the people, a subtle sense of rhythm, proportion, understanding of shape, silhouette, color, material is reflected. There are several varieties of the ornament:
1. Floral ornament. The richest world of plants always inspired folk masters and masters in their work. The floral ornament is widely distributed in almost all kinds of art of the people and is striking the abundance of floral motifs, the painting of their interpretation, the wealth 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 work of the people of the Motive of Birds. With the image of the birds are associated with many believers, fairy tales and legends. In the presentation of the people, the bird from ancient times was a symbol of the Sun and Light, an intermediary between a man's soul and sky. Even in the recent past in the custom of Tatars there was a divination of the bird shout. You can meet a wide variety of variations in the main contour images of birds. Most often, they are presented with revealed beaks and wings, two heads and branched tails. Pigeons are usually interpreted in a paired heraldic composition.
3. Geometric ornament. Among the diverse motives and patterns of the Tatar ornament, a significant place occupy geometric. True, they are inferior in their spread with floral patterns, but nevertheless is also widely used in the decoration of rural dwellings, jewelry and patterned weaving.
The system of building patterns was familiar to a person for a long time.
The composition of the patterns was based on the creation of certain rhythms, repetitions, alternating various motifs.
The following compositions meet in the ornament: the ribbon composition is formed from the rapports having parallel guides, heraldic (reverse) composition, is based on the symmetry of the image relative to the vertical, and in some cases to the horizontal axis.
Mesh (carpet).
Central beam or radical, rosette composition. In this composition, the pattern drawing is based on outgoing from one center of axial rays.
Composition in the form of a flower bouquet.
Color:
For the Tatar ornament is characterized by a multi-matter, which begins with the foundation. Preference was given to bright saturated colors: green, yellow, purple, blue, bard and red. Colored background is mandatory in multicolor embroidery. It enhances one gamut of colors and softens the other. In general, it contributes to the creation of a rich color harmony. Thanks to the color background, the composition of the ornament became a clear, rhythmic and soft in color transitions.
In the colors of plant patterns and their elements, there is a great freedom: leaves, flowers, buds even on one twig were performed in different colors. And besides, individual petals of colors, their accommodation separate elements of the leaves were performed in several colors. The favorite reception of the color composition is to receive a contrast comparison of "warm" and "cold" tones. The background typically has a red and white and red color gamut. In the patterns, usually appear from 4 to 6 different colors. Blue, green, yellow and red tones are occupied by the prevailing place. Despite the color saturation and brightness of patterned fabrics, they do not seem unnecessary to the pests, thanks to the color background, which repays the bright color ratios. Rich patterns are highlighted by juice of the applied colors: green, blue, yellow, blue, red, purple. All these colors are taken in complete tones and have different shades. In the colors of the patterns of the patterns are characteristic of the combination of green with red, blue with purple. Usually, the master or master sought to create bright color contrasts. With any combination of colors and their brightness, and the total color flavor never creates the impression of screaming varies. This contributes to a color background that softens or vice versa detects individual color spots.
Practical part.
2.1. Practical significance of wood painting
What is needed by the master:
Materials. The main material for painting - paints. When painting wood, the same paint is used as in painting: oil, tempera, gouache, watercolor, as well as aniline dyes. Instruments.
The main tool of the painting wizard is a brush. Most often for painting, round squirrels and column brushes of different sizes are used: - Round column No. 1 and No. 2 with a pile of medium length (for contour work and black paint stroke), - Round Belich No. 2 and No. 3 for red paint,
Flat synthetic or bristled No. 4,5,6 to apply soil and lacquer coating. An ideal brush for painting should resemble a drop, seed, flame candles. The wooden tip of the tassel is also working - it is used as a "stitch" for applying points: "Seeds", "Rosinkok". The palette is needed to mix paint, remove an extra paint with a brush.
Final finish of the hand-drawn product. The lacquer coating allows you to protect the painting on the tree from the exposure to the external environment: moisture, temperature drops, active substances. In addition, crumbling materials-olifa, varnish, mastic - the product additional decorative effect. Product treatment with varnish is also a kind of art. It happens that a beautifully painted thing under the incorrectly selected or poorly applied varnish loses its attractiveness. It is not by chance that at the enterprises of artistic painting there is a profession of lachily. Oil varnish PF-283 (4C) has proven itself from the best side and most suitable for work. It is best to put a pouring thing in a clean, wipe in front of this damp cloth with a lid or just cover the box from above in order to smallest dust and the smell of varnish is not spread. When drying, a glossy elastic surface is formed, which has elevated physicomechanical properties and is stable upon contact with water.
Output:
So, summing up the study, we conclude that the National Painting Changes the Product Image itself. It becomes more expressive at the level of the color scheme, the rhythm of lines and proportionality. It is an integral part of the identity of the Tatar people. The painting on the tree has long attracted the attention of the folk masters in architectural art. Fortunately, in the Republic of Tatarstan today, various types of wood painting are preserved and developing and developing with the peoples of Russia, and acquiring their national peculiarity in the subjects of life.
Conclusion
We are convinced that it should, as soon as possible, joined the folk culture. Taking possession of special skills and especially skills, with hobby, we turn on to the manufacture of articles of decorative and applied art. This favorably affects the general artistic development, the formation of a creative principle, tears to a diligent, conscientious work.
In the process of performing the work, we painted decorative boards, learned by painting. Our task was to get acquainted with the history of the development of the art fishery of the Tatar people, awaken interest among peers towards folk art, to give the joy of creativity, with which we have successfully coped.
Traditional crafts in all nations were transmitted from generation to generation. There were many artisans among the Tatars, almost every village had their own masters. Unfortunately, many types of crafts were wounded forever: the carpets and complex patterned webs have stopped, a stone carving and some jewelry crafts disappeared. But the masters remained who continue to embroider gold on the heads - tubets and Caltacks, to have products from felt, weave lace, cut on a tree, embroider and weave, engaged in jewelry, including - silver stamps, made leather mosaic shoes. Such crafts are preserved as gold sewing, leather mosaic, national embroidery, the manufacture of patterned footwear, weaving, felt carpet, wood carving, lacewood, jewelry fishery, ceramics.
Tatar masters on wooden machines manually fabric patterned canvas from multi-colored flax, hemp and woolen threads. Each craftswoman had their own weaving techniques, each needlewoman knew how to correctly fill the thread into the machine to make a complex pattern. On handmade machines, masters of fabric not only fabric canvas, but also rugs and bright carpets. On carpets, the ornaments were usually large, geometric in green and blue and golden tones. For contrast, the carpet background, most often, tried to do dark. The fabrics are usually a few cloths, which were then joined and cried border. Carpets and wall panels were also made from felt.
One of the most ancient types of needlework Tatars is the embroidery. She was decorated with household items and clothing. Golden sewers were decorated with hats, dresses and camsoles, bedspreads and hasitis (breast-up). During sewing, not only metal gold and silver threads were used, but also a vacuine - a thin wire twisted into the spiral. Over time, the threads of silver and gold began to apply less frequently and for embroidery used copper coated threads.
Waters were widespread. Lace napkins, tracks, collars were made.
One of the old Tatar crafts that received world recognition is leather mosaic. Mostly masters made patterned boots (Ichigi) from multicolored pieces of skin collected in a floral or floral ornament. Later began to make shoes, pillows, brushes and other products in the technique of leather mosaic.
Tatars and ceramic craft have been developed. The masters were made by dishes for everyday use, as well as facing glazed tiles with geometric and vegetable patterns and decorative bricks that were used for design in construction. The dishes are usually covered with white, red or gray clay, the bands were applied with which the drawing was created. Each master branded his work, on this sign it was possible to know the hand of the craftsman.
Famous Tatar Masters and Metal Art Processing. From copper, bronze, silver made homemade utensils, decorations for clothes, weapons, horse harness. Masters used different techniques: casting, chasing, embossing, stamping, engraving for metal.
Also well developed among Tatar artisans was jewelry fishery. Many masters perfectly owned storm techniques, casting, engraving, chasens, stamping, inlays by gems, engraving on gems, cutting gems.
Did not pay the Tatar craftsmen such a material like a tree. Therefore, a wood carving was developed. Masters made household utensils from wood: chests, dishes, spindles, horse arches, trolleys. For these products, elegant carved ornaments and bright colored painting were characteristic.
In May 2010, Tatarstan will celebrate his anniversary. For 90 years of our republic, the people of our republic are worthy of the history of the native land and keeps the traditions of fathers. In the last decade, special attention is paid to the revival of folk crafts.
In Kazan, every year more and more masters and fans of embroidery, beadwork, leather business are revealed. For their association and legal support in 2002, the chamber of the RT crafts was created. The initiator of its creation and director, Nuri Mustafayev, shares memories.
In 1998, being Deputy Minister of Economy of the Republic of Tajikistan and director of the Department of Small and Medium Business, I noticed that part of business representatives are engaged in the release of souvenirs. Factories and combines that have previously produced products of traditional crafts, in the 90s broke out. The purchasing power has decreased, the markets were destroyed, the support of the state was lost. Nevertheless, enthusiasts remained. Then, the working group we appealed to the Government of the Republic of Tajikistan with a request to establish the artistic council and prepare the program of state support program of folk crafts and crafts. The government went to meet us. Zille Valeev, Guzel Suleimanova, leading experts of the Ministry of Culture, Museums entered the art council. The program we have developed joint efforts, it was adopted on December 30, 1999. She envisaged the creation of the infrastructure of state support for folk crafts. After all, the artist has no place to appeal to present his product to examine, get advice, enlist the support of the state at least in the form of material assistance to pay exhibition events. Crafts Chamber - one of the steps to implement this program.
- Nuri Amdievich, how did you search for masters?
According to the products, according to publications in the media, called them to contact the Department of Entrepreneurship Support. Initially, the Chamber consisted of 43 people. To date, there are 380 masters of masters, artists, artisans of various directions. They made their work with the use of Tatar and Russian traditional ornaments, forms that vividly testify: this is the product of the Republic of Tatarstan, our people made it.
The first major step was the edition of the book "Tatar People's Ornament". The book became basic for many masters, it represents the history of the Tatar folk ornament from archaic times to the present day. Then there was a directory with photos of the first masters, their names. Total about 22 people: leathermen, jewelers, slopes, etc. Two years later, 180 masters were already told in the new insulated catalog.
- What exhibitions showed our Tatarstan products?
In 2002, our exposition first went to France to Dijon. This exhibition has become a discovery not so much for us as for the French. They saw that in Russia there are not only matryoshki, balalaiks, trays and samovars. Russia is rich in alternative fisheries! We have been represented by an oriental ornament. The people of Valil on the "Days of Tatarstan". As I remember: I stand on stage and see how the policeman lowers the barrier and says: there are no places! And standing! Then the exhibitions became regular: Germany, Portugal, Italy, Poland, Spain. Masters, it happened, made products right at the exhibition. Embroidered gold, knitted. Our translator was difficult to run 30 meters there, 30 meters back. We caused live interest. Suffice it to say that in three or four days we saw in a cafe, our tubette's discos from discos! By the way, in December last year we were awarded an international prize for improving entrepreneurship and service in the nomination "Popolis".
- What other events are planned to spread culture among the masses?
After the formation of the House of Crafts, the State Center of People's Art Fields was created. In the summer it is planned to be outbuilded in the place of compact accommodation Tatars: Ekaterinburg, Tyumen, Tobol, the city of Volga region and Central Russia. The School of Crafts opened on the first of April. And the chamber of the craft removes films about the fishery.
Beading in Tatar traditions
Lomonosov brought Beads to Russia from Egypt. The technique of weaving jewelry strictly kept secret by every girl. Later, the beadwork also got along with Tatars, initially not their folk fishery. Gradually, it absorbed Tatar traditions. In Tatarstan, jewelry from beads simultaneously carry traces and Orthodox, and Muslim cultures. Beading works of art today can be found on any Kazan Fair dedicated to folk crafts. For the last month, the exhibitions were held in the art gallery, and in the center of Russian folklore, and at the National Exhibition Center.
Modern masters say that the cooking hobby beads in Kazan began 12 years ago. The fashion included baubles in the hippie style. Many lovers of weaving from the bead, it all started with them. Threads were more affordable beads. Then there was no literature nor good beads. Czech is considered the best beads, now it is freely sold in special stores. Es in demand and beads from Taiwan.
Inna Chernyaeva - Master of RT on beadwork, member of the chamber of crafts. She herself comes from Ryazan, in Kazan lives about nine years. Her works among others were of Tatarstan at international events. The main work of Inna is a teacher in the center of children's creativity Azino. In addition, it holds master classes for adults.
Inna breaks stereotypical ideas that beaded-weaving is the occupation of elementary school girls and pensioners. She is a young woman, in the spring wants to open her store for sale of beads. Inna Chernyaeva does not include any Russian or Tatar ornaments in his work. Its main direction is the jewelry. She told about Tatar traditions in beading as an observer.
There are products among my works, which in Tatarstan are considered traditionally their. Although, frankly, I spied them at the Irish. Working with Malazit and beads of green Tatarstan also define as their own. We in the Republic of Tatars love decorations that close the neck and chest. Learning to Moscow to Sabantuy, I noticed that there are more long beads for representatives of the Tatar diaspora.
- What are our masters at home exhibitions stand out?
Our masters are very distinctive. They put on national costumes. In addition, the overwhelming number is not lowered before bringing it to the exhibition made in China. Our artists do everything with their own hands. All products traced the Kazan line. For example, Jeweler Irina Vasilyeva exports exclusively what the Kazan Tatars were worn. And, of course, Tatarstan products have richer patterns and bright colors.
There are several bisading schools: Moscow, St. Petersburg, Western ... If the Kazan school existed, what would be its distinctive feature?
First, embroidery (including beads) on the velvet of traditional colors: blue, burgundy, green. Secondly, jewelry, covering the chest and neck.
The soul of the people lives in dancing, songs and undoubtedly in the works of art made by their own hands. The national culture is alive until it is transmitted from mouth to mouth, from hand to hand, from generation to generation.
I am glad that in Tatarstan do not forget to maintain spiritual and cultural heritage. The ninety-year frontier we step over without losing their identity, your face.
Maria Maksimova, IT
Among the ancestors of Tatars there were many artisans. The masters lived in almost every village. There were those whose products were on the weight of gold. Such craftsmen knew far outside the village.
Alas, many types of vehicles of the ancestors of Tatars were confused before the 1917 revolution. By the beginning of the 20th century, carpets and complex patterned webs were stopped, a stone carving and some jewelry crafts disappeared. Only in some villages the masters continued to embroider gold on the heads - tubets and calphakes, to equip products from felt, weave lace. Thousands of wood carving, simple patterned weaving, embroidery, black-colored, production of leather mosaic shoes, are "lasted" longer.
Where did the artel worked?
In the 1920s, Tatar masters, artisans united in Arteel. According to them, you can trace the geography of the existence of folk crafts in the republic.
- Zoom sewing - Kazan.
- Leather mosaic - Kazan.
- Embroidery - Kazan, Kukmorsky district, Chistopol.
- Patterned footwear - Kazan, Arsky, Laishevsky, Pestrechinsky, Dubjinsky (now highly high) regions.
- Weaving - Menzelinsk, Chelning (Sarmanovsky), Alekseevsky, Laishevsky districts.
- Felt carpet - Dubyazy (High-Ukrainian area).
- Tree carving - Sabinsky, Mamadyshesky districts.
- Lace-racing - Fish Sloboda.
- Jewelry fishery - Kazan, Fish Sloboda.
- Art Metal - Arsk.
- Ceramics - Laishevsky district.
How the weaving machines smoked
In the 1920s, Tatar artisans began to work in Artist. It was then that our masters became famous for the entire USSR, as well as in Europe and the world, because their products went to export. In those years, the work of Tatar craftsmen was exhibited in Paris, Monza-Milano, Leipzig, Riga, Prague, Vienna.
At the All-Union Agricultural and History and Industrial Exhibition in Moscow in 1923, their creativity was a whole pavilion of the Tatar Republic. Visitors saw a tambourine embroidery, hats, silver-embroidered, jewelry, ceramic jugs, carved wooden dishes and caskets. And at the exhibition "The Art of Peoples of the USSR" masters presented products in the technique of artistic weaving, zero sewing, leather mosaic and others.
Everything changed to the beginning of the 1930s. Old-timers remembered that in the Tatar villages, which were famous for artistic crafts, masters, jewelers, weathered, the kontampers were counted to the fists. When degradation burned, weaving machines and other vintage craft tools and guns. Someone continued to engage in the craft secretly, but most preferred not to risk.Nevertheless, in the 1980s, the researchers noted that the traditional types of folk creativity were still preserved as homemade handicrafts. With their own hands, they did mostly what the rugs and rugs needed - the fabrics and the rugs, weathered the utensils from the vine, hung on the windows of carved platbands. But a tambourine embroidery, rowing, was engaged in silver only loner masters. But the techniques and patterns that artisans used were still changed. What did the Tatar masters in ancient preference preference?
Mortgage and severe weaving
On wooden machines hand fabrics patterned canvas from multicolored linen, hemp and woolen threads. Icestari threads were stained with vegetable, and later aniline dyes. Tatar craftsmen used their weaving techniques, knew how to correct the threads to the machine, so that even the most complex pattern of the lathe weaving. Wide white towels with red patterns were used for various rites, such as wedding, or during a meeting of guests bread-salt.
Samples of towels of the beginning of the 20th century from the Foundations of the Gosmiz Seine Arts of the RT Photo:
Manual carpet
Probably, many have ever seen in the villages of the checkered paths. To make them, the craftsmen were collected by the flaps of the fabric, sorted them in colors and was cooked in the balls. In the old manual machines, the fabric not only rugs, but also bright carpets. Ornaments were usually large, geometric in green and blue and golden tones. For contrast, the carpet background, most often, was dark. The fabrics are usually a few cloths, which were then joined and cried border. By the way, carpets and wall panels were made from felt.
Handmade woolen carpet. Elabuga, 1980s photo:
Tambourny embroidery
One of the oldest types of artistic creativity Tatars is the embroidery. She decorated household objects, folk costumes. A tambourous embroidery was called the type of seam used in it, similar to a chain with a simple anchor weaving. The patterns of patterns were performed by a cam seam and filled large elements - petals, leaves. To speed up the process, the craftsmen used not a conventional needle, but a hook.
Velvet pillow, embroidered by a tambourous seam, 1960s photo:
Golden sewing
Such embroidery was decorated with hats, dresses and camisoles, bedspreads and hasitis - breast digest. Bouquets, gold feathers embroidered on a thin velvet, velor, and sometimes on the rush and other thin tissues, as well as on the skin. Not only metallic gold and silver threads used, but also a vacuine - a thin wire, twisted in the spiral. Over time, the threads of silver and gold applied more and less, they usually were copper coated threads.
Gold sewing with restaurant. Photo: AIF / Nail Nurghayev
Embroidery by the Bulgarian Cross
This type of embroidery is later, was distributed in the 20th century. The Bulgarian Cross reminds the usual embroidery of the cross, only the crosses are superimposed on the other in such a way that it turns out an element similar to the eight-pointed snowflake. The cross used to embroidered, for example, wedding and other household shoes, towels, pillowcases, curtains, tablecloths.
Lace on Cocklushushki.
The most famous lace lived in Fish Sloboda and the Penremen. Lace Napkins, Tracks, collars Clearing still serfs, their works were sold even abroad, calling them "Brussels" lace. There were products and geometric patterns, and plant ornaments, animal images. In the Fish Sloboda, lace products were fought with thick thread, which distinguished the products from other masters. At the beginning of the 20th century, Tatar lances received a prestigious award at the exhibition in Chicago.
Leather Mosaic.
This old Tatar fishery received world recognition. Tatar masters mainly made patterned boots - Ichigi from multi-colored pieces of skin collected in vegetable, floral ornament. They say, even the Town Gold Sewing, trying to keep up with the Tatar craftsmen, began to decorate shoes with zero sewing. Later began to make shoes, pillows, brushes and other products in the technique of leather mosaic. This fishery is alive to this day.
Ichigi. Photo: AiF / Maria Zvereva
Ceramics
It was distributed to Kazan Tatars until the XVI century, and revived only in the middle of the 20th century. In old days, the masters did not only dishes for everyday use - jugs, dishes and other, but also a facing glazed tile with geometric and vegetable patterns and decorative bricks with bows that were used for design in construction. For beauty, the jugs were covered with white, red or gray clay, struck the bands with which the drawing was created. Each master branded his work, on this sign it was possible to know the hand of the craftsman.
Glazed clay dishes, 1960s photo:
Metal artwork
From copper, bronze, silver ancestors Tatars made homemade utensils, decorations for clothes, weapons, horse harness. Used different techniques - casting, chasing, embossing, stamping, engraving for metal. From the XVI century, the masters switched to the manufacture of various vessels, trays, forged chests. Mednisters, as the masters of artistic metal processing, were in every Tatar village. Most of them minted Kumgans - a jug with a narrow throat, a spout, handle and lid. Kumgan's spouts were performed, for example, in the form of animals and birds.
Engraved copper tray and pile, 1980s photo:
Jewelry fishery
The ancestors of the Tatar perfectly owned the techniques of blunders, casting, engraving, chasens, stamping, inlays with gems, engraving on gems, cuts of precious stones. The thinnest work was delivered to filigids. They performed decorations, for example, in the technique of a tubary scanway - when gold and silver wires ended with several curls combined into a cone. The center of production of such complex jewelry was Kazan. They did the black bracelets on silver, openwork decorations for hair - chullops who were crowded into braids. In each product, the hand of the master was so noticeable that the jewelers did not even put their stigma, they say, so everyone will know everything. Vintage rings, rings, earrings in Tatar families are stored as relics. In Kryashensky villages, female bibs of chased coins and bleas are preserved.
Female chest ornaments with filigree. Photo: AiF-Kazan / Ruslan Ishmukhametov
Carving and painting on wood
The masters did household utensils from the tree - chests, dishes, spindles, horse arches, trolleys. Used oak, birch, male, lime, aspen, pine. For these products, elegant carved ornaments and bright colored painting were characteristic. At the beginning of the 20th century, many masters were argued with wooden painted spokes with vegetable patterns. In the Soviet years, such a concept appeared as "Tatar Khokhloma". Souvenir products under Khokhloma were produced in the workshops during Lespromhoz. In reality, the ancestors of the Tatars did not use a black background, characteristic of Khokhloma in painting. Black in painting on a tree generally used rarely, only for the separation of elements. More often they took bright red, orange, gold paints.
Wood carving. Photo: AiF-Kazan / Ruslan Ishmukhametov