The Tatar people have an ancient and colorful culture. His life, sorrow and joy, war and alliances, lifestyle, beliefs could not not affect creativity. Since the people of ancient, history and culture numbered centuries. According to their everyday life and the worldview, the nation was different from the tribal sitting nearby and was isolated. Therefore, for example, the Tatar ornament used to decorate clothing, household items, houses is original and peculiar.

Types of ornament and types of motifs

The way of life of the people was noticeably affected by the patterns that various products were decorated. Mostly the Tatar national ornament has a pronounced influence of ancient farming. But if you carefully examine the work of the masters, we can see that the influence of the culture of cattle breeding of nomadic ancestors of the people is also manifested.

Tatar patterns and ornaments have three types of motifs: geometric, floral and vegetable and zoomorphic. A characteristic feature is their contour completion.

and its use

Patterns were used by the crafs of centuries in many spheres of applied art: architecture, embroidery, painting, wood thread. Tatar ornament with floral and vegetable motifs is the most common. The masters create both simple forms and complex bouquets. Colors that are used for ornament, bright, rich and well combined. The motives are stylized and have many interpretations. An important role is played in what order elements of the pattern are located and are combined with each other.

In the flower and vegetable motifs that are used for creativity, there are three directions: steppe, meadow and garden. Depending on whether the master or craver, those or other Tatar patterns and ornaments lived in. For the steppe direction, the motifs are more characteristic of the image of stylized poppies, tulips, forget-me-not, carnations. Meadow motives are filled with rosehip flowers, bell, camomiles, directions were characteristic of urban settlements. Preferably Georgina, chrysanthemums, roses, asters were depicted. Most often there are two flower, which uses Tatar ornament. Tulip and carnations serve as the main motives.

Geometric and zoomorphic motifs

Zoomorphic drawings are practically not used. This is explained by the requirements of religion, so the Tatar ornament very rarely contains animal images. However, the masters who are still solved on zoomorphic motives in their products, stylize them so much that it is not always possible to understand what a beast is depicted.

Often, the geometric Tatar ornament is not an independent element of the product, but performs auxiliary functions. The use of shapes depends on what the image is applied. For example, in weaving, geometric motifs predominate, and in the embroidery - floral, located with geometric accuracy.

Elements used in ornament. Their capabilities. Master Master Transfer Takes

First of all, it is worth paying attention to how used in the Tatar ornament tulip. It is represented in the form of a pointed tribal with varying degrees of bending. Less often meet five hundred. The wave-like lines under the hand of the masters are overfeed by leaves and form a "grape vine."

On one branch can be grapes, meander, and dahlia, and carnation. Tatar ornament with geometric motifs uses both simple figures (triangles, diamonds, circles, squares), and complex (hexagon sockets, stepped figures, eight-beam stars).

The plant ornament has another distinctive feature - an asymmetry of elements. On one branch, flowers are perfectly barbed, which in nature never grown nearby or bloom at various months of the year.

Tulip value in culture and ornament

Each people have its own character that matters only for it. Many masters use the Tatar ornament in which the main motive is a tulip. For this people, this is primarily a symbol of revival. Tulip is on

Secondly, the tulip is inextricably linked with the religious views of the Muslim world. The flower is associated with the name of Allah. Writing the name of the plant on Arabic consists of the same letters as the name of the god of the Muslim world. From the point of view of the Numerological system of Abadja (each letter has its own number) the sum of letters in the words "tulip" and "Allah" is the same and equal to 66.

Rose also finds a frequent display in Tatar ornaments. And again, for religious reasons: it is a symbol of the Prophet Mohammed. And although the flowers are strongly stylized, a person who understands the symbols and culture of the Tatar people, will surely be able to read the Tatar ornament.

Municipal budgetary institution of additional education of the city of Ulyanovsk "Center for Children's Creativity No. 1"

Plan-abstract

CLASSES

Topic: "Stylized Tatar ornament (Paper Panel)"

Developed: Mathsova E.P., Pedagogue of additional education

Ulyanovsk-2016.

Subject:"Stylized Tatar ornament (paper panels)."

Type of classes:combined.

Purpose: Creating conditions that promote the awakening of interest in the history of the native land.

Tasks:

Training:

introduce students with the names of elements tatar ornament ("Tulip", "Roshovnik", "Wave");

intensify the speech of children in the title of Tatar national patterns.

consolidate students' knowledge of appliqué;

teach children to perform panels in the form tatar Ornament in the way of the invoice appliques;

master the additions of the addition of objects (patterns) of parts by pattern;

repeat safety rules when working with scissors, glue.

Developing:

develop attention, observation, logical thinking;

develop fine motility, visual and motor coordination;

promote the development of artistic taste;

develop an artistic taste in the selection and location of the elements.

Educational:

educate in children respect to each other, to people of another nationality;

educate interest in history tatarpeople and its traditions

Methodical equipment:an abstract classes.

Teaching methods:wonderful (conversation), visual (demonstration of samples, illustrations, patterns), practical (demonstration of work techniques).

Materials, Tools, Equipment:

Samples of panel elements, illustration of Tatar national ornament, illustration of Tatar national costume (dress, apron, vest, tubette, caalfak, boots), patterns of national patterns ("Tulip", "Bell", "Wave"), "Letter" Colored paper, Glue-pencil, scissors, tape, large photo frame with glass, illustration "Kazan Kremlin", "Chuck-Chuck", "Flag, coat of arms of Tatarstan").

Form of activity organization:group.

Travel course:

1. Organizational stage(Greeting, exercise "Hello, friend!)

2. Preparatory stage(Leading in the subject of classes).

Guys, today I received an unusual letter. That it is written here in no way, because it is written not in Russian.

But there is a hint - Pictures (Kazan Kremlin, Chuck Chuck, National Flag of Tatarstan). Look at them carefully. If we can guess that they are depicted on them, we will understand where the letter came from and what is written in it (children's answers).

I turn over every word Isaenmerez, Khommel IPTESHLERand read (Look, dear friends!)Well done! Guess!

Guys, tell me, what is the name of the country in which we live? And what is the name of our city? (children's responses).

You probably know that people in our hometown live people of different nationalities that have their own language, culture, their dancing, songs, costumes. (Russians, Bashkirs, Chuvashi, Mordva, Tatars, Ukrainians).

Today we will talk to you about Tatar nationality, because we will soon have a holiday dedicated to the Tatar people.

What do you already know about the Tatars? (children's responses)

They live in the Republic of Tatarstan, the capital is the city of Kazan. They speak in Tatar, but many speak Russian. They have special national dishes - pilaf, Belyashi, Chuck-Chuck. National costumes put on holiday Tatars. Women - Dresses, Aprons, Vests, Calfak. Men - shirts, wide pants, leather shoes, tubets.

3. Studying a new educational material

Today we will get acquainted with the Tatar folk ornament. Guys, what is the ornament? (children's responses). The ornament is a decoration, pattern. They paint dishes, caskets, chests, spread towels, napkins, tablecloths, costumes.

I brought you samples of the Tatar ornament. In the Tatar people there are several types of ornaments. (Story and demonstration of samples).

"Flora-floral". The motifs of wave-like shoots, tulip flowers, chamomile, lotus, violets. This kind of ornament was decorated with towels, curtains, aprons, hats.

"Geometric". Geometric motifs - lines, waves, zigzags, spirals, broken lines. It is used in the decoration of rural dwellings, jewelry.

"Zoomorphic" Images of pigeons, ducks, butterflies, swans, bees. It is found mainly in wood carving.

The main colors of the ornament are green, red, yellow, blue, orange.

Today we will make such a collective work (showing panels).

Guys, tell me what is the panel? (from individual elements) And from which individual elements are made - stylized patterns? (from paper). How to do such beautiful elements? (Cut out of paper and paste on paper squares)

When you do everything, put them in one big picture panel, it will be presented on our holiday.

Fizkultminutka:

For charging the sun raises us

We raise your hands on the team "Once."

And we have fun foliage

We lower your hands on the team "Two".

Hands raised and shocked -

These are flowers in the forest.

Hands bent, brushes shook -

So the wind knocks the dew.

In hand, smoothly fell -

This birds fly to us.

As they sit down, we will also show

Hands back back.

4. Practical work

Briefing.

We will have two tulip and wave teams. The first team makes the first type of ornament (stylized tulip), the second is a stylized wave. Let's see what the team coped better.

Independent work.

I distribute details. Open envelopes. We consider the pattern and its elements.

What makes this pattern from? (Square, tulip, oval with pointed corners) And this one? (Square, wave and circle).

You will need to cut squares from colored paper, and glue the elements of the stylized ornament on them.

But before proceeding to work, let's remember the safety regulations when working with scissors and glue.

During practical work, you can spend your finching game.

Filter game "Flower"

Each of you have hand brushes turned into a flower. Petals are closed, tightly closed.

In the morning it is too closed (hands are in its original position),

But by noon, closer (the palms depart from each other, the pads of large fingers are pressed to the ends of the index, the brushes remind the revealed bud)

Reveals the petals, the beauty of them see them (the wrist brushes at the wrist are connected, and the fingers smoothly diverge into different directions, reminding the dropped flower).

By the evening, the flower again closes the whisk (fingers to silence - an undecid flower),

And now he will sleep (hands in the original position)

Until in the morning as a chick (hands put under the cheek - imitation of sleep).

From what items consists of this pattern? (flower, leaf)

What is the name of this flower? (Tulip)

What color is a big flower? (red) And small? (Yellow)

What color petals? (Green)

During work, I show the technique of fulfilling the ornament. Children perform collective work. In the course of its implementation, I assist some children, suggesting, directing. I speak together with the children names of the details.

5. Control stage

Current control.In the process of work it turns out individual assistance.

6. Final part

Guys, we finished work. Everyone listened carefully and successfully coped with the task.

Did you like the lesson?

Guys, what the people of the Volga region were we talking today? What new have you recognized? Who was hard to cope with the work?

Now let's remove your workplace.

application

Wave ornament pattern

Tulip pattern pattern

Pattern pattern "Peony"

Ornament - a beautiful narrator. Look at him, and he will tell about his region and time when he was born, about his people and events that survived with him.

Let's study our ornament - Tatar - along with Guozel Fuadovna Valeeva-Suleimanova, Dr. Art History, the Chief Researcher of the Institute of History, N. Mordzhani, the Academy of Sciences, Professor of the Kazan Architecture and Construction University.

– Guzel Fuadovna, what is the interesting story of the Tatar pattern?

The ornament is a pattern that decorates products and objects of various shapes and sizes is from jewelry to architectural buildings. The ornament is multipart and diverse. This is a universal type of art.

The Tatar ornament was formed by millennia, starting with the era of the ancient Turkic kaganates and even earlier - from the primitive era. He walked a very long way of development. It has always reflected nature and symbolically significant objects for humans, images.

Therefore, if you take an ancient ornament, we will be able to see the world around him, natural phenomena characteristic of the distant ancestors of the Tatars who lived in Altai in Central and South Asia. So, to patterns having an ancient origin, the motif of the lotus, sockets, heart-shaped, palmettes (stylized image of palm leaves). The last motive, depending on the interpretation, is connected with the East Asian art and with the art of Huns and with the art of ancient Greece. The influence of Greek culture felt the Great Bulgaria, which occupied the territory of the Crimea and the Azov with their Greek colonies.

The appearance of the lotus motive can be explained by living our ancestors in the territories of the Far East, Central and Front Asia. It is noteworthy that the combination of motifs of the East Asian and Lotus palmettes is found among the Turkic-speaking peoples of the Volga region and the Viurala only in the Ornament of Kazan Tatars

After the ancestors of the Tatars were in the territory of Volga-Kamya, new motives appeared in the ornament. They are associated with Flora and the fauna of this region. In the Domongolsky period of the Volga Bulgaria, there were stylized images, moose, foxes, cunits, falcon, etc.. Often there are patterns from wildflowers' motifs: chamomiles, bells, forget-me-not, poppies, etc.. Stores are also preserved. like a motive tulip, kruz karagannik, images of wild geese, etc.

In the era of the Golden Horde in the ornament, the influence of Mongolian and Chinese arts is reflected, for example, cloud-like motifs appear, braid motif, in the new interpretation you can see the lotus image. More often there are motives that reflect foreign animals - lion, peacock, roe, etc., fantastic motives are popular - dragons, sphinxes, double-headed birds. The composition of the Golden Horde, as is well known, there was a lot of tribes - the ancestors of the current Turkic peoples: Kypchaki, Oguza, etc. Such a mixture of cultures had its influence on the ornament of Kazan and in general Volga Tatars.

In the era of Kazan Khanate, Turkish and Iranian cultures strongly affect Tatar ornamental art. Thus, the ornament is replenished with motifs from the repertoire of garden flowers - dahlias, astr, poppies, peonies and others that were popular in the patterns of imported eastern fabrics.

The conquest of the Kazan Khanate and the inclusion of it in the Russian state had a strong influence on the specifics of Tatar patterns. Russian art was based on religious, christian. As for the Russian ornament, it, and to this day, has a visual basis associated with the desire of realistic transmission of certain images.

The Tatars, since the adoption of Islam, the ornament has a conditional decorative, abstract symbolic and sometimes metaphorical basis. There is no visual realistic interpretation of images. This is a different thinking in art, which is located in the framework of the Muslim artistic worldview associated with the aesthetic doctrine of Islam.

If returning to Tatars, which turned out to be the Russian state, there were periods of violent baptism. The Tatar community resisted him and tried to protect himself even at the level of the artistic language of art. During this period, prohibitions were strengthened on images of living beings and disappear with motifs that have an image of a cross. Tatar embroiderers did not embroider a cross (except for the bachers Tatars), and this embroidery technique spreads among them only in the 1960s.

As a result, we will again see the influence of the Tatar ornament in Russian art than the opposite.

– And Arabic geometric motifs?

So-called Arabesques and Girihas are those species of patterns that were invented by the Arabs in the field of ornament. They became universal for Muslim art and are found in the work of almost all Muslim peoples. Girii and Arabesque ornament decorated architectural monuments of Bulgar, they can be seen on archaeological fragments from the disappeared Khan buildings of the Kazan Kremlin.

Geometric compositions in the form of giriha and the complex interweaving of geometric and vegetable patterns in the Arabesque ornament were distributed in the medieval monumental architecture of Islam. And the Tatars, with the conquest of Kazan Khanate, the monumental architecture, as the type of architecture associated with the dominant class ceased to develop. It is reborn at the end of the XIX century, in connection with the decrees of Empress Catherine II, allowing the Tatars to build stone mosques and at home for nobility.

– In what form the ornament is present in life today?

Now the Tatar ornament is reborn in the work of modern professional artists and folk masters, love artists. It can be seen on some monumental buildings in Kazan and other cities of the republic, in a space-subject and household medium. The ornament decorates interior items: Shamail, Lolae, wall plates, decorative ceramics; ritual and household items - lackers, towels, tablecloths, trays, caskets, etc.; Suite elements (dresses, vests, hats, shoes).

Someone individually, someone's small shops are engaged in modeling and sewing clothes and its component parts in the Tatar style. For those who want, it is possible to order and printed applying to the clothes of the Tatar pattern. There are craftswomen who embroider the patterns of Tatar ornament and working and with deltaper, and with zero threads. Popular ornament in wood products and ceramics, especially in wall plates, in jewelry. Masters-jewelers working in the technique popular for Tatars Openwork Filigues, using precious stones, choose antique ornamental forms for their products ...

To be continued.

Gusel Ibrahimova talked

Strange, but only now, I have become truly perceiving national patterns and ornaments. Here, for example, the Tatar ornament. All my life lived in Kazan, according to the nationality of Tatarka, and all the people somehow passed by me ...

It all started with the proposal of one book publishing room about illustrating the Quran (gift copy), but only with the Tatar ornament. At first I thought that I would quickly deal with it, I had a lot of material on oriental. I made sketches, showed customers, they liked it, but they said that with such ornaments, which I suggested, they could order the Quran and in the Arab Emirates.

Here I understood the "lightness" of my attitude to work! And went to Lenin library! He looked at the books in the Tatar ornament, historical essays on the creation of folk crafts, the benefit of the Tatar people a lot of them! One leather mosaic what is worth! And gold embroidery on a folk suit, and embroidery on towels!

So, having liketing a real, something clean, and right, I felt such an emotional lift in myself! What I want to create and create! Now I just fell in love with the topic, and I really want to show all 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. It is of course more beautiful, but they personally mine.

3. To continue the topic of patterns of leather mosaic - separate fragments of ornaments reproduced by me on 10x10 cm tiles.

6. Tatar pattern on 10x10 cm tiles.

7. Gate. Painting for gravity gold, work is framed in baguette.

8. Mirror "Tatar pattern". Inspiration for the painting of this mirror served by me the embroidered tablecloth of 1884, at the National Museum of the Republic of Tajikistan. The tablecloth is certainly fantastically beautiful! Embroidery!

9. Kul-Sharif Mosque in the Frame of Tatar Ornament.25x35 cm

National souvenirs are very in demand. She was convinced when, in the territory of the Museum of the Kazan Kremlin, "my personal exhibition" Eastern motives in painting on ceramic tiles "was held in the main mosque of Kul Sharif. The interest was very big, the benefit, the exhibition curators constantly extended her, for which they thank you some. After all, the flow of tourists from spring to autumn is just huge. And I am glad that my work "fit" into the overall flavor of souvenir products and that you can offer something else, except for the classic set - Chuck-Chuck and Tubpets.

My new works, presented at the next personal exhibition in the Kul Sharif Mosque Sharif "Perelovy Pattern" Tatar ornament, in 2013.

The mirror "Tatar window", made based on the house thread in Tatar villages.

Mirror "Tatar overflows"

Panel from tile "Tatar Song". Opponent painting, firing 830 pp. 50 x 50 cm

Panel from tile "Tatar pattern" 40 x 40 cm. Opponent painting, firing 830

Set of plates with Tatar ornament

Municipal General Education

"Secondary School No. 20"

g. Anzhero-Sudzhensk

Tatar folk ornament in embroidery

Work at the XV Regional Conference

"Live, Kuznetskaya Earth!"

ul. Chertnichenko, 7-1,

Zagorina Arina Andreevna,

ul. Socialist, 1-3.

studying 7 "A" class MOU "SOSH No. 20"

g. Anzhero-Sudzhensk

Leader:

Augustan Irina Alekseevna,

teacher technology Higher

Introduction

In our city there are people of various nationalities: Ukrainians, Germans, Belarusians, Russians, and including Tatars, whose population in the city is more than five thousand. The real history of Tatars in Siberia begins only since the times of Great Chingiz Khan, who headed this nation in the early 13th century after the Nativity of Christ. The decorative and applied creativity of the Tatars is very diverse and its roots goes into a deep historical past. Therefore, it became interesting for us to find out and introduce the younger generation of our city with one of the types of decorative and applied arts of the Tatar people - embroidery.

Tatar folk ornament in embroidery 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. The ornament of the Tatar people was as a result of a long process of its historical development and a wide relationship with neighboring and long-distance nations. The complex conditions of the ethnic formation of the people led the community of many species of his 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 the people imposed a certain imprint on his visual art, ornament, his style.

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. Along with the artistic and ethnic parties in the ornament, the peculiarities of life, economic activity and the ideology of the people, the historical environment, which in various epochs introduced various impositions to it. In nature, the Tatar ornament is deeply connected with an ancient agricultural culture. The beginning, which was laid long before the formation of the Volga Bulgaria. However, there are also very ancient roots, leaving to the remote cattle breeding culture of nomadic ancestors of the Kazan Tatars.

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

Purpose: The execution of the Tatar folk ornament on the napkin.

Tasks:

1. To include literature on the Tatar folk ornament in embroidery.

2. Get acquainted with embroidered products in the urban museum.

3. Easy the napkins with the Tatar ornament.

Ornament - a kind of handwriting of the people

Embroidery is one of the oldest and popular species of female fine art. According to Professor N. Vorobyev, this type of art was associated with the positiveness of women who rarely come out of the house and their leisure was used for needlework. Eashes knew how young and old women of all social sleeps and villages. The craftsmen created elegant and cheerful patterns with the use of various motifs and flower combinations with long winter evenings. Unlike Russian, Ukrainians, Marie and other peoples, Tatars did not use embroidery in clothes, but decorated household items: towels, napkins, tablecloths, bedspreads and window curtains, namazli (prayer mats) (Appendix 1). Shoes - shoes - boots (Ichigi), shoes (Appendix 2), as well as hats - Kaltaki, Calfai, Erpeci (head covers), tuba. In the foundations of the city museum there are two female heads - Kaltaki. One with pearls in blue velvet (AKM O.F. No. 15868, W No. 446). Gave it to Bictimirov Nazif. Calfak launched her mother at the beginning of the 20th century. The second Calfach is embroidered with a pearl of brown velvet (AKM O.F. No. 3187, W No. 1090). He belonged to Garifyanova Zulfia, 1897, repressed from Bashkiria in 1931. Gave it, her granddaughter of the Lateness Zemfira (Appendix 3). For the manufacture of men's and female hats was used velveteen and velvet. In the jewelry of the headwear, a color and white beads were used, as well as a fake pearl. The bistener and fake pearls were carried out both along the contour and filling patterns. The most richly embroidered calphic, tubages were decorated with twisted metal spirals, gold baffles, brushes, sparkles. The patterns used in the tambour and gold-wave embroidery are distinguished by a large variety of motives and abundance of their variations. Patterns have clarity and contour. Tambourines in the embroidery of Tatars had a significant impact on the ornament of Bashkir, Chuvash, Udmurts and Uzbeks. In women's dresses, there were sometimes ruffles. Most of these things are associated with interior design. The situation and decoration of the Tatar house had a number of features. The house was not customary to divide on the rooms, as well as load extra furniture, so they appeared skillfully embroidered curtains and gentlemen. A particularly colorful house became during wedding celebrations - everything was decorated with stitched and woven products of the newlywed. This custom, demonstrating the diligence and mastery of the bride, is alive now in some rural areas. The traditions of folk embroidery are preserved on the village also in connection with the Sabantuy holiday - young Snohy give their products to the winners of sports.
Embroidery was usually done on a bright saturated material - green, yellow, purple, bordeaux. Embroidered with twisted silk, gilded or silver cord, beads, pearls. Of great importance was paid to the ornament, which consisted of geometric and plant motifs. In the composition of the blooming garden created by the craftsmen, it was possible to learn red poppies and yellow-eyed chamomile, tulips and pansies. A special beauty was famous for the Kazan towels, embroidered with a tambour silver-gold thread on white silk.
Patterned weaving was also widespread, also associated with the life and wearing the nature of the home craft. The ornament discovers similarity with the Central Asian and Azerbaijani carpets, while the color structure (the predominance of the red and different shades) has no analogies.
Embroidery ornament of the XIX-XX centuries. Basically consists of vegetable, geometric and zoomorphic motives. All these types of ornaments originate in the culture of remote ancestors of Tatars. The peculiarity of the ancient ornament is the curvilinear interpretation of patterns and motifs, "emanating at its basis of the technique of appliqués, tambura, mosaic." The large proportion in the Tatar embroidery of the plant ornament, apparently, should be explained by antiquity and the popularity of the tambour. The effect of the technical principle on the nature of the ornament is confirmed by countable and stringent embroidery, in which, on the contrary, the geometric ornament is dominated, and the patterns of vegetable, zoomorphic origin are greatly geometrized. We saw such a drawing on the towels stored in the museum (Appendix 4). In improving and securing flower-plant motifs, historical cultural and economic relationships with the peoples of the East, Front and Malah Asia are played as traditional for Tatar folk embroidery. In the Tatar art of the XIX-XX centuries. The plant ornament is less related to the ancient symbolism of the Divine Forces of Nature, and is due to the purely artistic tasks of reflection, the glorification of wealth, harmony and beauty of the everlasting plant world. Observing nature inspired by her, the master still quite rarely reproduced real forms. Although, if you compare embroidery with other types of Tatar folk applied arts, it stands out to the most realistic interpretation of floral motifs. No matter how different plant ornaments in the embroidery of other Volga peoples, until the end of the XIX century, among them, they almost never find the reproduces of specific plant species, whereas in Tatarskaya it can sometimes determine "with botanical accuracy". And yet, plant patterns and in Tatar embroidery, as a rule, collective images. Moreover, on one branch, on one stem, the fantasy of the artist combines completely different flowers, fruits and leaves (with such faced in the compositions of bouquets). But the most conditional, generalized reproduction of plant images, the use of forms that real nature never knew does not interfere with the impression of the vitality of embroidered patterns of flowering gardens, the motley disintegration of the steppes, forests, fields.

The secret of this effect, however, is quite simple, although dissolved in the rhythmic embroidery pattern. This asymmetry generally not disturbing the equilibrium of embroidery patterns, but contributes to the most naturalness, the directness that is characteristic of real nature is the first source of inspiration of the people's artists. The inexhaustible fantasy of the masters in search of new art decisions safely translates the geometric, zoomorphic ornament in the category of vegetable, and the wealth of the latter, multiplied by the infinite number of variations of the same topic in the individual creativity of the needlewoman, does not leave the impressions of poverty and the monotony of embroidery. Even among the works from one terrain it is difficult to find literally repeated patterns patterns. A considerable role in creating the impression of wealth and diversity of the ornament plays and inherent polychromicity, when the same motives are performed in different colors, and are perceived as different.

Types of Tatar Embroidery Ornaments

Flower and vegetable motifs Tatar embroidery can be combined into three groups. According to the classification proposed by F. X. Valeyev, it is the motifs of the steppe, meadow (part of the forest) and garden origin. The images of garden flowers (dahlia, peonies, asters, chrysanthemums) are more characteristic of the embroidery of the townspeople, while the simple peasant life was closer not so bright, but the immensely dear heart is the images of native forests, fields, meadows.

At the base of almost every flower-plant motive, the Tatar embroidery is a combination of curvilinear geometric shapes. For example, a wave-like line, flown by all sorts of twigs, leaves, flowers, which are divided into one or different sides, turns into a popular motif "vine".

Soft, smooth outlines of cloud-like and palmetoid figures rising to the simplest pair curls, spirals . With the help of socket forms, images of both conditional and specific buds, colors - more often of multi-nepole garden origin (peonies, dahlias, etc.) are created.

The motive close to the image of peonies in embroidery.

Motive cloves in the Tatar ornament

Geometric ornament In the embroidery in most cases auxiliary role is given. So, the motifs of the meander (associated and torn), spirals, brackets, a raid wave, harness, braid, rope, etc. are used in the compositions of Kat and borders. Complex geometric shapes - rosettes with festral edges, heart motif, etc. protrude with the framing of leading flower and vegetable motifs.

In a cleaner form, geometric motifs are found in counting embroidery. For example, a geometric ornament at the ends of a towel performed by color tolerant, these are mainly formed by various combinations of direct and broken lines of the grille from zigzags, triangles, squares, rhombuses (simple, paired, ordinary). On the legs "CүRәKә" in the border strip, light ornamental ribbons are created: the rhythmic repeat of two or three crossed zigzags or alternation of spiral motifs and rhombus with continued parties. For embroidery on top of the zero background, a typical hex rosette, an eight-pointed star, a stepped triangle, a square or a rhombus with various internal developments, a X-shaped figure is typical. On the wedding scarves "TүGәRK Yaulik", the geometric ornament is represented by the rhombus, square, sockets, angles, etc. for these scarves, and geometrized ornament (leaf patterns) are characteristic.

From linear geometric motifs the following are common and traditionally used the following: wave motif (Fig. 1), a raid wave (Fig. 2), the harness's motive (Fig. 4), the fester-like (Fig. 3), the spirals (Fig. 8) are less commonly found zigzag (rice .7), the motive of the rope (Fig. 5), the wicker (Fig. 6), and Meander (Fig. 11-12), widespread in the ornament.

Zoomorphic motifs - Characteristic of the decorative and applied art of Russian and Finno-Ugric peoples, there are very rare in Tatar embroidery. One of the reasons for this is the prohibition of Muslim religion on the image of living beings. From this there is some one-sidedness of the development of ornamental art of Tatars. However, the "taboo" on the image of living creatures caused a lot of options forbidden by the religion of ornament types. And yet, despite the toughest canons, dictated by the religion, the creativity of individual folk masters reproduced the living images inhabiting the world around, there was a place for the image of fabulous, fantastic heroes. However, in the embroidery patterns of the XIX century, images of birds, butterflies, horses, etc. is conscious of considerable difficulty - they are so stylized, processed in the spirit of the plant ornament. More realistic zoomorphic motifs are interpreted in gold coarse stuff. Additional difficulty in detecting zoomorphic motifs is a multicolor of the tambura. Therefore, in embroidery with solid polychromic filling, it is more difficult to read the zoomorphic beginning than in embroidery, where the tambour draws only contour lines.

In the embroidered patterns of the towel, such a detail is found as the motif of a tree-flower, separating the horses of one pair. This motive is nothing but the pictorial trail of two widespread cults in the paganism: lands of mother and trees. Since the time of the matriarchate, the fertile strength of the Earth personified in the image of the female deity and the same ancient is its symbolic image in the form of various forms of vegetation. The sacred tree of life, the source of vitality, the fertility symbol, a soul of ancestors, was also depicted. The motive of the tresh flower in the towel is a rod of a three-part composition, the plot meaning of which could no longer mean the scene of worship of symmetrically standing riders to the female deity, or a tree.

In the embroidered pattern at the ends of the wedding napes, the tambour will not only circle the contours of the motifs, but also participates in the filling of its elements. The lower parts of a peculiar bouquet of the leaves of various shapes and sizes are filled with carpet seam, while the top is a zigzag mesh tambura. If the towel reflected graphically-laconic lines, which caused the association with the way of the horses, then in other products we notice that the "bouquet-bush" reminds a giant butterfly, with stretches in flight with wings, and the trilley, the final bouquet, is nothing more than Two-headed bird. This peculiar to folk art simplification and synthesis of the image, ultimately gave rise to a new independent conditional ornamental sign.

Zoomorphic motifs in the Tatar Embroidery Ornament

A significant place in the decorative art of Tatars took schedule. The letters of the Arab alphabet made by a complex knage, screensavers and endings of books were decorated, shamali for the interior of the dwellings were decorated. An insignificant reflection of this tradition found in embroidery. Thus, some embroidery of the last century (towels, nasal scarves, pillowcases, more often namazybli) are accompanied by text - renews, dedications, good wishes, embroidered Arabic.

The ornament of modern embroidery mainly continues the tradition of folk embroidery of the past. Flower and vegetable patterns remain as popular as well as before. To considerably, this is due to the fact that the Tambourous seam remains leading technique and today.

Embroidery napkins

Choosing a pattern for our napkins, we paid attention to the fact that in the book F.h. Valeeva Patterns used in Tambourg and Gold Sewing Embroidery are distinguished by a large variety of motifs and abundance of their variations. However, having familiarized with the embroidered articles of the city museum, we saw towels performed by a countable stroke with a geometric pattern (Appendix 4). We interviewed not few familiar and neighbors to find women who were engaged in embroidery. With great difficulty, but we still were lucky to meet With two residents of our city: Bakirova Nuranjea Abunacirovna and Aksanova Sarah. They showed us their products that embroidered in youth. Their products, performed by sting and seam, the cross have little reminded Tatar ornament (Appendix 5). These women arrived in our city in the 30s by children, so it can be seen that the trend of the city life and a number of living inhabitants of other nationalities was reflected in their work.

We decided to show the traditional embroidery of Tatar women, made by a cam seam.

Tambourous seam is applied not only in embroidery, but also when finishing the product. Outwardly, it seems like a chain. By the nature of the stitches in the Tatar embroidery, there is a low (elloma) tambour, closest stitches, and

the tambour is high, seashed with small stitches that make the impression of the relief of the sore lace (Cupertcan Elme). In the latter case, thick threads of twisted silk were usually used. For embroidery napkins, we took the traditional floral patterns for Tatar embroidery, and the edges embroidered the popular motif of the "vine".

Photo of embroidered napkins.

Conclusion

Working on the project, we found out that embroidery is one of the mass and traditional species of Tatar folk art. In ancient times, embroider kneeling young and old women of all social messs of the city and the village. Studying literature, came to the conclusion that literature on a special study of the Tatar folk ornament, as in general, very few decorative and applied arts of Tatars. Nevertheless, we found out that in the development of an ornament in embroidery, Tatar masters and craftsmen reached large virtuosity by creating numerous patterns and methods of their constructions. They perfectly understood the meaning of harmony, form, rhythm, the laws of color relations. In the days of gray antiquity, decorations and patterns of things, clothing, structures attached the meaning of the symbol, the overag, guarding the owner of the subject or clothing from hostile and invisible forces. Ornamental jewelry were both signs that help identify tribal, social and social position of a person. These features, we can observe in Russian decorative and applied creativity, which characterizes folk art as a universal, "planetary", but at the same time the pronounced national nature remains.

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

As a result of the study of literature, we learned that Tatar women applied many types of embroidery, but Tambourous embroidery applies to the oldest creativity of Tatars. This seam refers to the ancient types of embroidered technique of Asian peoples. This technique became dominant from the Tatar, penetrating subsequently into the work of Chuvash-Anutar and Russian Middle Volga region. However, working in the city museum and having acquainted with the work of residents of our city, we did not find this technique of embroidery. In order to resurrect the forgotten type of creativity, we embroidered napkins using a tambourine.

As a result of our research, we came to the conclusion that the work of our peoples associates a lot. A well-known role in this process also refers to those ethnocultural relationships that constantly existed in the Tatars and their ancestors with neighboring peoples. Our peoples have different customs and traditions, but it does not prevent our existence. We are interested and we want to know the traditions of other peoples.

We hope that our material will cause students' interest in the works of the folk art of Tatars, history, will help in the upbringing of artistic taste and the development of creative abilities.

Turns us the lives of turns,

But again and again

Combine all nations

I agree, friendship and love.

Bibliography

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

2. Gulova F. P.Tatar Folk Embroidery / Ed. R.G. Muhamedova, Kazan, Tatar book publishing house, 1980.-332 p.

3. Gorazhey N.A., decorative and applied art in the life of a person: studies. For 5 cl. general education institutions / Ed. B.M. Nemensky. - M ,: Enlightenment, 2000.-176 p.: Il.

4. N.G. Klimova., People's ornament in the composition of art products. - M.: - Fine art, 1993

Attachment 1 . Prayer mat

Appendix 2.
Shoes of Tatar women

Appendix 3.

Embroidered hats from the City Museum Foundation.

Appendix 4. Embroidered towels from the city museum

Appendix 5 Aksanova Sarah and her product

Annex 6. Embroidered products of Bakirova Nuranyi Abunagirovna.