Folk crafts of Tatarstan presentation. Traditional crafts of the Tatars. The history of wood painting

INTRODUCTION

Subject 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 art crafts of the Republic of Tatarstan.

Tasks:

1. cultivate a sense of patriotism through the artistic heritage of our region;

2. instill a love for folk traditions;

3. develop skills to work according to established traditional traditional methods wood paintings.

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

The longitudinal research method (conducted over a long period of time) was based on studying literature on the art of the Republic of Tatarstan, visiting local history museums in order to become familiar with Tatar crafts; practical lessons at the fine arts club.

Object of study: wood painting

Subject of study: painting technology

Study participants: school students

Hypothesis: Stimulating interest in folk art, and acquiring 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, looking to the future, and preserve deep artistic traditions that reflect the originality of the culture of the Tatar people. Folk arts and crafts of our Motherland are both a branch of the artistic industry and a field of folk art. The combination of traditions, stylistic features and creative improvisation, collective principles and the views of an individual, hand-made products and high professionalism are characteristic features creative work craftsmen and artists of the Republic of Tatarstan.

Theoretical part.

1.1. Peculiarities of folk crafts 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 artistic painting. Archaeologists claim that the architecture of the Kazan Tatars dates back to the urban 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. Examples of such ornamentation from the time of ancient Bulgaria have not reached our time. However, the high skill of its carvers is evidenced by an oak facing plate from a wooden tombstone of the 12th century found in the village of Bilyarsk on the site of the Bulgarian city of Bilyar (it is kept in the National Museum of the Republic of Tatarstan). The front side of the overlay is decorated along the border with carved floral patterns, indicating the experience and high artistic level of wood processing.

A remarkable expert on Tatar folk ornaments, the first doctor of art history in the Volga region, Fuad Valeev (1921-1984), wrote that the ornamentation of Tatar dwellings in various historical periods was carried out in different techniques: the end of the 18th - beginning of the 19th centuries was characterized by notched and contour carvings; in the 19th century, “blind” and contour carvings became especially widespread; from the end of the 19th century, sawn carvings of European origin became widespread.

The main means of decorating Tatar buildings are pointed and keeled pediment niches, pilasters, columns, patterns in the form of a rectangular or square grid, round floral rosettes, triangular or rhombic pyramids, plaits, etc. The miracle of artistic processing of canne mora wood is the creation of a soft play of chiaroscuro through fine and frequent relief. Another thing is a kind of polychrome (striped) coloring.

Using the simplest straight and curvilinear geometric, as well as floral patterns and their combinations, the Tatar master delights with his ability to create complex and bizarre compositions using stencils to decorate a house, fence, or gate.

In the second half of the 19th century, colored glazing of the lower parts of window sashes on the facade and pediment, and in the city - on balconies and terraces, became widespread. The most preferred colors are red, yellow, purple, green, blue and their shades. The hobby of the village rich is painting on wood the plane of the pediment niches along the facade; The most popular painting subjects are the “tree of life” and lush flower bouquets. However, this fashion during 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 wood carvings and other methods of home decoration in the process of their development were influenced by the local traditions of peoples of Turkic and Finno-Ugric origin, and later by Russians. Wood painting has developed in 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 traditional Khokhloma ones, both in purpose, shape, and color scheme. When painting products, craftsmen use Tatar ornamental motifs and a color scheme characteristic of national art. (see Attachment)

1.2. Features of the Tatar ornament

Tatar folk ornament represents a bright and unique page artistic creativity people. Being the main means of decorative and applied art, it at the same time reflects the complex history of the formation and development of the people, their culture and art. Beautiful examples of Tatar ornament have found vivid expression in various works of centuries-old creativity of the people: in fine patterns jewelry, colorful embroidery and patterned fabrics, carved plastic tombstones, hats, multi-colored mosaics leather shoes, home decorations. The motifs and patterns of various household products, as well as the ornamentation of the home, reflect the richness of the artistic thinking of the people, a subtle sense of rhythm, proportion, understanding of form, silhouette, color, and material. There are several types of ornament:

1. Floral and plant ornament. The richest world of plants has always inspired folk artists and craftswomen in their creativity. Floral ornament is becoming widespread in almost all types of folk art and amazes with the abundance of floral motifs, the picturesqueness of their interpretation, and the richness of color combinations.

2. Zoomorphic ornament. Nature gave creators of folk art the opportunity to widely observe the world of living images. The bird motif has been most consistently preserved in the works of the people. Many beliefs, fairy 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, a mediator between the human soul and the sky. Even in the recent past, the custom of the Tatars was fortune telling by bird calls. 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. Doves are usually interpreted in a paired heraldic composition.

3. Geometric ornament. Among the diverse motifs 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 homes, 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, and alternation of various motifs.

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

Mesh (carpet).

Central radial 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.

Color:

The Tatar ornament is characterized by multicolor, which begins from the base. Preference was given to bright rich colors: green, yellow, purple, blue, burgundy and red. A colored background is mandatory in multi-color embroidery. It enhances one range of colors 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.

There is great freedom in the colors of plant patterns and their elements: leaves, flowers, buds, even on the same branch, were made in different colors. And besides, individual flower petals, their veins, and individual leaf elements were made in several tones. A favorite technique of color composition is the contrasting juxtaposition of “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 occupied 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, which extinguishes the bright color relationships. Rich patterns are distinguished by the richness of the colors used: green, blue, yellow, indigo, red, violet. 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 the master or craftswoman sought to create bright color contrasts. With any combination of colors and their brightness, and the overall color scheme, the impression of flashy variegation is never created. This is facilitated by a colored background, which softens or, on the contrary, reveals individual color spots.

Practical part.

2.1. The practical significance of painting on wood

What a master needs:

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

The main tool of a painting master is a brush. Most often, round squirrel and core brushes of different sizes are used for painting: - round core brushes No. 1 and No. 2 with bristles middle length(for contour 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 applying primer and for varnishing. The ideal brush for painting should resemble a drop, a seed, or a candle flame. The wooden tip of the brush is also working - it is used as a “poke” for applying dots: “seeds”, “dewdrops”. A palette is needed to mix paints and remove excess paint from the brush.

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

Conclusion:

So, summing up the results of the study, we conclude that national painting changes the very image of the product. It becomes more expressive at the level of color scheme, 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 folk craftsmen in architectural art. Fortunately, in the Republic of Tatarstan today they have preserved and are developing different kinds painting on wood, echoing the peoples of Russia, and acquiring its own national peculiarity in household items.

Conclusion

We are convinced that we should become familiar with folk culture as early as possible. Having mastered special skills and especially abilities, you become enthusiastically involved in the production of objects of decorative and applied art. This has a positive effect on the overall artistic development, the formation of creativity, teaches diligent, conscientious work.

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

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 art crafts of the Republic of Tatarstan.

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

2. instill a love for folk traditions;

3. develop skills in working using established traditional folk methods of wood painting.

Object of study: wood painting

Subject of study: painting technology

Study participants: school students

Hypothesis: Stimulating interest in folk art, and acquiring 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, looking to the future, and preserve deep artistic traditions that reflect the originality of the culture of the Tatar people. Folk arts and crafts of our Motherland are both a branch of the artistic 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 characteristic features of the 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 completed

Andrianova Arina, Makarova Daria

5th grade students

MBOU "Yulduz Secondary

comprehensive school"

Chistopol municipal district of the Republic of Tatarstan

Head of work

Andrianova Irina Kabirovna

art teacher

Russian Federation

Chistopol, RT-2016

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

II. Theoretical part

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

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

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

III. Practical part

1. Practical significance of folk crafts……………………… 10

Product material………………………………………………………. …………………10

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

V. Sources……………………………………………………………..12

INTRODUCTION

Research topic: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 art crafts of the Republic of Tatarstan.

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

2. instill a love for folk traditions;

3. develop skills in working using established traditional folk methods of wood painting.

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

The longitudinal research method (conducted over a long period of time) was based on studying literature on the art of the Republic of Tatarstan, visiting local history museums in order to become familiar with Tatar crafts; practical classes at the fine arts club.

Object of study:wood painting

Subject of study:painting technology

Study participants: school students

Hypothesis: Stimulating interest in folk art, and acquiring 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, looking to the future, and preserve deep artistic traditions that reflect the originality of the culture of the Tatar people. Folk arts and crafts of our Motherland are both a branch of the artistic 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 characteristic features of the creative work of craftsmen and craftsmen of the Republic of Tatarstan.

Theoretical part.

1. Peculiarities of folk crafts 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 the everyday life and original culture of the people, is artistic painting. Archaeologists claim that the architecture of the Kazan Tatars dates back to the urban 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. Examples of such ornamentation from the time of ancient Bulgaria have not reached our time. However, the high skill of its carvers is evidenced by an oak facing plate from a wooden tombstone of the 12th century found in the village of Bilyarsk on the site of the Bulgarian city of Bilyar (it is kept in the National Museum of the Republic of Tatarstan). The front side of the overlay is decorated along the border with carved floral patterns, indicating the experience and high artistic level of wood processing.

A remarkable expert on Tatar folk ornaments, the first doctor of art history in the Volga region, Fuad Valeev (1921-1984), wrote that the ornamentation of Tatar dwellings in different historical periods was made using different techniques: for the late 18th - early 19th centuries, notched and contour carving was characteristic, in the 19th century “Blind” and contour threads became especially widespread, and from the end of the 19th century, sawn threads of European origin.

The main means of decorating Tatar buildings are pointed and keeled pediment niches, pilasters, columns, patterns in the form of a rectangular or square grid, round floral rosettes, triangular or rhombic pyramids, plaits, etc. The miracle of artistic processing of canne mora wood is the creation of a soft play of chiaroscuro through fine and frequent relief. Another thing is a kind of polychrome (striped) coloring.

Using the simplest straight and curvilinear geometric, as well as floral patterns and their combinations, the Tatar master delights with his ability to create complex and bizarre compositions using stencils to decorate a house, fence, or gate.

In the second half of the 19th century, colored glazing of the lower parts of window sashes on the facade and pediment, and in the city - on balconies and terraces, became widespread. The most preferred colors are red, yellow, purple, green, blue and their shades. The hobby of the village rich is painting on wood the plane of the pediment niches along the facade; The most popular painting subjects are the “tree of life” and lush flower bouquets. However, this fashion during 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 wood carvings and other methods of home decoration in the process of their development were influenced by the local traditions of peoples of Turkic and Finno-Ugric origin, and later by Russians. Wood painting has developed in 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 traditional Khokhloma ones, both in purpose, shape, and color scheme. When painting products, craftsmen use Tatar ornamental motifs and a color scheme characteristic of national art. (see Attachment)

1.2. Features of the Tatar ornament

Tatar folk ornament represents a bright and unique page in the artistic creativity of the people. Being the main means of decorative and applied art, it at the same time reflects the complex history of the formation and development of the people, their culture and art. Beautiful examples of Tatar ornament have found vivid expression in various works of centuries-old creativity of the people: in fine patterns of jewelry, colorful embroidery and patterned fabrics, carved plastic tombstones, headdresses, multi-colored mosaics of leather shoes, home decorations. The motifs and patterns of various household products, as well as the ornamentation of the home, reflect the richness of the artistic thinking of the people, a subtle sense of rhythm, proportion, understanding of form, silhouette, color, and material. There are several types of ornament:

1. Floral and plant ornament. The richest world of plants has always inspired folk artists and craftswomen in their creativity. Floral ornament is becoming widespread in almost all types of folk art and amazes with the abundance of floral motifs, the picturesqueness of their interpretation, and the richness of color combinations.

2. Zoomorphic ornament. Nature gave creators of folk art the opportunity to widely observe the world of living images. The bird motif has been most consistently preserved in the works of the people. Many beliefs, fairy 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, a mediator between the human soul and the sky. Even in the recent past, the custom of the Tatars was fortune telling by bird calls. 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. Doves are usually interpreted in a paired heraldic composition.

3. Geometric ornament. Among the diverse motifs 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 homes, 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, and alternation of various motifs.

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

Mesh (carpet).

Central radial 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.

Color:

The Tatar ornament is characterized by multicolor, which begins from the base. Preference was given to bright, saturated colors: green, yellow, purple, blue, burgundy and red. A colored background is mandatory in multi-color embroidery. It enhances one range of colors 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.

There is great freedom in the colors of plant patterns and their elements: leaves, flowers, buds, even on the same branch, were made in different colors. And besides, individual flower petals, their veins, and individual leaf elements were made in several tones. A favorite technique of color composition is the contrasting juxtaposition of “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 occupied 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, which extinguishes the bright color relationships. Rich patterns are distinguished by the richness of the colors used: green, blue, yellow, indigo, red, violet. All these colors are taken in full tones and have different shades. The color schemes of the patterns are characterized by a combination of green and red, blue and purple. Usually the master or craftswoman sought to create bright color contrasts. With any combination of colors and their brightness, and the overall color scheme, the impression of flashy variegation is never created. This is facilitated by a colored background, which softens or, on the contrary, reveals individual color spots.

Practical part.

2.1. The practical significance of painting on wood

What a master needs:

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

The main tool of a painting master is a brush. Most often, round squirrel and core brushes of different sizes are used for painting: - round core brushes No. 1 and No. 2 with medium-length bristles (for contour work and outlining with black paint), - round squirrel brush No. 2 and No. 3 for applying red paint,

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

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

Conclusion:

So, summing up the results of the study, we conclude that national painting changes the very image of the product. It becomes more expressive at the level of color scheme, 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 folk craftsmen in architectural art. Fortunately, in the Republic of Tatarstan today various types of wood painting have been preserved and are developing, echoing the peoples of Russia, and acquiring their own national peculiarity in household items.

Conclusion

We are convinced that we should become familiar with folk culture as early as possible. Having mastered special skills and especially abilities, you become involved in the production of objects of decorative and applied art with passion. This has a beneficial effect on overall artistic development, the formation of creativity, and teaches diligent, conscientious work.

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

List of used literature

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

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

3. Voronov V.S. Encyclopedia of applied creativity. – 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. – 367 p.

6. Nurzia Sergeeva “Ebiemnen 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 merging geometric and floral patterns

Floral ornament

Fig.2

Examples of varieties of Tatar ornaments

Fig.3

Modern examples of wood painting

Set of plates with Tatar ornaments

The most ancient writing is the Turkic runic. From the 10th century to 1927, writing based on Arabic script existed; from 1928 to 1936, Latin script (Yanalif) was used; from 1936 to the present day, writing on a Cyrillic graphic basis was used, although there are already plans to transfer Tatar writing to Latin. Tatars speak the Tatar language of the Kipchak subgroup of the Turkic group of the Altai family. The languages ​​(dialects) of the Siberian Tatars show a certain proximity to the language of the Tatars of the Volga region and the Urals. The literary language of the Tatars was formed on the basis of the middle (Kazan-Tatar) dialect.

The traditional dwelling of the Tatars of the Middle Volga and Urals was a log hut, separated from the street by a fence. The external façade was decorated with multicolor paintings. The Astrakhan Tatars, who retained some of their steppe cattle-breeding traditions, used a yurt as a summer home.

Kuzikmyaki are hot flatbreads made from unleavened dough, folded in half, with any filling: be it potatoes with onions, wheat porridge with butter, pumpkin puree, poppy seeds and many more options! Chak-chak is an oriental sweet made from dough with honey. Tatar pilaf - Echpomchak pilaf is especially popular among the Tatars - they put lamb in the filling.

The clothing of men and women consisted of trousers with with long strides and a shirt (for women it was complemented by an embroidered bib), on which a sleeveless camisole was worn. Outerwear was a Cossack coat, and in winter a quilted beshmet or fur coat. The men's headdress is a skullcap, and on top of it is a hemispherical hat with fur or a felt hat; Women have an embroidered velvet cap (kalfak) and a scarf. Traditional shoes were leather ichigi with soft soles; outside the home they wore leather galoshes. Women's costumes were characterized by an abundance of metal decorations.

Like many other peoples, the rituals and holidays of the Tatar people largely depended on the agricultural cycle. Even the names of the seasons were designated by a concept associated with this or that work: saban өste spring, the beginning of spring; It's summer, haymaking time.

Its time is after the end of spring field work and the beginning of haymaking. On this holiday, residents of some villages became guests of others. Those who went to visit sewed outfits, baked pies, and took with them the carcasses of dried geese. They arrived on decorated carts, entered the village with music and songs, children opened the decorated field gates for the guests. The hosts set the table anew for each newly arrived guest. In the evening a common dinner was organized. On all days of the visit, the owners heated the baths: kunakny khormeshe muncha bath is the highest honor for a guest. This is what is commonly believed among the Tatars. The Vienna holiday strengthened family and friendly relations, united the village and the surrounding area: people felt like one family during this holiday

According to the old, old tradition, Tatar villages were located on the banks of rivers. Therefore, the first Beyram “spring celebration” for the Tatars is associated with ice drift. This holiday is called boz karau, boz bagu “watch the ice”, boz ozatma seeing off the ice, zin kitu ice drift. All residents, from old people to children, came to the river bank to watch the ice drift. The youth walked dressed up, with accordion players. Straw was laid out and lit on floating ice floes. In the blue spring twilight these floating torches were visible far away, and songs followed them.

Wedding ceremonies The Tatars are so diverse that it is impossible to talk about them all. Every marriage was preceded by a conspiracy, in which the groom (the groom) and one of the older relatives participated. If the bride's parents agreed to the marriage, during the course of the conspiracy, issues were resolved about the size of the bride price, the bride's dowry, the time of the wedding, and the number of invited guests. After the conclusion" marriage contract"the bride was called yarashylgan kyz - a matched girl. For 3-5 weeks, the parties prepared for the wedding. The groom collected the bride price, bought gifts for the bride, her parents and relatives, pillows, feather beds and other belongings. The bride completed the preparation of the dowry, which she began collecting at an early age It was made up of homemade dresses, underwear, as well as gift clothing for the groom: embroidered shirts, pants, woolen socks, etc. Relatives of both parties were busy organizing the upcoming wedding.

There was a belief in various master spirits: water - suanasy, forests - shurale, earth - fat anasy, brownie oy iyase, barn - abzar iyase, ideas about werewolves - ubyr. Prayers were held in groves called keremet; it was believed that an evil spirit with the same name lived in them. There were also ideas about other evil spirits - gins and peri. For ritual help they turned to the yemchi - that’s what healers and healers were called. Believing Tatars, with the exception of a small group of Kryashens (including Nagaibaks), who were converted in the XVI XVIII centuries Orthodoxy, Sunni Muslims.

The basis of the ichizh craft as a mass production of Tatar patterned footwear from the leather of boots (chitek, ichigi) and shoes (bashmak, chuvek) is the tradition of artistic processing of leather using the kayula kun mosaic technique, rarely embossing. Shoes are created from patterned multi-colored pieces of leather (morocco, yuft), sewn end to end, using a unique technique hand stitch, sewing and at the same time decorating the product. It became widespread among the Tatars jewelry craft. This was due to high level its development, starting from the Middle Ages, preserving traditions both in production technology and in the design of jewelry. Jewelers worked with gold (altyn), silver (komesh), copper (bakyr) and their alloys.

Tatars have school education in the Tatar language. It is taught according to the all-Russian program and textbooks translated into Tatar language. Exceptions: textbooks and lessons of Russian language and literature, in English and other European languages, OBC, commands in physical education lessons can be in Russian. There is also Tatar-language education in some faculties of Kazan universities and in kindergartens. A secular school with a ten-year period of study began to exist among the Tatars with the introduction of compulsory secondary education for all citizens of the USSR. Previously the role educational institutions performed madrasah.

The national music of the Tatars - the people of Eurasia with a centuries-old history and distinctive culture - is an integral part of world civilization. Its emotional content and musical style are manifested in the most concentrated form in the lyrical lingering song, presented here in the interpretation of recognized masters of folk music performance. But the traditional song is not only a monument to folk song; it is still heard today in radio and television programs, concert programs. Getting to know Tatar music will allow you to better understand the spiritual culture of a people with a rich historical destiny.

Are you interested in the history, culture and traditions of the Tatar people, our region? Do you know how traditional Tatar shoes were made - ichigi boots and shoe shoes? How do Tatar bast shoes differ from Russian ones? Why do women's headwear - kalfak - have different sizes? To find out all this, you need to visit our exhibition “Ungan halkymnyn osta kullary: Tatar halyk Һөnərləre” - “Golden hands of masters: folk crafts of the Tatars”.

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

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

Nowadays, the best traditions of folk arts and crafts are being revived in Tatarstan. Maintaining continuity, folk craftsmen create works of art that correspond to new forms of life, making extensive use of national ornaments and traditional techniques.

At the exhibition you can see rarities of crafts and crafts of the 19th-20th centuries. and products of modern masters.
Among them are paintings on velvet made by Luiza Faskhrutdinova, elegant works by leather mosaic masters Sofia Kuzminykh, Ildus Gainutdinov, Nailya Kumysnikova and others.

The creators of the exhibition hope that it will be of interest to the visitor not only for its content, but also for its interactive areas. The exhibition includes master classes on gold embroidery, leather mosaics, wood carving, and calligraphy; museum activities “We don’t miss drinking tea”, “Visiting the stove”; interactive theatrical excursions “Living Exposition”.

The number of Tatars in Uzbekistan increased sharply after the establishment of Soviet power.
We were able to integrate into the local specifics of life, perceive the culture and customs of the region. But for everyone living here, we have always remained, first and foremost, Kazan Tatars. The fact that the Tatars are “Kazan” was certainly emphasized in order to draw a line between the Crimean Tatars living here and resettled to Uzbekistan during the Great Patriotic War. We have preserved our customs, language, culture, way of life, national dishes... and much more that we considered ours, native, inseparable from Tatarstan itself. Perhaps they didn’t remember us so often in Tatarstan itself, considering that we probably live here on our own... But we didn’t just live, but with the way of our life we ​​showed and promoted to the indigenous population, and to many other peoples living in Uzbekistan, our Tatar way of life and our Tatar culture.
One of the priority directions in the development of Tatarstan is the revival, preservation and development of the national cultural heritage, folk crafts, and decorative arts. Perhaps you would be interested in how folk crafts are preserved and revived in the Tatar diasporas living outside Tatarstan. To view the range of my souvenir products on the subject of Tatarstan, follow the link Tatar leather souvenirs nbsp; or handmade souvenirs. Based on the presented works, it is clear that they were all developed on the basis of the Tatar folklore and ethnographic heritage.