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

Any nation during its existence used various ornaments and patterns.

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

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

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

Russian ornament: stencils that are easy to make yourself

Russian ornament, for example, on embroidery, is known to everyone. Everyone has seen folk costumes at least once in their life. Such beauty comes out from under the hands of masters. And these are not the most difficult options. Nothing to say - art is art. And Rus' has always been rich in talents.

If a decision is made to engage in the art of ornamentation, you need to start with stencils, which are simpler. And it’s worth taking a Russian ornament for a start. If you can't get stencils, you can make them yourself. Anyone can do this, you just need to show perseverance and patience.

If a decision is made to engage in the art of ornamentation, you need to start with stencils that are simpler

After simple patterns begin to turn out, you can switch to more complex ones.

Gallery: ornaments and patterns (25 photos)

Buryat patterns: song of the steppe

The Buryat ornament, like the murals of all Mongolian-speaking representatives, basically consists of simple geometric shapes:

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

If the hand is at least a little trained in the simplest drawings, you can take on the Buryat ornament and Mongolian drawings. Here are some of them. It is easy to see Buddhist motifs and the Bashkir style in them.

Yakut ornament

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

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

Yakut art works of the pattern amaze with their beauty

As in any art form, there are simpler ornaments. Of the geometric shapes, the Yakut people are very fond of using circles.

Tatar pattern: patterns of the great people

Tatar and Bashkir craftsmen specialized in bright ornaments and patterns. This is especially evident in national clothes (headdresses, shoes with colorful mosaics).

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

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

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

Tatar and Bashkir craftsmen specialized in bright ornaments and patterns.

The most common was the art of ornamentation in carved wooden architecture. Then there was embroidery, a pattern on shoes and carpets. A very small place was occupied by the Tatar people for fabric appliqué. But on the other hand, in this application, which is interesting, oriental and Greek motifs were clearly visible.

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

????????????????????????????

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

Geometric patterns in the interior: the trend of the season

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

The geometric style came to houses in different forms:

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

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

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

Simple and beautiful. And this becomes the motto of fashionable modern designers and those who strive for harmony in such an interior.

Oriental patterns: a visit to a fairy tale

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

Oriental patterns are gaining popularity again today

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

Patterns for children: we create together with the kids

Developing a child's abilities by teaching him the art of patterns and ornaments is a way that gives excellent results. Try to make a light floral pattern first. Below is a step-by-step instruction on which to do everything is very simple.

The order of work is as follows:

Divide the selected area into eight identical sections. Draw horizontal lines and proceed with the ornament.

Make the next sketch.

Add some small details of your choice.

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

How much interesting and useful material! This is how much literature and information has been shoveled. to make it all available to us. The treasure is simple. This is such a find for me! Thanks a lot. Good luck to everyone in your work.

Elena Motorina

I bring to your attention didactic games to familiarize children with the Tatar ornament middle preschool age. Games selected in accordance with the new requirements for the corner "Tugan Irem Tatarstan» .

Didactic game"Find a Pair" (dominoes)

Target games:

Learn children find identical pictures and connect them into chains. Fix the name of the elements Tatar ornament.

Develop attention, observation, logical thinking. Cultivate an interest in art Tatar people.

Rules games:

Dominoes is an exciting board game that uses records. This record is divided into two parts, the set of dominoes includes 28 records.

The game is designed for 2-4 players. The plates are mixed. Each player takes 6 cards. The rest of the cards in "reserve" in the middle. Each player in turn, clockwise, lays out 1 card so that one of the pictures of the card is the same as one of the extreme pictures on the playing field. If a player does not have a suitable card, then he goes to "reserve" and takes cards until he finds the right one. If there are no more cards in "reserve" the player skips a turn. If no player can move, the game is over.

Didactic game"Make a pattern on a napkin"

Target games:

Learn children to compose Tatar national pattern or ornament on a napkin.

Develop the ability to compose beautiful compositions. Enrich vocabulary children, names . Develop fine motor skills, hand-eye coordination.

Cultivate an interest in history Tatar people and their traditions

Rules games:

The game uses "napkins" white, yellow and red color elements Tatar ornament - tulips, bells, leaves.

1 option. Each player takes one "napkin" and choosing elements Tatar ornament puts a pattern on it.

Option 2. The player is given "napkin" with a pattern already laid out on it. He needs to lay out the same pattern on his "napkin".

Didactic game"Find and Name"

Target games:

Learn children find and name elements Tatar ornament: tulip, bell, leaf, make pairs of them. Enrich vocabulary children, names Tatar national ornament.

Develop attention, memory.

Cultivate an interest in art Tatar people.

Rules games:

The game uses large, divided into two parts, and small cards. Each player takes 1-2 large cards. Small cards are shuffled.

Option 1 The host shows one small card, calling Tatar element which is shown on it. Players must find this element on their large card, name it again and place it on the second empty part of the large card.

Option 2 The host shows one small card at a time, without naming Tatar element which is shown on it. Players must find this element on their large card, name it and place it on the second empty part of the card.

Option 3 Players are invited to find on small cards all the elements of a tulip (bell, leaf, name this element and put them on the second empty part of a large card.

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

Let's study our ornament - Tatar - together with Guzelya Fuadovna Valeeva-Suleimanova, Doctor of Arts, Chief Researcher at the Institute of History named after Sh.

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

An ornament is a pattern that adorns products and objects of various shapes and sizes - from jewelry to architectural buildings. The ornament is many-sided and diverse. It is a universal art form.

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

Therefore, if we take an ancient ornament, we can see in it the world around us, natural phenomena characteristic of the distant ancestors of the Tatars who lived in Altai, in Central and South Asia. So, the motif of a lotus, rosettes, heart-shaped, palmettes (a stylized image of palm leaves) should be attributed to patterns of ancient origin. The last motif, depending on the interpretation, is associated with East Asian art, the art of the Huns, and the art of ancient Greece. The influence of Greek culture was felt by Great Bulgaria, which occupied the territory of the Crimea and the Sea of ​​\u200b\u200bAzov with their Greek colonies.

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

After the ancestors of the Tatars ended up on the territory of the Volga-Kama region, new motifs appeared in the ornament. They are associated with the flora and fauna of the region. In the pre-Mongolian period of the Volga Bulgaria, stylized images, elk, foxes, martens, falcons, etc. were popular in the ornament. such as tulip motif, karagan bush, images of wild geese, etc.

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

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

The conquest of the Kazan Khanate and its incorporation into the Russian state had a strong influence on the specifics of Tatar pattern making. Russian art was basically religious, Christian. As for the Russian ornament, to this day it has a pictorial basis associated with the desire for a realistic transfer of certain images.

For the Tatars, since the adoption of Islam, the ornament has a conventionally decorative, abstract symbolic and sometimes metaphorical basis. There is no pictorial realistic interpretation of images in it. We are talking about a different way of thinking in art, which is within the framework of the Muslim artistic worldview, associated with the aesthetic doctrine of Islam.

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

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

– And Arabic geometric motifs?

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

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

– In what form is ornament present in life today?

Now the Tatar ornament is being revived in the work of modern professional artists and folk craftsmen, amateur artists. It can also be seen on some monumental buildings in Kazan and other cities of the republic, in the spatial, object and everyday environment. The ornament adorns interior items: shamail, lyauhe, wall plates, decorative ceramics; ceremonial and household items - namazlyk, towels, tablecloths, trays, caskets, etc.; costume elements (dresses, vests, hats, shoes).

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

To be continued.

Interviewed by Guzel Ibragimova

Municipal educational institution

"Secondary school No. 20"

Anzhero-Sudzhensk

Tatar folk ornament in embroidery

Work for the XV Regional Conference

"Live, Kuznetsk land!"

st. Cherednichenko, 7-1,

Zagornova Arina Andreevna,

st. Socialist, 1-3

students of 7 "A" class MOU "Secondary School No. 20"

Anzhero-Sudzhensk

Supervisor:

Augustan Irina Alekseevna,

higher technology teacher

Introduction

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

The Tatar folk ornament in embroidery is a bright and original page in the artistic creativity of the people. Being the main means of arts and crafts, it reflects at the same time the complex history of the formation and development of the people, their culture and art. The ornament of the Tatar people was formed as a result of a long process of its historical development and wide interaction with neighboring and distant peoples. The difficult conditions of the ethnic formation of the people led to the commonality of many types of its 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 left a certain imprint on its fine arts, ornament, its style.

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

In modern conditions, girls are little engaged in decorative art. The younger generation has other interests, but you should always remember about the history of not only your people, but also those who live next to us, a history that is based on a deep relationship with nature and the way of life of the people.

Target: Performing a Tatar folk ornament on a napkin.

Tasks:

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

2. Familiarize yourself with embroidered products in the city museum.

3. Embroider napkins with Tatar ornament.

Ornament - a kind of handwriting of the people

Embroidery is one of the oldest and most popular types of women's fine arts. According to Professor N. Vorobyov, this kind of art was associated with the seclusion of women who rarely left the house and used their leisure time for needlework. Young and old women of all social strata of the city and village were able to embroider. During the long winter evenings, craftswomen created elegant and cheerful patterns using a variety of motifs and flower combinations. Unlike Russians, Ukrainians, Mari and other peoples, the Tatars did not use embroidery in their clothes, but decorated household items: towels, napkins, tablecloths, bedspreads and window curtains, namazlyks (prayer rugs) (Appendix 1). Shoes were also embroidered - boots (ichigi), shoes (Appendix 2), as well as hats - kalfaks, kalfaks, erpeks (head covers), skullcaps. In the funds of the city museum there are two women's headdresses - kalfaks. One is embroidered with pearls on blue velvet (AKM o.f. No. 15868, BT No. 446). Biktimirova Nazifa handed it over. Kalfak was embroidered by her mother at the beginning of the 20th century. The second kalfak is embroidered with pearls over brown velvet (AKM o.f. No. 3187, BT No. 1090). It belonged to Garifyanova Zulfiya, born in 1897, repressed from Bashkiria in 1931. Passed it on to her granddaughter Pozdneeva Zemfira (Appendix 3). Corduroy and velvet were used for the manufacture of men's and women's headdresses. Colored and white beads, as well as fake pearls, were used in headdress decorations. Embroidery with beads and fake pearls was carried out both along the contour and in filling in the patterns. The most richly embroidered kalfaks, tyubiteikas were decorated with twisted metal spirals, gold fringe, tassels, sparkles. The patterns used in tambour and gold embroidery are distinguished by a wide variety of motifs and an abundance of their variations. Patterns are clear and contoured. Tambour patterns in Tatar embroideries had a significant impact on the ornamentation of the Bashkirs, Chuvashs, Udmurts and Uzbeks. In women's dresses, frills were sometimes embroidered. Most of these things are related to interior design. The furnishings and decoration of the Tatar house had a number of features. It was not customary to divide the house into rooms, as well as load it with extra furniture, so skillfully embroidered curtains and curtains appeared. The house became especially colorful during wedding celebrations - everything was decorated with embroidered and woven products of the bride and groom. This custom, demonstrating the diligence and skill of the bride, is still alive in some rural areas. The traditions of folk embroidery are also preserved in the village in connection with the Sabantuy holiday - young daughters-in-law give their products to the winners of sports competitions.
Embroidery was usually done on bright saturated material - green, yellow, purple, burgundy. Embroidered with twisted silk, gilded or silver cord, beads, pearls. Great importance was given to the ornament, which consisted of geometric and floral motifs. One could recognize red poppies and yellow-eyed daisies, tulips and pansies in the composition of the blooming garden created by the craftswomen. Kazan towels, embroidered with tambour with silver-gold thread on white silk, were famous for their special beauty.
Patterned weaving was also widespread, which was also associated with everyday life and had the character of a home craft. The ornament reveals similarities with Central Asian and Azerbaijani carpet products, while the color structure (the predominance of red and its various shades) has no analogies.
Embroidery ornament XIX-XX centuries. basically consists of plant, geometric and zoomorphic motifs. All these types of ornaments originate in the culture of the distant ancestors of the Tatars. A feature of the ancient ornament is the curvilinear interpretation of patterns and motifs, "based on the technique of appliqué, tambour, mosaic". The large proportion of floral ornament in Tatar embroidery, apparently, must be explained by the antiquity and popularity of the tambura. The influence of the technical principle on the nature of the ornament is confirmed by counted and line embroideries, in which, on the contrary, geometric ornament dominates, and patterns of plant, zoomorphic origin are strongly geometrized. We saw such a picture on towels stored in the museum (Appendix 4). In the improvement and consolidation of floral and floral motifs as traditional for Tatar folk embroidery, historical cultural and economic relationships with the peoples of the East, Asia Minor and Asia Minor played a role. In the Tatar art of the XIX-XX centuries. floral ornament is least of all associated with the ancient symbolism of the divine forces of nature, and is due to the purely artistic tasks of reflecting, glorifying the wealth, harmony and beauty of the ever-living plant world. Observing nature, inspired by it, the craftswoman still quite rarely reproduced real forms. Although, if we compare embroidery with other types of Tatar folk arts and crafts, it stands out for the most realistic interpretation of floral and floral motifs. No matter how different the floral ornaments in the embroideries of other Volga peoples, until the end of the 19th century, there were almost no reproductions of specific plant species among them, while in the Tatar one this can sometimes be determined "with botanical accuracy." Nevertheless, floral patterns in Tatar embroidery, as a rule, are collective images. Moreover, on one branch, on one stem, the artist's fantasy combines completely different flowers, fruits and leaves (we encounter similar things in bouquet compositions). But the most conventional, generalized reproduction of plant images, the use of forms that real nature has never known, does not interfere with the impression of the vitality of the embroidered pictures of flowering gardens, motley herbs of the steppes, forests, fields.

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

Types of Tatar embroidery ornaments

Floral and floral motifs Tatar embroideries can be grouped into three groups. According to the classification proposed by F. Kh. Valeev, these are motifs of steppe, meadow (part of forest) and garden origin. The images of garden flowers (dahlias, peonies, asters, chrysanthemums) are more typical for the embroideries of townswomen, while the images of native forests, fields, meadows, which were not so bright, but immensely dear to the heart, were closer to simple peasant life.

At the heart of almost every floral and floral motif of Tatar embroidery is a combination of curvilinear geometric shapes. So, for example, a wavy line, overgrown with all sorts of twigs, leaves, flowers, extending in one or different directions, turns into a popular "vine" motif.

Soft, smooth outlines of cloud-like and palmet-shaped figures are distinguished, ascending to the simplest paired curls, spirals . With the help of rosette forms, images are created of both conditional and specific buds, flowers - more often multi-petal garden origin (peonies, dahlias, etc.).

A motif close to the image of peonies in embroidery.

Carnation motif in Tatar ornament

Geometric ornament in embroidery, in most cases, an auxiliary role is assigned. Thus, the motifs of a meander (bound and broken), spirals, staples, oncoming waves, plaits, braids, ropes, etc. are used in the compositions of kayom and borders. Complex geometric shapes - rosettes with scalloped edges, a heart-shaped motif, etc. act as a frame for the leading floral and floral motifs.

In a purer form, geometric motifs are found in counted embroideries. For example, the geometric ornament at the ends of the towels, made with colored interlacing, is mainly formed by various combinations of straight and broken lines of a lattice of zigzags, triangles, squares, rhombuses (simple, paired, city). Light ornamental ribbons are created on the headbands "surәkә" in the border strip with threads of attachment: rhythmic repetition of two or three intersecting zigzags or alternation of spiral and rhombus motifs with continued sides. For embroidery over the golden background of headbands, a hexagonal rosette, an eight-pointed star, a stepped triangle, a square or a rhombus with various internal development, an X-shaped figure are typical. On the wedding shawls "tүgәrәk yaulyk" the geometrical ornament is represented by motifs of rhombus, square, rosette, corners, etc. Geometrized ornament (leaf-like patterns) is also characteristic of these shawls.

From linear geometric motifs the most common and traditionally used are the following: wave motif (Fig. 1), oncoming wave (Fig. 2), rope motif (Fig. 4), scalloped (Fig. 3), spirals (Fig. 8), zigzag motifs are less common (Fig. .7), rope motif (Fig. 5), wickerwork (Fig. 6), and meander (Fig. 11-12) which are widely used in the embroidery ornament.

Zoomorphic motifs - characteristic of the arts and crafts of Russian and Finno-Ugric peoples, are very rare in Tatar embroideries. One of the reasons for this is the prohibitions of the Muslim religion on the image of living beings. From this comes a certain one-sidedness in the development of the ornamental art of the Tatars. However, the "taboo" on the image of living beings brought to life many options that are not prohibited by religion types of ornament. And yet, despite the most rigid canons dictated by religion, the work of individual folk masters also reproduced living images that inhabit the world around them, there was also a place for depicting fabulous, fantastic heroes. However, it is quite difficult to establish images of birds, butterflies, horses, etc. in the patterns of embroideries of the 19th century - they are so stylized, reworked in the spirit of floral ornament. More realistic zoomorphic motifs are interpreted in the gold-embroidered smooth surface. An additional difficulty in detecting zoomorphic motifs is the multicolored tambour. Therefore, in embroidery with a continuous polychrome 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, there is such a detail as the motif of a tree-flower separating the horses of one pair. This motif is nothing more than a pictorial trace of two cults widespread in paganism: mother earth and trees. Since the time of matriarchy, the fertile power of the earth has been personified in the image of a female deity, and its symbolic representation in the form of various forms of vegetation is just as ancient. The sacred tree of life, the source of vitality, the symbol of fertility, the receptacle of the souls of ancestors, was also depicted in the same way. The motif of a tree-flower in a towel is the core of a three-part composition, the plot meaning of which could once mean a scene of worship of a female deity, or a tree, by symmetrically standing horsemen.

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

Zoomorphic motifs in the Tatar embroidery ornament

A significant place in the decorative art of the Tatars was occupied by graphics. The letters of the Arabic alphabet, made in complex script, were decorated with headpieces and endings of books, and shamails were made for the interior of dwellings. This tradition was also slightly reflected in embroidery. So, some embroideries of the last century (towels, handkerchiefs, pillowcases, more often namazlyks) are accompanied by a text - sayings, dedications, good wishes, embroidered in Arabic script.

The ornament of modern embroideries basically continues the traditions of folk embroidery of the past. Floral and floral patterns remain as popular among the people as ever. To a large extent, this is due to the fact that chain stitch remains the leading technique to this day.

Napkin embroidery

When choosing a pattern for our napkins, we noticed that in the book by F.H. Valeev, patterns used in tambour and gold embroidery are distinguished by a wide variety of motifs and an abundance of their variations. However, having familiarized ourselves with the embroidered products of the city museum, we saw towels made with a counted satin stitch with a geometric pattern (Appendix 4). We interviewed quite a few acquaintances and neighbors in order to find women who were engaged in embroidery. With great difficulty, but we were still lucky to meet with two residents of our city: Bakirova Nuranya Abunakirovna and Aksanova Sarah. They showed us their products, which they embroidered in their youth. Their products, made with satin stitch and cross stitch, did not bear much resemblance to the Tatar ornament (Appendix 5). These women came to our city in the 30s as children, so it is clear that their work was reflected in the trend of urban life and nearby residents of other nationalities.

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

Chain stitch is used not only in embroidery, but also in the finishing of the product. It looks like a chain from the outside. According to the nature of the stitches in Tatar embroidery, there is a low tambour (elme), sewn with large stitches, and

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

Photo of embroidered napkins.

Conclusion

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

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

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

As a result of our research, we came to the conclusion that the creativity of our peoples connects a lot. A certain role in this process also applies to those ethno-cultural relationships that constantly existed among the Tatars and their ancestors with neighboring peoples. Our peoples have different customs and traditions, but this does not interfere with our existence. We are interested and we want to know the traditions of other nations.

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

The twists and turns of life are circling us,

But again and again

Unite all nations

Consent, friendship and love.

Bibliography

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

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

3. Goryaeva N.A., arts and crafts in human life: Proc. For 5 cells. educational institutions / Ed. B.M. Nemensky.- M: Enlightenment, 2000.-176 p.: ill.

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

Annex 1 . Prayer rug

Appendix 2
Tatar women's shoes

Appendix 3

Embroidered headdresses from the fund of the city museum.

Appendix 4. Embroidered towels from the City Museum

Annex 5 Aksanova Sarah and her product

Annex 6. Embroidered items by Nuranya Abunagirovna Bakirova.

The Tatar people have an ancient and colorful culture. His way of life, sorrows and joys, wars and alliances, way of life, beliefs could not but be reflected in his work. Since the people are ancient, history and culture go back centuries. In its way of life and worldview, the nation differed from the tribes that settled nearby and was isolated. Therefore, for example, the Tatar ornament used to decorate clothes, household items, houses is original and original.

Types of ornament and types of motifs

The way of life of the people significantly influenced the patterns with which various products were decorated. The predominantly Tatar national ornament has a pronounced influence of ancient agriculture. But if you carefully study the works of the masters, you can see that the influence of the culture of cattle breeding of the nomadic ancestors of the people is also manifested.

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

and its use

Patterns have been used by craftsmen from time immemorial in many areas of applied art: architecture, embroidery, painting, woodcarving. Tatar ornament with floral and floral motifs is the most common. Masters create both simple forms and complex bouquets. The colors that are used for ornamentation are bright, rich and blend well. The motifs are stylized and have many interpretations. An important role is played by the order in which the elements of the pattern are located and how they are combined with each other.

There are three directions in floral and vegetable motifs that are used for creativity: steppe, meadow and garden. Depending on the area in which the master or craftswoman lived, certain Tatar patterns and ornaments prevailed. For the steppe direction, motifs depicting stylized poppies, tulips, forget-me-nots, and carnations are more characteristic. Meadow motifs are full of wild rose, bluebell, chamomile flowers; directions were typical for urban settlements. Depicted mainly dahlias, chrysanthemums, roses, asters. The most common are two flowers that the Tatar ornament uses. Tulip and carnation serve as the main motifs.

Geometric and zoomorphic motifs

Zoomorphic drawings are practically not used. This is explained by the requirements of religion, so that the Tatar ornament very rarely contains images of animals. However, craftsmen who nevertheless decide on zoomorphic motifs in their products stylize them so much that it is not always possible to understand which animal 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 to. For example, weaving is dominated by geometric motifs, while embroidery is dominated by floral motifs arranged with geometric precision.

Elements used in the ornament. Their possibilities. Techniques for transferring the ideas of the master

First of all, you should pay attention to how the tulip is used in the Tatar ornament. It is presented in the form of a pointed trefoil with varying degrees of curvature. Less common are quinquefoils. Wavy lines at the hand of the master are overgrown with leaves and form a "vine".

On one branch there may be grapes, and a meander, and a dahlia, and a carnation. Tatar ornament with geometric motifs uses both simple shapes (triangles, rhombuses, circles, squares) and complex ones (hexagonal rosettes, stepped figures, eight-pointed stars).

The floral ornament has another distinctive feature - the asymmetry of the elements. On one branch, flowers coexist perfectly, which in nature never grow side by side or bloom in different months of the year.

The meaning of the tulip in culture and ornament

Each nation has its own symbol, which has meaning only for it. Many masters use the Tatar ornament, in which the main motive is the tulip. For this people, it is, first of all, a symbol of rebirth. Tulip is on

Secondly, the tulip is inextricably linked with the religious beliefs of the Muslim world. The flower is associated with the name of Allah. The spelling of the name of the plant in 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 Abaj (each letter has its own number), the sum of the letters in the words "tulip" and "Allah" is the same and equals 66.

The rose also finds frequent display in Tatar ornaments. And again for religious reasons: it is a symbol of the prophet Muhammad. And although the flowers are highly stylized, a person who understands the symbols and culture of the Tatar people will definitely be able to read the Tatar ornament.