The development of material culture and applied art of the Bashkirs. Bashkir arts and crafts: historical and cultural specifics

An article about the fine arts of the Republic of Bashkortostan - painting, graphics, sculpture and decorative art applied arts. Rock paintings in Kapova Cave

The painting of Bashkortostan can rightfully claim a special place in art: it is much earlier than other types of professional art. artistic creativity, established itself on the Russian and world arena and in its evolution especially clearly reflected the originality of the national worldview at different historical stages. The creators of Bashkir painting were several generations of artists, not only Bashkirs by nationality.

• 1 Prehistoric art
• 2 Pre-revolutionary period
• 3 The era of building socialism
• 4 Photo gallery of artists
• 5 Photo gallery
• 6 The era of building capitalism
• 7 Painting
• 8 Graphics
• 9 Sculpture
• 10 Arts and Crafts
• 11 Art history
• 12 Museums, exhibition halls
• 13 Organizations
• 14 Educational institutions
• 15 Literature
• 16 Notes
• 17 Links

prehistoric art

The ancient rock paintings of the Shulgan-tash (Kapovaya) cave, the culture of Arkaim, the Sarmatian art of the "animal style", the Bashkir folk art determine the richest content of the material and spiritual culture of the Southern Urals.

Shulgan-Tash Cave (or Kapova Cave) is located in the Southern Urals in the Belaya River Valley on the territory of the federal nature reserve"Shulgan-Tash". The cave was formed in carbonic chemogenic limestones in a karst massif about 140 m high. In 1959, rock carvings of mammoths, horses, woolly rhinos and bison were discovered here, made in red ocher more than 13 thousand years ago.

Pre-revolutionary period

Before the revolution, fine arts on the territory of Bashkortostan had a limited distribution. Ufa had art and engraving workshops, working for the needs of the day, engaged in the manufacture of signboards, advertising, and seals. graphic arts and drawing were taught in gymnasiums, colleges and seminaries. There were private art studios of the artist P.M. Lebedev and N.A. Protopopov. Under the family-pedagogical society, there were courses in pedagogical and art education. To receive a higher art education, people left to study in Moscow or St. Petersburg, as M.V. did. Nesterov.

The outstanding painter Mikhail Vasilyevich Nesterov (1862-1942) was born in Ufa, studied in Moscow. Many great canvases were created by him in Ufa, where his parents and relatives lived. Taking care of the artistic education of his countrymen, in 1913 he presented the city of Ufa with a unique collection of works by Russian painters of the second half of the 19th - early 20th centuries, as well as about thirty of his own paintings. The collection they donated paintings, included the works of such famous masters as Shishkin, Levitan, Yaroshenko, Korovin, Benois, Polenov, Arkhipov and many others, who today are the glory of Russian painting.

In 1913, the artistic life of Ufa was marked by the creation of the Society of Art Lovers, whose members were the artists Yu.Yu. Blumenthal, P.M. Lebedev, B.A. Vasiliev. The number of members of the circle also included people interested in art and amateur artists. In 1916, the society was renamed the Ufa Art Circle. its ranks were joined by the artists A.E. Tyulkin, M.N. Elgashtina, D.D. Burliuk. K.S., who arrived in 1917, joined them. Devletkildeev.

Thus, a circle of artists rallied in Ufa, who were destined to stand at the origins of the fine arts of Bashkortostan. There was a situation that allows us to talk about the origin of fine arts in the region.

The era of building socialism

After the revolution, the cultural life of the city calmed down, devastation and famine swept over Ufa. After the liberation of Ufa from the governments of Kommuch, Kolchak, the White Czechs and the establishment of Soviet power in it, the artists who rallied in the Ufa art circle applied all their strength and skills to restore cultural life in Ufa.

In 1919-1921. A number of art studios are organized in Ufa. the building of the former commercial school (now the building of the Aviation College) was opened a workers' club. V.I. Lenin, and with him an art studio. Its creator and teacher was Kasim Saliaskarovich Devletkildeev. In 1921, as an employee of the People's Education Department for museums and the protection of monuments of art and antiquity, he takes part in an expedition to Turkestan. The main purpose of the trip is to collect exhibits to create a museum of the Peoples of the East Soviet Republic. Later, the idea of ​​creating a museum of the Peoples of the East was later abolished, and the Central Bashkir Regional Museum was organized instead.

In 1924, the People's Commissariat for Education of Bashkiria approved the regulation on the organization of an art and technical studio for a group of artists: K.S. Devletkildeeva, A.P. Lezhneva, I.N. Samarin, A.E. Tyulkina, G.P. Cherkasheninova. The goal of the studio was to educate craftsmen for "artistic production and craft". Later, this studio will grow into the art department of the Bashkir College of Arts. studio brought up a whole galaxy of artists who long years determined the level of fine arts of Bashkortostan: G. Imasheva, G. Mustafin, R. Ishbulatov, R. Gumerov, R. Usmanov, V. Andreev, L. Lezenkov.

Kasim Saliaskarovich worked a lot and fruitfully in the Proletarian Art Museum, which was founded in Ufa in 1919. For the first time in the history of the city, its inhabitants had the opportunity to communicate with the fine arts, with the masterpieces of great masters.

Thanks to creative team Yu.Yu.Blyumental, K.S.Devletkildeev, V.S.Syromyatnikov at the Art Museum organized a section of the Bashkir arts and crafts. Traveling around the villages and villages, bit by bit they collected household items of the Bashkirs, decorated with intricate ornaments. The first expedition took place in 1928 to the Beloretsk and Taliano-Katai cantons, where Devletkildeev and Blumenthal were going. next year, Kasim Saliaskarovich travels with Syromyatnikov to the Argayash canton (now the Chelyabinsk region). There were expeditions in subsequent years.

Sixties students - students of A. Tyulkin: B. Domashnikov, A. Panteleev, M. Nazarov, A. Lutfullin, A. Burzyantsev, P. Salmasov, V. Pozdnov, G. Pronin, A. Sitdikova and also painters B. Palekh, N Russkikh, P. Lebedev, I. Uryadov, V.P. Andreev, N.N. Anisiforova, Z. R. Basyrov, V.B. Domashnikov, R.G. Gumerov, A.P. Shutov, E.M. Saitov, A.G. Korolevskiy, I.I. Gayanov, V.P. Pustarnakov, L.Ya. Krul, A.T. Platonov, V.I. Plekunov, A.V. Khramov, A.A. Shtabel, A.S. Arslanov, V.N. Pegov, R.U. Ishbulatov, L.Z. Rakhmatullina and others developed the possibilities landscape painting based on the wealth, beauty and power of the nature of the Bashkir region. And in the 1970-80s, Moscow art historians (Yu. Nekhoroshev, G. Kushnerovskaya, O. Voronova, A. Pistunova) began to call the painting tradition in Bashkir art the “Ufa school of landscape painting”, also calling it “the school of A.E. Tyulkin". Following the sixties, this tradition was picked up and further developed by artists of the next, new generation of the 1970-90s, concretely embodied in landscape paintings: Nikolai Peganov, Anvar Kashaev, Mikhail Kuznetsov, Mikhail Spiridonov, Evgeny Vinokurov, Vladimir Panchenko, Rafael Burakanov, in watercolor sheets by Vasily Lesin, Viktor Suzdaltsev, Ildus Valitov (1947-2000).

Works on historical themes were created by Yezhov, Boris Dmitrievich, and the artists Dianov, Valiakhmet Dianovich, Astrakhantsev, Alexander Alexandrovich, Gayanov, Zufar Gayanovich were engaged in illustrations of books.

art Bashkortostan 80-90 years (artists Enikeev Tan, Gayanov Zufar, Farit Ergaliev, Saitov Ernst) can be combined general concept"avant-garde", "modernism", "informal currents". Pictures of young artists sometimes amaze with their unusualness, surprise. Here in the paintings you can only recognize the silhouettes of yurts, fragments of objects. The conceptual direction in painting is developed by the artist Ignatenko S.N.

Photo gallery of artists

Nesterov M.V.

Tyulkin A.E.

Photo gallery

"Vision to the youth Bartholomew"

Monument to the discoverers of Bashkir oil in Ishimbay

Mosaic canvases on the walls of houses in Salavat

"Exhibits of the local history museum in Salavat"

The era of building capitalism

At the end of the 20th - beginning of the 21st century, conditions developed in the republic when, with an excess of capital, successful managers there was a need for their investment in fine arts. Large private and corporate collectors of painting, arts and crafts appeared. Bank Vostok, the Ural Leasing Center can serve as an example.

In the art of modern Bashkir artists, the attachment to modernist aesthetics (artist Gilmanov, Ildar Rashitovich), manifested in the works of the classics of modernism, is obvious. The range of modernist trends used as material for further “reworking” in their postmodernist collages is unusually wide: there are elements of abstractionism, primitivism, cubism, fauvism, dadaism, surrealism and conceptualism.

Ufa has a reputation as a major graphics center. Currently, graphic artists are actively working here, participating in international graphic biennials both in Russia and abroad. Since 1998, the city has been hosting the Ural International Graphics Triennial, which is evidence of the high degree of development of this type of fine art in the republic. 2003 the Museum was opened in Ufa contemporary art them. N. Latfullina. In 2005, the museum hosted the action "Tomography", in which young artists of the city presented their performances.

Evidence of the development of postmodern forms in the visual arts of Bashkortostan in the 21st century is the experimental search for artists in the field of the object. Ufa artists (Rais Gaitov, Nail Baiburin) made their first experiments in creating objects and installations in the early 1990s. Compositions mounted according to the method of Italian artists of the 1950s-1960s. (movement "arte povera"), collected from all sorts of industrial waste and household waste, have become a notable event in artistic life Ufa of that period. project "Object" (2005), in which Rais Gaitov, Nikolai Marochkin, Airat Teregulov, Rinat Minnebaev, Vladimir Lobanov and Firdant Nuriakhmetov took part, the works created by the artists reached a new qualitative and conceptual level.

Painting

The founders of the Bashkir professional fine arts are the artists of the Republic of Bashkortostan K.S. Devletkildeev, A.E. Tyulkin, P.M. Lebedev, Yu.Yu. Blumenthal, A.P. Lezhnev, I.I. Uryadov, V.S. Syromyatnikov, M.N. Elgashtina, B.D. Ezhov, K.I. Gerasimov, A.V. Khramov, V.P. Andreev - members of the first Bashkir "detachment" of the Union of Artists.

Glory to the original Bashkir fine art was brought by luminaries, whose work is traditionally associated with major achievements - A.F. Lutfullin, B.F. Domashnikov, R.M. Nurmukhametov, Kuznetsov A.A., T.P. Nechaeva, M.N. Arslanov, A.D. Burzyantsev, A.Kh. Sitdikova, B.D. Fuzeev, E.M. Saitov, Z.R. Basyrov, V.P. Pustarnakov, V.I. Plekunov, S.A. Litvinov, N.A. Kalinushkin, K.A. Golovchenko, A.I. Platonov, F.A. Kashcheev, V.A. Pozdnov, P.P. Salmasov, M.A. Nazarov, V.N. Pegov and others.

Graphic arts

In Bashkortostan, the art of graphics has been developed since the mid-1910s. 20th century and is associated with the names of Yu. Yu. Blumentol, K. S. Devletkildeev, M. N. Elgashina, in whose work the traditions of Russian classical watercolor received a new interpretation. The lyrical works of Elgashtina are devoted to the nature of Bashkortostan (“Spring Twilight”, 1826), the works of Devletkildeev have a deeply national figurative system("Bashkir-bear hunter"; both - paper., aqua.)‚ Blumenthal is known as a master of portrait ("Old Bashkir", paper., pencil; both - 1928). This period was created by the drawings of G.P. ‚ Lezhneva, watercolor landscapes and portraits of P.M.Lebedev.

An example of unique graphics of an auxiliary nature are sketches of a traditional interior, objects of traditional arts and crafts of the Bashkirs (S. Sromyatnikov in the 30s, G.I. Mukhametshin, M.D. Kuznetsov and others in the 2nd half of the 20th century ). The independent nature of the unique graphics was manifested in the work of M. Piskunov "The transition of the Bashkir troops to the side of the Red Army", which became a rare example of a historical composition made in watercolor technique.

In 1974 and 1984, print exhibitions were held in Ufa, in 1995 and 1998 - the 1st and 2nd Ural Triennial of Printed Graphics. The exhibitions featured works by graphic artists of Bashkortostan R.R. Magliev (Old Ufa, lithography, 1996), Saitov ("Home", etching), Korolevskoy ("Salavat Yulaev", linocut) and others. Since the end of the 20th century, Bashkir graphic artists have been constantly participating in international graphic exhibitions. Since 2001, Ufa has been hosting international exhibition"URAL PRINT TRIENNIAL".

Sculpture

Bashkir sculpture originated under the direct influence of the Russian realistic school. BASSR in the middle of the twentieth century in sculpture, which was for the most part standard statues of leaders and their associates, appeared bust monuments dedicated to historical heroes and cultural figures (monuments to S. Yulaev, A. Matrosov, M. Gorky, M. Gafuri, V. Lenin, etc.). Made on the basis of easel portraits by Russian artists Vera Morozova and Tamara Nechaeva, they fit into the official plastic program Soviet art. In the early 1960s, in the portraits of the "severe style" of the sculptor of the Moscow school Boris Fuzeev, Bashkir art was given development, enhanced by the easel and monumental art of Lev Kuznetsov, Zilfat Basyrov, Evgeny Tsibulsky, Boris Zamaraev, B. Fuzeev.

In the 1980s in Bashkir art, the prerequisites were laid for the development of sculpture, the emergence of new names and creative manners- this is the beginning of independent training of personnel in the workshop of N.A. Kalinushkin at the art graph of the Belarusian State Pedagogical Institute, the work of artists at a creative dacha in Pereslavl-Zalessky, where they were strongly influenced by the masters of the Moscow school. With the perestroika processes in society and the cessation of ideological control of artistic life, the search for new means of plastic expression, different from traditional realism, unfolded in the work of young sculptors Yavdat Akhmetov, Vladimir Lobanov, Vladimir Antipin, Firdant Nuriakhmetov. for the most part, “growing up” from the workshop of N.A. Kalinushkin, they continued to communicate closely with the teacher, work side by side with him and the masters of the country and abroad at symposiums in Bashkiria and Russia.

Monument to Salavat Yulaev (1967) by sculptor Soslanbek Dafaevich Tavasiev, Monument to Friendship of Peoples (1965) by sculptors M.F. Baburin and G.P. Levitskaya in Ufa became calling card Ufa, a national treasure.

Six metaphorical figures inscribed in the arched openings created for them in the Salavat Yulaev Museum in the village of Maloyaz were created by the Ufa sculptor Khabibrakhmanov Khanif Mirzagitovich

Arts and Crafts

The pre-revolutionary arts and crafts of the Bashkirs were most often limited to the needs of the family. important event in the life of a woman was marriage. Prepared for the wedding a large number of woven and embroidered things: patterned sharshau, wedding suit for the girl and the groom, towels, napkins, tablecloths, scarves for dowry and for wedding gifts. the period of preparation for the wedding most fully revealed the creative abilities of the girl and her skills as an embroiderer and weaver.

Among the various items of artistic craft, a special place among the Bashkirs is occupied by products made of wood and wood materials - ladles with an openwork handle or horse saddles with beautiful bows. The high technique of their decoration, the variety of forms and subjects attracted the attention of Russian and foreign researchers as early as the 17th and 18th centuries. Wood products were made using a minimum of tools - only an ax and a knife.

The rare gift of carving became the occupation of the whole life of some men. Carved ladles, bowls and tubs for koumiss, made by their golden hands, were in great demand. Experienced carvers carefully kept and passed on the secrets and secrets of applied art from generation to generation. Young masters enriched and improved it. The decorative and applied art of the Bashkirs has undergone periods of rise and fall in its history. But still, to this day, it has conveyed wonderful samples of cultural works created by the hands of folk craftsmen from the Bashkirs.

In the folk art of the Bashkirs there is no figurativeness due to the strong influence on the spiritual life of the religion of Islam, which forbade the depiction of any material items, but still art itself has been preserved as "the richest pantry of ornaments, materials, processing techniques and techniques for manufacturing products, giving rise to a variety of combinatorial methods and further stylization and schematization of the plot side of art"

In the folk art of the Bashkirs, the main type of art is the ornament, which represents a peculiar and important layer of the artistic memory of the people. Ornament is an obligatory component decoration of things. The Bashkirs have a pattern that is formed by a combination of geometric, zoomorphic and plant figures and elements. depending on the purpose, the ornament was arranged as a border, separate rosettes or a continuous grid.

To decorate clothes, mainly an ornament of geometric and floral elements was used, arranged in a border, less often with rosettes. In the Bashkir ornament, there are the following pronounced groups of motifs: kuskar - a symbol of curled ram's horns and a symbol of grass - the theme of a nomadic pastoral people and its later modifications: spiral and S-shaped curls, curvilinear patterns, spirals, heart-shaped and horn-shaped figures, waves.

Artists worked a lot in decorative and applied arts: Yamaletdinov, Ilis Miniakhmetovich, Gennady Nikolaevich Berezin (Belebey), Stanislav Aleksandrovich Lebedev (Ufa), and others.

art history

Art critics were engaged in a systematic study of the works of art of the Republic of Bashkortostan and the work of Bashkir artists: Kazanskaya Lyudmila Vasilyevna (1905–1985) - the first professional art and museum historian of Ufa, Yanbukhtina, Almira Gainullovna - Russian art critic, Doctor of Art History, Honored Worker of Arts of the Republic of Belarus, Professor of the Department of Design of the Institute national culture Ufa State Academy of Economics and Service (UGAES), Fenina, Evelina Pavlovna - art critic, Honored Art Worker of the BASSR, Pikunova-Uzhdavini, Gabriel Raimondovna - art critic, former director Bashkir State Art Museum. M. V. Nesterova, Sorokina Valentina Mefodievna - art critic, Honored Worker of Culture of the Republic of Belarus, etc., art critic Oskina, Irina Nikolaevna.

Minnigulova Farida Muslimovna studies the sculpture of Bashkortostan, the problems of its formation and development.

Museums, exhibition halls

There is an acute shortage of modern exhibition halls in the capital of the Republic. The Bashkir State Art Museum named after M. V. Nesterov exhibited only 1% of the exhibits.

Bashkir State Art Museum named after M.V. Nesterov

• Bashkir State Art Museum named after M. V. Nesterov
• Ufa Art Gallery, Small Exhibition Hall
• RO VTOO "Union of Artists of Russia" RB http://www.shrb.ru/uag.htm
• Memorial house-museum of A.E. Tyulkina (Ufa, Volnovaya st., 21)
• Resurrection Art Gallery (village of Resurrection, Meleuzovsky district, Karl Marx st., 68)
• Neftekamsk Art Gallery "Miras" (Neftekamsk, Stroiteley St., 89)
• Sterlitamak Art Gallery (Sterlitamak, Communist street, 84)
• Exhibition hall "Izhad" (Ufa, street Cosmonauts, 22)
• In the 1990s, local history museums and art galleries were opened in the cities of Ishimbay, Salavat and Sterlitamak.

Organizations

The regional branch of the All-Russian creative public organization "Union of Artists of Russia" of the Republic of Bashkortostan (RO VTOO "SKhR" RB; earlier - SH BASSR, SH RB) has existed since 1934.

Association of Artists of the South of Bashkortostan.

Educational establishments

Ufa state academy arts them. Zagira Ismagilova

Ufa School of Arts.

Literature

• Fine Arts of the Bashkir ASSR. - M., 1974.
• Bashkir artists. Painting, graphics, sculpture. - Ufa, 1995.
• Oskina I. Sculpture of Bashkortostan // Rampa. - 1996. - No. 12. - p.4-5.
• Modern fine art of Bashkortostan. Painting, graphics, sculpture, ceramics / Ed. I.N. Oskin. - M., 1997.
• Bashkir folk art / ed. ed. S. Shitova. Ufa: Demiurge, 2002. -360 p. : ill.
• Galliamova, L.G. Colors of Bashkiria: essays / L.G. Gallyamov. - Ufa: Kitap, 1997. -104 p. : ill.

• Fine Arts of the Bashkir ASSR. Painting. Graphic arts. Sculpture. Monumental and decorative art. Theatrical and decorative art. Folk art: album / ed.-comp. G.S. Kushnerovskaya. M. : Soviet artist, 1974. -202 p. : ill.
• Kuzeev, R.G., Bikbulatov, N.V., Shitova, S.N. decorative art Bashkir people/ USSR Academy of Sciences, Bashkir Branch, Institute of History, Language and Literature / R.G. Kuzeev. N.V. Bikbulatov, S.N. Shitov. Ufa: Bashk Printing House. Regional Committee of the CPSU, 1979. - S. 202;
• Sculpture of Bashkortostan: catalog of the first republican exhibition / ed. Art. and comp. cat. I.N. Oskin. Ufa: Slovo, 1996. - 71 p. : ill.
• Yanbukhtin, A.G. Artists I.S. and N.Ya. Efimovs in Bashkiria and about Bashkiria / A.G. Yanbukhtin // From the history of the artistic life of the Urals: a collection scientific papers. - Sverdlovsk: UrGU, 1986. S. 91-94.

Notes

1. 33.jpg (1024x768 pixels)
2. Anniversary of Tan Enikeev (Orenburg) | Strastnoy boulevard, 10
3. Creativity of Farid Ergaliev - Artists of the Republic of Bashkortostan -Modern fine arts of Bashkortostan
4. Collection of paintings by artists of Bashkortostan
5. Museum - Contemporary Art. Nailya Latfullina - Ufa Museums
6. Fayzrakhmanova G. R. Postmodernism in the fine arts of Bashkortostan and Tatarstan // Bulletin of the Ural State University. Ser. 2, Humanitarian sciences. - 2006. - No. 47. - S. 184-190.
7. Belsky expanses № 7 2004
8. Art critics of Bashkortostan - salavat jimdo page! Salavat
9. Dissertation on the topic “Sculpture of Bashkortostan in the second half of the 20th century. Problems of formation and development "author's abstract on the specialty VAK 17.00.04 - Fine and decorative ...
10. BASHvest - First electronic newspaper of the Republic of Bashkortostan
11. Yanchg Usdnfmkhinb Peyaosakhikh Ayuynprnyaryum. Hyasyayarbn Ayuykhpkhkh. Stu. Fkhbnohäe, Tspyuthyu, Yayskaorspyu, Deinpyurkhbmn-Ophykyudmne Hyasyayarbn, Reyurpyukemn-Deynpyuzhkhnmmne Hyaysyayarbn, Hyaysyayarbn...

Links

• http://upk2ufa.narod.ru/33.html
• http://bdomashnikov.jimdo.com/
• http://tyulkin.jimdo.com/
• http://www.hallart.ru/culturallifeofbashkortostan/nesterov-art-history

Fine arts of Bashkortostan

Textiles in the decorative art of the Bashkirs

Currently, much attention is paid to the preservation folk art and home crafts. In the Republic of Bashkortostan, professional decorative arts are actively developing, including those based on folk traditions. This also applies to textile techniques such as embroidery, appliqué, and patchwork.

Things that were created in folk life had not only practical, but also aesthetic value.

An example of decorative crafts is the interior composition "Song", which reproduces a fragment of the decoration of the dwelling of the Bashkirs. Two Bashkir girls, winding yarn, quietly sing about something of their own. It presents almost all the crafts that were considered women's occupation.

The organization of the internal space of the dwelling was given special meaning. The yurt, in which the nomadic Bashkirs lived for a long time, had a hemispherical interior with a hole in the dome. It was multifunctional: it was a light source, a chimney, and a sundial. The compositional center of the interior is also associated with it - the traditional part of the decoration - "uryn". On a special wooden stand, a chest was installed, on which a stack of blankets and pillows, intercepted by a special tape, rose. It is “uryn” that forms the basis of our composition.

The Bashkirs, like many peoples of Russia, developed a technique for making ornaments from pieces of fabric. Rugs, bedding, blankets were decorated in a similar way.

In the Bashkir practice, the composition of patchwork ornaments was carried out in two ways: in the mosaic technique and in the appliqué technique. In the mosaic, cut blanks (squares, triangles, rectangles) were sewn together according to the planned scheme. The Bashkirs called similar products "korama" - "sewn from scraps". In our composition, the blanket covering the chest is made using the patchwork technique. The drawing is very simple. It consists of squares of different colors, trimmed with edging along the edge.

Application was close to the art of mosaic. Triangles became the main element in many ornamental compositions. They were made up of squares and rhombuses. Rhombuses were assembled into stars. From such figures of different colors laid out the ornament of bedspreads, carpets, rugs.

The choice of color in the pattern depended on traditional color combinations and the individual inclinations of the craftswoman. In many mosaic ornaments there is a red color, which is combined with blue, green, purple. And also with delicate shades: pink, lilac, blue. Traditional combination of red and black. For the panel, those colors were chosen that allowed creating a certain flavor.

Embroidery was a traditional and favorite female pastime. Embroidered on cloth, velvet, canvas. Garus, silk, woolen yarn, cotton threads were used for needlework. Started to embroider early childhood. Decorated with embroidery tablecloths, napkins, towels, curtains, rugs, clothes. Bashkir embroidery is original with a combination of "kuskar" ornament and "double tambour" technique. "Kuskarny" was called an ornament of curls. It was used in the decoration of leather, felt products, prevailed in embroidery and appliqué. "Kuskar" compositions were distinguished by endless variability. Craftswomen used well-known figures, complicated or simplified them, created all sorts of combinations. Diversified ornament and color solution.

In the composition, embroidery is used to decorate a ribbon (“tushak tartma”), which was intended to fasten pillows and decorate a bed folded on a chest. The intricate ornamental figures embroidered on the ribbons not only protected from witchcraft and spoilage, but also provided a successful connection between a man and a woman.

The embroidery technique “double tambour” or “goat in a border”, or “oblique net” is a favorite among Bashkir craftswomen.

The implementation of the "cuskar" ornament begins with a stroke of the pattern on the fabric. Then the drawing is filled in with a “double tambour” and, finally, the finished embroidery is outlined with a regular tambour. The ribbon was decorated with beads, coins, corals, tassels. Bright saturated colors on a black, dark red or dark green background, white or black outline of the picture gave the ribbon an elegant look.

Acquaintance with the material culture of the native land is an integral part of the teacher's work. Examining dolls, clothes, jewelry, embroidery arouses genuine interest among the children. They have a desire to try their hand at this or that technique. Gradually, step by step, they master the techniques of making objects folk life thus touching the origins of folk culture.

Mindirov Ilgizar Ilnurovich

The work of Mindiyarov Ilgizar is written in an informative and descriptive form. It reflects the very valuable wealth of folk craft. The art of each nation has its own traditions, its own original, historically established ornament, which is an important and unique layer of the artistic memory of the people and its symbolic and graphic language. The origins of the arts and crafts of the Bashkirs, just like other people, go back to the depths of centuries.

The relevance of our work is that we live in a world of new designs. But we must not forget that folk art is universal remedy"spiritual communication of thousands and thousands of people." The Bashkir ornament is very ancient, but even now it has not lost its relevance. If you walk through the city, or any village, you can see the Bashkir ornament on houses, posters. The multinational people of Bashkortostan highly appreciate the traditions of the region and love their culture, the culture of our ancestors. We think that the Bashkir ornament will be passed down from generation to generation.

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Ministry of Education of the Republic of Bashkortostan

Education department municipal district Yanaulsky district

Municipal budgetary educational institution

average comprehensive school№1 Yanaul

Republic of Bashkortostan

Competition of student essays "Krugozor-2012"

Subject: Arts and Crafts

Bashkirs

Mindiyarov Ilgizar Ilnurovich, 6th grade

Subject area: history and culture of Bashkortostan

Supervisor: teacher of the Bashkir language and literature of the highest category Farshatova Alfiya Anvarovna

2012

1. Introduction 3-4

2. Bashkir folk ornament 5-8

3. Ornamental complexes of the Bashkir people 8-9

4. Woodcarving among the Bashkirs 9-10

5. Embossing on leather 10-11

6. Bashkir national clothes 12-13

6.1. Women's national costume 13-14

6.2. Men's national costume 14-15

7.Conclusions 15-16

5. References 17

1. Application

Introduction

Beauty is inherent in human nature itself. With it, a person seeks to fill the world, to endow tools and objects accompanying it in Everyday life. This area material culture called arts and crafts.

Decorative and applied art is a great social and artistic phenomenon, which K.G. Wagner and V.M. Vasilenko - researchers decorative arts- is also called "a visual aesthetic and moral and ethical code of the people."

The most ordinary things were done by ordinary people in everyday life, bringing them joy. The concept of folk arts and crafts can be explained as an area of ​​artistic creativity, originally associated with the people, their history, customs, festivities, economic and commercial activities, housing construction, the manufacture of clothing, utensils, tools.

The word ornament comes from Latin word ornamentum, which means “decorated.” The word decorative is also of Latin origin (lat.decoris), it means “decoration, beauty.” Ornament and decor only for a modern person represent the elements of decoration or the decorations themselves. In ancient times, the purpose of all these things was somewhat different. The ornament and decorative ornaments played the role of talismans and amulets, protected a person from the evil eye, from the effects of evil forces and spirits. Over time, a person's ideas about the world have changed, and the purpose of the ornament and decorative ornaments has also changed.

The ornament is the product of a long historical development. It preserves layers of various periods of cultural development, traces of complex interactions and mutual influences between tribes and peoples. The semantic ancient meaning of the ornament is mostly forgotten, and modern man perceives it as an ornament, a pattern.

The art of each nation has its own traditions, its own original, historically established ornament, which is an important and unique layer of the artistic memory of the people and its symbolic and graphic language. The origins of the arts and crafts of the Bashkirs, just like other people, go back to the depths of centuries.

The relevance of our workis that we live in the world new designs. But we must not forget that folk art is a universal means of "spiritual communication of thousands and thousands of people" (M.S. Saryan)

Object of studyis the study of literature on this topic, the implementation of skills in the lessons of the history and culture of Bashkortostan, in the lessons of the Bashkir language and literature, music and fine arts.

Research methods are observation, consideration of museum exhibits, illustrations, use of the Internet, study of literature.

Research hypothesis: we will assume that the study of decorative and applied art of the Bashkirs makes it possible to more effectively master the program material on the history and culture of Bashkortostan. Promotes the study of cultural heritage in high school, develops observation and attentiveness in work.

Based on the hypothesispurpose of our work is:

Promotion of the study of the cultural heritage of the Bashkir people;

The desire of peers for an in-depth study of the arts and crafts of the Bashkir people;

Education of aesthetic feelings.

To achieve this goal, we have put forwardthe following tasks:

1. review the literature on this research topic;
2. to form in students elementary ideas about the cultural heritage of the Bashkir people;
3. reveal the various connections between man and nature.

2. Bashkir folk ornament

Folk arts and crafts of the Bashkirs absorbed the features of culture different eras. It conveyed to us its best traditions, in which the people invested their understanding of beauty, the desire to create beauty.

Decorative and applied art of the Bashkir people is diverse. The Bashkirs decorated household items and household items, clothes, shoes with patterns.

In the folk art of the Bashkirs, there is no depiction due to the strong influence on the spiritual life of the religion of Islam, which forbade the depiction of any material objects, but still the art itself was preserved as “the richest pantry of ornaments, materials, processing techniques and techniques for manufacturing products, giving rise to a variety of combinatorial methods and further stylization and schematization of the plot side of art"

In folk art, ornament is the main type of art, representing a unique and important layer of the artistic memory of the people.

In terms of color, the Bashkir ornament is a polychrome, bright, multi-colored, coloristic image based on contrasts of strong and pure colors prevails:

red is the color of warmth and fire

yellow is the color of abundance and wealth

black - the color of the earth and fertility

green - the color of evergreen,

white - the color of purity of thoughts, peacefulness

blue is the color of freedom,

brown is the color of old age withering. In the patterns of headbands - haraus - there was a yellow-orange and red-brown range. The background of the products is most often red, black, less often yellow and white, which the Bashkirs identified with the fertility of the earth, the luminary, the dawn and everything beautiful in nature.

The ornament is an obligatory component of the decoration of things. The Bashkirs have a pattern that is formed by a combination of geometric, zoomorphic and plant figures and elements. Depending on the purpose, the ornament was arranged as a border, separate rosettes or a continuous grid. To decorate clothes, mainly an ornament of geometric and floral elements was used, arranged in a border, less often with rosettes.

In the Bashkir ornament, there are the following pronounced groups of motifs:

kuskar- the symbol of curled ram's horns and the symbol of herbs- the theme of the nomadic pastoral people and its later modifications: spiral and S-shaped curls,

as well as rhombuses with its multifaceted variations.

Kuskar - a symbol of human productive activity, fertility.

The rhombic motif forms the agricultural basis of the Bashkir ornament, and the rhombus gradually becomes the ideogram of Life and Good.

The origin of the ornament and its semantic meaning are associated with the religious worldview of people who sought to decorate clothes and household items to propitiate evil spirits, protect themselves from the evil eye or give themselves strength.

One of the elements of the Bashkir ornament is solar sign - O circle, simplified image of the sun in the form of a circle with rays or a vortex rosette☼ , which are mainly decorated with spruce trees.

swastika element, found in the Bashkir ornament, is a symbol of fertility, the sun, a crossed hammer, lightning, is used as an ornamental motif in the folk art of many ancient cultures, in ancient world, in Central and South America, Medieval Europe. He was given certain meaning protector, protector from evil forces, a symbol of the sun, life and goodness. Hospitality heart elementalso common to other peoples.

Craftswomen also gave the names to the elements, and in different regions, sometimes in their own way, based on associations with objects and phenomena. For example, in some places a large rhombic element is called a "tray"♦ ,

Rhombus processes - “bird heads”, small elements in the form of columns and squares - “bug”▀ this is also a letter of runic writing, a rhombus like the Russian burdock “flower”, a pattern of pairwise connected rhombuses - “ant's waist”, an oblique cross with a small rhombus in the center “cancer”, a strip of rhombuses connected at the corners - “star anise branch” and others.

3. Ornamental complexes of the Bashkir people

Ancient ornamental complexis a combination of the simplest geometric shapes: triangles, zigzags, parallel oblique lines, circles, swirl rosettes. It was used to decorate wood products, leather, painting and partly embroidery and appliqué.

Most of all, this complex was distributed in mountainous Bashkortostan.

Second complex represents curvilinear patterns: spirals, heart-shaped and horn-shaped figures, waves, which were mainly used to decorate objects of nomadic life. These types of ornaments are typical for the steppe regions of Bashkortostan.

The third complexdistributed throughout the territory of the settlement of the Bashkirs, is represented by a stylized floral ornament.

Fourth complex, which has experienced a significant influence of neighboring regions - Tatars, Chuvashs, Maris, Russians and others - is represented in the western regions of Bashkortostan. This is a group of complex patterns associated with various types of weaving. This includes multi-stage compositions of rhombuses, triangles, which were complemented by paired spiral curls.

Fifth complex ornamental is represented by decorations in the form of women's headbands, appliqués on shoes in the form of paired images of animals and birds, separated by floral ornaments. It was distributed in the southeastern part of Bashkortostan and the Trans-Urals.

Sixth complex includes geometric patterns of weaving and embroidery:

Squares and rhombuses, simple, stepped, serrated, with extended sides, with paired horn-shaped curls at the tops, eight-pointed rosettes and others. The patterns of this group, common in the western and northern parts of Bashkortostan and the Trans-Urals, were used in the ornamentation of clothing and home furnishings.

4. Woodcarving among the Bashkirs

This is one of the earliest types of decorative art. In Bashkortostan, woodcarving was more developed where there were many linden and birch forests. Saddles, stirrups, cases for weapons, utensils, details were ornamented with carvings. loom and others.

Among the various items of artistic craft, a special place among the Bashkirs is occupied by products made of wood and wood materials. It is enough to point to ladles with an openwork handle or horse saddles with beautiful bows. The high technique of their decoration, the variety of forms and subjects attracted the attention of Russian and foreign researchers as early as the 17th and 18th centuries. In these subjects, on the one hand, huge reserves of talent were manifested, on the other hand, they are the products of hard and painstaking work, when rich human imagination and ingenuity received wide scope. Speaking about the objects of decorative and applied art of the Bashkirs, we must take into account another important point: a minimum of tools for a woodworker, in most cases an ax and a knife. These and other sides folk craft Bashkirs are described in detail in the recently published book "Carving and painting on wood among the Bashkirs. Its author is the famous ethnographer S. N. Shitova, who devoted her whole life to studying the Bashkir traditional culture.

The rare gift of carving became the occupation of the whole life of some men. Carved ladles, bowls and tubs for koumiss, made by their golden hands, were in great demand at local bazaars and fairs. Experienced carvers carefully kept and passed on the secrets and secrets of applied art from generation to generation. Young masters enriched and improved it. The decorative and applied art of the Bashkirs has undergone periods of rise and fall in its history. But still, to this day, it has conveyed wonderful samples of cultural works created by the hands of folk craftsmen from the Bashkirs. One of important conditions for the further successful development of modern arts and crafts is a deep and comprehensive study folk art. Therefore, scientists are so diligently studying Bashkir applied art today, finding out its origins and history of development. Reveal, collect and publish in the form of albums the best works folk craftsmen. And applied artists and craftsmen in their work rely on this experience. [ 1,31]

5. Embossing on the skin

One of the traditional types of arts and crafts of all nomadic peoples. Before embossing, the leather was dyed red-brown with an infusion of willow or oak bark. The soaked blanks were superimposed on a wooden stamp and remained under pressure until dry. Sometimes the background was etched with blue vitriol, and it became darker than the picture. Carved ornament was also widely used. Although the carved ornament is older than embossing, it survived much longer in the everyday life of the Bashkirs, and the traditions of carved ornament reached the beginning of the 20th century.

The main figure in the ornamentation of the skin was the shamrock. In addition to embossing, leather goods were decorated with metal plates with silvering or gilding and embossing. Almost all items of nomadic life: flasks for koumiss, cases for weapons, bags for shot, powder flasks, ceremonial harness, belt and saddle bags - were decorated with various kinds of ornaments.

6. Bashkir national clothes

The national costume of the Bashkirs has evolved over the centuries. There was not and could not be a single common Bashkir costume, because each Bashkir tribe had its own differences. The main materials in the manufacture of clothing were home-made cloth, fabrics from plant fibers, leather, sheepskin, furs, wild nettles and hemp.

The costume of people of young and middle age was distinguished by brightness among the Bashkirs. Red was preferred in combination with green and yellow, blue was less commonly used. In ancient white clothes, there was red trim - embroidery or appliqué. For outerwear, especially for the elderly, black fabrics were used.

6.1. Women's national costume

Women's clothing of all nations is rich in decorative trim. The basis of the Bashkir women's costume is an underwear dress (kuldek) with frills, decorated with a woven pattern and embroidery. Frills, cuffs, tucks on the chest appear on dresses only at the beginning of the 20th century. The surviving old dresses, which are in the collection of the Bashkir Museum of Local Lore, are made of bleached canvas, decorated with a woven pattern and embroidery. They have whole flocks, side wedges, wide armholes, large square gussets. The turn-down collar was usually made of factory-made, softer fabric (satin, chintz), and the chest slit was fastened with a cord. The hem and sleeves are bordered with red stripes of a bra pattern, and the red satin of the collar is embroidered with a counted stitch. The method of stitching the details suggests that the dress was made at least a century and a half ago. Tunic-shaped cut of clothes is the most common in the national costume of the peoples of the region. The identity of each individual costume develops as the ethnic group develops. This is evidenced by the evolution of the Bashkir women's dress. In the process of its formation by the XVIII century. just below the waist, a gathered chintz or satin hem is sewn on, because narrow homespun canvas did not always allow the dress to be made in the required length.Women's camisole with the same fitted cut is distributed throughout almost the entire area where the Bashkirs live. Only the finish is different.

A special place in the folk wardrobe of Bashkir women was occupied by swing bishmets (north) and elens (south) made of plain cloth. Usually they were decorated with coins, appliqué and braid. On later samples, "epaulettes" appear. Elen and bishmet have common features cut and belong to the Turkic traditional straight-back cuts. Elen is more flared along the hem and elongated almost to the ankles.

Women and girls stood out with elegant embroidered clothes. A dense pattern covered the skirt and sleeves of the dress, the hem and chest of the apron. A vegetative ornament of intricately curved branches with leaves and flowers, made with a tambour, was located on dark (black, dark blue, purple) satin. The manner of embroidery with outlining the contour in one color and filling in the figures with another gave the pattern a special dimension. Such sets (dress and apron) were prepared for the wedding; in the chests of the young one could find several pairs of embroidered clothes brought to the husband's house as part of a dowry. The skill of the girl was assessed by the ability to vary the pattern. A peculiar art was embroidery with beads, sequins, pearls, metal thread on the rim of headdresses-caps. The headdress of women primarily emphasized her social status, Family status. Girls before marriage wore round hats (takiya), caps: sewn and knitted. Elderly women put on a cotton scarf (yaulyk) over a cap or a quilted hat (blunt). In wealthy families, women wore: high hats made of valuable furs (kamsat burek). Attire: young women were served with bright bedspreads (kushyaulik), white embroidered (tastar). Helmet-shaped caps with an occipital lobe (kashmau) look original. They were decorated with coral mesh and pendants along the helmet, the blade was embroidered with beads and cowrie shells. The pendants on the helmet, reaching to the eyebrows, hid half of the woman's face, the blade covered the luxurious braids, so as not to serve as a temptation. Kashmau is the best illustration of following Sharia law in everyday life, which defined a woman as a vessel of sin.

One of the significant elements of the women's costume was bibs (selter, yara), covering the slit of the dress. The shape of the bib in different areas is not the same: from triangular to rounded, from short to long, reaching to the hips. However, they all serve the same purpose: to protect against the penetration of evil spirits, and along the way to cover up the same sinful essence of a woman. Women's jewelry (different kinds of earrings, bracelets, rings, braids, clasps) were made of silver, corals, beads, coins. Turquoise, carnelian, corals played the role of amulets.

6.2. Men's national costume

Male national costume of the Bashkirs from a shirt, trousers, woolen stockings and boots. A skullcap was put on the head, a fur hat (cloak) was put on top of it. A camisole or a Cossack was put on over the shirt. Outerwear was a cloth sackman and a fur coat, they were necessarily girdled.

Men's shoes were quite diverse: boots, leather shoes, ichigi (sitek), shoe covers. Men's shoes - saryk were decorated on the bottom of the tops with small triangles of leather.

decorations menswear there were belts: bilbau, kaptyrga and kemer. With the help of bilbau, the Bashkirs girded their outerwear. This belt was made by the Bashkirs themselves, it was woven from threads of dark colors and ended with a fringe.

Kaptyrga - a narrow belt belt, with a pattern embossed on its outer surface, with a hook-shaped buckle at one end and a hole at the other.

Rich Bashkirs once had fashionable sashes called kemer, with rather expensive copper engraved or even silver buckles, richly decorated with plaques with semi-precious stones - agate, cornelian, turquoise. In the old days, sashes were also valued very dearly: for one kemer, the rich would give a pair of bulls.

conclusions

Beauty is inherent in human nature itself. With it, a person seeks to fill the world around him, to endow tools and objects that accompany him in everyday life.The visual art of the Bashkirs was very diverse both in terms of technique and motives.

The Bashkir folk ornament had a great influence on the ornaments of other peoples and was itself enriched with drawings transferred from other cultures. The Bashkir ornament today is successfully mastered by local craftsmen for the production of carpets, scarves, shirts, blouses, napkins, wooden utensils, gift souvenirs.

The Bashkir ornament is very ancient, but even now it has not lost its relevance. If you walk through the city, or any village, you can see the Bashkir ornament on houses, posters.

In the Bashkir ornament, one can find motifs of Siberian, Central Asian, Volga origin, as well as analogues in the art of Hungary and Bulgaria.

The Bashkir ornament has its own specific features, which distinguish it from the ornament of even the closest peoples in terms of cultural and ethnic kinship. Despite the many motifs characteristic of other peoples, the Bashkir ornament represents a unique formation. Some of its elements, the most ancient, are known from other peoples thousands of kilometers away to the west and east. There are elements characteristic of the art of most peoples of Eurasia. This indicates that the culture of the Bashkir people was born in a single mainstream of the development of world culture, in the process of active contacts with the tribes of the Turkic East and the Finno-Ugric population. This is the reason for the complexity, versatility of the pictorial language of the Bashkir people, which tells about the history of the development of their culture.

The multinational people of Bashkiria highly honor the traditions of the region and love their culture, the culture of our ancestors. We think that the Bashkir ornament will be passed down from generation to generation.

Literature

1. Culture of Bashkortostan: a study guide for students of the 8th grade. Ufa, State Unitary Enterprise "Ufa Polygraph Plant", 2002, pp. 31-34.

2. Molcheva A.V. Folk arts and crafts of Bashkortostan-Ufa: Bashkir publishing house "Kitap", 1995, p.6-12.

3. Essays on the culture of the peoples of Bashkortostan. Comp. Benin V.L. Ufa, publishing house: Kitap, 1994, pp. 4-8.

4. Native Bashkortostan: textbook for grade 6 / Aznagulov R.G., Amineva F.Kh., Gallyamov A.A. - 2nd ed. - Ufa: Kitap, 2008, pp. 86-102.

5. Khisametdinov F.G. History and culture of Bashkortostan: Proc. settlement for students cf. special uch.z.-2nd ed. and additional - Ufa: Galem 2003, pp. 254-261.

6. Shitova S.N. Bashkir folk clothes.-1st ed. - Ufa: Kitap, 1995, p.5-16

7.Internet information:

« images.yandex.ru› Bashkir pattern

http://bashkort.land.ru/textbook/index.html

Goals:

1. Cognitive:

• to introduce students to the Bashkir ornament with its contrasting colors;
• clarify and systematize knowledge about the arts and crafts of the Bashkirs.

2. Developing:

• continue to work on the development of creativity and independence, artistic taste and fantasies;
• teach to depict the Bashkir ornament and arrange the elements of the ornament in the composition.

3. Educational:

• to cultivate interest in the creativity of the Bashkir people.

Decor:

• recordings of Bashkir melodies;
• posters and drawings of the Bashkir ornament;
• matryoshka and boot patterns;
• paints, brushes, pencils, colored paper, glue;
• the work of local craftswomen.

In the Bashkir pattern - the color of honey, wheat,
Beauty of endless meadows and steppes,
The color of the blue sky, fertile land,
The color of red flowers, purity of springs.
We hear the lingering song of kurai
In the interweaving of the colors of the nature of the canvas.
In the Bashkir pattern - sesen legend
And the generosity of the people, their kindness.

R.B.Dautova

During the classes

1. Learning new material.

Introductory speech of the teacher:

Beauty is inherent in human nature itself. With it, a person seeks to fill the world around him, to endow tools and objects that accompany him in everyday life. This area of ​​material culture is called arts and crafts.

The origins of the Bashkir arts and crafts are lost in the mists of time. The needs of nomads for weapons and equipment, and the needs of farmers for tools contributed to the widespread development of handicrafts. This, in turn, opened wide way to the emergence of arts and crafts, which was embodied in weaving, embroidery, artistic and decorative processing of wood and metal, in the design of national costumes and home decorations. Through all this, the Bashkirs expressed their attitude to nature and to the life of society.

In ancient times, all decorations of arts and crafts played the role of talismans and amulets, protected a person from the evil eye, from the effects of evil forces and spirits. Over time, a person's ideas about the world have changed, and the purpose of jewelry has changed. They gradually lost their original magical function and became mere objects of decoration.

The pre-revolutionary arts and crafts of the Bashkirs were most often limited to the needs of the family. Marriage was an important event in the life of the family. A large number of woven and embroidered items were prepared for the wedding:

• patterned sharshau (large curtains to divide the house into male and female halves);
• wedding suit for the girl and the groom, towels, napkins, tablecloths, scarves.

During the period of preparation for the wedding, the creative abilities of the girl and her skills as an embroiderer and weaver were most fully revealed.

One of the varieties of arts and crafts among the Bashkirs is the knitting of downy shawls. This fishery was very well developed in the Abzelilovsky, Baymaksky, Beloretsky, Zianchurinsky, Kugarchinsky, Khaibullinsky districts, as well as in the Orenburg region. Due to the natural and climatic conditions in these areas, a special breed of goats was bred, giving down, thin, and at the same time strong, fibrous-elastic, with high spinning properties: it was used to make yarn for woven and knitting shawls. Bashkir woven shawls are a unique type of weaving. These shawls were not knitted, but woven on looms. They also made openwork patterned shawls, knitted by hand on two long knitting needles. Craftswomen distinguish between a middle and a border in a scarf, the edges end with cloves. The pattern is geometric. The art of knitting downy shawls is preserved and continues to develop in the republic - it is mainly a family downy knitting business. (Product display.)

One of the most important conditions for the further and successful development of modern arts and crafts is a deep and comprehensive study of folk art. Therefore, applied art is studied so diligently today, its origins and history of development are revealed. They reveal, collect and publish in the form of albums the best works of folk masters. And modern artists and craftsmen rely on this experience in their work.

The Bashkir ornament is successfully mastered by local craftsmen for the production of carpets, scarves, elements of clothing decoration, wooden utensils, gift souvenirs and other products. (Product display.)

One of the most popular types of decorative and applied art of the Bashkirs is folk ornament.

Translated from Latin, "ornament" means "decoration, pattern." Bashkirs have long adorned horse harness, household utensils, clothes, shoes, and dwellings with diverse, bright and colorful ornaments. The bride's dowry included pillowcases, tablecloths and other items used in everyday life, embroidered with lush patterned ornaments. If there were elderly family members in the groom's family, a mat-namazlyk was embroidered by the daughter-in-law on a dark blue or dark green canvas for them. At the same time, ornamental drawings were created, stored and passed down from generation to generation in the family.

The ornament is the product of a long historical development. It preserves layers of various periods of cultural development, traces of complex interactions and mutual influences between tribes and peoples. The semantic ancient meaning of the ornament is mostly forgotten and the modern person perceives it as an ornament, a pattern.

In folk art, ornament is the main type of art, representing a unique and important layer of the artistic memory of the people.

The Bashkir ornament is symmetrical, the patterns are arranged either in a border, or in separate rosettes, or in a continuous grid, or all these techniques are used simultaneously. Its compositional construction is determined by the purpose, shape and size of the decorated objects, for example, kelyamas (carpets) are divided into fields and canvas.

The field is made up of elements arranged in two, three, and sometimes four rows, and the canvas is made up of a rhythmically repeating ribbon ornament. The canvas of the towel is decorated with three rows, the central field is brightly and colorfully ornamented with larger elements, and the upper and lower stripes are smaller and mirror each other.

In terms of color, the Bashkir ornament is polychrome, i.e. bright, multicolored. The coloristic image (i.e. color solution) is built on contrasts of strong and pure colors: red, yellow, black, green, less often blue, blue, orange, purple, scarlet predominate. The background of products is most often red, black is less often yellow and white. The Bashkirs identified these colors with the fertility of the earth, the luminary, the dawn and everything beautiful in nature.

Some symbols and ornamental elements have their own semantic meaning: kuskar is a symbol of curled ram's horns and a symbol of herbs.

The improvisation of this symbol through additional spiral curls led to the formation various patterns ornament and many other options.

One of the elements of the Bashkir ornament is a solar sign - a circle, a simplified image of the sun in the form of a circle with rays or a vortex rosette.

Element in the form of a heart, denoting hospitality.

The origin of the ornament and its ancient meaning are connected with the religious worldview of people who sought to decorate clothes and household items to propitiate evil spirits, protect themselves from them or give themselves strength. Many of these elements are found in other peoples.

Decorating their products, the people talked about themselves, about their kind, about the surrounding life, nature, so we can give one more definition to the ornament - this is the symbolic and graphic language of the people, expressing their feelings, concepts.

In the Bashkir arts and crafts, there are six main ornamental complexes:

	Ornamental complexes	a brief description of	Application	Examples
1	The first complex (the oldest).	Includes simple geometric shapes. The main principle of the composition is borders and sockets.	When decorating products made of wood, leather, painting, and sometimes in embroidery and appliqué.
2	Second complex.	Composes curvilinear patterns from various spirals, horn-shaped and heart-shaped figures, running waves.	It is found in embroidery, appliqué with cloth, in the design of shoes with cloth tops.
3	Third complex.	Plant patterns.	In women's and men's clothing.
4	Fourth complex.	Combines a group of complex patterns. These are eight-pointed stars, stepped rhombuses or various polyhedra.	Carpets, sharshau, tablecloths, ends of towels are decorated.
5	Fifth complex.	In the form of paired images of birds and animals, separated by floral ornaments.	For women's headbands and appliqués for shoes.
6	Sixth complex.	Includes geometric patterns, simple and complex.	In the ornament of clothes and home decoration items.

2. Fixing.

1. To consolidate your knowledge of the Bashkir ornament, you will paint the finished patterns of bashkir dolls and boots.

In the Bashkir family, they tried to make things look elegant, so interesting patterns were invented for these purposes. And you must paint your chosen patterns in the traditions of the Bashkir people, using elements of the Bashkir ornament, the main colors that the Bashkirs used to make patterns.

2. Who coped with the first task, proceeds to the second: make a carpet pattern.

Carpets covered the floor in the tirma (yurt), bunks. They slept on carpets, rested, decorated their homes with them. Imagine that you are in a weaving shop and you, as designers, need to come up with patterns for carpets.

3. Summing up.

Analysis of the work performed.

When analyzing, pay attention to the elements of creativity, to color combination.

Decorative and applied art of the Bashkirs

Beauty is inherent in human nature itself. With it, a person seeks to fill the world around him, to endow tools and objects that accompany him in everyday life. This area of ​​material culture is called decorative and applied art. The origins of the Bashkir arts and crafts are lost in the mists of time. The needs of nomads for weapons and equipment, and the needs of farmers for tools contributed to the widespread development of handicrafts. This, in turn, opened a wide path to the emergence of decorative and applied art, which was embodied in the works of weaving, embroidery, artistic and decorative processing of wood and metal, in the design national costume and home decoration. Through all this, the Bashkirs expressed their attitude to nature and to the life of society.

In the Middle Ages, such types of fine arts as rock carvings, monumental sculpture and architecture were developed in Bashkortostan. Rock outcrops were used to make rock paintings. On their smooth surface, figures of animals and birds were applied with paint or engraving. The most peculiar among them are the figures of a man with a bow. In miniature works of applied art of nomads, bears and horses were especially often depicted in the form of pendants and amulets. Bears are usually depicted standing on all four legs and with their heads down. In the image of horses, the veneration of this noble animal was expressed; with such love and skill, they performed the contour of a peacefully resting animal. Some masters depicted horse figures in a double form. This had a certain meaning: as if it strengthened the protective value of the amulet for its owner, protected from evil forces from all sides.

The pre-revolutionary decorative and applied art of the Bashkirs was most often limited to the needs of the family. Marriage was an important event in a woman's life. A large number of woven and embroidered things were prepared for the wedding: a patterned sharshau, a wedding suit for a girl and a groom, towels, napkins, scarves for dowry and for wedding gifts. During the period of preparation for the wedding, the creative abilities of the girl and her skills as an embroiderer and weaver were most fully revealed. IN regular time in the circle of family concerns, there was almost no time for creativity. Only a few, the most talented craftswomen continued to do what they loved. Their fame often went far beyond the village.

The rare gift of carving became the occupation of the whole life of some men. Carved ladles, bowls and tubs for koumiss, made by their golden hands, were in great demand at local bazaars and fairs. Experienced carvers carefully kept and passed on the secrets and secrets of applied art from generation to generation. Young masters enriched and improved it.

The decorative and applied art of the Bashkirs has undergone periods of rise and fall in its history. But still, to this day, it has conveyed wonderful samples of cultural works created by the hands of folk craftsmen from the Bashkirs. One of the important conditions for the further successful development of modern arts and crafts is a deep and comprehensive study of folk art. Therefore, scientists today study Bashkir applied art, find out its origins and history of development. They reveal, collect and publish in the form of albums the best works of folk masters. And applied artists and craftsmen rely on this experience in their work.

Bashkir folk ornament

One of the most popular types of decorative and applied art of the Bashkirs is folk ornament. Translated from Latin, "ornament" means "decoration, patterns." Bashkirs have long adorned horse harness, household utensils, clothes, shoes, and dwellings with diverse, brightly colorful ornaments. The first gift of the Bashkir bride to the groom consisted of undershirts, footcloths, and handkerchiefs embroidered with ornaments on white linen. The bride's dowry included pillowcases, a tablecloth, curtains - sharshau, embroidered with lush patterned ornaments. If there were elderly, believing members of the family in the groom's family, the bride would embroider a namazlyk rug on dark blue or dark green linen for them. At the same time, ornamental patterns were created in accordance with the taste and imagination of the performers, and were passed down from generation to generation. According to the execution technique, in most cases they were manual: it was this method that was more accessible to a woman.

The Bashkir folk ornament had a great influence on the ornaments of other peoples and was itself enriched with drawings transferred from other cultures. The Bashkir ornament today is successfully mastered by local craftsmen for the production of carpets, scarves, shirts, blouses, napkins, wooden utensils, gift souvenirs. Bashkir craftsmen - carvers contributed to the decoration of dwellings. Shutters are elements conditioned by the entire internal structure of folk culture. At the same time, preference is given to traditional ornamentation, for example, complex compositions of S-shaped figures, the horn-shaped pattern “kuskar”. In home decoration important place occupies also the color. More commonly used in coloring White color, somewhat less often - blue and light blue tones in combination with white. Less common is the use of light green and light yellow flowers. The platbands ended with cornices. They were given different forms. For example, the shape of a sloping arch, the ends of which were straight segments, bent upwards. Under-eaves boards were decorated with curly overlays. It is customary to place silhouettes of birds on the window sill and above the cornice of the casing. The windows of the houses are provided with shutters. Shutters were carved or painted. Master carvers made a circle, a semicircle, a rhombus to a shallow depth in combination with other simple shapes.

Decorative and applied art of the Russian people

In a sincere Russian song, in the architectural ensemble of white-stone Suzdal, in the colorful drawing of a Mezen spinning wheel, in frosty pattern Vologda lace, in folk wood carving, in a naive and joyful in color Vyatka toy, we capture for us the ideas of the people about true beauty, generous and talented craftsmanship, the eternal desire for beauty. The emergence of folk arts and crafts refers to initial periods development of material production. This art was born by the very life of the people, in the process of labor, from a natural desire for beauty and creativity. A characteristic feature of the works of Russian folk art is colorfulness and decorativeness. Bold, often specific color combinations distinguish the works of the folk master, making them unusually attractive. The researcher of Russian folk applied art M.N. Kamenskaya notes that in the decorative and applied art of folk masters, two types of images are clearly distinguished - narrative and ornamental. Among plot images First of all, the images of animals and birds should be noted. Often these images are symbolic meaning. The lion, leopard and eagle symbolized strength, power, the falcon personified courage and courage, the image of a young girl personified spring, etc. Apart from symbolic images, fairy-tale images were also widely used: the Sirin bird, Kitovras - half-man - half-beast, unicorn - a horse with a horn in its forehead, a winged beast vulture, etc., created by folk fantasy. They are found in all types of folk art for many centuries. Based on images of wildlife, these images at the same time retained the features of traditional conventionality. great development in the folk applied art of the past reaches the ornament. It consists mainly of diverse plant forms, which often include images of animals and birds. Floral ornaments decorative conditional. Freely filling the surface of various objects and products, the ornament leaves almost no background. Separate elements of geometric ornament deep historical roots. They came from the Slavs - the pagans who inhabited the territory of Ancient Rus' in the past.

In the pedagogical process, art, as in life, comes from the communication of people with each other, from communication with nature. In the luxurious patterns of Khokhloma there is a variety of colors of herbs and berries of the nature of central Russia. Fantastic bouquets of Gorodets cups, daisies, decorating naive plots from the life of merchant gentlemen and young ladies, seem to embody moral and aesthetic ideals common people Rus'. Therefore, decorative art is not something isolated, special in people's lives, it exists and is organically combined with everyday life, work, holidays, customs, and traditions of the people. Therefore, a genuine feeling of love for folk art cannot be brought up if children are not introduced to nature, folklore, everyday life, customs, and traditions of this people. For example, it is impossible to fully feel, understand the world fame Dymkovo toys, if you do not know the Russian village, its history, customs. The ideal of a rural beauty as strong, dexterous, healthy, ruddy was embodied in the image of a strong woman with a child, in a stately proud beauty - a water carrier.

The works of folk decorative art are colorful and bright. Bold contrasting color combinations, special color saturation are typical for most folk paintings. Russian decorative and applied art is famous for its traditions. It is unique in terms of the variety of materials, colors and folklore patterns: there are dishes, clothes, toys, gingerbread, carved platbands and gates, forged lattices, painted scarves, Jewelry- just do not count.

Domestic teachers A.P. Usova, N.P. Sakulina, E.A. Flerina, N.S. Karpinskaya, V.M. its culture, contributes to the education of patriotic feelings, introduces to the world of beauty. Decorativeness, expressiveness of color and plasticity, narrowness of the ornament, a variety of textures of materials - that's characteristics works of folk applied art that are consonant with the aesthetic sense, perception and understanding of children. Both in the works of folk art and in the work of children, everything is joyful and colorful. Both here and there, life is perceived and depicted in upbeat, major tones.