Andrianova Arina, Makarova Daria
Folk arts and crafts: painting on wood and the history of the emergence of painting in the Republic of Tatarstan
Target: Analysis of the state and trends in the development of folk art crafts of the Republic of Tatarstan.
Tasks: 1. to cultivate a sense of patriotism through the artistic heritage of our region;
2. to instill love for folk traditions;
3. to form the skills of working on the established traditional folk methods of painting on wood.
Object of study: painting on wood
Subject of study: painting technology
Study participants: school students
Hypothesis: Inciting interest in folk art, and obtaining skills and abilities in this area, is possible only with close acquaintance, and immersion in historical roots through independent creativity.
Relevance: Folk art crafts of the Republic of Tatarstan are an integral part of the national culture. They embody the centuries-old experience of the aesthetic perception of the world, turned to the future, preserved deep artistic traditions that reflect the originality of the culture of the Tatar people. The folk art crafts of our Motherland are both a branch of the art industry and a field of folk art. The combination of traditions, stylistic features and creative improvisation, collective principles and views of an individual, man-made products and high professionalism are the characteristic features of the creative work of craftsmen and craftsmen of the Republic of Tatarstan.
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III International Scientific and Practical Conference "Discovery"
Municipal Budgetary Educational Institution
"Yulduz secondary school"
research work
Job done
Andrianova Arina, Makarova Daria
5th grade students
MBOU "Yulduz secondary
comprehensive school"
Chistopolsky municipal district of the Republic of Tatarstan
Work manager
Andrianova Irina Kabirovna
art teacher
Russian Federation
Chistopol, RT-2016
Full title of the work topic | Artistic crafts of the Republic of Tatarstan: painting on wood |
Section name | "The language of sounds and colors" |
The type of work | Research work |
Age nomination | 10-12 years old |
Andrianova Arina, Makarova Daria |
|
Place of study | MBOU "Yulduz secondary comprehensive school" Chistopolsky municipal district of the Republic of Tatarstan |
Class | |
Place of work | Circle "Palette" |
Work manager | Andrianova Irina Kabirovna teacher of fine arts MBOU "Yulduz secondary comprehensive school" Chistopolsky municipal district of the Republic of Tatarstan Email: [email protected] |
I. Introduction……………………………………………………………………4
II. Theoretical part
1. Features of the folk craft of our region………………………5
1.1. The history of the emergence of painting on wood………………………….5
1.2. Features of the Tatar ornament ………………………………….7
III. Practical part
1. The practical significance of folk craft……………………… 10
Product material ………………………………………. …………………ten
IV. Conclusions…………………………………………………………………..11
V. Sources………………………………………………………………..12
INTRODUCTION
Research topic:Folk arts and crafts: painting on wood and the history of the emergence of painting in the Republic of Tatarstan
Target: Analysis of the state and trends in the development of folk art crafts of the Republic of Tatarstan.
Tasks: 1. to cultivate a sense of patriotism through the artistic heritage of our region;
2. to instill love for folk traditions;
3. to form the skills of working on the established traditional folk methods of painting on wood.
Methods:- the method of compositional and artistic analysis was used in a detailed study of artistic painting on wood;
the method of longitudinal research (conducted for a long time) was based on the study of literature on the art of the Republic of Tatarstan, visiting museums of local lore, in order to get acquainted with the Tatar crafts; practical classes in the circle of fine arts.
Object of study:painting on wood
Subject of study:painting technology
Study participants: school students
Hypothesis: Inciting interest in folk art, and obtaining skills and abilities in this area, is possible only with close acquaintance, and immersion in historical roots through independent creativity.
Relevance: Folk art crafts of the Republic of Tatarstan are an integral part of the national culture. They embody the centuries-old experience of the aesthetic perception of the world, turned to the future, preserved deep artistic traditions that reflect the originality of the culture of the Tatar people. The folk art crafts of our Motherland are both a branch of the art industry and a field of folk art. The combination of traditions, stylistic features and creative improvisation, collective principles and views of an individual, man-made products and high professionalism are the characteristic features of the creative work of craftsmen and craftsmen of the Republic of Tatarstan.
Theoretical part.
- Features of folk craft of our region.
The history of wood painting
One of the most ancient types of folk crafts, which for several centuries have been an integral part of the daily life and original culture of the people, is artistic painting. Archaeologists claim that the architecture of the Kazan Tatars goes back to the city buildings and estates of the ancient Bulgars. One of the advantages of this architecture is the art of ornamentation in the technique of woodcarving. Samples of such ornamentation from the time of ancient Bulgaria have not reached our time. However, the high skill of its carvers is evidenced by an oak facing plate found in the village of Bilyarsk on the site of the Bulgarian city of Bilyar from a wooden tombstone of the 12th century (it is stored in the National Museum of the Republic of Tatarstan). The front side of the overlay is decorated along the border with a carved vegetative ornament, testifying to the experience and high artistic level of woodworking.
A remarkable connoisseur of Tatar folk ornamentation, the first doctor of art history in the Volga region, Fuad Valeev (1921-1984), wrote that the ornamentation of the Tatar dwelling in different historical periods was carried out in different techniques: for the end of the 18th - beginning of the 19th century, notched and contour carving was characteristic, in the 19th century Especially widespread was the "deaf" and contour carving, from the end of the 19th century - sawn European origin.
The main means of decorating Tatar buildings are lancet and keeled pediment niches, pilasters, columns, patterns in the form of a grid of a rectangular or square outline, round rosettes of a floral nature, triangular or rhombic pyramids, bundles, etc. The miracle of the artistic processing of canne mora wood is the creation of a soft play of chiaroscuro due to the small and frequent relief. Another thing is a kind of polychrome (striped) coloring.
Using the simplest straight and curvilinear geometric, as well as floral patterns and their combinations, the Tatar master admires the ability to create complex and bizarre compositions using a stencil to decorate a house, fence, gate.
In the second half of the 19th century, colored glazing of the lower parts of window casings on the facade and on the pediment, and in the city - of balconies and terraces, became widespread. The most preferred colors are red, yellow, purple, green, blue and their shades. The passion of the village rich is painting on wood on the plane of the gable niches along the facade; the most common painting subjects are the "tree of life" and lush flower bouquets. However, this fashion during the formation of Russian capitalism was in fact only a revival of the art of painting, developed during the Golden Horde.
Tatar ornamentation with woodcarving and other ways of decorating a home in the process of its development were influenced by local traditions of the peoples of Turkic and Finno-Ugric origin, and later Russians. Wood painting developed in the modern folk art of the republic in a new quality - in the form of the Tatar "Khokhloma", which became widespread in the creation of souvenirs.
Products differed from the traditional Khokhloma ones, both in purpose and in form and color. When painting products, craftsmen use the motifs of the Tatar ornament and the colors characteristic of national art. (see Attachment)
1.2. Features of the Tatar ornament
The Tatar folk ornament represents 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. Fine examples of the Tatar ornament have found a vivid expression in various works of the 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. The motifs and patterns of various household products, as well as the ornamentation of the dwelling, reflect the richness of the artistic thinking of the people, a subtle sense of rhythm, proportion, understanding of form, silhouette, color, and material. There are several types of ornament:
1. Floral and floral ornament. The richest world of plants has always inspired folk masters and craftswomen in their work. Floral ornament is widely used in almost all types of art of the people and strikes with the abundance of floral motifs, the picturesque interpretation of them, and the richness of color combinations.
2. Zoomorphic ornament. Nature gave the creators of folk art the opportunity to widely observe the world of living images. The motif of the bird has been most stably preserved in the work of the people. Many beliefs, fairy tales and legends are associated with the image of the bird. In the view of the people, the bird has been a symbol of the sun and light since ancient times, a mediator between the soul of man and the sky. Even in the recent past, in the custom of the Tatars there was fortune-telling by the cry of a bird. You can find a wide variety of variations of mostly contour images of birds. Most often they are presented with open beaks and wings, two heads and tails branched to the sides. Pigeons are usually treated in a paired heraldic composition.
3. Geometric ornament. Among the diverse motifs and patterns of the Tatar ornament, a significant place is occupied by geometric ones. True, they are inferior in their distribution to floral and floral patterns, but nevertheless they are also widely used in decorating rural dwellings, jewelry and patterned weaving.
The pattern building system has been familiar to man since ancient times.
The composition of patterns was based on the creation of certain rhythms, repetitions, alternation of various motifs.
The following compositions are found in the ornament: the ribbon composition is formed from rapports with parallel guides, the heraldic (reverse) composition is based on the symmetry of the image with respect to the vertical, and in some cases, to the horizontal axis.
Mesh (carpet).
Central beam or radical, rosette composition. In this composition, the pattern pattern is based on axial rays emanating from one center.
Composition in the form of a flower bouquet.
Color:
The Tatar ornament is characterized by multicolor, which begins with the base. Preference was given to bright saturated colors: green, yellow, purple, blue, burgundy and red. A colored background is a must in multicolor embroidery. It enhances one range of colors and softens another. And in general, it contributes to the creation of rich color harmony. Thanks to the colored background, the composition of the ornament became clear, rhythmic and soft in color transitions.
There is great freedom in the colors of plant patterns and their elements: leaves, flowers, buds, even on the same branch, were made in different colors. And besides, individual flower petals, their veins, individual elements of leaves were made in several colors. A favorite method of color composition is the method of contrasting "warm" and "cold" tones. The background usually has a red and white and red color scheme. The patterns usually feature from 4 to 6 different colors. The prevailing place is occupied by blue, green, yellow and red tones. Despite the color saturation and brightness of patterned fabrics, they do not seem overly variegated, thanks to the colored background, which cancels out the bright color ratios. Rich patterns are distinguished by the richness of the colors used: green, blue, yellow, blue, red, purple. All these colors are taken in full tones and have different shades. The color schemes of the patterns are characterized by a combination of green with red, blue with purple. Usually the master or craftswoman sought to create bright color contrasts. With any combination of colors and their brightness, and the overall color scheme, the impression of flashy variegation is never created. This is facilitated by a colored background, which softens or vice versa reveals individual color spots.
Practical part.
2.1. The practical significance of painting on wood
What the master needs:
Materials. The main material for painting is paint. When painting wood, the same paints are used as in painting: oil, tempera, gouache, watercolor, as well as aniline dyes. Tools.
The main tool of the master of painting is a brush. Most often, round squirrel and kolinsky brushes of different sizes are used for painting: - round kolinsky No. 1 and No. 2 with a pile of medium length (for contouring and stroking with black paint), - round squirrel No. 2 and No. 3 for applying red paint,
Flat synthetic or bristle No. 4,5,6 for applying primer and for varnishing. The ideal brush for painting should resemble a drop, a seed, a candle flame. The wooden tip of the brush is also working - it is used as a “poke” for applying dots: “seeds”, “dewdrops”. A palette is needed to mix paints, to remove excess paint from a brush.
Final finishing of the painted product. Lacquer coating allows you to protect the painting on wood from the effects of the external environment: moisture, temperature changes, active substances. In addition, covering materials - drying oil, varnish, mastic - give the product an additional decorative effect. Processing a product with varnish is also a kind of art. It happens that a beautifully painted thing under an incorrectly selected or poorly applied varnish loses its attractiveness. It is no coincidence that at the enterprises of art paintings there is a profession of lachila. Oil varnish PF-283 (4C) has proven itself from the best side and is most suitable for work. It is best to put the received item in a clean box with a lid that has been wiped with a damp cloth beforehand, or simply cover it with a box on top so that less dust settles and the smell of varnish does not spread. When dried, a glossy elastic surface is formed, which has improved physical and mechanical properties and is stable in contact with water.
Conclusion:
So, summing up the results of the study, we conclude that the national painting changes the very image of the product. It becomes more expressive at the level of colors, rhythm of lines and proportionality. It is an integral part of the identity of the Tatar people. Wood painting has long attracted the attention of folk craftsmen in architectural art. Fortunately, in the Republic of Tatarstan today various types of wood painting have been preserved and are developing, echoing the peoples of Russia, and acquiring their own national identity in household items.
Conclusion
We are convinced that it is necessary, as early as possible, to join the folk culture. Mastering special skills and especially skills, you are enthusiastically involved in the manufacture of objects of decorative and applied art. This favorably affects the general artistic development, the formation of creativity, accustoms to diligent, conscientious work.
In the process of doing the work, we painted decorative boards, learned the techniques of painting. Our task was to get acquainted with the history of the development of the artistic craft of the Tatar people, to arouse interest among peers in folk art, to give the joy of creativity, which we successfully coped with.
List of used literature
1. Album "Folk Artistic Crafts of Russia" Comp. Antonov V.P. M., 1998.
2. Alferov L.G. Painting technologies. Wood. Metal. Ceramics. Fabrics. - Rostov-on-Don: Phoenix, 2001.
3. Voronov V.S. Encyclopedia of applied creativity. - M., 2000.
4. Valeev F.Kh. Ancient art of Tatarstan. - Kazan, 2002. - 104 p.
5. Culture of the peoples of Tatarstan \ ed.-comp. L.A.Kharisova. - Kazan, 2005. - 367p.
6. Nurziya Sergeeva "Ebiemnen Sandygy". - Kazan, 1995
7. Folk craft.: - St. Petersburg, State Russian Museum, Palace Editions, 2000 - 12 p.
8. Fuad Valeev. "Tatar folk ornament". - Kazan, 2002
Application
Fig.1
Examples of the fusion of geometric and floral ornaments
Floral ornament
Fig.2
Examples of varieties of Tatar ornament
Fig.3
Contemporary examples of wood painting
Set of plates with Tatar ornament
FOLK ART AND ART CRAFTS OF THE PRIKAMIE TATARS.
In the south districts of Perm. region - Bardymsky, Kungursky, Osinsky, Ordinsky, Oktyabrsky - a large group of so-called. Bartymsky or Gaininsky Tatars, leading their origin from the Kazan Tatars, who settled here to the end. 16th century
Nars were developed in the Tatar villages. crafts and crafts: weaving and embroidery, making headdresses and shoes, wood carving and pottery, jewelry craft.
One of the most common types of home craft among the Tatars from time immemorial was weaving. Women wove tablecloths, curtains, towels (tastomals) with ornamented ends. On a red-brown background, pairs of large stepped rosettes were woven using the flooring technique. Bright patterned and striped rugs were woven using the traditional embedding technique. The traditions of weaving festive tastomals and rugs have been preserved to this day.
Embroidery occupied a significant place in the needlework of Tatar women. They embroidered mainly household items: towels, tablecloths, bedspreads, special rugs (namazlyk) curtains, wedding shoes. They embroidered most often with chain stitch, less often with satin stitch. Currently, of all types of bunks. the art of embroidery is the most developed. In everyday life of Tatar families - embroidered pillowcases, curtains, valances, napkins, etc. The most common technique is satin stitch, floral ornament is popular.
Women were engaged in embroidery with gold and silver thread, thread, pearls and beads, which were used to embroider women's hats (kalfak, skullcap, scarves, tastar), velvet shoes (shoe), men's skullcaps (kelepush), etc.
Traditional for the Tatar masters was the manufacture of the so-called. Asian shoes. Men's and women's ichegs were sewn from pieces of multicolored thin leather (morocco), the seams of which were embroidered with silk. Characteristic skin colors for Ichegs are yellow, dark red, green, blue, blue. The manufacture of patterned felt boots with an ornamented top was popular.
Tatar craftsmen were engaged in jewelry craft, creating jewelry that was the details of a dress or headgear (buttons, clasps) and jewelry for an independent purpose (bracelets, braids). Tatar jewelry was made of metal, precious stones and fabric. Most often used silver, owned the technique of gilding. Jewelry was made using the technique of casting, embossing, and filigree was widely used. The masters decorated the works with engraving, inlay, and notch. Most often, a floral ornament was applied, less often - a geometric one. The ornament of Tatar jewelry was archaic, fixed for centuries, the motifs and details of the ornament were passed from one master to another. A significant place in the decoration of the costume was occupied by coins, which were used as pendants or sewn to jewelry.
tatar culture mektebe weaving
The main defining feature of which is the collective nature of creativity, manifested in the continuity of centuries-old traditions. First of all, the technological methods of manual labor, transmitted from generation to generation of folk craftsmen, are successive. The works of traditional manual labor bring to us many artistic images that connect our time with the culture of antiquity. Arising at the earliest stages of human development and accompanying the people at all stages of their life, folk art forms the basis of national culture.
From ancient times, when making household items, the craftsman sought to give them a beautiful shape, decorate them with ornaments, i.e. thereby turning ordinary things into works of art. Often the shape of the product and its ornament also had a magical, cult purpose. Thus, one and the same object could simultaneously satisfy the real needs of a person, meet his religious views and correspond to his understanding of beauty. This is syncretistically characteristic of art, which was inseparable from folk life.
Tatar folk arts and crafts, being part of both the material and spiritual culture of the ethnic group, includes various types of artistic creativity associated with the design of dwellings, costumes, traditional ritual and festive culture. Over the centuries, Tatar folk art has developed into a kind of synthesis of settled agricultural and steppe nomadic culture. In the most developed types of folk art of the Tatars (leather mosaic, gold embroidery, tambour embroidery, jewelry art, mortgage weaving), the traditions of the ancient sedentary urban and steppe nomadic cultures are clearly visible. A special role in the formation of this art belongs to the Kazan Khanate - a state with highly developed handicraft traditions, the origins of which are connected with the urban crafts of the Volga Bulgaria and the Golden Horde. After the collapse of the Golden Horde, the nomadic element swept over its once powerful and vibrant urban culture. And only in sedentary areas, primarily in the Kazan Khanate, its heritage was accepted, continued to live and develop, constantly enriched and nourished by the traditions of the local Finno-Ugric and Slavic-Russian population, reaching its peak in the 18th - mid-19th centuries.
Description of the presentation on individual slides:
1 slide
Description of the slide:
Folk crafts Completed by: educator of the 1st category Khakimzyanova Liliya Gabdraufovna
2 slide
Description of the slide:
The history of the national costumes of the Tatars Clothing is the most significant attribute of a particular nation. In the Middle Ages, one quick glance at a person was enough to determine who he was by nation, whether he was rich or poor, married or not. Of course, over time, clothing loses its national "color", but still remains one of the main and vital things in a person's life. The traditional clothes of the Tatars of the Middle Ages - loose shirts, women's dresses, hats, robes, shoes - both among ordinary people and among aristocrats largely coincided. Tribal, tribal, social and clan differences in clothing were expressed mainly in the cost of the materials used, the richness of the decor, and in the number of items of clothing worn. The clothes, created over the centuries, were very beautiful, and more than elegant. This impression was created by trimming clothes with expensive furs, traditional embroidery, decorated with beads and lurex, and lace ribbons.
3 slide
Description of the slide:
It is worth noting that the nomadic way of life had a great influence on the traditional clothes of the Tatars. Tatar craftsmen invented and sewed clothes so that they were comfortable for riding a horse, were warm enough in the winter season and were not hot and heavy in summer. As a rule, for sewing clothes they used such materials as leather, fur, thin felt from camel or ram hair, cloth, which they themselves made. In a word, everything that was constantly at hand for people who have been engaged in cattle breeding from time immemorial was used as a material.
4 slide
Description of the slide:
Let's see how the clothes of a Tatar changed from his birth and in the process they put on a shirt no earlier than six months later. And already only at the age of 3-4 years, children began to dress in clothes very similar to the clothes of adults. The children's clothes of boys and girls were similar. There were no “girlish” and “boyish” clothes, and the difference between the sexes was manifested in jewelry and accessories and colors. The clothes of girls and women, as a rule, were of bright colors of blooming nature: red, blue, green. As for boys, as well as men, black and blue colors were mainly used in their clothes. Girls from the age of three until marriage wore simple silver earrings and modest smooth rings. At the age of 15-16, that is, having reached marriageable age, girls on holidays wore a full set of silver jewelry: earrings, breast jewelry, bracelets and rings. Having married, the modest girlish attire was replaced by numerous massive rings, earrings and belt plaques.
5 slide
Description of the slide:
The period of maturity of Tatar men and women was marked not only by the maximum set of jewelry, but also by changes in costume. The cut of shoes, bathrobes, dresses, hats changed. Women between the ages of 50 and 55, as a rule, put on simple jewelry again, and distributed their expensive jewelry to their daughters and young relatives.
6 slide
Description of the slide:
The traditional headdress for men was a skullcap (tubyatai), which is a small hat worn on the top of the head, over which they put on all kinds of cloth and fur hats (burek), felt hats (tula ashlyapa), ritual attire (turban). The earliest and most widespread type of skullcap was cut from four wedges and had a hemispherical shape. To preserve the shape and for hygienic reasons (ventilation method), the skullcap was quilted, laying twisted horsehair or cord between the lines. The use of various fabrics and ornamentation techniques in sewing made it possible for artisans to create an infinite number of their variations. Bright embroidered skullcaps were intended for young people, and more modest ones for the elderly. A later type (kalyapush) with a flat top and a hard band - originally became widespread among the urban Kazan Tatars, probably under the influence of Turkish-Islamic traditions (fias).
7 slide
Description of the slide:
The top hats were round “Tatar”, cone-shaped hats, cut from 4 wedges with a fur band (kamala burek), which were also worn by Russians, in particular in the Kazan province. Citizens used cylindrical hats with a flat top and a hard band made of black astrakhan fur (kara burek), and gray Bukhara merlushka (danadar burek). The headdresses of Tatar women, in addition to the main purpose, also indicated the marital status of the hostess. In married women, they differed in different tribes and clans, but the girlish ones were of the same type. It was customary for unmarried girls to wear "takiya" - a small hat made of fabric, and "burek" - a hat with a fur band. They were sewn from bright fabrics and necessarily decorated with embroidery or various stripes made of beads, corals, beads, silver.
8 slide
Description of the slide:
Leather boots - ichigi are considered the national footwear of the Tatars. It was their Tatars who wore everywhere and all seasons. For winter, these were high boots with a wide bootleg; for summer, boots were made of rawhide soft leather with high heels and a curved toe. Women's shoes were decorated with embroidery and appliqué. An important element in the clothing of the Tatars was the belt. To decorate it, the Tatars used wide, decorated silver and gold buckles. The belt was considered an inseparable thing of a living person, symbolizing his connection with the world of people.
9 slide
Description of the slide:
Jewelry for women is an indicator of material wealth and social status of the family. As a rule, jewelry was made of silver, gilded and inlaid with stones. Preference was given to brown carnelian and bluish-green turquoise, endowed with magical powers. Lilac amethysts, smoky topazes and rock crystal were often used. Women wore rings, rings, bracelets of various types, various fasteners for the “yak chylbyry” collar, and braids. Back at the end of the 19th century, a chest band was obligatory - a synthesis of amulets and decorations. Jewelry was passed down in the family by inheritance, gradually supplemented with new things. Tatar jewelers - "komeshche" - usually worked on individual orders, which led to a wide variety of items that have survived to this day. Traditionally, a Tatar woman wore several items at the same time - all kinds of chains with pendants, watches, and always one with a hanging korannitsa, were complemented by beads and brooches.
10 slide
Description of the slide:
The traditional clothes of nomads were preserved until the beginning of the 20th century. After the conquest of the Tatar khanates by the Moscow principality, the introduction of Russian culture began. The fashion for round felt hats with a flat top has come - fezzes. Wealthy Tatars wore a fez, and a shorter fez - a skullcap, was worn by the poor. Today, modern Tatars wear European clothes. True, modern Tatar folklore and amateur song and dance ensembles wear European clothes mixed with Islamic clothes of the 18th century. and the beginning of the 19th century, they put a skullcap on their heads and dance, dance, sing songs, convincing people that they are performing in national Tatar clothes.
Among the ancestors of the Tatars there were many artisans. Masters lived in almost every village. There were those whose products were worth their weight in gold. Such craftsmen were known far beyond the village.
Alas, the ancestors of the Tatars lost many types of crafts even before the 1917 revolution. By the beginning of the 20th century, they stopped weaving carpets and complex patterned fabrics, stone carving and some jewelry crafts disappeared. Only in some villages, masters continued to embroider with gold on headdresses - skullcaps and kalfaks, felt products from felt, and weave lace. Woodcarving, simple patterned weaving, embroidery, blackening on silver, and the manufacture of leather mosaic shoes lasted the longest.
Where did the artels work?
In the 1920s, Tatar craftsmen united in artels. According to them, one can trace the geography of the existence of folk crafts on the territory of the republic.
- Gold embroidery - Kazan.
- Leather mosaic - Kazan.
- Embroidery - Kazan, Kukmorsky district, Chistopol.
- Patterned shoes - Kazan, Arsky, Laishevsky, Pestrechinsky, Dubyazsky (now Vysokogorsky) regions.
- Weaving - Menzelinsk, Naberezhno-Chelninsky (Sarmanovsky), Alekseevsky, Laishevsky districts.
- Felt carpet weaving - Dubyazi (Vysokogorsky district).
- Woodcarving - Sabinsky, Mamadyshsky districts.
- Lace making - Rybnaya Sloboda.
- Jewelry craft - Kazan, Rybnaya Sloboda.
- Artistic metal - Arsk.
- Ceramics - Laishevsky district.
How looms were dispossessed
In the 1920s, Tatar artisans began to work in artels. It was then that our craftsmen became famous throughout the USSR, as well as in Europe and the world, because their products were exported. In those years, the works of Tatar craftsmen were exhibited in Paris, Monza-Milano, Leipzig, Riga, Prague, and Vienna.
At the All-Union Agricultural and Handicraft-Industrial Exhibition in Moscow in 1923, a whole pavilion of the Tatar Republic was dedicated to their work. Visitors saw tambour embroidery, headdresses embroidered with silver thread, jewelry, ceramic jugs, carved wooden dishes and caskets. And at the exhibition “The Art of the Peoples of the USSR”, the masters presented products in the technique of artistic weaving, gold embroidery, leather mosaics and others.
Everything changed by the early 1930s. Old-timers recalled that in the Tatar villages, which were famous for their artistic crafts, jewelers, weavers, and carpet weavers were considered kulaks. During dispossession, they burned looms and other ancient craft tools and implements. Someone continued to practice the craft secretly, but most preferred not to risk it.However, in the 1980s, researchers noted that traditional folk art still survived as home crafts. With their own hands they did basically what was needed in everyday life - they wove rugs and rugs, weaved utensils from a wicker, hung carved platbands on the windows. But only single masters were engaged in tambour embroidery, carpet weaving, blackening on silver. But the techniques and patterns used by artisans have changed. What did the Tatar masters prefer in the old days?
Mortgage and warp weaving
On wooden looms, patterned fabrics were woven by hand from multi-colored linen, hemp and woolen threads. Since ancient times, the threads were dyed with vegetable, and later with aniline dyes. Tatar craftswomen used their weaving techniques, they knew how to correctly thread the threads into the loom so that even the most complex weaving pattern was formed. Wide white towels with red patterns were used for various ceremonies, for example, weddings or when meeting guests with bread and salt.
Samples of towels from the beginning of the 20th century from the funds of the State Museum of Fine Arts of the Republic of Tatarstan Photo:
Hand carpet weaving
Probably, many have seen checkered paths in the villages. To make them, craftswomen spent months collecting scraps of fabric, sorting them by color and winding them into balls. In the old days, not only rugs were woven on hand looms, but also bright carpets. Ornaments were usually large, geometric in green-blue and golden-yellow tones. For contrast, the background of the carpet, most often, was dark. Usually several panels were woven, which were then connected and sheathed with a border. By the way, carpets and wall panels were also made from felt.
Woolen handmade carpet. Yelabuga, 1980s Photo:
Tambour embroidery
Embroidery is considered one of the oldest types of artistic creativity of the Tatars. It was decorated with household items, folk costumes. Tambour embroidery was named after the type of stitch used in it, similar to a chain with a simple anchor weave. The contours of the patterns were made with a tambour stitch and large elements - petals, leaves - were filled in. To speed up the process, the craftswomen used not an ordinary needle, but a hook.
Velvet pillow embroidered with chain stitch, 1960s Photo:
Golden sewing
Such embroidery adorned headdresses, dresses and camisoles, bedspreads and hasite - a chest band. Bouquets, golden feathers were embroidered on thin velvet, velor, and sometimes on silk and other fine fabrics, as well as on leather. They used not only metal gold and silver threads, but also a gimp - a thin wire twisted into a spiral. Over time, silver and gold threads were used less and less, usually they were coated copper threads.
Golden embroidery with a thread. Photo: AiF / Nail Nurgaleev
Bulgarian cross stitch
This type of embroidery is a later one, it was also widespread in the 20th century. The Bulgarian cross resembles ordinary cross-stitch, only the crosses are superimposed one on top of the other in such a way that an element is obtained that looks like an eight-pointed snowflake. Cross-stitch used to be embroidered, for example, wedding and other homespun shirts, towels, pillowcases, curtains, tablecloths.
Bobbin lace
The most famous lace makers lived in Rybnaya Sloboda and Pestretsy. Lacy napkins, paths, collars were still woven by serfs, their works were sold even abroad, calling them "Brussels" lace. There were also geometric patterns, floral ornaments, images of animals on the products. In Rybnaya Sloboda, lace products were bordered with a thick thread, which distinguished the products from the works of other masters. At the beginning of the 20th century, Tatar lace makers received a prestigious award at an exhibition in Chicago.
leather mosaic
This ancient craft of the Tatars has received worldwide recognition. Tatar masters mainly made patterned boots - ichigi from multi-colored pieces of leather, collected in a floral, floral ornament. They say that even Torzhok gold-embroiderers, trying to keep up with the Tatar craftsmen, began to decorate shoes with gold embroidery. Later they began to make shoes, pillows, pouches and other products using the technique of leather mosaic. This industry is still alive today.
Ichigi. Photo: AiF / Maria Zvereva
Ceramics
It was common among the Kazan Tatars until the 16th century, and was revived only in the middle of the 20th century. In the old days, craftsmen made not only dishes for everyday use - jugs, dishes, and more, but also glazed facing tiles with geometric and floral patterns and decorative bricks with bows, which were used for decoration in construction. For beauty, the jugs were covered with white, red or gray clay, stripes were applied, with the help of which a pattern was created. Each master branded his work, by this sign one could recognize the hand of the craftsman.
Glazed earthenware, 1960s Photo:
Artistic metal processing
From copper, bronze, silver, the ancestors of the Tatars made household utensils, decorations for clothes, weapons, horse harness. Various techniques were used - casting, chasing, embossing, stamping, metal engraving. From the 16th century, craftsmen switched to making various vessels, trays, and forged chests. Coppersmiths, as the masters of artistic metal processing were called, were in every Tatar village. Most of them minted kumgans - a jug with a narrow neck, a spout, a handle and a lid. The spouts of kumgans were made, for example, in the form of heads of animals and birds.
Engraved copper tray and bowl, 1980s Photo:
jewelry craft
The ancestors of the Tatars perfectly mastered the techniques of blackening, casting, engraving, chasing, stamping, inlaying with gems, engraving on gems, cutting precious stones. The finest work went to the filigree makers. They made decorations, for example, in the technique of tuberculate filigree - when gold and silver wires ended in several curls combined into a cone. Kazan was the center for the production of such complex jewelry. They made bracelets blackened with silver, laced hair ornaments - chulpas, which were woven into braids. In each product, the hand of the master was so noticeable that the jewelers did not even put their mark, they say, so everyone will know. Ancient rings, rings, earrings in Tatar families are kept as relics. In the Kryashen villages, women's breastplates made of minted coins and plaques have been preserved.
Women's breast jewelry with filigree. Photo: AIF-Kazan / Ruslan Ishmukhametov
Carving and painting on wood
Craftsmen made household utensils from wood - chests, dishes, spinning wheels, horse arches, carts. Used oak, birch, maple, linden, aspen, pine. These products were characterized by elegant carved ornaments and bright color painting. At the beginning of the 20th century, many craftsmen traded with painted wooden spoons with floral patterns. In the Soviet years, such a thing as "Tatar Khokhloma" appeared. Souvenir products under Khokhloma were produced in workshops at timber industry enterprises. In fact, the ancestors of the Tatars did not use the black background characteristic of Khokhloma in painting on wood. Black color was rarely used in painting on wood, only to separate elements. More often they took bright red, orange, gold paints.
Woodcarving. Photo: AIF-Kazan / Ruslan Ishmukhametov
