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Textiles in the decorative art of the Bashkirs. Bashkir arts and crafts: historical and cultural specifics

Textiles in the decorative art of the Bashkirs. Bashkir arts and crafts: historical and cultural specifics

10.04.2019

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 material culture 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 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 of the 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. For execution rock carvings exposed rock outcrops were used. 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 items were prepared for the wedding: a patterned sharshau, a wedding suit for a girl and a groom, towels, napkins, scarves for a dowry and for wedding gifts. In the period of preparation for the wedding, the most fully revealed Creative skills girls and her skill as an embroiderer and weaver. In ordinary times, 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 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. Reveal, collect and publish in the form of albums the best works folk craftsmen. 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 elements conditioned by everything internal structure 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”. Color also occupies an important place in the decoration of dwellings. In coloring, white is more often used, somewhat less often - blue and light blue tones in combination with white. Less common is the use of light green and light green 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 the sincere Russian song, in the architectural ensemble of white-stone Suzdal, in the colorful drawing of the Mezen spinning wheel, in the frosty pattern of Vologda lace, in folk woodcarving, in the naive and joyful in color Vyatka toy, the people's ideas of true beauty, generous and talented craftsmanship are captured for us. , the eternal pursuit of beauty. The emergence of folk applied art belongs to the initial periods of the 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 the plot images, one should first of all note the images of animals and birds. 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. In addition to symbolic images, fairy-tale images have also become widespread: 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. Ornamentation achieved great development in folk applied art of the past. It consists mainly of diverse plant forms, which often include images of animals and birds. Floral ornaments are decoratively 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 the moral and aesthetic ideals of the common people of 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, one cannot fully feel, understand worldwide 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 architraves and gates, forged gratings, painted scarves, jewelry - you can’t count everything.

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 - these are the characteristic features of the 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.

Mavlyutova Z.A.

The life and development of the peoples of Russia is based on centuries-old socio-historical experience and cultural potential. At the same time, the ethno-cultural image of each people, while retaining its fundamental properties, is at the same time constantly enriched through creative cooperation and the exchange of achievements with other peoples. This is clearly confirmed by the history of the development of the Bashkir arts and crafts. In the Volga-Ural region, Finno-Ugric, East Slavic, Turkic peoples have long interacted ethnic groups, a unique social and confessional-cultural situation has developed. Political changes in the socio-economic sphere since the 16th century, when the region became part of Russia, led to a number of features of material and spiritual culture, historical memory and ethnic identity of peoples.

The decorative art of each ethnic group is closely connected with its spiritual culture, as it participates in shaping the environment in which the life of the people takes place. Folk art enriches the worldview of people through the most ambitious representations, reflects the model of the world, which is embodied in certain compositions and motifs, plots and forms. Currently, there is an intensive revival of traditional crafts and types of arts and crafts - as in professional field, and directly in everyday household practice of people.

So, the ways of development of the Bashkir folk art and the formation of its subject environment depended on the natural and climatic conditions and the prevailing historical and cultural situation. The natural environment determined the special forms and principles of arranging the living space, costume and household items. At the same time, historical development made adjustments to individual components of folk art. Influenced by the development of production, changes social structure population, living conditions, new types of products and techniques for their execution, new features in the design of clothing and housing appeared.

Active contacts between the Bashkir population and neighboring peoples affected the introduction of new forms and elements in all areas of traditional art. With the adoption of Islam, new elements of a religious nature appeared in folk art, organically fitting into the usual structures (prayer rugs, skullcaps, turbans, sayings from the Koran in the interior). Comparative rarity plot motifs in the Bashkir arts and crafts is also associated with the influence of Islam, which forbade the depiction of humans and living beings.

The principles of formation of the composition of Bashkir clothing and the features of its functioning correlated it with housing and objects of decorative and applied art. The space of the dwelling, the objects served as a background for her, against which the clothes stood out due to the concentration of all decorative means. The use of natural materials that were at hand helped to fit the costume into a certain environment and bring it closer with other products. The spatial environment also formed all kinds of household products. For example, the presence of forests, stable traditions of economic activity ensured the development of woodworking and the use of tree species growing on the territory for this. Hence the variety of wooden dishes and utensils among the Bashkirs.

The traditional Bashkir house is a round latticed yurt, the design and decoration of the interior of which met the requirements of a semi-nomadic way of life. The yurt had a folding base, consisting of lattices and a dome, which were fastened together with leather straps and covered with felt on top. white color. The entrance was closed with a wooden double door. Under the hole in the dome, a place for a hearth was arranged.

The inner space of the yurt was divided by a curtain - sharshau into two halves - male, where there was an honorary guest place, and female. Each of them was decorated in a certain way.

Sharshau were woven from linen or cotton yarn. The patterns on them were made with colored wool, garus, and cotton threads were also used. In the central part, in the area of the guest place, the most valuable items in the life of nomads were placed - chests with property and bedding, felt mats and rugs, as well as the brightest items of clothing. On the side, to the left of the entrance, on the female part, there were utensils and dishes decorated with ornaments. On male half on the walls hung horse harness and weapons decorated with patterns and silver overlays - bows, quivers, hunting bags. By their location, they organized the interior space of the dwelling, at the same time being a means of decoration. Yurts ceased to be used at the beginning of the 20th century, so today you can see the peculiar decoration of the Bashkir nomadic dwelling only in local museums.

Decorative decoration of the house, its decoration with carved platbands, valances and friezes, the design of facade gables became widespread only in the 19th - early 20th centuries. in connection with the transition of the Bashkirs to a stable settled way of life. Motifs and images of decor, compositional techniques and methods of their execution were formed from several sources. The most important of them were the well-established traditions of folk ornamentation, through which long-established decorative and aesthetic views were transmitted. Bashkir people. However, folk art was mutually enriched. So, from Russian and Tatar peasants, the Bashkirs borrowed a lot of construction equipment, the principles of building villages and planning the estate, and ways of decorating houses.

Many carved decorations on Bashkir houses repeat patterns on architraves, friezes, pediments of Russian peasant houses. To a large extent, this is the result of borrowing or influence. However, it must be emphasized that the Bashkir craftsmen-carvers did not adopt all the patterns, but mainly those decorative elements, for the perception of which they were prepared by the internal development of their culture. In the Bashkir ornamentation, first of all, those patterns that coincided with the development trends of the fine arts of the Bashkir people were organically included.

In particular, the decoration of architraves among the Bashkirs largely relied, especially in the more distant past, on traditional folk ornaments and on the established technique of applying a pattern to wooden objects. The pattern applied with paint often repeated the ornament common on embroidery, weaving, and appliqué items.

Throughout eastern Bashkiria and in the Trans-Urals there are architraves made with the old mortise technique. Usually one pattern is associated with this technique - a semicircle with rays receding like a fan, depicting the rising sun. Sometimes a full solar circle is placed in the center of the window board, surrounded by smaller rosettes freely scattered over the entire area of the board. The main decorative load was carried by the wide top of the casing, on which the entire "cosmogonic" ornament was concentrated. Solar patterns, executed with a trihedral or moon-notched technique, were also used in the design of the Bashkir gates.

Solar ornament is one of the widespread themes in the art of many peoples. They decorated platbands or wooden household items among the Udmurts, Komi, Ob Ugrians, and the peoples of Altai. Architraves are well known in central Russia and often decorate the houses of the Russian population of the South Urals. This pattern has been used in Bashkir art since ancient times, decorating mainly traditional household utensils. Platbands with solar pattern The Bashkirs often painted, and in the coloring, as well as wooden utensils, green color prevailed.

size-medium wp-image-1959" src="http://futureruss.ru/wp-content/uploads/2014/12/htmlimage-300x224.jpg" alt="“Bashkirochki”, cutting board ( wood, painting, varnish), 2002, Ufa

The main area for the production of artistic dishes was the mountain-forest regions of the Urals. Here, at the junction of birch and linden forests - the main raw material for making dishes - most of the thin-walled ladles and elegant tepans preserved in the collections of Bashkortostan museums were created, surprising our contemporaries with the complexity of the pattern and the thoroughness of the workmanship.

The favorite theme of the Bashkir carvers was the image of a bird's head, in some cases resembling a black grouse or capercaillie, a duck. Perhaps there was once a rite of worship for the bird. Women gathered near the river in summer, drank tea, sang songs, and danced. Zoomorphic images are most clearly seen in the products of Bashkir craftsmen in the upper reaches of the river. White. The buckets of these places are characterized by a hemispherical shape, the end of the handle looks like a tuft on the head of a fabulous bird.

Among South Bashkir craftsmen, ladles are decorated with a rectilinear or zigzag border. In Orenburg regional museum ladles and a koumiss bowl, decorated on both sides with twisted handles connected by a wooden chain, have been preserved. The carving style suggests that it came from the same workshops as the ladles. Honey bowls were rarely decorated with carvings, but if the ornament was used, it was discreet and consisted of a narrow strip of shallowly incised triangles or corners located one above the other.

A special place among wooden products produced in the Western Urals is occupied by chains with up to 100 links, decorated with a ring with an inscribed figure of a running animal. In some cases, the beast resembles a marten or a fox, in others - a wolf, a bear. The figurines of animals are rendered clearly, the dynamics of their movement is emphasized with great skill.

Wooden products made in traditional technique undoubtedly constituted a special layer of spiritual culture and applied art of the Bashkir people.

In this connection important event in the development of folk traditions and their use in the manufacture of art products and souvenirs was the foundation in 1963 of the production association "Agidel".

It included disparate enterprises of the art industry: a carpet weaving factory, embroidery and knitting workshops in Ufa, the Birsk factory of wooden souvenirs and toys. The artists of the experimental workshop "Agidel" in their work still rely on the traditions of the Bashkir arts and crafts and the art of other peoples of Russia. They use folk ornaments, the traditional form of products, characteristic color combinations.

Agidel came to its creative rise after years of searching for large and small finds. These years can be called a kind of prologue in the history of "Agidel".

In 1974 - 1975 a huge restructuring of production unfolded, the creative enthusiasm of the adherents of the revival of the ethnocultural trend in decorative and applied arts developed against the backdrop of far from flattering conversations of its opponents at different levels. But at the exhibition in Moscow “Agidel-76”, the Bashkir Art Association gained its own style and official recognition.

In 1974-1977. in the Agidel association, new branches of wood painting were created. Known from the 17th century Khokhloma painting borrowed only the technology of the painting itself. Khokhloma painting, as you know, is distinguished by a characteristic combination of gold with black, red, green, sometimes brown and orange. Images of plants and berries, fruits, birds and fish form a whimsical patterned ornament. All this is inherent in a truly popular understanding of beauty and goes back to the rich artistic culture Ancient Rus'.

Bashkir craftsmen, relying on already developed technological methods, themselves developed the forms of products and their decorative structure, color, composition, and ornament. The assortment of products is also quite diverse - these are various sets of dishes for koumiss, honey, bishbarmak, katyk, as well as many individual items: spoons, glasses, dishes for utilitarian and decorative purposes.

Applied art, remaining a sphere of manifestation of the bright individuality of the artist, turns into collective creativity. This was reflected in the revival of numerous art crafts that convey the beauty and harmony of folk art through utilitarian objects and souvenirs.

The development of the Bashkir arts and crafts is currently carried out by different, but unfortunately complicated ways. In rural conditions, the individual creativity of local craftswomen continues to improve. Artistic crafts develop on the basis of folk traditions. National art is reflected in the work of Bashkir architects and artists. Each of these areas has its own history and difficult development.

Yes, in modern conditions do not find a place for labor-intensive production. The skills of embossing on leather and artistic processing of metal, which were previously necessary in the manufacture of horse harness and weapons, have been lost; Carved and painted coasters for chests and bedding are rare. For a long time they don’t weave large curtains - sharshau, they don’t make scolding canvases for clothes. At the same time, embroidery (tambour and satin stitch), carpet weaving, patterned knitting, and weaving continued to develop.

Recently, in Bashkir art, based on the technology of Fedoskino miniature painting, original lacquer miniature painting has been developed. The introduction of this industry in Bashkiria is justified by the fact that the culture of fine arts, its own school easel painting already formed. The combination of its best features with the traditions of decorative art gave an interesting artistic result.

So, the most important task of modern applied artists is not only to study and carefully preserve folklore elements in art, but also to develop it further. You can simply repeat folk traditions in patterns and shapes, or you can create completely new ones. The traditions of applied art of the Bashkirs, which originated many centuries ago, are carefully preserved by artists - masters who work today in the State Unitary Enterprise "Agidel". Their products combine beauty and functionality, the unique flavor of folklore and applicability in everyday life.

Working in conditions market economy, the team needed to make large-scale changes and mobilize forces to further development all types of diversified activities of the enterprise, for which a reform was carried out while maintaining all areas of production activity, the main types of which are the production of products with embroidery of table and bed linen, home decoration, as well as a group of clothes; production of turning products with painting in the national ornamental tradition; papier-mâché products and turnery with lacquer miniature painting; hand-painted on fabric, hot and cold batik; wood carving (volumetric and planar); national musical instruments: saz, dumbra, kyl-kubyz, kurai. The manufacture of Bashkir yurts - wooden structures - frames, the interior of which is made out at the request of the customer, remains a special craft. traditional items home decorations produced at the enterprise.

The enterprise takes part in exhibitions held in the republic and abroad (Alma-Ata, Moscow, London, Izmir (Republic of Turkey), etc.). At the fair of folk art crafts of Russia "Ladya-2006" "Agidel" was awarded a Diploma for the preservation of national traditions. Samples of products are stored in the museum of the enterprise, side by side with the works of old Bashkir masters brought by artists from ethnographic expeditions. The exhibits of the museum tell about the history and ways of development of the SUE BHP "Agidel".

Artists and craftsmen, with tireless diligence and professional skills, managed to preserve the spirit of their ancestors and national traditions Bashkir arts and crafts.

Literature

1. Vlasov I.V. Russians: folk culture (history and modernity). T.5. Spiritual culture. Folk knowledge. M., 2002. P.376.

2. Solovieva N.M. Russian souvenir. Easter eggs. M., 1997. P.7.

3. Bikbulatov N.V. Bashkir aul. Ufa. 1969. P.69.

The article is dedicated to the 450th anniversary of the voluntary entry of Bashkiria into Russia. This historical event, which determined the fate of the Bashkir people, to a large extent influenced the course of development of the general culture of the republic, the richness and diversity of which was formed on the basis of the interaction and mutual influence of national cultures, peoples living in Bashkortostan.

A vivid reflection of this synthesis was, which existed until the beginning of the 20th century only in the form of folk art.

The emergence of the first art exhibitions in Ufa dates back to the 1910s and is associated with the names of the first generation of Bashkir painters K. S. Devletkildeev, M. N. Elgashtina, A. P. Lezhnev, A. E. Tyulkin, I. I. Uryadov. Based on the experience of the Russian art school, their painting absorbed the aesthetics of folk life, literary and folklore heritage and cultural traditions of the Bashkirs. For several decades, these main components determined the themes and formed the main qualities of the local art school. Appeared in the republic only in the middle of the XX century printed graphics, sculpture and ceramics inherited these basic traits.

Paintings by R. M. Nurmukhametov, B. F. Domashnikova , A. F. Lutfullina, A. D. Burzyantseva, A. V. Panteleeva, A. Kh. Sitdikova, sculptural works A. P. Shutova, B. D. Fuzeeva, Z. R. Basyrova, ceramic panels, easel sculpture and small plastic art by T. P. Nechaeva, a series of etchings and lithographs by E. M. Saitov. .. The exposition of the Bashkir section at Russian and all-Union exhibitions since the middle of the century has become more and more complete in genre and species composition, and the works are more extensive and more interesting in content and artistic images.

By the 1960s Bashkir fine arts in the general context of the art of the country, it became a noticeable and original phenomenon, the specifics of which were determined not only by the national content, but also by the optimistic mood of the works, provided with sincere kindness, open immediacy of images and bright saturation of color.

It was these qualities that determined that unique originality, which allowed the term " bashkir school". A small retrospective section, which includes works by artists who represented the art of the republic at all-Russian and all-Union exhibitions of that time, gives a general idea of the main characteristics of this school.

For several decades, developing within the limits of only one traditional - realistic style, as well as the entire fine culture of Russia in the socialist period in general, the Bashkir art of the 1960s - 1970s managed to present the viewer with magnificent performing skills and deeply individual works in terms of visual structure. Diversity in terms of genre and species, they are outlined by a certain range of topics: nature, life and people, the participation of Bashkiria in the socio-political life of the country.

Ramil Abdullin. Spring. Spill. 2005. Paper. Watercolor. 41 X 56.

At the turn of XX - XXI centuries young generation of artists brought to the Bashkir art a different vision of the world, broader issues and new artistic views. Philosophical reflections about the world, man and humanity, reflecting the ideological positions of the authors, began to sound more and more insistent in the works. In the new historical conditions, freedom of creativity has acquired the significance of the main trend in the attitude of artists.

art Republics of the period of 1990-2000s, in comparison with the previous periods of its development, is a stylistically more heterogeneous and multilayered phenomenon, not limited by the strict framework of any one visual system or a specific problematic. It also embodied the creative processing of the artistic experience of previous years (interest in history, careful attitude to the heritage of folk art, visual qualities coming from it - the decorative sound of color, the rhythmic pattern of compositions). Simultaneously with the realistic tradition, which demonstrates its viable character, it is also characterized by a continuous active search for a new language. One of the most common form-building techniques in these searches was stylization. Underlying many picturesque and graphic works capable of competing in their artistic value with the best examples of traditional realistic art, the principle of form stylization, coupled with the findings of new spatial solutions, has given rise to a number of artistic directions.

Akhmat Lutfullin. Three women. 1969. Canvas. Oil. 142 X 167. From the collection of the Belarusian State Art Museum. M. V. Nesterova.

The basis of the creativity of many modern Bashkir masters was the preservation of qualities that were inherited from traditional folk culture, and artistic experience Russian avant-garde of the first wave. This is exactly how the direction of neo-primitivism appeared in Bashkir painting in the 1990s, and by the 2000s it took a stable position, which gave many interesting and sincere artists in their art.

Attempts to use in a new way the decorative qualities of color that characterized realistic painting of the previous decades, in the work of individual modern authors, they turned into the appearance of semi-abstract compositions, expressive in color, in which elements of the Bashkir national ornament are often used. These trends equally affected painting, watercolors, and artistic textiles.

In plastic art, the portrait still occupies a stable position, but the desire to more broadly reflect the objective and living world helped the Bashkir sculptors to master the animalistic genre as well. The pictorial language is also becoming more diverse: along with the traditional realistic ones, both stylized forms and forms - signs, the metaphorical content of which significantly expands the range of themes and images of sculpture, are increasingly appearing in the exposition of exhibitions.

R. Ataullin. Akmulla. 2006-2007. Canvas. Oil. 118 X 137.

By the beginning of the third millennium, republican graphics are also reaching a new level of development. The most mobile due to its specificity, every year it increasingly participates in numerous international exhibitions and competitions. fueled current trends, characteristic of both foreign and Russian graphic art, in its desire to break out of the narrow confines of traditional print art, it intensifies its search in the field of technology, masters large-format paper and moves further and further away from realistic forms. But both in themes, and in images, and in borrowing the principles and elements of ornamentation from folk art, the attempts of Bashkir graphic artists to preserve their originality, not to get lost in the world space, are persistently manifested.

Not everything that appeared in the culture of Central Russia and its regions at the turn of the 20th - 21st centuries, in a difficult historical period for the country, was developed in the art of Bashkortostan. Works surging in a huge wave, excluding the importance of drawing as a basis, random compositions devoid of color harmony, and finally, ignoring any content or artistic image and built on the same desire for outrageousness, from the beginning of the 1990s they began to fill Russian exhibition halls. As separate experiments, such works also took place in the work of some Bashkir artists, but soon disappeared from republican exhibitions. TO beginning of XXI century, the artists of Bashkortostan approached with a clearly shaped desire to realize their own place in the world space, reasonably shifting the emphasis in art from the search for the original pictorial language to the content of the work and the emotional nature of the images, and choosing the artistic significance of the work and professional merits as the main priorities.

Kamil Gubaidullin. Poet's morning. 2006. From the series "Akmulla" since 2005. Etching. 50 X 65.

Today, the Bashkir fine arts is a fairly developed system of artistic movements based on the traditions left as a legacy of realism and the Russian avant-garde of the early 20th century and folk art. Only a small part of it is focused on the experience of Western European masters of the 20th century. However, in unity with the aesthetics of national culture, one way or another manifested in the work of Bashkir artists, the appeal to the visual language of European art does not evoke associations with any particular pattern.

Irina Oskina, art critic.

29.08.2010 12:04

A vivid reflection of this synthesis was, which existed until the beginning of the 20th century only in the form of folk art.

Paintings by R. M. Nurmukhametov, B. F. Domashnikov, A. F. Lutfullina, A. D. Burzyantsev, A. V. Panteleev, A. Kh. Sitdikova, sculptural works by A. P. Shutov, B. D. Fuzeev, Z. R. Basyrov, ceramic panels, easel sculpture and small plastic art by T. P. Nechaeva, a series of etchings and lithographs by E. M. Saitov. .. The exposition of the Bashkir section at Russian and all-Union exhibitions since the middle of the century has become more and more complete in genre and species composition, and the works are more extensive and more interesting in content and artistic images.

Ramil Abdullin. Spring. Spill. 2005. Paper. Watercolor. 41 X 56.

At the turn of the 20th - 21st centuries, the young generation of artists brought a different vision of the world, broader issues and new artistic views to Bashkir art. Philosophical reflections about the world, man and humanity, reflecting the ideological positions of the authors, began to sound more and more insistent in the works. In the new historical conditions, freedom of creativity has acquired the significance of the main trend in the attitude of artists.

art Republics of the period of 1990-2000s, in comparison with the previous periods of its development, is a stylistically more heterogeneous and multilayered phenomenon, not limited by the strict framework of any one visual system or a specific problematic. It also embodied the creative processing of the artistic experience of previous years (interest in history, careful attitude to the heritage of folk art, visual qualities coming from it - the decorative sound of color, the rhythmic pattern of compositions). Simultaneously with the realistic tradition, which demonstrates its viable character, it is also characterized by a continuous active search for a new language. One of the most common form-building techniques in these searches was stylization. Underlying many pictorial and graphic works capable of competing in their artistic value with the best examples of traditional realistic art, the principle of form stylization, coupled with the findings of new spatial solutions, gave rise to a number of artistic trends.

Akhmat Lutfullin. Three women. 1969. Canvas. Oil. 142 X 167. From the collection of the Belarusian State Art Museum. M. V. Nesterova.

The basis of the creativity of many modern Bashkir masters was the preservation of the qualities that were inherited from traditional folk culture, and the artistic experience of the Russian avant-garde of the first wave. This is exactly how the direction of neo-primitivism appeared in Bashkir painting in the 1990s, and by the 2000s it took a stable position, which gave many interesting and sincere artists in their art.

Attempts to use the decorative qualities of color in a new way, which characterized the realistic painting of previous decades, in the work of individual contemporary authors resulted in the appearance of semi-abstract compositions, expressive in color, in which elements of the Bashkir national ornament are often used. These trends equally affected painting, watercolors, and artistic textiles.

R. Ataullin. Akmulla. 2006-2007. Canvas. Oil. 118 X 137.

By the beginning of the third millennium, republican graphics are also reaching a new level of development. The most mobile due to its specificity, every year it increasingly participates in numerous international exhibitions and competitions. Fueled by modern trends inherent in both foreign and Russian graphic art, in its desire to break out of the narrow boundaries of traditional print art, it intensifies its search in the field of technology, masters large-format sheet and moves further and further away from realistic forms. But both in themes, and in images, and in borrowing the principles and elements of ornamentation from folk art, the attempts of Bashkir graphic artists to preserve their originality, not to get lost in the world space, are persistently manifested.

Not everything that appeared in the culture of Central Russia and its regions at the turn of the 20th - 21st centuries, in a difficult historical period for the country, was developed in the art of Bashkortostan. Works surging in a huge wave, excluding the importance of drawing as a basis, random compositions devoid of color harmony, and finally ignoring any content or artistic image at all and built on the same desire for outrageousness, began to fill Russian exhibition halls from the beginning of the 1990s. As separate experiments, such works also took place in the work of some Bashkir artists, but soon disappeared from republican exhibitions. By the beginning of the 21st century, the artists of Bashkortostan approached with a clearly formed desire to realize their own place in the world space, reasonably shifting the emphasis in art from the search for an original pictorial language to the content of the work and the emotional nature of the images, and choosing the artistic significance of the work and professional merits as the main priorities.

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

Department of Education of the 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

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

Application

Introduction

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.

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

The most ordinary things were done 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. 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 as decoration, 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, examination 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:

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

2. Bashkir folk ornament

The folk arts and crafts of the Bashkirs absorbed the features of the culture of 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 the ancient world, in Central and South America, Medieval Europe. He was given a certain meaning of a guardian, a guardian 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 simple 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 decorated mainly with 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 the ornamental one is represented by decorations in the form of women's headbands, applications 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, dishes, details of a loom, and others were ornamented with carvings.

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 aspects of the folk craft of the 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 the important conditions for the further successful development of modern arts and crafts is a deep and comprehensive study of folk art. Therefore, scientists are so diligently studying Bashkir applied art today, finding 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 in their work rely on this experience. [ 1,31]

5. Embossing on the skin

One of the traditional 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

The clothes of women in all nations are rich decorative finishes. The basis of the Bashkir women's costume makes up 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 of 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. Floral ornament from intricately curved branches with leaves and flowers, made with a tambour, 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 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 that 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

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