Presentation on the topic: "Folk crafts of the Tatars." Gimp and filigree

The most ancient writing is the Turkic runic. From the 10th century to 1927, there was writing based on Arabic script, from 1928 to 1936, Latin script (yanalif) was used, from 1936 until the present, writing on the Cyrillic graphic basis has been used, although there are already plans to translate the Tatar script into Latin. Tatars speak the Tatar language of the Kypchak subgroup of the Turkic group of the Altaic family. The languages ​​(dialects) of the Siberian Tatars show a certain proximity to the language of the Tatars of the Volga and Ural regions. The literary language of the Tatars was formed on the basis of the middle (Kazan-Tatar) dialect.

The traditional dwelling of the Tatars of the Middle Volga and the Urals was a log cabin, fenced off from the street by a fence. The outer façade was decorated with multicolored paintings. The Astrakhan Tatars, who retained some of their steppe pastoral traditions, had a yurt as a summer dwelling.

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

The clothes of men and women consisted of trousers with a wide step and a shirt (for women it was supplemented with an embroidered bib), on which a sleeveless camisole was put on. Cossacks served as outerwear, and in winter, a quilted beshmet or fur coat. The headdress of men is a skullcap, and on top of it is a hemispherical hat with fur or a felt hat; women have an embroidered velvet cap (kalfak) and a scarf. Traditional shoes are leather ichigi with soft soles, outside the home they were worn with leather galoshes. The women's costume was characterized by an abundance of metal jewelry.

Like many other peoples, the rites and holidays of the Tatar people largely depended on the agricultural cycle. Even the names of the seasons were denoted by a concept associated with a particular work: saban өste spring, the beginning of spring; peęn өste summer, haymaking time.

Its time after the end of spring field work and the beginning of haymaking. On this holiday, the inhabitants of some villages became guests of others. Those who went to visit sewed outfits, baked pies, and brought with them the carcasses of dried geese. They arrived on decorated carts, drove into the village with music and songs, children opened the decorated field gates for guests. For each newly arrived guests, the hosts set the table again. In the evening, a common dinner was organized. On all days of the visit, the hosts heated baths: kunakny hormeshe muncha bath is the highest honor for a guest. So it is customary to consider the Tatars. The Vien holiday strengthened kinship and friendship, united the village and the surrounding area: people felt like one family during the days of this holiday

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

The wedding ceremonies of the Tatars are so diverse that it is impossible to tell about them all. Any marriage was preceded by a conspiracy, in which the yauchi (matchmaker) and one of the older relatives participated on the part of the groom. If the bride's parents agreed to the marriage, during the conspiracy, issues were resolved about the size of the kalym, the bride's dowry, the time of the wedding, and the number of invited guests. After the conclusion of the "marriage contract", the bride was called yarashylgan kyz - a betrothed girl. Within 3-5 weeks, the parties were preparing for the wedding. The groom collected bride price, bought gifts for the bride, her parents and relatives, pillows, featherbeds and other belongings. The bride completed the preparation of the dowry, which she began to collect at an early age. It consisted of self-woven dresses, underwear, as well as gift clothes for the groom: embroidered shirts, trousers, woolen socks, etc. Relatives of both parties were busy organizing the upcoming wedding.

There was a belief in various master spirits: waters - suanases, forests - shurale, lands - fat of anasa, brownie oyase, barn - abzar iyase, ideas about werewolves - ubyr. Prayers were made in the groves, which were called keremet, it was believed that an evil spirit with the same name lives in them. There were ideas about other evil spirits - genies and peri. For ritual help, they turned to yemchi - that was the name of healers and healers. Believing Tatars, with the exception of a small group of Kryashens (including Nagaybaks), who were converted to Orthodoxy in the 16th and 18th centuries, are Sunni Muslims.

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

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

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

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Folk crafts Completed by: educator of the 1st category Khakimzyanova Liliya Gabdraufovna

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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.

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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.

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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.

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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.

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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).

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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.

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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.

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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.

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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.

In May 2010 Tatarstan will celebrate its anniversary. For 90 years now, the people of our republic have been worthily creating the history of their native land and keeping the traditions of their fathers. In the last decade, special attention has been paid to the revival of folk crafts.

In Kazan every year more and more masters and lovers of embroidery, beadwork, leatherwork are revealed. For their unification and legal support, the Chamber of Crafts of the Republic of Tatarstan was established in 2002. The initiator of its creation and director, Nuri Mustafayev, shares his memories.

In 1998, as Deputy Minister of Economy of the Republic of Tatarstan and director of the department of small and medium-sized businesses, I noticed that some business representatives were engaged in the production of souvenirs. Factories and combines that previously produced products of traditional crafts went bankrupt in the 1990s. Purchasing power has declined, markets have been destroyed, state support has been lost. However, enthusiasts remained. Then the working group and I turned to the government of the Republic of Tatarstan with a request to establish an Artistic Council and prepare a program for state support of folk crafts and crafts. The government has come to meet us. The Artistic Council included Zilya Valeeva, Guzel Suleymanova, leading experts from the Ministry of Culture and Museums. We developed the program jointly, it was adopted on December 30, 1999. It provided for the creation of an infrastructure for state support of folk crafts. After all, the artist had nowhere to turn to present his product for examination, get advice, enlist the support of the state, at least in the form of material assistance to pay for exhibition events. The Chamber of Crafts is one of the steps in the implementation of this program.

- Nuri Amdievich, how did you look for masters?

For manufactured products, for publications in the media, they urged them to contact the Department of Entrepreneurship Support. Initially, the Chamber consisted of 43 people. To date, there are 380 members-craftsmen, artists, artisans of various directions. They made their works using Tatar and Russian traditional ornaments, forms that clearly testify: this is a product of the Republic of Tatarstan, it was made by our people.

The first serious step was the publication of the book "Tatar Folk Ornament". The book has become a base for many masters, it represents the history of the Tatar folk ornament from archaic times to the present day. Then a catalog was published with photographs of the first masters, their names. There are about 22 people in total: tanners, jewelers, wicker makers, etc. Two years later, the newly published catalog already spoke about 180 masters.

- At what exhibitions did you have a chance to show our Tatarstan products?

In 2002, our exposition first went to France, to Dijon. This exhibition was a discovery not so much for us as for the French. They saw that in Russia there are not only nesting dolls, balalaikas, trays and samovars. Russia is also rich in alternative crafts! We presented an oriental ornament. The people poured into the "Days of Tatarstan". I remember it now: I was standing on the stage and I saw how the policeman lowered the barrier and said: there are no seats! And standing! Then exhibitions became regular: Germany, Portugal, Italy, Poland, Spain. Masters used to make products right at the exhibition. Embroidered with gold, knitted. It was difficult for our interpreter to run 30 meters there, 30 meters back. We aroused keen interest. Suffice it to say that after three or four days we saw our skullcaps in cafes, at discos among young people! By the way, in December last year we were awarded an international prize for improving business and service in the nomination "Populists".

- What other activities are planned to spread culture among the masses?

After the formation of the Chamber of Crafts, the State Center for Folk Artistic Crafts was established. In the summer it is planned to travel to places of compact residence of Tatars: Yekaterinburg, Tyumen, Tobol, the cities of the Volga region and Central Russia. On April 1, the School of Crafts opened. And the Chamber of Crafts makes films about crafts.

BEADING IN THE TATAR TRADITIONS

Lomonosov brought beads to Russia from Egypt. The technique of weaving jewelry was strictly kept secret by every girl. Later, beadwork took root among the Tatars, initially not being their folk craft. Gradually, it absorbed the Tatar traditions. In Tatarstan, beaded jewelry bears traces of both Orthodox and Muslim cultures at the same time. Beaded works of art today can be found at any Kazan fair dedicated to folk crafts. Over the past month, exhibitions have been held at the Art Gallery, the Center for Russian Folklore, and the National Exhibition Center.

Modern craftsmen say that the craze for beads in Kazan began 12 years ago. Hippie-style baubles came into fashion. For many lovers of weaving from beads, it all started with them. Threads were more accessible than beads. Then there was no literature, no good beads. Czech beads are considered the best, now they are freely sold in special stores. Beads from Taiwan are also in demand.

Inna Chernyaeva - master of the Republic of Tatarstan in beading, member of the Chamber of Crafts. She herself comes from Ryazan, has been living in Kazan for about nine years. Her works, among others, represented Tatarstan at international events. Inna's main job is a teacher at the Azino Children's Art Center. In addition, she conducts master classes for adults.

Inna breaks stereotypes that bead weaving is the occupation of elementary school girls and pensioners. She is a young woman who wants to open her own bead shop in the spring. Inna Chernyaeva does not include Russian or Tatar ornaments in her works. Her main focus is jewelry. She spoke about the Tatar traditions in beadwork as an observer.

There are products among my works, which in Tatarstan are traditionally considered their own. Although, to be honest, I spied them on the Irish. Tatarstan residents also define works with malazite and green beads as their own. In our republic, Tatars love jewelry that covers the neck and chest. Leaving for Moscow on Sabantuy, I noticed that there representatives of the Tatar diaspora prefer long beads.

- How do our masters stand out at traveling exhibitions?

Our masters are very original. They wear national costumes. In addition, the vast majority of them do not go as far as to bring products made in China to the exhibition. Our artists do everything with their own hands. Kazan line can be traced in all products. For example, the jeweler Irina Vasilyeva exports only what the Kazan Tatars wore. And, of course, Tatarstan products have richer patterns and bright colors.

There are several schools of bead weaving: Moscow, St. Petersburg, Western... If there were a Kazan school, what would be its distinguishing feature?

First, embroidery (including beads) on velvet in traditional colors: blue, burgundy, green. Secondly, jewelry covering the chest and neck.

The soul of the people lives in dances, songs and, undoubtedly, in works of art made by one's own hands. National culture is alive as long as it is passed from mouth to mouth, from hand to hand, from generation to generation.

I am glad that in Tatarstan they do not forget about maintaining the spiritual and cultural heritage. We are stepping over the ninety-year milestone without losing our originality, our face.

MARIA MAKSIMOVA, IT

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.

Traditional crafts of all peoples were passed down from generation to generation. There were many artisans among the Tatars, almost every village had its own masters. Unfortunately, many types of crafts were lost forever: we stopped weaving carpets and complex patterned fabrics, stone carving and some jewelry crafts disappeared. But there are craftsmen who continue to embroider with gold on headdresses - skullcaps and kalfaks, felt products from felt, weave lace, cut wood, embroider and weave, are engaged in jewelry work, including blackening on silver, and make leather mosaic shoes. Crafts such as gold embroidery, leather mosaic, national embroidery, patterned footwear, weaving, felt carpet weaving, wood carving, lace weaving, jewelry, and ceramics have been preserved.

Tatar masters on wooden looms manually wove patterned fabrics from multi-colored linen, hemp and woolen threads. Each craftswoman had her own weaving techniques, each needlewoman knew how to correctly thread the threads into the loom to get a complex pattern. On manual looms, craftswomen wove not only fabrics, but also rugs and bright carpets. On the carpets, the ornaments were usually large, geometric in green-blue and golden-yellow tones. For contrast, the background of the carpet, most often, tried to make it dark. Usually several panels were woven, which were then connected and sheathed with a border. Carpets and wall panels were also made from felt.

Embroidery is considered one of the most ancient types of needlework of the Tatars. She decorated household items and clothes. Headdresses, dresses and camisoles, bedspreads and hasite (chest strap) were decorated with gold embroidery. When sewing, not only metal gold and silver threads were used, but also a gimp - a thin wire twisted into a spiral. Over time, silver and gold threads became less common, and coated copper threads were used for embroidery.

Lace weaving was widespread. Lace napkins, paths, collars were made.

One of the ancient Tatar crafts, which has received worldwide recognition, is a leather mosaic. Basically, craftsmen made patterned boots (ichigi) from multi-colored pieces of leather, collected in a floral or floral ornament. Later they began to make shoes, pillows, pouches and other products using the technique of leather mosaic.

The Tatars also developed ceramic craft. Craftsmen made dishes for everyday use, as well as glazed facing tiles with geometric and floral patterns and decorative bricks, which were used for decoration in construction. The dishes were usually covered with white, red or gray clay, applied with stripes, 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.

Tatar masters are also famous for artistic metalworking. From copper, bronze, silver they made household utensils, decorations for clothes, weapons, horse harness. The craftsmen used different techniques: casting, chasing, embossing, stamping, metal engraving.

Jewelry craft was also well developed among the Tatar artisans. Many masters perfectly mastered the techniques of blackening, casting, engraving, chasing, stamping, inlaying with gems, engraving on gems, and cutting precious stones.

Tatar craftsmen did not disregard such material as wood. Therefore, wood carving was developed. Craftsmen made household utensils from wood: chests, dishes, spinning wheels, horse arcs, carts. These products were characterized by elegant carved ornaments and bright color painting.