Tatar national patterns and ornaments for children. For meadow motifs - flowers of rose hips, bells, chamomile, cornflowers

Gulsinya Gibadullina

Modern explanatory dictionary Russian language T. F. Efremova explains the meaning of the words PATTERN and ORNAMENT as follows:

"PATTERN"

a) A drawing that is a combination of lines, colors, shadows, etc.

b) Complex weave, picturesque location of something., forming or resembling such a pattern.

"ORNAMENT"

An artistic decoration, a pattern characterized by a rhythmic arrangement of geometric or stylized plant and animal elements of the design.

Tatar patterns and ornaments have three types of motives: geometric, floral-vegetal and zoomorphic. The patterns were used by masters in architecture, embroidery, painting, and wood carving.

Tatar ornament with floral and plant motifs is the most common. There are three directions in floral and plant motifs: steppe, meadow and garden.

Motifs depicting poppies, tulips, forget-me-nots, and carnations are more typical for the steppe direction.

Carnation motif

Tulip motif

Poppy motif

For meadow motifs - flowers of rose hips, bells, chamomile, cornflowers.

Rosehip motif

Bell motif

And garden motifs are characterized by dahlias, chrysanthemums, roses, and asters.

Dahlia motif

The most common are two flowers that are used in the Tatar ornament. This is a tulip and carnation.

Publications on the topic:

"Towel Decoration" Lesson summary on appliqué based on national ornaments (senior group) Goal: developing multicultural competence in older children preschool age. Objectives: 1. Instill respect and love for the native land.

Card index of Russian, Mordovian, Tatar folk games for senior preschool age HISTORY OF RUSSIAN FOLK GAMES The culture of every nation includes the games it created. For centuries, these games have accompanied everyday life.

“Acquaintance with the Dymkovo toy. Drawing Dymkovo patterns"Program tasks O: introduce Dymkovo toys, Dymkovo patterns;.

Literary lounge “Autumn motives” Literary living room " Autumn motives" Goal: to develop aesthetic perception autumn nature through artistic speech and music.

Hello, dear friends and guests of your favorite site! Gorodets painting is one of the traditional decorative crafts and is worth...

Autumn is the brightest and most wonderful time, in which many different colors. We spend every year with our replacement Svetlana Makarova.

I don’t know about you, but I live in the rhythm, so to speak, of one of the proverbs, “Prepare your sleigh in the summer.” It seems that the New Year holidays have just recently passed.

Municipal educational institution

"Average secondary school No. 20"

Anzhero-Sudzhensk

Tatar folk ornament in embroidery

Work on the XV Regional Conference

“Live, Kuznetsk land!”

st. Cherednichenko, 7-1,

Zagornova Arina Andreevna,

st. Socialist, 1-3

students of class 7 "A" of municipal educational institution "Secondary School No. 20"

Anzhero-Sudzhensk

Supervisor:

Augustan Irina Alekseevna,

higher technology teacher

Introduction

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

Tatar folk ornament in embroidery represents a bright and unique page artistic creativity people. Being the main means of decorative and applied art, it reflects at the same time complex history formation and development of the people, their culture and art. The ornament of the Tatar people developed as a result long process his historical development and wide communication with neighboring and distant peoples. The difficult conditions of the ethnic formation of the people determined the commonality of many types of their art with the art neighboring peoples, as well as with the art of the peoples of the East. Each era in the life of a people left a certain imprint on its fine art, ornament, and style.

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

IN modern conditions, girls don't do much decorative creativity. U younger generation other interests arise, but we always need to remember the history of not only our people, but also those who live next to us, a history that is based on a deep relationship with nature and the way of life of the people.

Target: Making a Tatar folk ornament on a napkin.

Tasks:

1.Study literature on Tatar folk ornaments in embroidery.

2. Get acquainted with embroidered items in the city museum.

3. Embroider napkins with Tatar ornament.

Ornament is a peculiar handwriting of the people

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

It’s strange, but only now have I begun to truly perceive national patterns and ornaments. Here, for example, is a Tatar ornament. I lived all my life in Kazan, I am a Tatar by nationality, and everything folk somehow passed me by...

It all started with an offer from a book publishing house to illustrate the Koran (gift copy), but only with Tatar ornaments. At first I thought that I could handle it quickly; I have a lot of material on oriental themes. I made sketches, showed them to the customers, they liked them, but they said that with the kind of ornaments I suggested, they could order the Quran in the United Arab Emirates.

This is where I realized the “ease” of my attitude towards work! And went to Lenin Library! Covered herself with books on Tatar ornaments, historical essays about the creation of folk crafts, fortunately the Tatar people have a lot of them! One leather mosaic is worth it! And the gold embroidery on folk costume, and embroidery on towels!

So, having been imbued with the real thing, something pure and correct, I felt such an emotional uplift in myself! What I want to create and create! Now I just fell in love with the theme, and I really want to show everyone the beauty of national patterns!

1. Here the Tatar ornament is based on leather mosaic ornaments, often used in the manufacture of national boots.

2. Tatar leather boots. Of course, there are more beautiful ones, but they are personally mine.

3. Continuing the theme of leather mosaic patterns are individual fragments of patterns that I reproduced on 10x10 cm tiles.

6. Tatar pattern on tiles 10x10 cm.

7. Gate. Painted on gold leaf, the work is framed in a baguette.

8. Mirror "Tatar pattern". The inspiration for painting this mirror was an embroidered tablecloth I saw from 1884, in National Museum RT. The tablecloth is of course fantastically beautiful! Embroidery!

9. Kul-Sharif Mosque framed with Tatar ornaments. 25x35 cm

National souvenirs are in great demand. I was convinced of this when my personal exhibition “Oriental motifs in painting on ceramic tiles” was held on the territory of the Kazan Kremlin museum-reserve, in the main mosque of Kul-Sharif. The interest was very great, fortunately, the curators of the exhibition constantly extended it, for which special thanks to them. After all, the flow of tourists from spring to autumn is simply huge. And I’m glad that my works “fit” into the general flavor of souvenir products and that you can offer something else besides the classic set - chak-chak and skull caps.

My new works presented at the next personal exhibition in the Kul Sharif mosque "Change of patterns" Tatar ornament, in 2013.

Mirror "Tatar window", made based on house carvings in Tatar villages.

Mirror "Tatar tints"

Panel from tiles "Tatar Song". Overglaze painting, firing 830 C. 50 x 50 cm

Panel of tiles "Tatar pattern" 40 x 40 cm. Overglaze painting, firing 830

Set of plates with Tatar ornaments

Tatar folk ornament represents a bright and unique page in the artistic creativity of the people. Being the main means of decorative and applied art, it at the same time reflects the complex history of the formation and development of the people, their culture and art. Beautiful examples of Tatar ornament have found vivid expression in various works of centuries-old creativity of the people: in fine patterns of jewelry, colorful embroidery and patterned fabrics, carved plastic tombstones, hats, multi-colored mosaics of leather shoes, home decorations. The motifs and patterns of various household products, as well as the decoration of the home, reflect wealth artistic thinking people, a subtle sense of rhythm, proportion, understanding of shape, silhouette, color, material. Along with the artistic and aesthetic aspects, the ornament quite clearly reveals the peculiarities of the life, economic activity and ideology of the people, the historical environment that in different eras introduced various layers into it. By its nature, the Tatar ornament is deeply connected with the ancient agricultural culture, which began long before the formation of Volga Bulgaria. However, in some of its manifestations, very ancient roots are felt, going back to the distant pastoral culture of the nomadic ancestors of the Kazan Tatars.

Pattern on the end of the towel. Tambour. Second half of the 19th century. Collection of NM RT. Pattern on namazlik. Fragment. Tambour. Mid XIX V. Collection of NM RT.

These roots are associated with types of art typical of nomadic culture, in which the development of ornamentation was based mainly on the technique of appliqué and mosaic on leather and wool, chain embroidery, felting, etc. These types of ornamentation techniques that have survived to today in folk art, contributed to the development of curvilinear motifs, patterns and a generally unique style, which had a significant influence on later ornament associated with other types of ornamentation techniques (stone carving, wood carving, some types of jewelry technology, etc.).

The stability of the ornament, associated with the life, traditions and customs of the people, led to the peculiar coexistence of two types of ornament - ancient pastoral and agricultural, which gave rise to the development of a number of derivative patterns. Various historical layers determined the diversity and complexity of the ornament, which, in the process of its long development, already in the first half of the 16th century. had pronounced stylistic features associated with the artistic traditions of the Volga-Kama Bulgars and Golden Horde Tatars.

Comparative historical study shows that while the Tatar ornament contains a number of common Turkic elements, it also contains a very archaic group that reveals a connection with the ornament of the ancient Altai art of the first millennium BC. Widespread large group ornaments of the medieval period (starting from Bulgar times), related to the ornament of the peoples of Oguz-Pecheneg origin, which indicates the ancient ethnogenetic connection of the Tatar people with the Oguz-Pecheneg group Turkic-speaking peoples. At the same time, the Tatar ornament contains elements that reveal kinship with the ornament of the tribes and peoples of the Kipchak language group.

There is no doubt that complex historical conditions the formation of the culture and art of the people predetermined the presence in the Tatar ornament of elements of the ornament of other tribes and nationalities, which played a certain role in the culture and ethnogenesis of the Kazan Tatars. Therefore, the study of Tatar ornament requires the use of materials on the folk art of a number of other peoples. Unfortunately, art history and ethnographic literature in the field of folk fine arts and especially the ornamentation of the Turkic-speaking peoples of the East and the Finno-Ugric peoples. Materials on the ornamentation of the Volga-Kama Bulgars are also scarce, from which mainly the works of urban professional artisans (jewelers, bone carvers, stone). It should be noted that in my research I have to compare the folk ornament of the Kazan Tatars with the ornament of urban products of the Volga-Kama Bulgars. This is quite acceptable, since the creativity of professional artisans during the Middle Ages was closely intertwined with folk art and reflected its artistic traditions and concepts.

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

The realistic basis for the perception of reality, reflected in folk ornament, gives the works of Tatar masters and craftswomen especially great artistic and educational value. The realism of the Tatar ornament is based on its deep relationship with the nature and life of the people, with those technical methods pattern creation, which determined the organic nature of the pattern with the material and purpose of the household product.

Municipal educational institution

"Secondary school No. 20"

Anzhero-Sudzhensk

Tatar folk ornament in embroidery

Work on the XV Regional Conference

“Live, Kuznetsk land!”

st. Cherednichenko, 7-1,

Zagornova Arina Andreevna,

st. Socialist, 1-3

students of class 7 "A" of municipal educational institution "Secondary School No. 20"

Anzhero-Sudzhensk

Supervisor:

Augustan Irina Alekseevna,

higher technology teacher

Introduction

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

Tatar folk ornament in embroidery represents a bright and unique page in the artistic creativity of the people. Being the main means of decorative and applied art, it at the same time reflects the complex history of the formation and development of the people, their culture and art. The ornament of the Tatar people was formed as a result of a long process of its historical development and wide interaction with neighboring and distant peoples. The difficult conditions of the ethnic formation of the people determined the commonality of many types of their art with the art of neighboring peoples, as well as with the art of the peoples of the East. Each era in the life of a people left a certain imprint on its fine art, ornament, and style.

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

In modern conditions, girls do little decorative arts. The younger generation has other interests, but we always need to remember the history of not only our people, but also those who live next to us, a history that is based on a deep relationship with nature and the way of life of the people.

Target: Making a Tatar folk ornament on a napkin.

Tasks:

1.Study literature on Tatar folk ornaments in embroidery.

2. Get acquainted with embroidered items in the city museum.

3. Embroider napkins with Tatar ornaments.

Ornament is a peculiar handwriting of the people

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

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

Types of ornaments Tatar embroidery

Floral and plant motifs Tatar embroideries can be combined into three groups. According to the classification proposed by F. X. Valeev, these are motifs of steppe, meadow (partly forest) and garden origin. Images of garden flowers (dahlias, peonies, asters, chrysanthemums) are more typical for embroidery by city women, while simple peasant life were closer not so bright, but immensely dear to the heart images of native forests, fields, meadows.

Almost every floral and plant motif in Tatar embroidery is based on a combination of curvilinear geometric figures. So, for example, a wavy line, overgrown with all kinds of twigs, leaves, flowers, extending into one or different sides, evolves into the popular "grapevine" motif.

The soft, smooth outlines of cloud-shaped and palmet-shaped figures are distinguished, going back to the simplest paired curls and spirals . With the help of rosette forms, images of both conventional and specific buds and flowers are created - often multi-petal garden flowers (peonies, dahlias, etc.).

A motif close to the image of peonies in embroidery.

Carnation motif in Tatar ornament

Geometric ornament In embroidery, in most cases, an auxiliary role is assigned. Thus, the motifs of a meander (tied and broken), spiral, staple, oncoming wave, plait, braid, rope, etc. are used in compositions of borders and borders. Complex geometric shapes - rosettes with scalloped edges, a heart-shaped motif, etc. act as a frame for the leading floral and plant motifs.

In a purer form, geometric motifs are found in counted embroidery. For example, the geometric pattern on the ends of towels made with colored interlacing is mainly formed by various combinations of straight and broken lines of a lattice of zigzags, triangles, squares, rhombuses (simple, paired, crenate). On the “sүrәkә” headbands in the border strip, light ornamental ribbons are created with threads of attachment: rhythmic repetition of two or three intersecting zigzags or alternation of spiral and rhombus motifs with extended sides. For embroidery on top of a golden background of headbands, a hexagonal rosette, an eight-pointed star, a stepped triangle, a square or rhombus with different internal designs, and an X-shaped figure are typical. On wedding scarves "tүgәrәk yaulyk" the geometric pattern is represented by motifs of a rhombus, square, rosette, corners, etc. These scarves are also characterized by a geometric pattern (leaf-shaped patterns).

From linear geometric motifs The most common and traditionally used are the following: wave motif (Fig. 1), oncoming wave (Fig. 2), rope motif (Fig. 4), scalloped (Fig. 3), spirals (Fig. 8), zigzag motifs are less common (Fig. .7), the motif of a rope (Fig. 5), braiding (Fig. 6), and a meander (Fig. 11-12), which has become widespread in embroidery patterns.

Zoomorphic motifs - characteristic of the decorative and applied arts of the Russian and Finno-Ugric peoples, they are very rare in Tatar embroidery. One of the reasons for this is the prohibitions of the Muslim religion on the depiction of living beings. This leads to a certain one-sidedness in the development of the ornamental art of the Tatars. However, the “taboo” on the depiction of living beings has given rise to many options for types of ornamentation that are not prohibited by religion. And yet, despite the strictest canons dictated by religion, the creativity of individual folk craftsmen reproduced the living images inhabiting the surrounding world, there was also room for depicting fabulous, fantastic heroes. However, it is quite difficult to establish images of birds, butterflies, horses, etc. in embroidery patterns of the 19th century - they are so stylized, processed in the spirit of floral patterns. Zoomorphic motifs are interpreted more realistically in gold embroidered stitching. An additional difficulty in detecting zoomorphic motifs is the multicolored vestibule. Therefore, in embroidery with continuous polychrome filling it is more difficult to read the zoomorphic beginning than in embroidery where the vestibule draws only contour lines.

In the embroidered patterns of the towel there is such a detail as the motif of a tree-flower separating the horses of one pair. This motif is nothing more than a pictorial trace of two widespread cults in paganism: mother earth and trees. Since the times of matriarchy, the fertile power of the earth has been personified in the image of a female deity, and its symbolic image in the form of various forms vegetation. The sacred tree of life, the source of vitality, a symbol of fertility, and the receptacle of the souls of ancestors was also depicted. The motif of a tree-flower in a towel is the core of a three-part composition, the plot of which could once have meant a scene of worship of symmetrically standing horsemen to a female deity, or tree.

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

Zoomorphic motifs in Tatar embroidery patterns

Significant place V decorative arts The Tatars were interested in graphics. Letters of the Arabic alphabet, made in complex script, were used to decorate the headpieces and endings of books, and to design shamails for the interior of homes. This tradition is also slightly reflected in embroidery. Thus, some embroideries of the last century (towels, handkerchiefs, pillowcases, more often namazliks) are accompanied by text - sayings, dedications, good wishes, embroidered in Arabic script.

The ornamentation of modern embroideries basically continues the traditions of folk embroidery of the past. Floral and plant patterns remain as popular among the people as before. This is to a large extent due to the fact that the chain stitch remains the leading technique today.

Embroidery of napkins

When choosing a pattern for our napkins, we noticed that in the book by F.Kh. Valeev patterns used in tambour and gold embroidery are distinguished by a wide variety of motifs and an abundance of their variations. However, having familiarized ourselves with the embroidered products of the city museum, we saw towels made in counted satin stitch with geometric pattern(Appendix 4). We interviewed quite a few friends and neighbors to find women who were engaged in embroidery. With great difficulty, but we were still lucky enough to meet two residents of our city: Bakirova Nuranya Abunakirovna and Aksanova Sarah. They showed us their products, which they embroidered in their youth. Their products, made with satin stitch and cross stitch, bore little resemblance to Tatar ornaments (Appendix 5). These women came to our city in the 30s as children, so it is clear that their work was influenced by the trends of urban life and the residents of other nationalities living nearby.

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

The chain stitch is used not only in embroidery, but also in finishing the product. Outwardly it looks like a chain. Based on the nature of the stitches in Tatar embroidery, there is a low tambour (elme), sewn with large stitches, and

The vestibule is high, embroidered with small stitches, creating the impression of a lace sewn in relief (kupertken elme). In the latter case, thick threads of twisted silk were usually used. To embroider the napkins, we took floral and plant patterns traditional for Tatar embroidery, and embroidered the edges with the popular “grapevine” motif.

Photo of embroidered napkins.

Conclusion

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

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

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

As a result of our research, we came to the conclusion that the creativity of our peoples has a lot in common. Notable role in this process also refers to those ethnocultural relationships that constantly existed among the Tatars and their ancestors with neighboring peoples. Among our peoples different customs and traditions, but this does not interfere with our existence. We are interested and want to know the traditions of other peoples.

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

They're circling us life twists and turns,

But again and again

Unite all nations

Harmony, friendship and love.

References

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

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

3. Goryaeva N.A., decorative and applied art in human life: Textbook. For 5th grade. educational institutions/ Ed. B.M. Nemensky.- M,: Education, 2000.-176 p.: ill.

4. N.G. Klimova., Folk ornament in the composition of artistic products. - M.: - fine arts, 1993