What handicrafts are made in Tatarstan. Presentation on the topic: "Folk crafts of the Tatars"

Andrianova Arina, Makarova Daria

Folk arts and crafts: painting on wood and the history of the emergence of painting in the Republic of Tatarstan

Target: Analysis of the state and trends in the development of folk art crafts of the Republic of Tatarstan.

Tasks: 1. to cultivate a sense of patriotism through the artistic heritage of our region;

2. to instill love for folk traditions;

3. to form the skills of working on the established traditional folk methods of painting on wood.

Object of study: painting on wood

Subject of study: painting technology

Study participants: school students

Hypothesis: Inciting interest in folk art, and obtaining skills and abilities in this area, is possible only with close acquaintance, and immersion in historical roots through independent creativity.

Relevance: Folk art crafts of the Republic of Tatarstan are an integral part of the national culture. They embody the centuries-old experience of the aesthetic perception of the world, turned to the future, preserved deep artistic traditions that reflect the originality of the culture of the Tatar people. The folk art crafts of our Motherland are both a branch of the art industry and a field of folk art. The combination of traditions, stylistic features and creative improvisation, collective principles and views of an individual, man-made products and high professionalism are the characteristic features of the creative work of craftsmen and craftsmen of the Republic of Tatarstan.

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III International Scientific and Practical Conference "Discovery"

Municipal Budgetary Educational Institution

"Yulduz secondary school"

research work

Job done

Andrianova Arina, Makarova Daria

5th grade students

MBOU "Yulduz secondary

comprehensive school"

Chistopolsky municipal district of the Republic of Tatarstan

Work manager

Andrianova Irina Kabirovna

art teacher

Russian Federation

Chistopol, RT-2016

I. Introduction……………………………………………………………………4

II. Theoretical part

1. Features of the folk craft of our region………………………5

1.1. The history of the emergence of painting on wood………………………….5

1.2. Features of the Tatar ornament ………………………………….7

III. Practical part

1. The practical significance of folk craft……………………… 10

Product material ………………………………………. …………………ten

IV. Conclusions…………………………………………………………………..11

V. Sources………………………………………………………………..12

INTRODUCTION

Research topic:Folk arts and crafts: painting on wood and the history of the emergence of painting in the Republic of Tatarstan

Target: Analysis of the state and trends in the development of folk art crafts of the Republic of Tatarstan.

Tasks: 1. to cultivate a sense of patriotism through the artistic heritage of our region;

2. to instill love for folk traditions;

3. to form the skills of working on the established traditional folk methods of painting on wood.

Methods:- the method of compositional and artistic analysis was used in a detailed study of artistic painting on wood;

the method of longitudinal research (conducted for a long time) was based on the study of literature on the art of the Republic of Tatarstan, visits to local history museums in order to get acquainted with the Tatar crafts; practical classes in the circle of fine arts.

Object of study:painting on wood

Subject of study:painting technology

Study participants: school students

Hypothesis: Inciting interest in folk art, and obtaining skills and abilities in this area, is possible only with close acquaintance, and immersion in historical roots through independent creativity.

Relevance: Folk art crafts of the Republic of Tatarstan are an integral part of the national culture. They embody the centuries-old experience of the aesthetic perception of the world, turned to the future, preserved deep artistic traditions that reflect the originality of the culture of the Tatar people. The folk art crafts of our Motherland are both a branch of the art industry and a field of folk art. The combination of traditions, stylistic features and creative improvisation, collective principles and views of an individual, man-made products and high professionalism are the characteristic features of the creative work of craftsmen and craftsmen of the Republic of Tatarstan.

Theoretical part.

1. Features of folk craft of our region.

The history of wood painting

One of the most ancient types of folk crafts, which for several centuries have been an integral part of the daily life and original culture of the people, is artistic painting. Archaeologists claim that the architecture of the Kazan Tatars goes back to the city buildings and estates of the ancient Bulgars. One of the advantages of this architecture is the art of ornamentation in the technique of woodcarving. Samples of such ornamentation from the time of ancient Bulgaria have not reached our time. However, the high skill of its carvers is evidenced by an oak facing plate found in the village of Bilyarsk on the site of the Bulgarian city of Bilyar from a wooden tombstone of the 12th century (it is stored in the National Museum of the Republic of Tatarstan). The front side of the overlay is decorated along the border with a carved vegetative ornament, testifying to the experience and high artistic level of woodworking.

A remarkable connoisseur of Tatar folk ornamentation, the first doctor of art history in the Volga region, Fuad Valeev (1921-1984), wrote that the ornamentation of the Tatar dwelling in different historical periods was carried out in different techniques: for the end of the 18th - beginning of the 19th century, notched and contour carving was characteristic, in the 19th century Especially widespread was the "blind" and contour carving, from the end of the 19th century - sawn European origin.

The main means of decorating Tatar buildings are lancet and keeled gable niches, pilasters, columns, patterns in the form of a rectangular or square grid, round flower rosettes, triangular or rhombic pyramids, bundles, etc. The miracle of the artistic processing of canne mora wood is the creation of a soft play of chiaroscuro due to the small and frequent relief. Another thing is a kind of polychrome (striped) coloring.

Using the simplest straight and curvilinear geometric, as well as floral patterns and their combinations, the Tatar master admires the ability to create complex and bizarre compositions using a stencil to decorate a house, fence, gate.

In the second half of the 19th century, colored glazing of the lower parts of window casings on the facade and on the pediment, and in the city - of balconies and terraces, became widespread. The most preferred colors are red, yellow, purple, green, blue and their shades. The passion of the village rich is painting on wood on the plane of the gable niches along the facade; the most common painting subjects are the "tree of life" and lush flower bouquets. However, this fashion during the formation of Russian capitalism was in fact only a revival of the art of painting, developed during the Golden Horde.

Tatar ornamentation with woodcarving and other ways of decorating a home in the process of their development were influenced by local traditions of the peoples of Turkic and Finno-Ugric origin, and later Russians. Wood painting developed in the modern folk art of the republic in a new quality - in the form of the Tatar "Khokhloma", which became widespread in the creation of souvenirs.

Products differed from the traditional Khokhloma ones, both in purpose and in form and color. When painting products, craftsmen use the motifs of the Tatar ornament and the colors characteristic of national art. (see Attachment)

1.2. Features of the Tatar ornament

The Tatar folk ornament represents a bright and original page in the artistic creativity of the people. Being the main means of arts and crafts, it reflects at the same time the complex history of the formation and development of the people, their culture and art. Beautiful examples of the Tatar ornament have found a vivid expression in various works of centuries-old creativity of the people: in fine patterns of jewelry, colorful embroideries and patterned fabrics, carved plastic of tombstones, headdresses, multi-colored mosaics of leather shoes, home decorations. The motifs and patterns of various household products, as well as the ornamentation of the dwelling, reflect the richness of the artistic thinking of the people, a subtle sense of rhythm, proportion, understanding of form, silhouette, color, and material. There are several types of ornament:

1. Floral and floral ornament. The richest world of plants has always inspired folk masters and craftswomen in their work. The floral ornament is widely used in almost all types of art of the people and amazes with the abundance of floral motifs, the picturesque interpretation of them, and the richness of color combinations.

2. Zoomorphic ornament. Nature gave the creators of folk art the opportunity to widely observe the world of living images. The motif of the bird has been most stably preserved in the work of the people. Many beliefs, fairy tales and legends are associated with the image of the bird. In the view of the people, the bird has been a symbol of the sun and light since ancient times, a mediator between the soul of man and the sky. Even in the recent past, in the custom of the Tatars there was fortune-telling by the cry of a bird. You can find a wide variety of variations of mostly contour images of birds. Most often they are presented with open beaks and wings, two heads and tails branched to the sides. Pigeons are usually treated in a paired heraldic composition.

3. Geometric ornament. Among the diverse motifs and patterns of the Tatar ornament, a significant place is occupied by geometric ones. True, they are inferior in their distribution to floral and floral patterns, but nevertheless they are also widely used in decorating rural dwellings, jewelry and patterned weaving.

The pattern building system has been familiar to man since ancient times.

The composition of patterns was based on the creation of certain rhythms, repetitions, alternation of various motifs.

The following compositions are found in the ornament: the ribbon composition is formed from rapports with parallel guides, the heraldic (reverse) composition is based on the symmetry of the image with respect to the vertical, and in some cases, to the horizontal axis.

Mesh (carpet).

Central beam or radical, rosette composition. In this composition, the pattern pattern is based on axial rays emanating from one center.

Composition in the form of a flower bouquet.

Color:

The Tatar ornament is characterized by multicolor, which begins with the base. Preference was given to bright saturated colors: green, yellow, purple, blue, burgundy and red. A colored background is a must in multicolor embroidery. It enhances one range of colors and softens another. And in general, it contributes to the creation of rich color harmony. Thanks to the colored background, the composition of the ornament became clear, rhythmic and soft in color transitions.

There is great freedom in the colors of plant patterns and their elements: leaves, flowers, buds, even on the same branch, were made in different colors. And besides, individual flower petals, their veins, individual elements of leaves were made in several colors. A favorite method of color composition is the method of contrasting "warm" and "cold" tones. The background usually has a red and white and red color scheme. The patterns usually feature from 4 to 6 different colors. The prevailing place is occupied by blue, green, yellow and red tones. Despite the color saturation and brightness of patterned fabrics, they do not seem overly variegated, thanks to the colored background, which cancels out the bright color ratios. Rich patterns are distinguished by the richness of the colors used: green, blue, yellow, blue, red, purple. All these colors are taken in full tones and have different shades. The color schemes of the patterns are characterized by a combination of green with red, blue with purple. Usually the master or craftswoman sought to create bright color contrasts. With any combination of colors and their brightness, and the overall color scheme, the impression of flashy variegation is never created. This is facilitated by a colored background, which softens or vice versa reveals individual color spots.

Practical part.

2.1. The practical significance of painting on wood

What the master needs:

Materials. The main material for painting is paint. When painting wood, the same paints are used as in painting: oil, tempera, gouache, watercolor, as well as aniline dyes. Tools.

The main tool of the master of painting is a brush. Most often, round squirrel and kolinsky brushes of different sizes are used for painting: - round kolinsky No. 1 and No. 2 with a pile of medium length (for contouring and stroking with black paint), - round squirrel No. 2 and No. 3 for applying red paint,

Flat synthetic or bristle No. 4,5,6 for applying primer and for varnishing. The ideal brush for painting should resemble a drop, a seed, a candle flame. The wooden tip of the brush is also working - it is used as a “poke” for applying dots: “seeds”, “dewdrops”. A palette is needed to mix paints, to remove excess paint from a brush.

Final finishing of the painted item. Lacquer coating allows you to protect the painting on wood from the effects of the external environment: moisture, temperature changes, active substances. In addition, covering materials - drying oil, varnish, mastic - give the product an additional decorative effect. Processing a product with varnish is also a kind of art. It happens that a beautifully painted thing under an incorrectly selected or poorly applied varnish loses its attractiveness. It is no coincidence that at the enterprises of art paintings there is a profession of lachila. Oil varnish PF-283 (4C) has proven itself from the best side and is most suitable for work. It is best to put the received item in a clean box with a lid wiped with a damp cloth beforehand, or simply cover it with a box on top so that less dust settles and the smell of varnish does not spread. When dried, a glossy elastic surface is formed, which has improved physical and mechanical properties and is stable in contact with water.

Conclusion:

So, summing up the results of the study, we conclude that the national painting changes the very image of the product. It becomes more expressive at the level of colors, rhythm of lines and proportionality. It is an integral part of the identity of the Tatar people. Wood painting has long attracted the attention of folk craftsmen in architectural art. Fortunately, in the Republic of Tatarstan today, various types of wood painting have been preserved and are developing, echoing the peoples of Russia, and acquiring their own national identity in household items.

Conclusion

We are convinced that it is necessary, as early as possible, to join the folk culture. Mastering special skills and especially skills, you are enthusiastically involved in the manufacture of objects of decorative and applied art. This favorably affects the general artistic development, the formation of creativity, accustoms to diligent, conscientious work.

In the process of doing the work, we painted decorative boards, learned the techniques of painting. Our task was to get acquainted with the history of the development of the artistic craft of the Tatar people, to arouse interest among peers in folk art, to give the joy of creativity, with which we successfully coped.

List of used literature

1. Album "Folk Artistic Crafts of Russia" Comp. Antonov V.P. M., 1998.

2. Alferov L.G. Painting technologies. Wood. Metal. Ceramics. Fabrics. - Rostov-on-Don: Phoenix, 2001.

3. Voronov V.S. Encyclopedia of applied creativity. - M., 2000.

4. Valeev F.Kh. Ancient art of Tatarstan. - Kazan, 2002. - 104 p.

5. Culture of the peoples of Tatarstan \ ed.-comp. L.A.Kharisova. - Kazan, 2005. - 367p.

6. Nurziya Sergeeva "Ebiemnen Sandygy". - Kazan, 1995

7. Folk craft.: - St. Petersburg, State Russian Museum, Palace Editions, 2000 - 12 p.

8. Fuad Valeev. "Tatar folk ornament". - Kazan, 2002

Application

Fig.1

Examples of the fusion of geometric and floral ornaments

Floral ornament

Fig.2

Examples of varieties of Tatar ornament

Fig.3

Contemporary examples of wood painting

Set of plates with Tatar ornament

Are you interested in the history, culture and traditions of the Tatar people, our region? Do you know how traditional Tatar shoes were made - ichigi boots and shoe shoes? What is the difference between Tatar bast shoes and Russian ones? Why does the female headdress - kalfak - have different sizes? To find out all this, you need to visit our exhibition "Ungan halkymnyn osta kullary: Tatar halyk Һonərləre" - "Golden hands of masters: folk crafts of the Tatars".

For many centuries, the traditional crafts of the Tatars are jewelry and gold embroidery, leather mosaics, tambour embroidery and weaving, woodworking and felting and felting. Thanks to the traditions and preserved products made by the hands of the masters of the past, handicrafts known for their originality and popularity have been developed.

The National Museum of the Republic of Tatarstan has preserved one of the largest collections of products and tools of Tatar masters. Many of them represent traditional crafts, the secrets of which have been passed down from generation to generation. Creating a new work, a real master not only relied on the experience of past centuries, but also tried to find his own original solution.

Today, the best traditions of folk art crafts are being revived in Tatarstan. Maintaining continuity, folk craftsmen create works of art that correspond to new forms of life, while widely using national ornaments and traditional techniques.

At the exhibition you can see rarities of crafts and trades of the 19th-20th centuries. and products of modern masters.
Among them are paintings on velvet made by Luiza Fashrutdinova, elegant leather mosaics by Sofya Kuzminykh, Ildus Gainutdinov, Naili Kumysnikova and others.

The creators of the exhibition hope that it will be of interest to the visitor not only for its content, but also for its interactive zones. The exhibition hosts master classes in gold embroidery, leather mosaic, woodcarving, calligraphy; museum classes “We don’t miss tea”, “Visiting the stove”; interactive theatrical tours "Revived exposition".

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

FOLK ART AND ART CRAFTS OF THE PRIKAMIE TATARS.
In the south districts of Perm. region - Bardymsky, Kungursky, Osinsky, Ordinsky, Oktyabrsky - a large group of so-called. Bartymsky or Gaininsky Tatars, leading their origin from the Kazan Tatars, who settled here to the end. 16th century
Nars were developed in the Tatar villages. crafts and crafts: weaving and embroidery, making headwear and shoes, wood carving and pottery, jewelry craft.
One of the most common types of home craft among the Tatars from time immemorial was weaving. Women wove tablecloths, curtains, towels (tastomals) with ornamented ends. On a red-brown background, pairs of large stepped rosettes were woven using the flooring technique. Bright patterned and striped rugs were woven using the traditional embedding technique. The traditions of weaving festive tastomals and rugs have been preserved to this day.
Embroidery occupied a significant place in the needlework of Tatar women. They embroidered mainly household items: towels, tablecloths, bedspreads, special rugs (namazlyk) curtains, wedding shoes. They embroidered most often with chain stitch, less often with satin stitch. Currently, of all types of bunks. the art of embroidery is the most developed. In everyday life of Tatar families - embroidered pillowcases, curtains, valances, napkins, etc. The most common technique is satin stitch, floral ornament is popular.
Women were engaged in embroidery with gold and silver thread, thread, pearls and beads, which were used to embroider women's hats (kalfak, skullcap, scarves, tastar), velvet shoes (shoe), men's skullcaps (kelepush), etc.
Traditional for the Tatar masters was the manufacture of the so-called. Asian shoes. Men's and women's ichegs were sewn from pieces of multicolored thin leather (morocco), the seams of which were embroidered with silk. Characteristic skin colors for Ichegs are yellow, dark red, green, blue, blue. The manufacture of patterned felt boots with an ornamented top was popular.
Tatar craftsmen were engaged in jewelry making, creating jewelry that was the details of a dress or headwear (buttons, fasteners) and jewelry for an independent purpose (bracelets, braids). Tatar jewelry was made of metal, precious stones and fabric. Most often used silver, owned the technique of gilding. Jewelry was made using the technique of casting, embossing, and filigree was widely used. The masters decorated the works with engraving, inlay, and notch. Most often, a floral ornament was applied, less often - a geometric one. The ornament of Tatar jewelry was archaic, fixed for centuries, the motifs and details of the ornament were transferred from one master to another. A significant place in the decoration of the costume was occupied by coins, which were used as pendants or sewn to jewelry.