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 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 art of the 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 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, headdresses, multi-colored mosaics of leather shoes, and home decorations. Along with the artistic and ethnic aspects, the ornament reveals quite clearly the features of everyday life, economic activity and the 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 creativity. 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 tambour 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 preserved in the villages also in connection with the Sabantuy holiday - young daughters-in-law give their products to the winners 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 XIX-XX centuries floral ornament is least of all connected with the ancient symbolism of the divine forces of nature, but is determined 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 you compare embroidery with other types of Tatar folk arts, it stands out for its most realistic interpretation of floral and plant motifs. No matter how different the floral patterns in the embroidery of other Volga peoples are, until the end of the 19th century there were almost no reproductions among them specific types plants, whereas in Tatar this can sometimes be determined “with botanical accuracy.” And yet, plant patterns 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 vitality embroidered paintings flowering gardens, variegated herbs of steppes, forests, 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 artistic solutions boldly transforms geometric, zoomorphic ornament into the category of plant, 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 inherent polychrome nature of Tatar embroidery, when the same motifs are made in different colors and are perceived as different.

Types of Tatar embroidery patterns

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 the embroideries of city women, while the simple peasant life was closer to the not so bright, but immensely dear to the heart images of native forests, fields, and meadows.

Almost every floral and plant motif in Tatar embroidery is based on a combination of curvilinear and geometric shapes. So, for example, a wavy line, overgrown with all kinds of twigs, leaves, flowers, extending in one or different directions, turns into a 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.).

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 made 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 ornament is represented by motifs of a rhombus, square, rosette, corners, etc. These scarves are also characterized by a geometric ornament (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 work of individual folk artists also reproduced the living images that inhabit the 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 representation in the form of various forms of vegetation is equally ancient. 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 is typical folk art simplification and generalization of the image ultimately gave birth to a new independent conventional ornamental sign.

Zoomorphic motifs in Tatar embroidery patterns

Graphics occupied a significant place in the decorative art of the Tatars. 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 embroidery mainly 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 a 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 with 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 vestibule is high, embroidered with small stitches, creating the impression of a raised lace (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 techniques of 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 type 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. Our peoples have 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 works of Tatar folk art and history, and will help in cultivating 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.

Bibliography

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

2. Gulova F.F.Tatar 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

Annex 1 . Prayer mat

Appendix 2.
Shoes of Tatar women

Appendix 3.

Appendix 4. Embroidered towels from the city museum collection

Appendix 5 Aksanova Sarah and her product

Appendix 6. Embroidered items by Nuranya Abunagirovna Bakirova.

Any nation has used various ornaments and patterns throughout its existence. Many images of stunning beauty have come to us from time immemorial. Each nation has its own unique style, depending on many factors. Culture, location on the planet and the individual characteristics of each master play a role. One cannot help but be glad that these national ornaments and patterns are an art that has reached our days and has not disappeared to this day.

Any people during their existence used various ornaments and patterns

The trend is to keep dishes with folk painting, decorating the interior with ornaments and patterns is becoming more fashionable every day. Even if you are not an artist, you can purchase stencils or print them. Then already ready-made templates use it this way, your inner voice will tell you.

Folk workshops, where you can order such stencils or invite an artist, usually exist in the outback. But even in the capital, if you wish, you can find craftsmen who can apply both a simple ornament or pattern, and a more complex one. Decorating, for example, a child’s room with such painting is a great joy for children.

There are geometric ornaments that do not carry any subtext. There are those that contain some meanings and symbols.

Russian ornament: stencils that are easy to make yourself

Russian ornaments, for example, on embroidery, are known to everyone. Everyone has seen folk costumes at least once in their life. This is the kind of beauty that comes out of the hands of masters. And that's not the most complex options. You can’t say anything - art is art. And Rus' has always been rich in talent.

If you decide to take up the art of ornamentation, you need to start with stencils, which are simpler. And it’s worth starting with a Russian ornament. If you can’t purchase stencils, you can make them yourself. Anyone can do these, you just need to show perseverance and patience.

If you decide to take up the art of ornamentation, you need to start with stencils, which are simpler

Once you get simple patterns, you can switch to more complex ones.

Gallery: ornaments and patterns (25 photos)

Buryat patterns: song of the steppe

The Buryat ornament, like the paintings of all Mongol-speaking representatives, basically consists of simple geometric figures:

• broken lines;
• zigzags;
• circles;
• diamonds;
• other figures.

If the hand is at least a little trained at the most simple drawings, you can take up Buryat ornaments and Mongolian designs. Here are some of them. It is easy to discern Buddhist motifs and Bashkir style in them.

Yakut ornament

Yakut works of art patterns amaze with their beauty. It is especially difficult to look away from works done in gold.

Keeping in mind Yakut gold, it would be surprising not to see it in folk art.

It seems to be nothing complicated, but it looks magical.

Yakut works of art patterns amaze with their beauty

As in any form of art, there are also simpler ornaments. Among the geometric shapes, the Yakut people love to use circles.

Tatar pattern: patterns of a great people

Decorating your home with carpets of stunning beauty is one of the main highlights of the Tatar nation. Any home, whether rural or urban, was always filled with carpets that were superior in beauty to Persian ones. The Tatars have always been dominated by bright floral motifs.

Embroidered flowers can be seen not only on clothes, but also on household items. Towels, pillowcases, tablecloths, aprons, prayer rugs.

We can talk about headscarves for a very long time. Every house has a whole chest filled with such scarves. Everyday, festive, wedding - for each event there is its own scarf, and for each scarf - its own special pattern. This is such a beauty - a Tatar and Bashkir embroidered scarf that you can’t take your eyes off it

Tatar and Bashkir craftsmen specialized in bright ornaments and patterns

The most widespread was the art of ornamentation in carved wooden architecture. Then came embroidery, patterns on shoes and carpets. Fabric applique occupied a very small place among the Tatar people. But on the other hand, in this application, interestingly, oriental and Greek motifs were clearly visible.

The most popular was and remains floral ornament. Trefoil, carnation, tulip, dahlias, peonies and chrysanthemums - all this is very popular among Tatar craftswomen.

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Looking at these works of folk craft, I want the house to have at least one such pattern, pleasing to the eye

Geometric patterns in the interior: the trend of the season

Geometric solutions in interior design are the most fashion trend of the year. Strictness, harmony, aristocratic aesthetics - all this admires and is used in the work of designers more and more often.

Geometric style came to homes in different forms:

• like furniture
• as accessories
• like patterns and ornaments.

Such ideas are embodied today by designers in the design of apartments and offices.

Geometric solutions in interior design are the most fashionable trend of the year

Simple and beautiful. And this becomes the motto of fashionable modern designers and customers of such interiors who strive for harmony.

Oriental patterns: visiting a fairy tale

Oriental patterns are gaining popularity again today. More often they are used for painting fabrics, silk, and large canvases. Eastern ornament is based on rhythm and construction of elements, on abstraction and stylization of real things. The roots of this art go back to the culture of Persia and Mesopotamia. Each of the patterns symbolizes something. For example, an ordinary rosette is a symbol of the universal cycle. Made in the shape of a flower, it had many varieties. This is only one of the few symbols that have been deciphered. What other patterns hide within them may remain an eternal mystery.

Oriental patterns are gaining popularity again today

The most common motifs of oriental patterns are the plant motif, magical birds and the World Tree. The latter combines a lot of symbols along with real details. The oriental pattern has another feature. This is carpet filling. It is difficult to find an unoccupied space on the surface of the pattern. Lines, leaves, cones, spikelets, blades of grass - the entire space is filled with them. In particular, this technique is used in architecture, the manufacture of decorative dishes and clothing.

Patterns for children: creating together with kids

Developing a child’s abilities by teaching him the art of patterns and ornaments is a way that gives excellent results. Try making a light floral pattern first. Below is step-by-step instruction, which makes everything very simple.

The operating procedure is as follows:

Draw the selected area into eight identical sections. Draw horizontal lines and start making the ornament.

Complete the following sketch.

Add some small details at your discretion.

The unnecessary lines along which the sketch was made must be erased with an eraser.

So much interesting and useful material!!! This is how much literature and information has been shoveled. to provide us with all this for use. Simply a treasure trove. This is such a find for me! Thanks a lot. Good luck to everyone in your creativity.

The Tatar people have an ancient and colorful culture. His life, sorrows and joys, wars and alliances, way of life, beliefs could not help but be reflected in his creativity. Since the people are ancient, the history and culture go back centuries. In its way of life and worldview, the nation differed from the tribes that settled nearby and was isolated. Therefore, for example, the Tatar ornament used to decorate clothes, household items, and houses is original and unique.

Types of ornaments and types of motifs

The way of life of the people significantly influenced the patterns with which various products were decorated. Predominantly Tatar national ornament has a pronounced influence of ancient agriculture. But if you carefully study the works of the masters, you will notice that the influence of the cattle breeding culture of the nomadic ancestors of the people is also evident.

Tatar patterns and ornaments have three types of motifs: geometric, floral-vegetal and zoomorphic. Characteristic feature is their contour completion.

and its use

Patterns have been used by craftsmen from time immemorial in many areas of applied art: architecture, embroidery, painting, wood carving. Tatar ornament with floral and plant motifs is the most common. Masters create both simple forms and complex bouquets. The colors used for the designs are bright, rich and go well together. The motifs are stylized and have many interpretations. An important role is played by the order in which the elements of the pattern are located and how they are combined with each other.

There are three directions in floral and plant motifs that are used for creativity: steppe, meadow and garden. Depending on the area in which the master or craftswoman lived, certain Tatar patterns and ornaments predominated. Motifs depicting stylized poppies, tulips, forget-me-nots, and carnations are more typical for the steppe direction. Meadow motifs are replete with wild rose, bluebell, and chamomile flowers; the directions were typical for urban settlements. Mostly dahlias, chrysanthemums, roses, and asters were depicted. The most common are two flowers that are used in the Tatar ornament. Tulip and carnation serve as the main motifs.

Geometric and zoomorphic motifs

Zoomorphic drawings are practically not used. This is explained by the requirements of religion, so the Tatar ornament very rarely contains images of animals. However, masters who do decide to use zoomorphic motifs in their products stylize them so much that it is not always possible to understand what kind of animal is depicted.

Often, the geometric Tatar ornament is not an independent element of the product, but performs auxiliary functions. The use of figures depends on what the image is applied to. For example, geometric motifs predominate in weaving, while floral motifs, arranged with geometric precision, predominate in embroidery.

Elements used in the ornament. Their capabilities. Techniques for conveying the master's ideas

First of all, you should pay attention to how the tulip is used in the Tatar ornament. It is presented in the form of a pointed trefoil with varying degrees of bending. Cinquefoils are less common. The wavy lines under the master’s hand become overgrown with leaves and form a “grapevine”.

On one branch there may be grapes, a meander, a dahlia, and a carnation. Tatar ornament with geometric motifs is used as simple figures(triangles, rhombuses, circles, squares) and complex (hexagonal rosettes, stepped figures, eight-pointed stars).

Floral ornament has another distinctive feature - the asymmetry of the elements. Flowers that in nature never grow side by side or bloom in different months of the year coexist perfectly on one branch.

The meaning of the tulip in culture and ornament

Each nation has its own symbol, which has meaning only for it. Many craftsmen use the Tatar ornament, in which the main motif is the tulip. For of a given people it is, first of all, a symbol of rebirth. The tulip is on

Secondly, the tulip is inextricably linked with the religious views of the Muslim world. The flower is associated with the name of Allah. The spelling of the plant's name in Arabic consists of the same letters as the name of the god of the Muslim world. From the point of view of the Abaj numerological system (each letter has its own number), the sum of the letters in the words “tulip” and “Allah” is the same and equals 66.

The rose is also often depicted in Tatar ornaments. And again for religious reasons: it is a symbol of the Prophet Muhammad. And although the flowers are highly stylized, a person who understands the symbols and culture of the Tatar people will definitely be able to read the Tatar ornament.

Municipal state-financed organization additional education in the city of Ulyanovsk "Center children's creativity No. 1"

PLAN-OUTLINE

CLASSES

Topic: “Stylized Tatar ornament (paper panel)”

Developed by: Matkova E.P., additional education teacher

Ulyanovsk-2016

Subject:“Stylized Tatar ornament (paper panel).”

Type of lesson: combined.

Target: creating conditions conducive to awakening interest in the history of the native land.

Tasks:

Educational:

introduce students to the names of elements Tatar ornament (“tulip”, “rose hip”, “wave”);

activate children's speech in the names of Tatar national patterns.

consolidate students' knowledge of how to complete the application;

teach children to perform panels in the form Tatar ornament using the invoice method appliqués;

master the techniques of adding objects (patterns) from parts according to a pattern;

repeat the safety rules when working with scissors and glue.

Educational:

develop attention, observation, logical thinking;

develop fine motor skills, hand-eye coordination;

promote the development of artistic taste;

develop artistic taste in the selection and arrangement of elements.

Educational:

to instill in children respect for each other and for people of other nationalities;

develop an interest in history Tatar people and their traditions

Methodological equipment of the lesson: lesson notes.

Teaching methods: verbal (conversation), visual (demonstration of samples, illustrations, patterns), practical (demonstration of working methods).

Materials, tools, equipment:

Samples of panel elements, illustrations of the Tatar national ornament, illustrations of the Tatar national costume (dress, apron, vest, skullcap, cap, boots), templates of national patterns (“tulip”, “bell”, “wave”), “letter” colored paper, glue stick, scissors, tape, large photo frame with glass, illustrations “Kazan Kremlin”, “Chak-chak”, “Flag, coat of arms of Tatarstan”).

Form of organization of activity: group.

Progress of the lesson:

1. Organizational stage(greeting, exercise “Hello, friend!)

2. Preparatory stage(introduction to the topic of the lesson).

Guys, today I received an unusual letter. I can’t make out what is written here, because it is not written in Russian.

But there is a hint - pictures (Kazan Kremlin, chak-chak, national flag of Tatarstan). Look at them carefully. If we can guess what is depicted on them, we will understand where the letter came from and what is written in it (children's answers).

I turn every word around Isenmesez, hormatle ipteshler and read (Hello, dear friends!) Well done! You guessed it!

Guys, tell me, what is the name of the country in which we live? What is the name of our city? (children's answers).

You probably know that in our hometown people live different nationalities who have their own language, culture, their own dances, songs, costumes. (Russians, Bashkirs, Chuvash, Mordovians, Tatars, Ukrainians).

Today we will talk to you about the Tatar nationality, because soon we will have a holiday dedicated to the Tatar people.

What do you already know about the Tatars? (children's answers)

They live in the Republic of Tatarstan, the capital is the city of Kazan. They speak Tatar, but many also speak Russian. They have special national dishes - pilaf, belyashi, chak-chak. On holiday the Tatars wear National costumes. Women - dresses, aprons, vests, kalfak. Men - shirts, wide trousers, leather shoes, skullcaps.

3. Studying new educational material

Today we will get acquainted with the Tatar folk ornament. Guys, what is an ornament? (children's answers). An ornament is a decoration, a pattern. They use it to decorate dishes, boxes, chests, embroider towels, napkins, tablecloths, and suits.

I brought you samples of Tatar ornaments. The Tatar people have several types of ornaments. (Tale and demonstration of samples).

"Floral-vegetal." Motifs of wavy shoots, tulip flowers, chamomile, lotus, violet. This type of ornament was used to decorate the ends of towels, curtains, aprons, and hats.

"Geometric". Geometric motifs - lines, waves, zigzags, spirals, broken lines. Used in decorating rural homes and jewelry.

"Zoomorphic" Images of pigeons, ducks, butterflies, swans, bees. Found mainly in wood carvings.

The main colors of the ornament are green, red, yellow, blue, orange.

Today we will do this kind of collective work (showing the panel).

Guys, tell me what this panel consists of? (from individual elements) What are individual elements made of - stylized patterns? (from paper). How to make such beautiful elements? (cut from paper and paste onto paper squares)

When you have done everything, we will put them into one large picture-panel, it will be presented at our holiday.

Physical education minute:

The sun lifts us up to exercise,

We raise our hands at the command “one”.

And above us the foliage rustles merrily,

We lower our hands on the command “two”.

Hands raised and shook -

These are flowers in the forest.

Arms bent, hands shaken -

This is how the wind blows away the dew.

To the side of the hand, wave it smoothly -

These are the birds flying towards us.

We'll also show you how they sit down.

Let's put our hands back.

4. Practical work

Briefing.

We will have two teams “Tulip” and “Wave”. The first team makes the first type of ornament (stylized tulip), the second - a stylized wave. Let's see which team did better.

Independent work.

I'm handing out the details. We open the envelopes. Let's look at the pattern and its elements.

What does this pattern consist of? (Square, tulip, oval with pointed corners) And this one? (Square, wave and circle).

You will need to cut out squares from colored paper and glue elements of a stylized ornament onto them.

But before we get started, let's remember the safety rules when working with scissors and glue.

During practical work, you can play a finger game.

Finger game"Flower"

Each of you has turned your hands into a flower. The petals are closed, tightly closed.

Early in the morning it is closed (the hands are in their original position),

But closer to noon (palms move away from each other, pads thumbs pressed to the ends of the index fingers, the hands resemble an open bud)

He opens the petals, I see their beauty (the hands are connected at the wrist, and the fingers smoothly move in different directions, reminiscent of an open flower).

By evening, the flower closes its corolla again (close your fingers - an unopened flower),

And now he will sleep (hands in original position)

Until the morning, like a baby bird (put your hands under your cheeks - imitation of sleep).

From which elements this pattern consists of? (flower, leaf)

What is the name of this flower? (Tulip)

What colour big flower? (red) What about the little one? (yellow)

What color are the petals? (green)

While working, I show you the technique of making the ornament step by step. Children do group work. During its implementation, I provide assistance to some children, prompting and guiding. I talk through the names of the parts with the children.

5. Control stage

Current control. Individual assistance is provided during the work process.

6. Final part

Guys, we've finished our work. Everyone listened carefully and completed the task successfully.

Did you enjoy the activity?

Guys, what people of the Volga region were we talking about today? What new have you learned? Who found it difficult to cope with work?

Now let's clean up our workspace.

Application

"Wave" ornament template

Tulip pattern template

Peony pattern template

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, headdresses, multi-colored mosaics of leather shoes, and home decorations. The motifs and patterns of various household products, as well as the ornamentation of the home, reflect the richness of the artistic thinking of the people, a subtle sense of rhythm, proportion, understanding of shape, silhouette, color, and 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 on the technique of appliqué and mosaic on leather and wool, tambour embroidery, felting, etc. These types of ornamentation techniques, preserved to this day 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 techniques, 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 there are a number of common Turkic elements in the Tatar ornament, it also contains a very archaic group that reveals a connection with the ornament of ancient Mountain 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 of 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 the difficult historical conditions for 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 it 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, 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.

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 nature and the way of life of the people, with those technical techniques of pattern creation that determined the organic nature of the pattern with the material and purpose of the household product.