Folk arts and crafts of Tatarstan and Tatars in diasporas. Traditional crafts of the Tatars

Tatars (self-name, Tat. Tatars, tatar, plural Tatarlar, tatarlar) are a Turkic people living in the central regions of the European part of Russia, in the Volga region, the Urals, in Siberia, Kazakhstan, Central Asia, Xinjiang, Afghanistan and the Far East .

They are the second largest people in Russian Federation after the Russians. They are divided into three main ethno-territorial groups: Volga-Ural, Siberian and Astrakhan, sometimes Polish-Lithuanian Tatars are also distinguished. Tatars make up more than half of the population of the Republic of Tatarstan (53.15% according to the 2010 census). The Tatar language belongs to the Kipchak subgroup of the Turkic group of the Altai family of languages and is divided into three dialects: Western (Mishar), Middle (Kazan-Tatar) and Eastern (Siberian-Tatar). Believing Tatars (with the exception of a small group of Kryashens who profess Orthodoxy) are Sunni Muslims.

Kazan Tatars. Lithograph by G.-F. H. Pauli

Family and household traditions and rituals

Family and kinship relations of the Tatars have gone through a difficult path of development. TO XVIII century large families began to disappear, and there was a tendency towards the formation of small families. However, broad mutual assistance continued to be practiced between relatives in household matters during weddings and celebrations of the birth of children. Traditionally, the family dominated, based on patriarchal principles with some elements of female seclusion.

The most significant family events among the Tatars, as well as among other peoples, were the wedding and the birth of a child.

There were three types of marriages. Either the girl was matched, or she went to her beloved without the permission of her parents, or she was kidnapped without her consent. The most common was marriage through matchmaking.

The groom's parents chose the bride, then a matchmaker was sent. After the agreement, the bride's relatives began to prepare for the wedding. The day before the wedding, the groom's parents sent the bride a ransom and gifts. During the wedding and at the wedding dinner, the bride and groom were not present; they were represented by their fathers. The wedding ended with the serving of sherbet to the groom's relatives, which served as a sign of collecting money for the bride.

Among the Tatars, a wedding was always preceded by a conspiracy, in which the groom’s side was represented by a matchmaker and one of the older relatives. If the bride's parents agreed to the marriage, during the conspiracy the issues of the size of the bride's dowry and the bride's dowry were resolved, the time of the wedding and the number of invited guests were discussed. After this, the bride was already called the betrothed girl. Young people whose parents decided to marry their children could often meet for the first time only at their own wedding.

City woman's wedding suit. Late XIX- beginning of the 20th century

Preparations for the wedding lasted 3-5 weeks. At this time, the groom collected the bride price, bought gifts for the bride, her parents and relatives, and the bride completed the preparation of the dowry, which she began collecting at the age of 12-14. It usually consisted of homespun dresses, underwear, and gift clothing for the groom. These were embroidered shirts, trousers, woolen socks, etc. Relatives on both sides were busy organizing the upcoming wedding.

The wedding ceremony itself and the first wedding feast took place in the bride's house. Guests and close relatives of the bride and groom gathered at noon. At this time, the groom was at his parents’ house, and the bride, surrounded by her friends, spent the day in the so-called newlyweds’ house, which was located either in the summer house of the girl’s family or in the house of her closest relatives.

In the wedding gathering, the mullah performed the wedding ritual, which opened with a prayer appropriate to the occasion. After this, the marriage was considered concluded.

At this time, the bride saw off her friends and sisters, after which the ceremony of consecrating the newlyweds’ bed was performed. Guests from the bride's side came to the wedding house, and each of them had to touch the feather bed with their hands or sit on the edge of the bed, and some even allowed themselves to lie down. Guests threw a few coins into a special saucer. After the guests left, the bride remained in the house with one of the older women, who taught her how to receive the groom.

In the evening, the smartly dressed groom, accompanied by his groomsmen, went to the wedding venue. The groom and his escort were greeted with ritual jokes. The bride's side tested the groom for modesty, sharpness of thinking and other qualities. After the ritual treat for the groom, the guests escorted him to the bride, but before entering her house, the groom had to pay a ransom.

The next morning, the newlyweds were invited to the bathhouse, then the groom's parents went there. In the afternoon, the ritual of caressing the back was performed. The bride was invited to the hut, where only women were, and sat on her knees, facing the corner. The girl sang sad songs about submission to fate. The groom's mother, her sisters, and the groom's older sister took turns approaching the bride, stroking her on the back, speaking kind words and instructing her on how to behave with her husband. After this, they gave the bride gifts or money.

In the evening, the guests went home, before which members of related families exchanged gifts. The bride's relatives gave the guests scarves and other small items, and in return the guests gave money.

But this is only the first stage of the wedding. The groom lived with the bride for a week, after which he returned to his parents' house, and the young wife continued to live with her family, and her husband came to her every night. This could last from several months to several years. During this time, the young husband had to pay the full amount of the dowry, if he could not do this before the wedding, or build a house for his family. It often happened that by the time we moved to new house the couple already had several children.

When the young wife moved to a new house, a second wedding feast was held. On the appointed day, the groom sent a carriage with horses, decorated with ribbons and bells, to pick up the bride. The dowry was placed in this cart, and the young wife, children (if they already had them), younger brothers or children of relatives were seated here. The parents of the young woman, then the matchmakers and matchmakers, sat in other dressed-up carts, and the cortege set off for the new home of the young couple.

Here the spouses and their guests were met by the husband's relatives and parents. His older sister and mother were holding a freshly baked loaf of bread and a cup of honey in their hands. One of the men brought a calf to the cart, symbolizing prosperity. A pillow was placed on the ground. The daughter-in-law descended from the cart, leaning on the calf, and stood on the cushion. Then she broke off a piece of the loaf and, dipping it in honey, ate it. Sometimes the girl was fed honey from a spoon by her husband's mother. This tradition expressed a good attitude towards the daughter-in-law and wishes for a prosperous life for the young family. Then the young wife performed the ritual of consecrating the home, sprinkling the corners and foundation of her new home. It was believed that after this she would get along well with her new relatives.

And finally, the wedding feast began, at which the young husband served the invited men, and the young wife served the women.

The birth of a child was a joyful event for the family. Men and women were invited separately to the feast on the occasion of the birth of a baby. Tatar educator and historian Kayum Nasyri describes this ritual as follows: “When all the guests are gathered, the child is brought to the mullah on a pillow. He asks the parents what to name the child. The mullah places the child with his feet towards the Kaaba and reads a prayer, then says three times: “Let your precious name be such and such.” Each of the guests is presented with honey and butter. When treating himself, the invitee puts as much money as he can on the tray.”

Wedding rituals remain vibrant and interesting to this day in some families: receiving the bride price (kalym), the dowry of the bride herself (byrne), the religious ceremony of marriage (nikah) and other rituals.

Social traditions and rituals

Kitchen, table etiquette traditions

The Tatar national cuisine is interesting and diverse, which developed not only on the basis of its ethnic traditions. It was greatly influenced by the cuisines of neighboring peoples. Inherited from the Bulgars in the Tatar cuisine were katyk, bal-may, kabartma, complemented by the Tatar chak-chak, ech-pochmak, Chinese cuisine gave dumplings and tea, Uzbek - pilaf, Tajik - pakhleve.

Numerous travelers who visited Kazan called the national cuisine nourishing and tasty, simple and refined; they were surprised by the variety and rare combination of products, as well as hospitality, which was remembered for a long time. According to the ancient Tatar custom, a festive tablecloth was laid out in honor of the guest and the best treats were put on the table: sweet chak-chak, sherbet, linden honey, and, of course, fragrant tea. Hospitality in the East has always been highly valued. “An inhospitable person is inferior,” Muslims believed. It was customary not only to treat guests, but also to give gifts. According to custom, the guest responded in kind. People used to say: “Kunak ashy - kara karshi,” which means “Guest treats are mutual.”

Hospitality was considered one of the main virtues even among the Bulgars. This was fully demonstrated during the reception of the embassy of the Baghdad caliph, who arrived at the request of the Bulgarian king Almush in the summer of 922 to promote the adoption of Islam in Volga Bulgaria. While still on the way, the king's sons and brothers greeted the guests with bread, meat and millet. Ambassador Susan was especially struck by the warm official reception in the royal yurt. After a hearty meal, the guests were invited to take the remaining food to their home.

In May 1722, the Russian Tsar Peter I experienced the breadth of Kazan hospitality as he set out on a campaign against Prussia. In the house of the wealthy Kazan merchant Ivan Mikhlyaev, Peter celebrated his fiftieth birthday. Many servants, bowing to the king at the waist, brought in “first cold dishes of meat and fish, then hot, then roast, followed by cakes, then sweets, and pies were served in between liquid dishes.”

Islam imposed special norms and rules for eating. According to Sharia, it was forbidden to eat pig meat, as well as some birds, for example, falcon, swan - the latter were considered sacred.

In the ninth month of Muslim lunar calendar, Ramadan, when the Koran was sent down to earth, all Muslims over 12 years old were obliged to keep 29-30 days of fasting - complete abstinence from food and drink during daylight hours. Sharia called for moderation in food not only during the fast, but also in everyday life.

One of the main food prohibitions concerned wine and other alcoholic beverages. The Koran notes that in wine, like in gambling, there is good and bad, but there is more of the former. “Wine is the obvious root and source of sins, and whoever drinks it loses his mind. He doesn’t know God, he doesn’t respect anyone...” said the prophet Muhammad.

According to adab - Islamic ethics - any meal began with washing hands. Before starting the meal, the Muslim said: “Bismillah arra hman arrahim” (“In the name of Allah, the merciful and merciful”), and the meal also ended with prayer. Men and women ate separately. The famous Tatar educator and encyclopedist Kayum Nasyri, in his book on education, described a number of rules that are mandatory during meals: “Sit down at the table as soon as the food is served, don’t keep yourself waiting. Eat right hand If respectable people are gathered at the table, do not reach for food before them - this is bad manners. In moderation great benefit“You will be healthy in body, clear in mind, strong in memory.”

The basis of nutrition was meat, dairy and plant foods. Lamb was considered the favorite meat of the Tatars, and poultry was prized. Popular meat dishes were pilaf and dumplings, which were traditionally served to the young son-in-law and his friends.

Milk was used mainly in processed form. After settling, cream was obtained, then butter. The favorite Tatar drink - katyk - was prepared from fermented milk, which was used to prepare suzma - Tatar cottage cheese. Another type of cottage cheese is eremchek, kort.

Of the variety of dishes, the most typical are, firstly, soups and broths (shulpa, tokmach), meat, dairy and lean. Secondly, baked flour products are common among the Tatars - beleshi, peremyachi, bekken, ech-pochmak, sumsa and others stuffed with meat, potatoes or porridge. Thirdly, the presence of the “Tea table - the soul of the family,” as the Tatars say, emphasizes its importance in the table ritual. Tea with baked goods sometimes replaces breakfast or dinner; tea is an indispensable attribute of welcoming a guest. Tea was also praised in Tatar folk tales: “In this world, Allah has many different delicious dishes, but they cannot be compared with tea, the main medicine. You won’t find so many valuable and healing properties; in others it will turn the hungry into well-fed people, and the old and sick into young people.”

Tea was served with a treat made from sweet dough: katlama, kosh-tele, chak-chak - a mandatory treat at a wedding, brought by the bride, as well as her parents. They readily drank honey with tea. It was used to prepare a mandatory treat in honor of the birth of a child - alba puree and a wedding delicacy - bal-may. Sherbet - a sweet fruit and honey drink - was also consumed during the celebration wedding ceremony, the bride sent it to the guests, who, after drinking the sherbet, put money on the tray as a gift.

Kazan cuisine, which has absorbed the culinary traditions of the Bulgars, Tatars, Russians, the influence of the East and Europe, is rich in a wide variety of everyday and festive table. To this day, not only the wonderful recipes of national cuisine have been preserved, but also the warm hospitality of the people that has existed for centuries.

Rituals and holidays are an expression of the emotional and aesthetic life of the people. Traditionally, the festive culture of the Tatars included both religious (Kurban Bayram, Eid al-Fitr, Ramadan) and secular holidays celebrated at certain times of the year.

The calendar cycle of national holidays and rituals of the Tatar people begins with Nowruz, which was celebrated on the day of the vernal equinox (March 21) according to the solar calendar. Shakirds (students of the madrasah) went around houses with songs wishing well-being and health and in return received treats from the owners.

Soon after Nowruz, it was time for spring sowing, the most beautiful time of the year, and the Sabantuy holiday was held. The history of Sabantuy is as ancient as our people themselves. Already in 921, the ambassador who arrived to the Bulgars from Baghdad, the famous researcher Ibn Fadlan, described this Bulgar holiday in his writings. Already two weeks before the holiday, the collection of gifts for the winners and preparation for the holiday began. “The horse senses the approach of Sabantuy in advance,” says a Tatar proverb. The culmination of the holiday was the Maidan - competitions in running, jumping, national wrestling (keresh), and, of course, horse racing, sung in poetry and songs, causing admiration and delight - the decoration of the Tatar holiday.

At the beginning of summer, it was time for special holidays to meet relatives - jiens, who arrived the day before and stayed for 3-4 days. In the evening, youth celebrations took place with songs and dances, round dances and fun games, acquaintances between boys and girls were made, and future marriages were planned.

Muslim holidays were considered especially revered. The most significant of them is Eid al-Adha. Kurban Bayram, or, as it is also called, Eid al-Adha (Sacrifice) is one of the most important Muslim holidays. This is a day of remembrance of the mercy of Allah, when he held Ibrahim’s hand at the throat of his own son, whom he was about to sacrifice to the Creator.

Rembrandt. Abraham's Sacrifice

Instead of a son, Ibrahim sacrificed a lamb to the Creator. This sacrifice became the basis of the holiday. On holidays, all believers focus their thoughts and aspirations on the idea of self-sacrifice, which is expressed in the ritual of slaughtering a sacrificial animal.

The word "Muslim" means one who has submitted. This word was first used by Ibrahim, and he called himself surrendered to the will of Allah. And the word “Islam” comes from “aslam” - “to submit.” All professing Islam are completely subordinate and submissive to the Divine will.

Animals prepared for sacrifice are usually decorated with bells and necklaces, and sometimes painted. This is done so that on the Day of Judgment every Muslim will recognize the animal that was personally sacrificed to him. The road to paradise, as Islam teaches, leads through a bridge over the abyss - sirat, which is thinner than a woman’s hair, sharper than a sword blade and hotter than a flame. You can cross it only on sacrificial animals that will stand at the bridge, and every Muslim will quickly find his animal by color and decoration.

The sacrificial animals must be without the slightest defect: a camel must be at least five years old, a bull or goat - one year, a sheep - seven months. After the sacrificial animal is slaughtered, it is imperative to feed the poor and hungry. No guest should leave on this day without a treat.

There are a number of rules for performing the ritual:
You cannot sharpen knives near the sacrificial animal; they should be prepared in advance.
The animal's eyes must be covered with a scarf, henna placed on its head, and a lollipop in its mouth.
One animal cannot be slaughtered in the presence of others; they must stand as far away as possible.

The meat of sacrificial animals is not washed; it is thoroughly cleaned and cut into small pieces. The meat is boiled in water, to which onions and salt are added.

During three holidays, a family can eat only a third of the meat, treating neighbors and guests, the rest is supposed to be distributed to the poor. The more meat distributed on this holiday, the easier it will be for a Muslim to cross the bridge over the abyss.

Before the holiday, fairs are held in almost all cities where you can buy a sacrificial animal. In some Muslim countries, more than a million head of livestock are slaughtered.

Eid al Adha

This is the holiday of breaking the fast after the end of fasting in the month of Ramadan. The fast lasts 30 days. During fasting, you cannot drink or eat all day until sunset, entertainment is strictly prohibited, and you cannot dip your head in water. During Ramadan, the gates of heaven are open to everyone, and if a true believer strictly observes fasting, then all his sins are burned away.

The beginning of Ramadan is heralded in different ways in different countries: with the firing of a cannon, the beating of drums, or the raising of flags over the minarets. After the signal, Muslims must go to the mosque for prayer. Throughout the entire fast, every believer must repeat the following words: “I intend to fast for the month of Ramadan from dawn to sunset solely for the sake of Allah!”

During fasting, one must not slander or commit ungodly acts. Fasting for Muslims is a favorable time for reconciliation. Having forgotten the grievances, you can invite a person with whom you have quarreled for a long time to visit and make peace with him. It is absolutely necessary to make peace with those you have offended.

Eid al-Adha begins on the first day of the month following Ramadan, Shawwal. The holiday lasts 3-4 days, which are non-working days in Muslim countries. These days, the prophet bequeathed to give alms to the poor and treat them. A mandatory holiday treat is sweets: dates, sweet fruits, etc. On the eve of Eid al-Adha, believers try to gather all family members together and not let them leave the house. It is believed that on this day the house is visited by the souls of deceased ancestors.

On the day the fast ends, after visiting the mosque, people go to the cemetery, and the men of the village or neighborhood visit the families of those whose relatives died during the year to express condolences again.

The rest of the holiday day is devoted to fun: music is played everywhere, everyone sings and dances, fairs are held. The holiday lasts until late at night.

The theme of national holidays is widely covered in folklore, legends and stories, in the works Tatar writers, composers and artists.

Since 1992, the two religious holidays Eid al-Adha (Muslim) and Christmas (Christian) have been included in the official holiday calendar of the Republic of Tatarstan. The tradition of celebrating Sabantuy is still alive today. Traditional folk holidays have been enriched with new ones, which reflect social and political changes in society. The main one was Republic Day, August 30. It was on this day in 1990 that Tatarstan adopted the Declaration of State Sovereignty. Republic Day reflects both ancient traditions and modernity. This is a memory of the past and aspiration to the future. On this day, the cities and villages of the republic blossom, the entire multinational people of Tatarstan gather to see a festive open-air theatrical performance with historical customs and traditions, horse racing, national wrestling, performances of ensembles of ancient instruments and folklore groups.

Embroidery, weaving

Embroidery is one of the oldest and most popular types of women's fine art. The development of this type of art was associated with the seclusion of women who rarely left the house and used their leisure time for needlework. 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). Most of these things are related to the interior design of the home.

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 most valuable embroidered works were kept for years at the bottom of chests and were taken out on the occasion of major holidays.

The house became especially colorful during wedding celebrations - everything was decorated with embroidered and woven items of the newlywed. This custom, which demonstrates the bride's hard work and skill, is still alive in some rural areas.

The traditions of folk embroidery are also preserved in the villages in connection with the Sabantui holiday - young daughters-in-law give their products to the winners of sports competitions and games.

Embroidery plays big role and in the ritual that celebrates the birth of the first child: the young mother gives towels to her relatives and neighbors.

Embroidery was usually done on bright, saturated material - green, yellow, purple, burgundy. They embroidered with twisted silk, gilded or silver-plated cord, beads, and pearls. Great importance 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.

Gold embroidery on velvet

Kazan towels, embroidered with silver and gold thread on white silk, were famous for their special beauty; they were known far beyond the borders of the region.
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. Most Tatar women knew the weaving technique, but fabrics with complex and multi-colored patterns were usually made by special craftsmen found in each village.

Calf friezes. Velvet, gold threads. XIX century

Gold-embroidered towels - "Cauldron Solge". XIX century

Patterned towels

The Muslim religion, with a more abstract concept of God, did not cultivate his image and in this respect differed, for example, from the Christian or Buddhist. According to the prohibition of the Prophet Muhammad, it was also forbidden to depict any living creature: a person, a bird, an animal. In this regard, Muslims developed calligraphic patterns, as well as shamail.

Shamail is a painting depicting the holy places of Islam, containing, along with suras (chapters from the Koran), philosophical sayings, aphorisms, quotes from the poetic masterpieces of the East, made in beautiful Arabic script. Shamails were painted with blue, blue, and green paints on glass or paper with decorative inserts made of velvet or foil.

Shamails simultaneously served as a source of information about the philosophical foundations of Sharia and universal rules of life, expressed folk ideas about beauty and spirituality, and contained folk wisdom along with religious instructions.

The aphorism accepted in the East: “The beauty of a person is in the beauty of his writing, and even better if it is from a wise person” represented the ethical basis of this unique phenomenon of fine art, known only among the Kazan Tatars.

Calligrapher Ali Makhmudov. Shamail. Lithograph from a handwritten original. 1851

The traditions of building houses of the Kazan Tatars have evolved over centuries under the influence of the religious, aesthetic and cultural characteristics of the region’s population. Most often, residential buildings were surrounded by a fence on the front side. The houses were 2 meters away from the red line of the street. On the one hand, this arrangement was associated with the influence of Islam and the seclusion of women, and on the other hand, this tradition dates back to Bulgarian times, when the deep location of buildings was based on defense purposes. Characteristic feature there was also a division of the home into male and female halves.

Pediment niche of a rural house

The decorative decoration of a Tatar house differs from traditional decoration Russian dwellings. Russian craftsmen used mainly wood carving; the Tatars, on the contrary, used mainly a rich palette of colors. The historian of Kazan M. Khudyakov in his “Essays on the History of the Kazan Khanate” in the 20s of the 20th century wrote: “Color is the main element of Tatar art, and in this use of decorative coloring the kinship of the Tatars with the East is most strongly reflected. The Tatars pay attention to the coloring of the gate Special attention. Nowhere is the difference in decorative decoration between the Russians and the Tatars more pronounced than in the color of the gates, which among the Russians are decorated only with wooden carvings...” The basic range of colors is almost always the same: green, blue, white and yellow. All colors were taken pure, without halftones, which made the painting of the gates rich and bright.

However, not only color, but also patterned carving was an important element in home decoration. Images of the sun and geometric signs, birds, flowers and mythological symbols can still be seen on old houses and gates.

Interior of a rural house. The end of the 19th - the beginning of the 20th century.

The interior decoration of the house was also original. The decoration of the walls with fabric decorations with bright colors, woven and embroidered towels, canopies, tablecloths, napkins, namazliks (prayer rugs), and shamails gave a special picturesqueness to the interior of the home. The sleeping places were enclosed by a curtain (charshau), a canopy (chybyldik). According to ethnographers, the main features of the Tatar interior bear the imprint of a distant nomadic past.

The middle of the 18th century marked the beginning of a new stage in the development of Tatar architecture. Its characteristic feature was coming into close contact with Russian culture and, as a result, the perception of elements of Western European culture. The architecture of Tatar bai houses and mosques acquired the stylistic characteristics of Baroque and Classicism, while preserving the traditional features of the layout and forms of Bulgarian architecture.

The music of the Tatar people, like other types of art, has gone through a centuries-old path of historical development. Mode-intonation (pentatonic) and rhythmic features have common features with the musical traditions of the Turkic and Finno-Ugric peoples of the Volga region, which makes it possible to assume a connection between the lyrical Tatar tunes and the historical musical epic of the pagan era.

All the diversity of Tatar musical folklore can be divided into songwriting and instrumental music. It was in the song that the emotional life of the people, their sorrows and joys, holidays and customs, life and historical development. The song creativity of the Tatars includes ritual (calendar, wedding), historical (baits) and lyrical songs. In folk music, only solo singing, traditionally monophonic, developed.

In the ancient songs and folklore dances of girls with their plasticity and grace, shy movements, there is no hint of scope, freedom or revelry. Monotonous movements with small steps almost in the same place in the Tatar folk dance, as well as lingering sad songs, speak eloquently about the modest reclusive life of Muslim girls.

The most common instruments of Tatar musical folklore are the accordion-talyanka, kurai (like a flute), kubyz (violin), surnay (oriental musical instrument).

Part musical culture was sacred music. Islam as an official religion influenced not only the culture as a whole, but also the development musical art. There is no direct prohibition of music in the Koran, so it is present in the Muslim cult, helping believers comprehend the contents of this holy book, which was recited. The melodies of the recitations of suras (parts of the Koran) were orally transmitted from generation to generation within the walls of religious educational institutions.

The formation of professional Tatar music and a school of composers occurs by the middle of our century. It was then that such names as S. Saidashev, N. Zhiganov, M. Muzafarov, D. Fayzi and others appeared. They managed to create a new original style that creatively combines folk traditions with forms and genres of European professional music.

The Republic of Tatarstan has a rich historical and cultural heritage. The combination of at least four types of cultural influences (Turkic, Finno-Ugric, Bulgarian and Slavic-Russian), as well as two religions (Islam and Christianity) determines the uniqueness of these places, the originality of art, as well as cultural and historical values.

The art and cultural heritage of the people, like a mirror, reflected the life and way of life of our ancestors, national characteristics, ideals of beauty and religion, changes in socio-economic conditions and contacts with other peoples.

Talking about historical heritage and culture, it should be borne in mind that along with common cultural traditions, there are various ethnic groups of Tatars with their own characteristics. Kazan is the main spiritual center ethnic group Tatar people - Kazan Tatars, who became the basis in the formation of the Tatar nation.

Historical aspects

The vibrant, original art and culture of the Tatars inherits the traditions of the Volga Bulgaria state, the Golden Horde and the Kazan Khanate. The influence of Islam, adopted in 922, was also significant. The runic writing that existed among the people was replaced by Arabic, which gave impetus to the development of science, philosophy and literature. Islam created and strengthened the main traditions of the Tatar-Bulgar culture. Muslim spiritual kinship allowed the Volga Bulgars to maintain trade and diplomatic relations with huge world Islam, opened the way to the east: to Holy Mecca, Egypt, Turkey, Iran. Images of pre-Islamic pagan mythology - images of birds, animals and humans are replaced by floral, plant and geometric patterns, which become dominant. At this time, in Rus', biblical-Christian visual motifs were established in art, and in Bulgarian decorative art, as in the countries of the East, aesthetic and artistic principle becomes patterned and decorative. Amazing works of Bulgarian masters have survived to this day - examples of jewelry, works in bronze, silver and gold.

A new stage in the development of culture and art is associated with the inclusion of Bulgaria into the Golden Horde in 1236, whose imperial culture was a symbiosis of Turkic, Mongolian and Central Asian cultural traditions with their characteristic pomp of ornament and richness of decor, using various precious metals, stones and gems. Of particular importance is the creation of items related to the decoration of a horse and the equipment of a warrior, the production of weapons and other artistic products inherent in the Turkic nomadic environment.

The town-planning traditions of Volga Bulgaria continue to develop. Travelers and wealthy merchants, diplomats and politicians were amazed by the beauty of the majestic khan's palaces, cathedral mosques with high minarets, mausoleums decorated with white and blue tiles, covered with glass glaze and gold leaf. The city of Bulgar in the 12th-14th centuries represented a huge urban planning complex for that time, from which even in 1722, the time of Peter I’s visit, about 70 white stone buildings remained. Then the king ordered by his decree to protect them as historical and architectural monuments. The area of the second largest city in Bulgaria, Bilyar, reached 530 hectares (Kyiv at that time occupied 150, Paris - 439).

With the collapse of the Golden Horde, a number of independent Tatar states appeared: the Astrakhan, Kazan, Siberian and Kasimov khanates. The Kazan Khanate played a special role in the fate of the Tatar ethnic group, since it was the Kazan Tatars who turned out to be the consolidating core in the process of forming the Tatar nation. The capital of the state continues to develop the best traditions of architecture and architecture. Many white stone and brick structures are being erected on the territory of the Kazan Kremlin. Prince Andrei Kurbsky, one of the conquerors of Kazan, wrote: “On the mountain there is a fortress, a royal palace and high stone mosques, where their dead kings are buried.” Ivan the Terrible was also amazed at the “extraordinary beauty of the city fortress...” Characteristic of that time was the appearance of stone tombstone steles with rich carved ornaments, metal products and jewelry, which contain features of the “eastern” Baroque - a style common in the art of Azerbaijan and Asia.

In the second half of the 16th century, the Kazan Khanate joined the Russian state. Immigrants from Moscow, Novgorod, Pskov and other Russian cities who came to Kazan brought some elements of Russian culture, which in turn did not remain free from the influence of the culture of the East. This was manifested in partly changed architecture of churches (decorative techniques, oriental ornamental details), the appearance of lush oriental patterns, polychrome, not characteristic of Russian art, but rooted in it as a result of borrowing artistic examples of Tatar culture. A unique work of architecture is the cathedral eight-minaret Kul-Sharif mosque, destroyed on the territory of the Kazan Kremlin in 1552. The ninth central dome of this temple, towering above the other eight, personified the victory of the cross over the crescent. The architecture of the temple has no analogues in Russian architecture of that time, but it has much in common with the architecture of the East.

The architecture of one of the Orthodox churches in Kazan - the Peter and Paul Cathedral - also contains not only Russian and European, but also many oriental elements.

A striking example of historical and cultural interaction between Russia and the Kazan Khanate are the famous “Kazan hat” and “Monomakh’s hat” - two surviving crowns of the Russian tsars. Both of them came to the Russian tsars from the Tatar khans and are classic examples of Tatar decorative and applied art; they are richly inlaid with precious stones and gems, decorated with elaborate floral patterns inherent in Tatar folk ornaments. The “Kazan Cap,” as well as the Khan’s throne, brought from Kazan by Ivan the Terrible and called the throne of Boris Godunov, are currently stored in the funds of the Armory Chamber of the Moscow Kremlin.

The Tatar influence was no less noticeable in everyday culture. This refers to the Turkic names of items of Russian clothing. For example, ancient Russian shoes - chobots, boots - were borrowed from the Tatars, as were the caftan, Cossacks, sash, and sheepskin coat. Many words related to trade and household use have also been passed down: altyn, barn, arshin, bazaar, grocery, booth, profit, money, caravan and others. Many famous names in Russia came from Tatar families: Aksakov, Derzhavin, Karamzin, Turgenev.

The Russians also became acquainted with some of the basics of state culture through the Tatars. The entire population was registered through a census. A harmonious system of taxes, duties and taxes was introduced.

By the 19th century, with the advent of manufacturing, decorative art was experiencing a flourishing period. It was then that classic examples of gold embroidery and tambour embroidery with rich ornaments, jewelry with elegant filigree, colorful women's kalfaki headdresses, and decorative towels with the finest patterns were created. During this period, the classic Tatar costume took shape, a unified national style was formed in the exterior and interior of the home, in ritual and household items.

Nowadays, the original traditions of Tatar folk art acquire special artistic significance. Research work is being carried out with the organization of expeditions, thanks to which the museums of Kazan and other cities of the republic are replenished with products and exhibits of cultural and historical value. In the form of folk artistic crafts, there is the production of patterned mosaic shoes (Arsk Association) and artistic weaving (Alekseevskaya Factory). Professional artists they create unique designs that receive recognition at the world level (in 1994, at an exhibition in Pakistan, the Tatar artist I. Fazulzyanov received the first prize for a piece of jewelry - hasite). Studying folk art products, modern artists create jewelry using the lumpy filigree technique, tablecloths and towels embroidered with vestibule, leather inlaid shoes, national souvenirs and memorable gifts.

Turkic writing has ancient traditions. Already in the 5th-6th centuries, common Turkic runic graphics were widely used. Samples of ancient Turkic writing are well preserved on stone steles of that time.

In the 10th century, along with Islam, Arabic writing penetrated into Volga Bulgaria. Literacy was taught in mekteb (primary school) and madrasah ( high school). The adoption of Arabic script contributed to the establishment of close cultural ties with the East, the development of literature and education. As the scientist G. Davletshin notes: “Islam, unlike paganism, was a religion with a developed written culture. Literature, in particular poetry, became a means of disseminating scientific and theological ideas. Often scientific and theological treatises were written in verse.” An example of a work that used material drawn from the Koran is the famous “Poem about Yusuf” by the great 13th-century Bulgarian poet Kul Gali. Totally agree Lately this poem was published in Kazan about 80 times. In 1983, by decision of UNESCO, the 800th anniversary of this largest representative of oriental poetry was held.

The subsequent centuries of development of literature gave a number of outstanding names and works, such as “Gulis-tan bittyurki” by Saif Sarai, “Tukhva-i Mardan” and “Nury Sodur” by Mukhamedyar and many others. All these works testify to the high level of development of written literature and spiritual life in general, being the most valuable monuments of medieval eastern poetry and philosophy.

If in the first seven centuries of its existence Tatar literature knew only the poetic genre, then from the 18th century prose also received great development. The 19th and early 20th centuries were marked by the appearance of a whole galaxy outstanding writers such as G. Tukay, K. Nasyri, G. Kamal, M. Gafuri, G. Iskhaki, F. Amirkhan, G. Ibragimov and others.

The first book in the Tatar language was published in Leipzig (Germany) in 1612, and in Russia the first Tatar book edition appeared in 1722.

Until 1928, the Tatars used Arabic script. In 1928-1938, writing was introduced based on the Latin alphabet, and since 1938 - based on the Russian alphabet (Cyrillic). Russian graphics do not reflect the full diversity of phonetics Tatar language, therefore, there is currently a question of returning to the Latin script.

The oral folk art of the Tatars includes fairy tales, legends, baits (works of an epic nature), songs, riddles, proverbs and sayings. The epic about Idegei, which is available to many Turkic peoples, has been preserved. It has recently been republished after being banned in 1944.

According to the latest population census of 2010, in Sverdlovsk region 143,803 Tatars live, which is 2.7% of the total number of Tatars living in Russia.

On the territory of the Sverdlovsk region there are:

National-cultural autonomy of the Tatars of the Sverdlovsk region.
Chairman: Sharafulin Mars Mansurovich
Deputy Chairman: Bakirova Saria Khamatkhanovna
620077 Yekaterinburg,
+7 343 377-64-09
fax +7 343 377-53-75
+7 343 377-53-76

This email address is being protected from spambots. You must have JavaScript enabled to view it. "> Ekaterinburg city Tatar national-cultural autonomy.
Safiullina Eliza Alpautovna
620073 Ekaterinburg, st. Shvartsa, 6, bldg. 2, apt. 40
st. March 8, 33 a, House of Peoples of the Urals
+7 343 239-69-52
+7 912 68-39-949
This address Email protected from spam bots. You must have JavaScript enabled to view it.

This email address is being protected from spambots. You must have JavaScript enabled to view it. "> Sverdlovsk Regional Tatar and Bashkir Society named after M. Gafuri.
Nadyrov Sufkhat Lutfullovich
620085 Ekaterinburg, st. Krestinsky, 23, apt. thirty
st. March 8, 33 a, House of Peoples of the Urals
+7 343 218-49-30
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In May 2010, Tatarstan will celebrate its anniversary. For 90 years now, the people of our republic have been making history with dignity. native land and preserves the traditions of our fathers. IN last decade special attention is paid to the revival of folk crafts.

Every year more and more masters and lovers of embroidery, beadwork, and leatherwork are emerging in Kazan. To unite them and provide legal support, the Chamber of Crafts of the Republic of Tatarstan was created in 2002. The initiator of its creation and director, Nuri Mustafayev, shares his memories.

In 1998, when I was Deputy Minister of Economy of the Republic of Tatarstan and Director of the Department of Small and Medium Business, I noticed that some business representatives were engaged in the production of souvenirs. Factories and combines that previously produced products from traditional crafts went bankrupt in the 90s. Purchasing power decreased, markets were destroyed, and government support was lost. Nevertheless, enthusiasts remained. Then we working group appealed to the government of the Republic of Tatarstan with a request to establish an Arts Council and prepare a program of state support for folk arts and crafts. The government met us halfway. The Art 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 submit his product for examination, get advice, or enlist government support, at least in the form of financial 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?

Based on their products and publications in the media, they were encouraged to contact the entrepreneurship support department. Initially, the Chamber consisted of 43 people. Today there are 380 members-masters, artists, craftsmen of various directions. They made their works using Tatar and Russian traditional ornaments, forms that clearly indicate: 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 basic 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 and their names. There are about 22 people in total: tanners, jewelers, wicker weavers, etc. Two years later, the newly published catalog already featured 180 masters.

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

In 2002, our exposition traveled to France for the first time, 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 industries! We presented an oriental ornament. People flocked to the Days of Tatarstan. I remember it now: I was standing on stage and I saw a policeman lowering the barrier and saying: there are no places! And standing ones! Then exhibitions became regular: Germany, Portugal, Italy, Poland, Spain. Craftsmen used to make products right at the exhibition. They embroidered in gold and knitted. It was difficult for our translator to run 30 meters there and 30 meters back. We aroused keen interest. Suffice it to say that three or four days later we saw our skullcaps in cafes and discos among young people! By the way, last December we were awarded an international prize for improving entrepreneurship and service in the “Populists” nomination.

- What other events are planned to disseminate culture among the masses?

After the formation of the Chamber of Crafts, the State Center for Folk Arts and Crafts was created. In the summer, a traveling exhibition is planned in places where Tatars live compactly: Yekaterinburg, Tyumen, Tobol, the cities of the Volga region and Central Russia. The School of Crafts opened on April 1st. And the Chamber of Crafts makes films about crafts.

BEADING IN TATAR TRADITIONS

Lomonosov brought beads to Russia from Egypt. The technique of weaving jewelry was strictly kept secret by each girl. Later, beadwork took root among the Tatars, although initially it was not their folk craft. Gradually it absorbed Tatar traditions. In Tatarstan, beaded jewelry simultaneously bears traces of both Orthodox and Muslim cultures. Today, beaded works of art can be found at any Kazan fair dedicated to folk crafts. Behind last month exhibitions were held in the Art Gallery, the Center of Russian Folklore, and the National Exhibition Center.

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

Inna Chernyaeva is a master of beadwork in the Republic of Tatarstan, a member of the Chamber of Crafts. She herself is from Ryazan and has lived in Kazan for about nine years. Her works, among others, represented Tatarstan at international events. Inna's main job is as a teacher at the center children's creativity Azino. In addition, she conducts master classes for adults.

Inna breaks the stereotypical idea that beadwork is a girls' activity primary school and pensioners. She is a young woman who wants to open her own store in the spring to sell beadwork. Inna Chernyaeva does not include either Russian or Tatar ornaments in her works. Her main direction is jewelry. She talked about Tatar traditions in beadwork as an observer.

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

- How do our masters stand out at traveling exhibitions?

Our craftsmen are very original. They put on National costumes. In addition, the overwhelming majority of them do not stoop to bringing products made in China to the exhibition. Our artists do everything with their own hands. The Kazan line can be traced in all products. For example, jeweler Irina Vasilyeva exports exclusively 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 was a Kazan school, what would be its distinctive feature?

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

The soul of the people lives in dances, songs and, undoubtedly, in works of art made with their own hands. National culture is alive as long as it is passed on 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 crossing the ninety-year mark without losing our identity, our face.

MARIA MAKSIMOVA, IT

Tatar culture mektebe weaving

The main defining feature of which is the collective nature of creativity, manifested in the continuity of centuries-old traditions. First of all, the technological techniques of manual labor are continuous, passed on from generation to generation of folk craftsmen. Works of traditional handicraft bring to us many artistic images that connect our time with the culture of antiquity. Occurring in the earliest stages human development and accompanying the people at all stages of their life, folk art forms the basis of national culture.

Since ancient times, when making objects necessary for everyday life, the master sought to give them a beautiful shape, decorate them with ornaments, i.e. thereby turning ordinary things into works of art. Often the shape of the product and its ornament also had a magical, cult purpose. Thus, one and the same object could simultaneously satisfy a person’s real needs, meet his religious views and correspond to his understanding of beauty. This syncretism is characteristic of art, which was inseparable from folk life.

Tatar folk arts and crafts, being part of both the material and spiritual culture of the ethnic group, includes various types artistic creativity related to the design of housing, costume, traditional ritual and festive culture. Over the centuries, Tatar folk art has developed into a unique synthesis of settled agricultural and steppe nomadic culture. In the most developed types of Tatar folk art (leather mosaic, gold embroidery, tambour embroidery, jewelry, mortgage weaving) the traditions of the ancient sedentary urban and steppe nomadic cultures are clearly visible. Special role in the formation of this art belongs to the Kazan Khanate - a state with highly developed craft traditions, the origins of which are connected with the urban crafts of Volga Bulgaria and the Golden Horde. After the collapse of the Golden Horde, the nomadic elements overwhelmed its once powerful and vibrant urban culture. And only in settled areas, primarily in the Kazan Khanate, was its legacy accepted, continued to live and develop, constantly enriched and nourished by the traditions of the local Finno-Ugric and Slavic-Russian population, reaching its highest peak in the 18th - mid-19th centuries.

There is an enterprise in the Alekseevsky district where not only is everything done by hand, but also using artifacts. The machines, as well as the production method, have not changed here since its founding. There used to be thousands of weaving factories all over the country. Gradually, manual labor began to be considered a relic of the past and was replaced by machine labor. A hand-weaving factory in the Alekseevsky district of Tatarstan, one of three in Russia that still exists. And the oldest of these three. The factory in Shakhunya is 45 years old, in Cherepovets 77 years old, Alekseevskaya will be 90.

For 90 years, only people and raw materials have changed here. Everything else is machines, a building from those times. The factory is located on the second floor. Previously, we occupied the first one, but had to rent it out to a grocery store. The management says that rent helps to survive, production cannot be called profitable - the product is not for everyone. Although it costs fantastic money. For example, a towel woven using the bran technique (this is the most labor-intensive work, when the weaver manually weaves each thread into the fabric, creating a pattern) costs 5,500 rubles. This is an average price; depending on the complexity of the pattern, the cost can reach up to 10 thousand! But there are also budget options - 300-500 rubles.

To say that this brings us great profit, that we can make money from it - no. It is easier to close production, as many have done. It’s just that the republic supports folk crafts - it provides orders, all guests who come to Tatarstan receive gift sets - tablecloths, napkins. Not a single Sabantuy is complete without a personalized towel, says Elizaveta Terentyeva, manager of the Alekseevskaya hand-weaving factory.
There are 10 craftswomen at the machines, despite high price, at which their goods are sold, their salary is not high - 10 thousand rubles per month. That's why only pensioners work here.

Alekseevskaya factory is, perhaps, the only factory in the true sense of the word - with employees and premises. All the rest, for example, the national shoe factory in Arsk, “scattered” to private entrepreneurs. This is more profitable - a workshop can be set up right in the apartment, manual labor does not require large areas. But only until the master gets more orders. Then you need to hire employees and rent premises. It’s true that very few businesses survive to this stage.

I have been making Tatar leather mosaics for three years now. Before that, since 1992, I was a shoemaker. The first year is the hardest. At this stage, everything is closed - it’s hard to sell the products, until someone knows what you’re doing... My studio supported me, I was engaged in shoe repair and that’s the only reason I survived,” master Rustem Emeleev tells the story of his business. He sews shoes, bags, leather goods with Tatar national ornaments.

Ichigi - Tatar boots cost 30 thousand rubles. Dudes - “ballet shoes” in modern terms - 2500. 70% of this amount is consumables, wages, rent, taxes. 30% manufacturer's markup.

Sometimes we give it to souvenir shops at a wholesale price and there is a profit of 8-10%. This happens in winter, when it’s not the season. You go to wholesalers only for the sake of money turnover. It’s impossible to say that this is a profitable business - I sold goods, bought materials, paid wages,” says Emeleev.

Craftsmen in Tatarstan are supported at the state level. Last year, Rustem Emeleev received a grant of 300 thousand rubles, and this year he also plans to submit documents.

For homeworkers, this is very good money, but for manufacturers it is not enough, although this is a big thank you, I updated my sewing machines with this money,” says the entrepreneur.

It is the craftsmen who work using traditional methods who receive government support. The total amount of grants is 3-4 million rubles per year.

There are handicrafts and there are souvenirs. The souvenir skullcap has a design stamped with gold paint, and the skullcap from the master has gold embroidery. A “souvenir” costs 200 rubles, and a folk art product from 1000 rubles. In terms of cost, it cannot compete with souvenir products, so craftsmen who engage in traditional crafts find it difficult to governmental support. Otherwise, we may lose these masters, lose our equipment,” says Nuri Mustafayev, director of the State Budgetary Institution “Center for the Development of Folk Arts and Crafts of the Republic of Tatarstan.”

However, not everyone runs for grants. Craftsmen complain about the complex reporting procedure and call grants a “hook” that they want to put them on.

You have to account for it - where you spent it, what you bought, how many people you hired, how much money you earned... What if you didn’t earn it because you couldn’t sell it? I do wood carving, I need a good CNC machine, it costs 1.5 million rubles, but they only give me 300 thousand. I'm missing out, I might add. But I can’t add my own money under the agreement; I have to take a loan from them. Why do I need this? - ponders wood carving master Alexander Gavrilov.

According to Gavrilov, grants are good for those who deal with “trifles” - they will be able to recoup the money quickly.

Who buys arts and crafts? Tourists in Kazan rarely buy expensive exclusive items. These goods are usually sold at traveling exhibitions or events organized by Tatar organizations abroad or in Russian regions. Inexpensive items sell well among tourists in Tatarstan self made- jewelry, items of clothing - they are taken for themselves and as gifts.

The most popular goods are those that can be used or worn - clothes, wallets, cups, plates. This is what people buy. Objects of art - no, advises Nuri Mustafayev to those who are planning to take up folk crafts. Moreover, it is better to focus on women - they leave more money in the shops than men. The maximum that a strong floor is spent on is a magnet. But if magnets are not made by hand from leather, wood or metal and do not have a clearly defined national ornament, they have nothing to do with folk crafts - these are souvenirs.

These words are confirmed by Gavrilov. These are not the best times for artists.

We used to make wooden apples, which everyone loved. But today even they are not for sale. I supplied them for 800 rubles, they have been standing for 8 months and are not for sale. Most likely, there is no time for works of art right now - to eat, get dressed, go for a rest. That's what people think about, says the master.

Now Gavrilov, in addition to apples, is trying to sell the Shurale wood panel. He worked on it for 3 years. Initially he set the price at 2 million rubles, but has now reduced it to 1.2 million. Waiting for buyers.

Speaking of magnets. So far, all the magnets, mugs, spoons with views of Kazan attractions - something that not a single tourist leaves without - are from China. Catalogs with images are sent to the Celestial Empire, and finished products are transported back by wagons. Now they want to change the situation. It will not be possible to completely switch to your own production; doing everything here is too expensive. Therefore, they want to start by purchasing only accessories there, and applying the ornament here.

On July 1, we will announce a competition for the best souvenir of Tatarstan. This will help make the souvenir products brighter and more diverse. “We hope that we will push Chinese products out of the market,” says the director of the State Budgetary Institution “Center for the Development of Folk Arts and Crafts of the Republic of Tatarstan.”

Today, 1,500 people work in folk arts and crafts in Tatarstan. Not a single craft has been lost, but the taste of the consumer has been lost. He does not see the difference between stamped and real handmade work, artists complain, and often chooses Chinese fakes instead of works of art. To show the difference, artists began to display cheap analogues next to their products in shops. The purpose is twofold, not just to educate the buyer. The markup on them is 100% - 200%, but it is still much cheaper than your own product. Income from their sale helps justify your costs.

Among the ancestors of the Tatars there were many artisans. Masters lived in almost every village. There were those whose products were worth their weight in gold. Such craftsmen were known far beyond the village.

Alas, the ancestors of the Tatars lost many types of crafts even before the 1917 revolution. By the beginning of the 20th century, they stopped weaving carpets and complex patterned fabrics, stone carving and some jewelry crafts disappeared. Only in some villages did craftsmen continue to embroider with gold on headdresses - skullcaps and kalfaks, felt products from felt, and weave lace. Wood carving, simple patterned weaving, embroidery, silver nielloing, and the making of leather mosaic shoes lasted the longest.

Where did the artels work?

In the 1920s, Tatar craftsmen united into artels. Using them you can trace the geography of the existence of folk crafts on the territory of the republic.

Gold embroidery - Kazan.
Leather mosaic - Kazan.
Embroidery - Kazan, Kukmorsky district, Chistopol.
Patterned shoes - Kazan, Arsky, Laishevsky, Pestrechinsky, Dubyazsky (now Vysokogorsky) regions.
Weaving - Menzelinsk, Naberezhno-Chelninsky (Sarmanovsky), Alekseevsky, Laishevsky districts.
Felt carpet making - Dubyazy (Vysokogorsk region).
Wood carving - Sabinsky, Mamadyshsky districts.
Lace making - Rybnaya Sloboda.
Jewelry craft - Kazan, Rybnaya Sloboda.
Artistic metal - Arsk.
Ceramics - Laishevsky district.

How weaving looms were dispossessed

In the 1920s, Tatar artisans began working in artels. It was then that our craftsmen became famous throughout the USSR, as well as in Europe and the world, because their products were exported. In those years, the works of Tatar craftsmen were exhibited in Paris, Monza Milano, Leipzig, Riga, Prague, and Vienna.

At the All-Union Agricultural and Handicraft Exhibition in Moscow in 1923, an entire pavilion of the Tatar Republic was dedicated to their work. Visitors saw tambour embroidery, headdresses embroidered with silver thread, jewelry, ceramic jugs, carved wooden dishes and boxes. And at the exhibition “The Art of the Peoples of the USSR”, craftsmen presented products using the techniques of artistic weaving, gold embroidery, leather mosaic and others.

Everything changed by the early 1930s. Old-timers recalled that in Tatar villages, which were famous for their artistic crafts, jewelers, weavers, and carpet makers were classified as kulaks. During dispossession, weaving looms and other ancient craft tools and implements were burned. Some continued to practice their craft secretly, but most chose not to take risks.

However, in the 1980s, researchers noted that traditional folk arts still survived as home crafts. They mostly did what was needed in everyday life with their own hands - they wove rugs and rugs, wove utensils from wicker, and hung carved frames on windows. But only single craftsmen were engaged in tambour embroidery, carpet weaving, and silver plating. But the techniques and patterns used by the artisans still changed. What did Tatar craftsmen prefer in the old days?

Mortgage and bran weaving

Patterned fabrics from multi-colored linen, hemp and wool threads were woven by hand on wooden looms. Since ancient times, threads have been dyed with vegetable, and later with aniline dyes. Tatar craftswomen used their own weaving techniques and knew how to correctly thread the threads into the loom so that even the most complex weaving pattern could be formed. Wide white towels with red patterns were used for various ceremonies, for example, weddings or when greeting guests with bread and salt.

Samples of early 20th century towels from the State Museum collections fine arts RT Photo:

Handmade carpet weaving

Probably many people have seen checkered paths in villages. To make them, craftswomen spent months collecting scraps of fabric, sorting them by color and rolling them into balls. In the old days, not only rugs, but also brightly colored carpets were woven on handlooms. The ornaments were usually large, geometric in green-blue and golden-yellow tones. For contrast, the background of the carpet was most often dark. They usually wove several panels, which were then joined and trimmed with a border. By the way, carpets and wall panels were also made from felt.

Handmade wool carpet. Elabuga, 1980s Photo:

Tambour embroidery

Embroidery is considered one of the oldest types of artistic creativity of the Tatars. It was used to decorate household items and folk costumes. Tambour embroidery was called by the type of seam used in it, similar to a chain with a simple anchor weave. The chain stitch was used to make the contours of the patterns and fill in large elements - petals, leaves. To speed up the process, the craftswomen used a hook rather than an ordinary needle.

Velvet pillow embroidered with chain stitch, 1960s Photo:

Gold embroidery

Such embroidery decorated headdresses, dresses and camisoles, bedspreads and hasite - a breast belt. Bouquets and golden feathers were embroidered on thin velvet, velor, and sometimes on silk and other thin fabrics, as well as on leather. They used not only metallic gold and silver threads, but also gimp - a thin wire twisted into a spiral. Over time, silver and gold threads were used less and less, usually coated copper threads.

Gold embroidery with gimp. Photo: AiF/ Nail Nurgaleev

Bulgarian cross stitch

This type of embroidery is more recent and was widespread in the 20th century. The Bulgarian cross resembles regular cross stitch, only the crosses are superimposed on one another in such a way that the result is an element similar to an eight-pointed snowflake. Cross stitch used to be used to embroider, for example, wedding and other homespun shirts, towels, pillowcases, curtains, and tablecloths.

Lace weaving with bobbins

The most famous lacemakers lived in Rybnaya Sloboda and Pestretsy. Serfs also wove lace napkins, runners, and collars; their work was even sold abroad, called “Brussels” lace. The products featured geometric patterns, floral patterns, and images of animals. In Rybnaya Sloboda, lace products were edged with thick thread, which distinguished the products from the work of other masters. At the beginning of the 20th century, Tatar lacemakers received a prestigious award at an exhibition in Chicago.

Leather mosaic

This ancient craft of the Tatars has received worldwide recognition. Tatar craftsmen mainly made patterned boots - ichigi from multi-colored pieces of leather, assembled into plant and flower patterns. They say that even Torzhok gold seamstresses, trying to keep up with Tatar craftsmen, began to decorate shoes with gold embroidery. Later they began to make shoes, pillows, tobacco pouches and other products using the leather mosaic technique. This fishery is still alive today.

Ichigi. Photo: AiF/Maria Zvereva

Ceramics

It was common among the Kazan Tatars until the 16th century, and was revived only in the middle of the 20th century. In the old days, craftsmen made not only dishes for everyday use - jugs, dishes, etc., but also glazed facing tiles with geometric and floral patterns and decorative bricks with bows, which were used for decoration in construction. For beauty, the jugs were covered with white, red or gray clay, and stripes were applied to create a design. Each master branded his work; by this sign one could recognize the craftsman’s hand.

Glazed pottery, 1960s Photo:

Artistic metal processing

The ancestors of the Tatars made household utensils, decorations for clothing, weapons, and horse harness from copper, bronze, and silver. Used different techniques- casting, embossing, embossing, stamping, metal engraving. From the 16th century, craftsmen switched to making various vessels, trays, and forged chests. Coppersmiths, as the masters of artistic metal processing were called, were in every Tatar village. Most of them minted kumgans - a jug with a narrow neck, spout, handle and lid. The noses of kumgans were made, for example, in the form of the heads of animals and birds.

Engraved copper tray and bowl, 1980s Photo:

Jewelry craft

The ancestors of the Tatars were fluent in the techniques of blackening, casting, engraving, minting, stamping, inlaying with gems, engraving on gems, and cutting precious stones. The most delicate work went to filigree workers. They made jewelry, for example, using the lumpy filigree technique - when gold and silver wires ended in several curls united into a cone. The center for the production of such complex jewelry was Kazan. They made bracelets blackened on silver, openwork hair decorations - chulpas, which were woven into braids. The hand of the master was so noticeable in each product that the jewelers did not even put their mark, they say, so everyone will recognize it. Ancient rings, rings, and earrings are kept as relics in Tatar families. In Kryashen villages, women's breastplates made of minted coins and plaques have been preserved.

Women's chest jewelry with filigree. Photo: AiF-Kazan/ Ruslan Ishmukhametov

Wood carving and painting

Craftsmen made household utensils from wood - chests, dishes, spinning wheels, horse bows, carts. We used oak, birch, maple, linden, aspen, and pine. These products were characterized by elegant carved ornaments and bright color painting. At the beginning of the 20th century, many craftsmen made wooden painted spoons with floral patterns. During the Soviet years, such a concept as “Tatar Khokhloma” appeared. Khokhloma souvenirs were produced in workshops at timber industry enterprises. In reality, the ancestors of the Tatars did not use the black background characteristic of Khokhloma in painting on wood. Black color was rarely used in wood painting, only to separate elements. More often they used bright red, orange, and gold paints.

Wood carving. Photo: AiF-Kazan/ Ruslan Ishmukhametov