Gulsinya Gibadullina

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

"PATTERN"

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

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

"ORNAMENT"

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

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

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

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

Carnation motif

Tulip motif

Poppy motif

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

Rosehip motif

Bell motif

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

Dahlia motif

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

Publications on the topic:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

6. Tatar pattern on tiles 10x10 cm.

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

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

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

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

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

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

Mirror "Tatar tints"

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

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

Set of plates with Tatar ornaments

Municipal educational institution

"Average secondary school No. 20"

Anzhero-Sudzhensk

Tatar folk ornament in embroidery

Work on the XV Regional Conference

“Live, Kuznetsk land!”

st. Cherednichenko, 7-1,

Zagornova Arina Andreevna,

st. Socialist, 1-3

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

Anzhero-Sudzhensk

Supervisor:

Augustan Irina Alekseevna,

higher technology teacher

Introduction

People of various nationalities live in our city: Ukrainians, Germans, Belarusians, Russians, and 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 communication with neighboring and distant peoples. Difficult conditions ethnic formation 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, 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 is in different eras introduced various layers into it. By its nature, the Tatar ornament is deeply connected with ancient agricultural culture. The beginning that was made long before the formation Volga Bulgaria. However, in some of its manifestations, very ancient roots are felt, going back to the distant pastoral culture of the nomadic ancestors of the Kazan Tatars.

IN modern conditions, girls don't do much decorative creativity. U younger generation other interests arise, but we always need to remember the history not only of our people, but also of those who live next to us, a history that is based on deep connection 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 arts. According to Professor N. Vorobyov, this type of art was associated with the seclusion of women who rarely left the house and used their leisure time for needlework. Young and old women of all social strata of the city and village knew how to embroider. Craftswomen for a long time winter evenings created elegant and cheerful patterns using a variety of motifs and floral combinations. Unlike the Russians, Ukrainians, Mari and other peoples, the Tatars did not use embroidery in clothing, but decorated household items: towels, napkins, tablecloths, bedspreads and window curtains, namazlyks (prayer rugs) (Appendix 1). Footwear was also embroidered - boots (ichigs), shoes (Appendix 2), as well as headdresses - kalfaks, kalfachkas, erpeks (head covers), skull caps. In the funds of the city museum there are two women's headdresses - kalfaks. One is embroidered with pearls on blue velvet (AKM o.f. No. 15868, VT No. 446). It was handed over by Biktimirova Nazifa. Kalfak was embroidered by her mother at the beginning of the 20th century. The second kalfak is embroidered with pearls on brown velvet (AKM o.f. No. 3187, VT No. 1090). It belonged to Zulfiya Garifyanova, born in 1897, repressed from Bashkiria in 1931. It was passed on by her granddaughter Zemfira Pozdneeva (Appendix 3). Corduroy and velvet were used to make men's and women's hats. Colored and white beads, as well as fake pearls, were used to decorate headdresses. Embroidery with beads and fake pearls was carried out both along the contour and in filling the patterns. The most richly embroidered kalfaks and skullcaps were decorated with twisted metal spirals, gold fringe, tassels, and sparkles. The patterns used in chain and gold embroidery are distinguished by a wide variety of motifs and an abundance of their variations. The patterns are clear and contoured. Tambour patterns in Tatar embroidery had a significant influence on the ornamentation of the Bashkirs, Chuvash, Udmurts and Uzbeks. Women's dresses sometimes had frills embroidered on them. Most 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 bride and groom. This custom, demonstrating the hard work and skill of the bride, is still alive in some rural areas. The traditions of folk embroidery are also preserved in the villages in connection with the Sabantuy holiday - young daughters-in-law give their products to the winners of sports competitions.
Embroidery was usually done on bright, saturated material - green, yellow, purple, burgundy. They embroidered with twisted silk, gilded or silver cord, beads, and pearls. Great value was given to the ornament, which consisted of geometric and plant 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 by purely artistic tasks of 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 shapes. 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, up to late XIX century, among them there are almost no reproductions of specific plant species, whereas in the Tatar one this can sometimes be determined “with botanical accuracy.” And yet, plant patterns in Tatar embroidery, as a rule, are collective images. Moreover, on one branch, on one stem, the artist’s imagination combines completely different flowers, fruits and leaves (we encounter something similar in bouquet compositions). But the most conventional, generalized reproduction of plant images, the use of forms that real nature has never known, does not interfere with the impression of the vitality of the embroidered pictures of flowering gardens, the colorful motley grass of the steppes, forests, and fields.

Municipal budgetary institution additional education city ​​of Ulyanovsk "Children's Creativity Center 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 history 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 Tatar national ornament, illustrations of the Tatar national costume (dress, apron, vest, skullcap, kalfak, 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 Tatar nationality, because soon we 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 the holiday, Tatars wear national costumes. Women - dresses, aprons, vests, kalfak. Men - shirts, wide trousers, leather shoes, skullcaps.

3. Learning new things 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 costumes.

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 the leaves rustle merrily above us,

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, the pads of the thumbs are 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 diverge into different sides, resembling 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 color is the 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 ours workplace.

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, 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-19th century Collection of NM RT.

These roots are associated with types of art typical of nomadic culture, in which the development of ornamentation was based mainly on the technique of appliqué and mosaic on leather and wool, chain embroidery, felting, etc. These types of ornamentation techniques that have survived to today in folk art, contributed to the development of curvilinear motifs, patterns and a generally unique style, which had a significant influence on later ornament associated with other types of ornamentation techniques (stone carving, wood carving, some types of jewelry 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 the Tatar ornament contains a number of common Turkic elements, it also contains a very archaic group that reveals a connection with the ornament of the ancient Altai art of the first millennium BC. A large group of ornaments is widespread medieval period(starting from Bulgar times), related to the ornament of the peoples of Oguz-Pecheneg origin, which indicates an 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 folk art a number of other nations. 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 particularly 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.