Tatar national pattern stencil. Tatar national ornament and types of embroidery

Ornament is a beautiful storyteller. Take a closer look at him, and he will tell you about his land and the time when he was born, about his people and the events that he experienced with him.

Let's study our ornament - Tatar - together with Guzelya Fuadovna Valeeva-Suleimanova, Doctor of Art History, chief researcher at the Institute of History named after Sh. Mardzhani of the Academy of Sciences of the Republic of Tatarstan, professor at the Kazan University of Architecture and Civil Engineering.

– Guzel Fuadovna, why is the history of the Tatar pattern interesting?

Ornament is a pattern that decorates products and objects various forms and sizes - from jewelry to architectural buildings. The ornament is many-sided and varied. This universal look art.

Tatar ornament took shape over thousands of years, starting from the era of the ancient Turkic khaganates and even earlier - from the primitive era. He went very long haul development. It always reflected nature and symbolically significant objects and images for humans.

Therefore, if we take an ancient ornament, we can see in it the world, natural phenomena, characteristic of the distant ancestors of the Tatars who lived in Altai, Central and South Asia. So, to patterns that have ancient origin It is necessary to include the motif of lotus, rosettes, heart-shaped, palmettes (stylized image of palm leaves). The last motif, depending on the interpretation, is associated with East Asian art and the art of the Huns and the art of ancient Greece. The influence of Greek culture was felt by Great Bulgaria, which occupied the territory of Crimea and the Azov region with their Greek colonies.

The appearance of the lotus motif can be explained by the residence of our ancestors in the territories of the Far East, Central and Western Asia. It is noteworthy that the combination of East Asian palmette and lotus motifs is found among the Turkic-speaking peoples of the Volga and Ural regions only in the ornament of the Kazan Tatars

After the ancestors of the Tatars found themselves on the territory of the Volga-Kama region, new motifs appeared in the ornament. They are associated with the flora and fauna of a given region. In the pre-Mongol period of Volga Bulgaria, stylized images of elk, fox, marten, falcon, etc. were popular in ornaments. Patterns from wildflower motifs are often found: daisies, bells, forget-me-nots, poppies, etc. Patterns associated with steppe culture are also preserved, such , as a tulip motif, caragana bush, images wild geese etc.

In the era of the Golden Horde, the ornament reflects the influence of Mongolian and Chinese art, for example, cloud-shaped motifs, a braided motif appear, and in a new interpretation you can see the image of a lotus. Motifs depicting foreign animals - lion, peacock, roe deer, etc. - are more common and are becoming popular fantastic motives- dragons, sphinxes, two-headed birds. The Golden Horde, as is known, included many tribes - the ancestors of the present Turkic peoples: Kipchaks, Oguzes, etc. This mixture of cultures had an impact on the ornament of the Kazan and Volga Tatars in general.

During the era of the Kazan Khanate, Tatar ornamental art was strongly influenced by Turkish and Iranian cultures. Thus, the ornament is replenished with motifs from the repertoire of garden flowers - dahlias, asters, poppies, peonies and others, which were popular in the patterns of imported oriental fabrics.

Conquest of the Kazan Khanate and its inclusion in the Russian state turned out to be strong influence on the specifics of Tatar pattern making. Russian art was fundamentally religious, Christian. As for Russian ornament, to this day it has a visual basis associated with the desire to realistically convey certain images.

Among the Tatars, since the adoption of Islam, the ornament has a conventionally decorative, abstract symbolic and sometimes metaphorical basis. There is no visual realistic interpretation of images in it. It's about about a different way of thinking in art, which is within the framework of Muslim artistic worldview associated with the aesthetic doctrine of Islam.

If we return to the Tatars who found themselves part of the Russian state, there were also periods of forced baptism. The Tatar community opposed him and tried to defend itself even at the level of the visual language of art. During this period, prohibitions on images of living beings were strengthened and motifs based on the image of a cross disappeared. Tatar embroiderers did not cross-stitch (except baptized Tatars), and this embroidery technique spread among them only in the 1960s.

As a result, we will see more of the influence of Tatar ornament in Russian art than vice versa.

– What about Arabic geometric motifs?

The so-called arabesques and girihi are those types of patterns that were invented by the Arabs in the field of ornament. They have become universal in Muslim art and are found in the works of almost all Muslim peoples. Girikhs and arabesque ornaments decorated architectural monuments Bulgar, they can be seen on archaeological fragments from the disappeared khan's buildings of the Kazan Kremlin.

Geometric compositions in the form of girikh and complex interweaving of geometric and floral patterns in arabesque patterns became widespread in the medieval monumental architecture of Islam. And among the Tatars, with the conquest of the Kazan Khanate, monumental architecture, as a type of architecture associated with the ruling class, ceased to develop. It was revived at the end of the 19th century, in connection with the decrees of Empress Catherine II, who allowed the Tatars to build stone mosques and houses of the nobility.

– In what form is ornament present in life today?

Now the Tatar ornament is being revived in the works of modern professional artists and folk craftsmen and amateur artists. It can also be seen on some monumental buildings in Kazan and other cities of the republic, in the spatial-objective and everyday environment. The ornament decorates interior items: shamaili, laukhe, wall plates, decorative ceramics; ritual and household items - namazliks, towels, tablecloths, trays, boxes, etc.; costume elements (dresses, vests, hats, shoes).

Some individually, others in small workshops are engaged in modeling and sewing clothes and their components in Tatar style. For those who wish, it is possible to order a Tatar pattern printed on clothing. There are craftswomen who embroider patterns of Tatar ornaments and work with both gimp and gold threads. The ornament is popular in wood and ceramic products, especially in wall plates, in jewelry. Master jewelers working in the technique of openwork filigree, popular for the Tatars, using precious stones, choose ancient ornamental forms for their products...

To be continued.

Interviewed by Guzel Ibragimova

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

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

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

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

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

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

6. Tatar pattern on tiles 10x10 cm.

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

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

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

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

Gulsinya Gibadullina

The modern explanatory dictionary of the Russian language by 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) A complex weave, a picturesque arrangement of something that forms or resembles such a pattern.

"ORNAMENT"

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

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

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

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

Carnation motif

Tulip motif

Poppy motif

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

Rosehip motif

Bell motif

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

Dahlia motif

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

Publications on the topic:

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

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

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

Literary lounge “Autumn motives” Literary living room " Autumn motives" Goal: to develop an aesthetic perception of 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.

Municipal educational institution

"Average comprehensive 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 reflects at the same time complex history 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 The ethnic formation of the people determined the commonality of many types of their art with the art of neighboring peoples, as well as with the art of the peoples of the East. Each era in the life of a people left a certain imprint on its fine art, ornament, and style.

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

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

Target: Making a Tatar folk ornament on a napkin.

Tasks:

1.Study literature on Tatar folk ornaments in embroidery.

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

3. Embroider napkins with Tatar ornaments.

Ornament is a peculiar handwriting of the people

Embroidery is one of the oldest and most popular types of women's fine art. According to Professor N. Vorobyov, this type of art was associated with the seclusion of women who rarely left the house and used their leisure time for needlework. Young and old women of all social strata of the city and village knew how to embroider. Craftswomen 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 skull caps were decorated with twisted metal spirals, gold fringe, tassels, and sparkles. The patterns used in chain and gold embroidery are distinguished by a wide variety of motifs and an abundance of their variations. The patterns are clear and contoured. Tambour patterns in Tatar embroidery had a significant influence on the ornamentation of the Bashkirs, Chuvash, Udmurts and Uzbeks. Women's dresses sometimes had frills embroidered on them. Most of These things are related to interior design. The furnishings and decoration of the Tatar house had a number of features. It was not customary to divide the house into rooms, or to load it with unnecessary furniture, so skillfully embroidered curtains and canopies appeared. The house became especially colorful during wedding celebrations - everything was decorated with embroidered and woven items of the newlywed. This custom, demonstrating the hard work and skill of the bride, is still alive in some rural areas. The traditions of folk embroidery are also preserved in the villages in connection with the Sabantuy holiday - young daughters-in-law give their products to the winners of sports competitions.
Embroidery was usually done on bright, saturated material - green, yellow, purple, burgundy. They embroidered with twisted silk, gilded or silver cord, beads, and pearls. Great importance was given to the ornament, which consisted of geometric and 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.” Big specific gravity in Tatar embroidery, floral patterns apparently need to be explained by the antiquity and popularity of the tambour. The influence of the technical principle on the nature of the ornament is confirmed by counted and line embroidery, in which, on the contrary, geometric ornament dominates, and patterns of plant, zoomorphic origin are highly geometricized. We saw such a pattern on towels stored in the museum (Appendix 4). Historical cultural and economic relationships with the peoples of the East, Asia Minor and Asia Minor played a role in the improvement and consolidation of floral and plant motifs as traditional for Tatar folk embroidery. In Tatar art of the 19th-20th centuries. floral ornament is least associated with ancient symbolism 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 we compare embroidery with other types of Tatar folk applied art, it stands out for its most realistic interpretation of floral and plant motifs. No matter how different the 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, collective images. Moreover, on one branch, on one stem, the artist’s fantasy unites completely various flowers, fruits and leaves (we encounter similar things in bouquet arrangements). But the most conventional, generalized reproduction of plant images, the use of forms that real nature has never known, does not interfere with the impression of the vitality of the embroidered pictures of flowering gardens, the colorful motley grass of the steppes, forests, and fields.

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

Types of Tatar embroidery patterns

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

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

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

Carnation motif in Tatar ornament

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

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

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

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

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

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

Zoomorphic motifs in Tatar embroidery patterns

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

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

Embroidery of napkins

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

We decided to show traditional embroidery on our products Tatar women, made with chain stitch.

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

Photo of embroidered napkins.

Conclusion

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

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

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

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

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

They're circling us life twists and turns,

But again and again

Unite all nations

Harmony, friendship and love.

Bibliography

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

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

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

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

Annex 1 . Prayer mat

Appendix 2.
Shoes of Tatar women

Appendix 3.

Appendix 4. Embroidered towels from the city museum collection

Appendix 5 Aksanova Sarah and her product

Appendix 6. Embroidered items by Nuranya Abunagirovna Bakirova.

Municipal budgetary institution additional education city ​​of Ulyanovsk "Center children's creativity No. 1"

PLAN-OUTLINE

CLASSES

Topic: “Stylized Tatar ornament (paper panel)”

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

Ulyanovsk-2016

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

Type of lesson: combined.

Target: creating conditions conducive to awakening interest in 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 when selecting and arranging elements.

Educational:

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

develop an interest in history Tatar people and their traditions

Methodological equipment of the lesson: lesson notes.

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

Materials, tools, equipment:

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

Form of organization of activity: group

Progress of the lesson:

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

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

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

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

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

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

You probably know that in our hometown There live people of 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 holiday the 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 Tatar folk ornament. Guys, what is an ornament? (children's answers). An ornament is a decoration, a pattern. They use it to decorate dishes, boxes, chests, embroider towels, napkins, tablecloths, and suits.

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

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

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

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

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

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

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

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

Physical education minute:

The sun lifts us up to exercise,

We raise our hands at the command “one”.

And above us the foliage rustles merrily,

We lower our hands on the command “two”.

Hands raised and shook -

These are flowers in the forest.

Arms bent, hands shaken -

This is how the wind blows away the dew.

To the side of the hand, wave it smoothly -

These are the birds flying towards us.

We'll also show you how they sit down.

Let's put our hands back.

4. Practical work

Briefing.

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

Independent work.

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

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

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

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

During practical work You can play a finger game.

Finger game"Flower"

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

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

But closer to noon (palms move away from each other, 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 move in different directions, reminiscent of an open flower).

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

And now he will sleep (hands in original position)

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

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

What is the name of this flower? (Tulip)

What 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 our workspace.

Application

"Wave" ornament template

Tulip pattern template

Peony pattern template