Textiles in the decorative art of the Bashkirs. Fine art of the Republic of Bashkortostan - fine art of Bashkiria - modern fine art of Bashkortostan

Mavlyutova Z.A.

The life and development of the peoples of Russia is based on centuries-old socio-historical experience and cultural potential. At the same time, the ethnocultural image of each nation, while maintaining its fundamental properties, is at the same time constantly enriched through creative cooperation and the exchange of achievements with other peoples. This is clearly confirmed by the history of the development of Bashkir decorative applied arts. In the Volga-Ural region, Finno-Ugric, East Slavic, and Turkic ethnic groups have long interacted, and a unique social, confessional and cultural situation has developed. Political changes in the socio-economic sphere since the 16th century, when the region became part of Russia, determined a number of features of material and spiritual culture, historical memory And ethnic identity peoples

The decorative art of each ethnic group is closely connected with its spiritual culture, since it participates in the formation of the environment in which the life of the people takes place. Folk art enriches the worldview of people through the most large-scale representations, reflects the model of the world, which is embodied in certain compositions and motifs, plots and forms. Currently, there is an intensive revival of traditional crafts and types of decorative and applied arts - both in the professional sphere and directly in the everyday practice of people.

Thus, the paths of development of Bashkir folk art and the formation of its subject environment depended on natural and climatic conditions and the existing historical and cultural situation. The natural environment determined special forms and principles for arranging living space, clothing and items needed in everyday life. At the same time, historical development made adjustments to individual components of folk art. Under the influence of the development of production, changes in the social structure of the population, and living conditions, new types of products and techniques for their execution, new features in the design of clothing and housing appeared.

Active contacts between the Bashkir population and neighboring peoples affected the introduction of new forms and elements in all areas traditional art. With the adoption of Islam, new elements appear in folk art religious nature, organically fitting into familiar structures (prayer rugs, skullcaps, turbans, sayings from the Koran in the interior). The comparative rarity of plot motifs in Bashkir decorative and applied art is also associated with the influence of Islam, which prohibited the depiction of humans and living beings.

The principles of formation of the composition of Bashkir clothing and the peculiarities of its functioning correlated it with housing and objects of decorative and applied art. The space of the home and objects served as a background for her, against which clothes stood out due to the concentration of all decorative means. Usage natural materials, which were at hand, helped to fit the costume into a certain setting and bring it together with other products. The spatial environment also shaped all kinds of household products. For example, the presence of forests and sustainable traditions of economic activity ensured the development of wood processing and the use of tree species growing on the territory for this purpose. Hence the variety of wooden dishes and utensils among the Bashkirs.

A traditional Bashkir house is a round lattice yurt, the design and interior decoration of which met the requirements of a semi-nomadic way of life. The yurt had a folding base consisting of bars and a dome, which were fastened together with leather straps and covered with white felt on top. The entrance opening was closed by a double-leaf wooden door. Under the hole in the dome there was a place for the hearth.

The interior space of the yurt was divided by a curtain - sharshau into two halves - the male one, where the guest place of honor was located, and the female one. Each of them in a certain way decorated.

Sharshaws were woven from linen or cotton yarn. The patterns on them were made with colored wool, garus, and cotton threads were also used. In the central part, in the area of the guest place, the most valuable items in the life of nomads were placed - chests with property and bedding, felt mats and rugs, as well as the most colorful items of clothing. To the side, to the left of the entrance, on the women's side, there were utensils and dishes decorated with ornaments. In the men's quarters, horse harnesses and weapons – bows, quivers, hunting bags – decorated with patterns and silver plates were hung on the walls. By their arrangement, they organized the interior space of the home, at the same time being a means of artistic decoration. Yurts stopped being used at the beginning of the 20th century, so to see the peculiar decoration of the Bashkir nomadic dwelling Today it is possible only in local museums.

Decorative decoration of the house, its decoration with carved platbands, valances and friezes, and the design of facade pediments became widespread only in the 19th – early 20th centuries. in connection with the transition of the Bashkirs to permanent settlement. Decorative motifs and images, composition techniques and methods of their execution were derived from several sources. The most important of them were the established traditions of folk ornamentation, through which the long-established decorative and aesthetic views of the Bashkir people were transmitted. However, folk art mutually enriched. So, from Russian and Tatar peasants, the Bashkirs borrowed a lot of construction equipment, principles of village development and estate planning, and methods of decorating houses.

Many carved decorations on Bashkir houses repeat the patterns on Russian platbands, friezes, and pediments peasant houses. To a large extent this is the result of borrowing or influence. However, it must be emphasized that the Bashkir master carvers did not adopt all patterns, but mainly those decorative elements for which they were prepared by the internal development of their culture. Bashkir ornamentation organically included, first of all, those patterns that coincided with development trends fine arts Bashkir people.

In particular, decoration The design of platbands among the Bashkirs relied heavily, especially in the more distant past, on traditional folk ornamentation and on the established technique of applying patterns to wooden objects. The pattern applied with paint often repeated the patterns common on items of embroidery, weaving, and appliqué.

Throughout eastern Bashkiria and in the Trans-Urals there are platbands made using the ancient mortise technique. There is usually one pattern associated with this technique - a semicircle with rays extending out like a fan, depicting the rising sun. Sometimes a full solar circle is placed in the center of the window board, surrounded by smaller rosettes, freely scattered over the entire area of the board. The main decorative load was borne by the wide top of the casing, on which the entire “cosmogonic” ornament was concentrated. Solar patterns made using the trihedral or lance-notched technique were also used in the design of Bashkir gates.

Solar ornament is one of the widespread themes in the art of many nations. They were used to decorate frames or wooden household items among the Udmurts, Komi, Ob Ugrians, and Altai peoples. Platbands are well known in central Russia and often decorate the houses of the Russian population of the Southern Urals. This pattern has been present in Bashkir art since ancient times, decorating mainly traditional household items. The Bashkirs often painted platbands with a solar pattern, and the coloring, like wooden utensils, was dominated by green color.

size-medium wp-image-1959" src="http://futureruss.ru/wp-content/uploads/2014/12/htmlimage-300x224.jpg" alt=""Bashkir women", cutting board ( wood, painting, varnish), 2002, Ufa

The main area for the production of artistic tableware was the mountain and forest regions of the Urals. Here, at the junction of tracts of birch and linden forests - the main raw material for making tableware - most of the thin-walled ladles and elegant tepans preserved in the collections of museums in Bashkortostan were created, surprising our contemporaries with the complexity of the design and the thoroughness of the workmanship.

A favorite theme of Bashkir carvers was the image of a bird’s head, in some cases reminiscent of a black grouse or wood grouse, or a duck. Perhaps there once was a ritual of worshiping the bird. In the summer, women gathered near the river, drank tea, sang songs, and danced. Zoomorphic images are most clearly visible in the products of Bashkir craftsmen in the area of the upper reaches of the river. White. Buckets in these places are characterized by a hemispherical shape, the end of the handle looks like a crest on the head of a fairy-tale bird.

South Bashkir craftsmen decorate their ladles with a straight or zigzag border. In the Orenburg Regional Museum, ladles and a koumiss bowl, decorated on both sides with twisted handles connected by a wooden chain, have been preserved. The style of the carving suggests that it came from the same workshops that made the ladles. Honey bowls were rarely decorated with carvings; if an ornament was used, it was discreet and consisted of a narrow strip of shallowly embedded triangles or corners located one above the other.

A special place among wooden products produced in the Western Urals is occupied by chains of up to 100 links, decorated with a ring with an inscribed figure of a running animal. In some cases the animal resembles a marten or a fox, in others it resembles a wolf or a bear. The animal figures are clearly depicted, and the dynamics of their movement are emphasized with great skill.

Wooden products made using traditional techniques undoubtedly constituted a special layer of spiritual culture and applied art of the Bashkir people.

In this regard, an important event in the development of folk traditions and their use in the manufacture of artistic products and souvenirs was the founding of the Agidel production association in 1963.

It included scattered enterprises of the art industry: a carpet weaving factory, an embroidery and knitting workshop in Ufa, and the Birsk factory of wooden souvenirs and toys. The artists of the experimental workshop "Agidel" in their work continue to rely on the traditions of Bashkir decorative and applied art and the art of other peoples of Russia. They use folk ornaments, traditional shapes of products, and characteristic color combinations.

“Agidel” came to its creative takeoff through years of searching for large and small finds. These years can be called a kind of prologue in the history of “Agidel”.

In 1974 – 1975 A huge restructuring of production unfolded; the creative enthusiasm of adherents of the revival of the ethnocultural direction in the decorative and applied arts developed against the backdrop of far from flattering conversations of its opponents at different levels. But at the exhibition in Moscow “Agidel-76” Bashkir artistic association has acquired its own style and official recognition.

In 1974-1977 New branches of wood painting were created in the Agidel association. From known back in the 17th century. Khokhloma painting borrowed only the technology of painting itself. Khokhloma painting, as is known, is distinguished by a characteristic combination of gold with black, red, green, sometimes brown and orange. Images of plants and berries, fruits, birds and fish form a whimsical patterned ornament. All this is inherent in a truly popular understanding of beauty and has its roots in a rich artistic culture. Ancient Rus'.

Bashkir craftsmen, relying on already developed technological techniques, themselves developed the shapes of products and their decorative structure, color, composition, and ornament. The range of products is quite diverse - these include various sets of dishes for kumys, honey, bishbarmak, katyk, as well as many individual items: spoons, glasses, dishes for utilitarian and decorative purposes.

Applied art, while remaining a sphere of manifestation of the artist’s bright individuality, turns into collective creativity. This has been reflected in the revival of numerous artistic crafts that convey the beauty and harmony of folk art through utilitarian objects and souvenirs.

The development of Bashkir decorative and applied art is currently being carried out in different, but unfortunately complex, ways. In rural conditions, the individual creativity of local craftswomen continues to improve. Art crafts are developing on the basis of folk traditions. National art is reflected in the works of Bashkir architects and artists. Each of these areas has its own history and difficult development.

Thus, in modern conditions there is no place for labor-intensive production. The skills of leather stamping and artistic metal processing, previously necessary in the manufacture of horse harnesses and weapons, have been lost; the making of patterned seat holders and felts, and the weaving of multi-colored braid for yurts have been forgotten. Carved and painted stands for chests and bedding are rare. For a long time they have not woven large curtains - sharshau, nor have they made swearing linen for clothing. At the same time, embroidery (chain and satin stitch), carpet weaving, patterned knitting, and braided weaving continue to develop.

IN Lately V Bashkir creativity Based on the technology of Fedoskino miniature painting, an original lacquer miniature painting was developed. The introduction of this industry in Bashkiria is justified by the fact that the culture of fine arts, its own school easel painting have already taken shape. The combination of its best features with the traditions of decorative art gave an interesting artistic result.

So, the most important task contemporary artists applied workers - not only to study and carefully preserve folklore elements in art, but also to develop it further. You can simply repeat folk traditions in patterns and shapes, or you can create completely new ones. The traditions of applied art of the Bashkirs, which originated many centuries ago, are carefully preserved by artists and craftsmen working today in the State Unitary Enterprise “Agidel”. Their products combine beauty and functionality, a unique flavor of folklore and applicability in everyday life.

Working in conditions market economy, the team needed to make large-scale changes and mobilize forces for the further development of all types of diversified activities of the enterprise, for which reform was carried out while maintaining all directions production activities, the main types of which are the production of products with embroidery for table and bed linen, home furnishings, as well as a group of clothing; production of turning products with painting in the national ornamental tradition; papier-mâché and turning products with lacquer miniature paintings; hand painting on fabric, hot and cold batik; wood carving (volumetric and planar); national musical instruments: saz, dumbra, kyl-kubyz, kurai. A special craft remains the manufacture of Bashkir yurts - wooden structures - frames, the interior of which is decorated at the request of the customer traditional items home furnishings produced at the enterprise.

The company takes part in exhibitions held in the republic and abroad (Alma-Ata, Moscow, London, Izmir (Republic of Turkey), etc.). At the Russian folk arts and crafts fair “Ladya-2006”, “Agidel” was awarded a Diploma for preserving national traditions. Samples of products are stored in the enterprise museum, adjacent to works of old Bashkir masters brought by artists from ethnographic expeditions. The museum exhibits tell about the history and development paths of the State Unitary Enterprise BHP "Agidel".

Artists and craftsmen, with tireless hard work and professional skill, managed to preserve the spirit of their ancestors and the national traditions of Bashkir decorative and applied art.

Literature

1. Vlasov I.V. Russians: folk culture (history and modernity). T.5. Spiritual culture. Folk knowledge. M., 2002. P.376.

2. Solovyova N.M. Russian souvenir. Easter eggs. M., 1997. P.7.

3. Bikbulatov N.V. Bashkir village. Ufa. 1969. P.69.

Decorative and applied art of the Bashkirs

Beauty is inherent in human nature itself. A person strives to fill it with it the world, provide tools and items accompanying it in Everyday life. This area of material culture is called decorative and applied art. The origins of Bashkir decorative and applied art are lost in the depths of centuries. The needs of nomads for weapons and equipment, and farmers for tools, contributed to the widespread development of crafts. This, in turn, opened a wide path to the emergence of decorative and applied arts, which was embodied in works of weaving, embroidery, artistic and decorative processing of wood and metal, in the design of national costumes and home decoration. Through all this, the Bashkirs expressed their attitude towards nature and the life of society.

During the Middle Ages in Bashkortostan, such types of fine art as rock carvings, monumental sculpture and architecture. Exposed rock outcrops were used to make rock carvings. On smooth surface They were used to paint or engrave figures of animals and birds. The most unique among them are the figures of a man with a bow. In miniature works of applied art of nomads, bears and horses were especially often depicted in the form of pendants and amulets. Bears were usually depicted standing on all four legs and with their heads down. The depiction of horses expressed reverence for this noble animal; with such love and skill they carried out the outline of a peacefully resting animal. Some masters depicted horse figures in a double form. It had certain meaning: as if it enhanced the protective meaning of the amulet for its owner, protected from evil forces from all sides.

Pre-revolutionary decorative and applied art of the Bashkirs was most often limited to the needs of the family. An important event There was marriage in a woman's life. A large number of woven and embroidered items were prepared for the wedding: patterned sharshaw, wedding suit for the girl and groom, towels, napkins, scarves for dowry and wedding gifts. During the period of preparation for the wedding, they revealed themselves most fully. Creative skills girls and her skills as an embroiderer and weaver. IN usual time With family concerns there was almost no time left for creativity. Only a few, the most talented craftswomen, continued to do what they loved. Their fame often reached far beyond the village.

The rare gift of carving became the lifelong occupation of some men. Carved ladles, bowls and tubs for kumiss, made by their golden hands, were in great demand at local bazaars and fairs. Experienced carvers carefully preserved and passed on mysteries and secrets applied creativity from generation to generation. Young masters enriched and improved it.

The decorative and applied art of the Bashkirs has undergone periods of rise and decline in its history. But still, to this day it has conveyed wonderful examples of cultural works created by the hands of folk craftsmen from the Bashkirs. One of the important conditions for the further successful development of modern decorative and applied art is a deep and comprehensive study of folk art. Therefore, today scientists are studying Bashkir applied art, finding out its origins and history of development. Identified, collected and published as albums best works folk craftsmen. And artists are applied workers and craftsmen in their creativity they rely on this experience.

Bashkir folk ornament

One of the most popular types The decorative and applied art of the Bashkirs is a folk ornament. Translated from Latin, “ornament” means “decoration, patterns.” The Bashkirs have long decorated horse harnesses, household utensils, clothes, shoes, and homes with varied, brightly colorful patterns. The first gift from the Bashkir bride to the groom consisted of undershirts, foot wraps, and handkerchiefs embroidered with ornaments on white linen. The bride's dowry included pillowcases, a tablecloth, and curtains - sharshau, embroidered with lush patterned ornaments. If the groom’s family had elderly, believing family members, the bride would embroider a rug called namazlyk for them on dark blue or dark green fabric. At the same time, designs of ornaments were created in accordance with the taste and imagination of the performers and passed on from generation to generation. In terms of technique, in most cases they were manual: this was the method that was more accessible to women.

Bashkir folk ornament rendered big influence on the ornaments of other peoples and was himself enriched with designs transferred from other cultures. Today, Bashkir ornament is being successfully mastered by local craftsmen for the production of carpets, scarves, shirts, blouses, napkins, wooden utensils, and gift souvenirs. Bashkir master carvers contributed to the decoration of homes. Shutters of elements conditioned by everything internal structure folk culture. In this case, preference is given to traditional ornamentation, for example, complex compositions of S-shaped figures, the horn-shaped “kuskar” pattern. Color also plays an important role in home decoration. Often used in painting White color, somewhat less often - blue and light blue tones in combination with white. Less common is the use of light green and light yellow flowers. The platbands ended with cornices. They were given different shapes. For example, the shape of a gentle arch, the ends of which were straight segments curved upward. The under-eaves boards were decorated with figured overlays. It is customary to place silhouettes of birds on the window sill board and above the platband cornice. The windows of the houses are equipped with shutters. The shutters were decorated with carvings or paintings. Master carvers made a circle, a semicircle, a rhombus at a shallow depth in combination with other simple shapes.

Decorative and applied art of the Russian people

In a sincere Russian song, in architectural ensemble white-stone Suzdal, in a colorful drawing of a Mezen spinning wheel, in a frosty pattern Vologda lace, in folk wood carving, in the naive and joyful colors of the Vyatka toy, the people’s ideas about true beauty, generous and talented craftsmanship, and the eternal desire for beauty are captured for us. The emergence of folk applied art dates back to the initial periods of the development of material production. This art is born from the very life of the people, in the process of labor, from a natural desire for beauty and creativity. A characteristic feature of works of Russian folk art is their colorfulness and decorativeness. Bold, often specific color combinations distinguish the works of the folk artist and make them unusually attractive. Researcher of Russian folk applied art M.N. Kamenskaya notes that in the decorative and applied art of folk craftsmen, two types of images are clearly distinguished - plot and ornamental. Among the subject images, we should first of all note the images of animals and birds. Often these images had symbolic meaning. The lion, leopard and eagle symbolized strength, power, the falcon personified courage and bravery, the image of a young girl personified spring, etc. In addition to symbolic images, widespread fairy tale images: Sirin bird, whale race - half man - half beast, unicorn - a horse with a horn in its forehead, winged beast vulture, etc., created by folk fantasy. They are found in all types of folk art for many centuries. Based on images of living nature, these images at the same time retained the features of traditional convention. Great development in the folk applied art of the past, ornament reaches. It consists mainly of diverse plant forms, which often include images of animals and birds. Floral ornaments decoratively conventional. Freely filling the surface various items and products, the ornament leaves almost no background. Individual elements of the geometric ornament are deep historical roots. They came from the Slavs - pagans who in the past inhabited the territory of Ancient Rus'.

In the pedagogical process, art, as in life, comes from communication between people, from communication with nature. The luxurious patterns of Khokhloma contain the colorful herbs and berries of nature in central Russia. Fantastic bouquets of Gorodets baths, daisies, decorating naive scenes from the life of merchant gentlemen and young ladies, seem to embody the moral and aesthetic ideals of the common people of Rus'. Therefore, decorative art is not something isolated, special in people’s lives, it exists and is organically combined with the life, work, holidays, customs, and traditions of the people. Therefore, a genuine feeling of love for folk art cannot be brought up if children are not introduced to nature, folklore, life, customs, and traditions of this people. For example, one cannot fully feel and understand the worldwide fame Dymkovo toys, if you don’t know the Russian village, its history, customs. The ideal of a rural beauty as strong, dexterous, healthy, rosy-cheeked was embodied in the image of a strong woman with a child, in a stately, proud beauty - a water-bearer.

Works of folk decorative art are distinguished by their colorfulness and brightness. Bold contrasting color combinations and special color saturation are characteristic of most folk paintings. Russian decorative and applied art is famous for its traditions. It is unique in the variety of materials, colors and folklore patterns: there are dishes, clothes, toys, gingerbread cookies, carved frames and gates, forged grilles, painted scarves, Jewelry- you can’t count everything.

Domestic teachers A.P. Usova, N.P. Sakulina, E.A. Flerina, N.S. Karpinskaya, V.M. Fedyaevskaya noted that familiarization with works of folk art awakens in children the first vivid imaginative ideas about the Motherland, about its culture, contributes to the education of patriotic feelings, and introduces the world of beauty. Decorativeness, expressiveness of color and plasticity, narrowness of the ornament, variety of textures of materials - these are characteristics works of folk applied art that are in tune with the aesthetic sense, perception and understanding of children. Both in works of folk art and in the creativity of children, everything is joyful and colorful. Both there and here life is perceived and depicted in elevated, major tones.

29.08.2010 12:04

This article is dedicated to the 450th anniversary of the voluntary entry of Bashkiria into Russia. Having determined the fate of the Bashkir people, this historical event significantly influenced the development of the general culture of the republic, the richness and diversity of which was formed on the basis of the interaction and mutual influence of national cultures and peoples living in Bashkortostan.

A striking reflection of this synthesis was art, which existed until the beginning of the 20th century only in the form of folk art.

The emergence of the first art exhibitions in Ufa dates back to the 1910s and is associated with the names of the first generation of Bashkir painters K. S. Devletkildeev, M. N. Elgashtina, A. P. Lezhnev, A. E. Tyulkin, I. I. Uryadov. Based on the experience of the Russian art school, their painting absorbed the aesthetics of folk life, literary and folklore heritage and cultural traditions of the Bashkirs. For several decades, these main components determined the themes and formed the main qualities of the local art school. Appeared in the republic only in the middle of the 20th century prints, sculpture and ceramics inherited these basic traits.

Paintings by R. M. Nurmukhametov, B. F. Domashnikov, A. F. Lutfullina, A. D. Burzyantseva, A. V. Panteleeva, A. Kh. Sitdikova, sculptural works A. P. Shutova, B. D. Fuzeeva, Z. R. Basyrova, ceramic panels, easel sculpture and small plastic works by T. P. Nechaeva, a series of etchings and lithographs by E. M. Saitov. .. The exposition of the Bashkir section at Russian and all-Union exhibitions since the middle of the century has become more and more complete in genre and species composition, and the works have become more extensive and more interesting in content and artistic images.

By the 1960s Bashkir fine art in the general context of the country’s art has become a noticeable and original phenomenon, the specifics of which were determined not only national content, but also the optimistic mood of the works, ensured by sincere kindness, open spontaneity of images and bright richness of color.

It was these qualities that determined the unique originality that allowed the term “ Bashkir school" A small retrospective section, which includes works by artists who represented the art of the republic at All-Russian and All-Union exhibitions of that time, gives a general idea of the main characteristics of this school.

Over the course of several decades, developing within the confines of only one traditionally realistic style, like all visual culture Russia of the socialist period, Bashkir art The 1960s – 1970s managed to present to the viewer works that were magnificent in their performing skills and deeply individual in their visual structure. Variety in genre and species-wise, they are outlined by a certain range of topics: nature, everyday life and people, Bashkiria’s participation in social political life countries.

Ramil Abdullin. Spring. Spill. 2005. Paper. Watercolor. 41 X 56.

At the turn of the 20th – 21st centuries, the younger generation of artists introduced a different vision of the world, broader issues and new ideas into Bashkir art. artistic views. The works began to sound more and more insistently philosophical reflections about the world, man and humanity, reflecting the ideological positions of the authors. In new historical conditions freedom of creativity became the main trend in the worldview of artists.

art The republics of the period 1990-2000, in comparison with previous periods of its development, are a stylistically more heterogeneous and multi-layered phenomenon, not limited by the strict framework of any one visual system or specific problematic. The creative processing of artistic experience was also embodied in it. previous years(interest in history, careful attitude to the heritage of folk art, the visual qualities that come from it - the decorative sound of color, the rhythmic pattern of compositions). Along with the realistic tradition, which demonstrates its resilient character, it is also characterized by a continuous active search for a new language. One of the most common form-building techniques in this search has become stylization. Underlying many paintings and graphic works, capable in their artistic value compete with the best examples traditional realistic art, the principle of stylization of form, coupled with the findings of new spatial solutions, gave rise to whole line artistic directions.

Akhmat Lutfullin. Three women. 1969. Canvas. Oil. 142 X 167. From the collection of the Belarusian State Art Museum named after. M. V. Nesterova.

The basis of the creativity of many modern Bashkir masters was the preservation of the qualities achieved as an inheritance from traditional folk culture, and the artistic experience of the Russian avant-garde of the first wave. This is exactly how the direction of neo-primitivism appeared in Bashkir painting in the 1990s, and by the 2000s it took a stable position, producing many artists who were interesting and sincere in their art.

Attempts to use the decorative qualities of color in a new way, which characterized realistic painting of previous decades, in the works of individual modern authors resulted in the appearance of semi-abstract compositions expressive in color, in which elements of the Bashkir national ornament are often used. These trends equally affected painting, watercolors, and artistic textiles.

In plastic art, the portrait still occupies a stable position, but the desire to reflect the objective and living world more broadly helped Bashkir sculptors masterfully master and animalistic genre. The visual language is also becoming more diverse: along with traditional realistic ones, stylized forms and forms - signs, the metaphorical content of which significantly expands the range of themes and images of sculpture, are increasingly appearing in exhibitions.

R. Ataulin. Akmulla. 2006-2007. Canvas. Oil. 118 X 137.

By the beginning of the third millennium, republican graphics are also reaching a new level of development. The most mobile due to its specificity, every year it increasingly participates in numerous international exhibitions and competitions. Fueled by modern trends characteristic of both foreign and Russian graphic art, in her desire to break out of the narrow framework of traditional printing art, she intensifies her search in the field of technology, masters large-format sheets and moves further and further away from realistic forms. But in the themes, in the images, and in the borrowing of principles and elements of ornamentation from folk art, the attempts of Bashkir graphic artists to preserve their originality and not get lost in the world space are persistently manifested.

Not everything that appeared in the culture of Central Russia and its regions at the turn of the 20th – 21st centuries, during a difficult historical period for the country, was developed in the art of Bashkortostan. Works that have flooded in in a huge wave, excluding the importance of drawing as a basis, random compositions, devoid of color harmony, and finally, ignoring any content or artistic image and built on the sole desire for outrageousness, already from the beginning of the 1990s began to fill Russian exhibition halls. Like individual experiences similar works also took place in the works of some Bashkir artists, but rather soon disappeared from republican exhibitions. TO beginning of XXI century, artists of Bashkortostan approached with a clearly formed desire to understand their own place in the world space, wisely shifting the emphasis in art from the search for an original visual language to the content of the work and the emotional nature of the images, and choosing the artistic significance of the work and professional merits as the main priorities.

Textiles in decorative arts Bashkir

Currently, much attention is paid to the preservation of folk art and home crafts. In the Republic of Bashkortostan, professional decorative art is actively developing, including those based on folk traditions. This also applies to textile techniques such as embroidery, appliqué, and patchwork.

Things that were created in folk life had not only practical, but also aesthetic significance.

An example of decorative crafts is the interior composition “Song,” which reproduces a fragment of the decoration of a Bashkir home. Two Bashkir girls, winding yarn, quietly hum about something of their own. It presents almost all crafts that were considered a woman's occupation.

The organization of the internal space of the home was given special importance. Yurt, in which for a long time lived by Bashkirs - nomads, had a hemispherical interior with a hole in the dome. It was multifunctional: it was a light source, a smoke exhaust, and sundial. The compositional center of the interior is also associated with it - the traditional part of the decoration - “uryn”. A chest was placed on a special wooden stand, on which stood a stack of blankets and pillows, secured with a special ribbon. It is “uryn” that forms the basis of our composition.

The Bashkirs, like many peoples of Russia, developed the technique of making ornaments from pieces of fabric. Rugs, bedding, and blankets were decorated in a similar way.

In Bashkir practice, the composition of patterns from scraps was carried out in two ways: using the mosaic technique and the appliqué technique. In mosaics, cut pieces (squares, triangles, rectangles) were stitched together according to a planned pattern. The Bashkirs called similar products “korama” - “sewn from scraps.” In our composition, the blanket covering the chest is made using the patchwork technique. The drawing is very simple. It consists of squares of different colors, trimmed along the edge with edging.

Appliqué was close to the art of mosaic. Triangles became the main element in many ornamental compositions. Squares and rhombuses were made from them. The diamonds were collected into stars. These figures of different colors were used to create patterns for bedspreads, carpets, and rugs.

The choice of color in the pattern depended on traditional color combinations and individual inclinations of the craftswoman. Many mosaic ornaments contain red, which is combined with blue, green, and purple. And also with delicate shades: pink, lilac, blue. Traditionally a combination of red and black. The colors chosen for the panel were those that made it possible to create a certain flavor.

Embroidery was a traditional and favorite activity for women. Embroidered on cloth, velvet, canvas. Garus, silk, wool yarn, and cotton threads were used for needlework. We started embroidering in early childhood. Tablecloths, napkins, towels, curtains, rugs, and clothes were decorated with embroidery. Bashkir embroidery is original with a combination of “cuskar” ornament and “double vestibule” technique. An ornament made of curls was called “kuskarny”. It was used in decorating leather and felt products, and predominated in embroidery and appliqué. “Kuskar” compositions were characterized by endless variability. Craftswomen used well-known figures, complicated or simplified them, and created all kinds of combinations. Diversified the ornament and color scheme.

In the composition, embroidery is used to decorate a ribbon (“tushak tartma”), which was intended to fasten pillows and decorate the bed folded on a chest. Intricate ornamental figures embroidered on ribbons not only protected against witchcraft and damage, but also ensured a successful union between a man and a woman.

The embroidery technique of “double tambour” or “goat in edging”, or “oblique mesh” is a favorite among Bashkir craftswomen.

The execution of the “cuskar” ornament begins with outlining the design on the fabric. Then the design is filled in with a “double vestibule” and, finally, the finished embroidery is outlined with a regular vestibule. The ribbon was decorated with beads, coins, corals, and tassels. Bright rich colors on a black, dark red or dark green background, a white or black outline of the design gave the ribbon an elegant look.

Introduction to material culture native land is an integral part of a teacher's work. Looking at dolls, clothes, jewelry, and embroidery arouses genuine interest among the children. They have a desire to try their hand at one technique or another. Gradually, step by step, they master the techniques of making folk items, thereby coming into contact with the origins of folk culture.

A striking reflection of this synthesis was art, which existed until the beginning of the 20th century only in the form of folk art.

The emergence of the first art exhibitions in Ufa dates back to the 1910s and is associated with the names of the first generation Bashkir painters K. S. Devletkildeev, M. N. Elgashtina, A. P. Lezhnev, A. E. Tyulkin, I. I. Uryadov. Based on the experience of the Russian art school, their painting absorbed the aesthetics of folk life, literary and folklore heritage and cultural traditions of the Bashkirs. For several decades, these main components determined the themes and formed the main qualities of the local art school. Appeared in the republic only in the middle of the 20th century prints, sculpture and ceramics inherited these basic traits.

Paintings by R. M. Nurmukhametov, B. F. Domashnikova, A. F. Lutfullina, A. D. Burzyantsev, A. V. Panteleev, A. Kh. Sitdikova, sculptural works by A. P. Shutov, B. D. Fuzeev, Z. R. Basyrov, ceramic panels, easel sculpture and small plastic art by T. P. Nechaeva, a series of etchings and lithographs by E. M. Saitov. .. The exposition of the Bashkir section at Russian and all-Union exhibitions since the middle of the century has become more and more complete in genre and species composition, and the works have become more extensive and more interesting in content and artistic images.

By the 1960s Bashkir fine art In the general context of the country's art, it became a noticeable and original phenomenon, the specifics of which were determined not only by the national content, but also by the optimistic mood of the works, ensured by sincere kindness, open spontaneity of images and bright richness of color.

For several decades, developing within the confines of only one traditionally realistic style, like the entire visual culture of Russia in the socialist period in general, Bashkir art of the 1960s - 1970s was able to present to the viewer works that were magnificent in their performing skills and deeply individual in their visual structure. Diversity in genre and species, they are outlined by a certain range of topics: nature, everyday life and people, the participation of Bashkiria in the socio-political life of the country.

Ramil Abdullin. Spring. Spill. 2005. Paper. Watercolor. 41 X 56.

At the turn of the 20th – 21st centuries younger generation of artists brought a different vision of the world, broader issues and new artistic views to Bashkir art. Philosophical reflections on the world, man and humanity began to sound more and more insistently in the works, reflecting the worldview positions of the authors. In the new historical conditions, freedom of creativity acquired the significance of the main trend in the worldview of artists.

art The republics of the period 1990-2000, in comparison with previous periods of its development, are a stylistically more heterogeneous and multi-layered phenomenon, not limited by the strict framework of any one visual system or specific problematic. It also embodied the creative processing of the artistic experience of previous years (interest in history, careful attitude to the heritage of folk art, the visual qualities that come from it - the decorative sound of color, the rhythmic design of compositions). Along with the realistic tradition, which demonstrates its resilient character, it is also characterized by a continuous active search for a new language. One of the most common form-building techniques in this search has become stylization. Underlying many paintings and graphic works that can compete in their artistic value with the best examples of traditional realistic art, the principle of stylization of form, coupled with the discovery of new spatial solutions, has given rise to a number of artistic trends.

Akhmat Lutfullin. Three women. 1969. Canvas. Oil. 142 X 167. From the collection of the Belarusian State Art Museum named after. M. V. Nesterova.

In plastic art, the portrait still occupies a stable position, but the desire to reflect the objective and living world more broadly helped Bashkir sculptors masterfully master the animalistic genre. The visual language is also becoming more diverse: along with traditional realistic ones, stylized forms and forms - signs, the metaphorical content of which significantly expands the range of themes and images of sculpture, are increasingly appearing in exhibitions.

R. Ataulin. Akmulla. 2006-2007. Canvas. Oil. 118 X 137.

Not everything that appeared in the culture of Central Russia and its regions at the turn of the 20th – 21st centuries, during a difficult historical period for the country, was developed in the art of Bashkortostan. Works that flooded in in a huge wave, excluding the importance of drawing as a basis, random compositions, devoid of color harmony, and finally, ignoring any content or artistic image at all and built on the sole desire for outrageousness, began to fill Russian exhibition halls already from the beginning of the 1990s. As individual experiments, similar works took place in the work of some Bashkir artists, but quite soon disappeared from republican exhibitions. By the beginning of the 21st century, the artists of Bashkortostan approached with a clearly formed desire to understand their own place in the world space, wisely shifting the emphasis in art from the search for an original visual language to the content of the work and the emotional nature of the images, and choosing the artistic significance of the work and professional merits as the main priorities.

Kamil Gubaidullin. Morning of the poet. 2006. From the series "Akmulla" since 2005. Etching. 50 X 65.

Today, Bashkir fine art represents a fairly developed system of artistic movements, based on the traditions left as a legacy by realism and the Russian avant-garde of the early 20th century and folk art. Only a small part of it is focused on the experience of Western European masters of the 20th century. However, in unity with aesthetics national culture, one way or another manifested in the work of Bashkir artists, an appeal to figurative language European art does not cause associations with any specific samples.

Irina Oskina, art critic.