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Journal articles on the topic 'Tatars in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Zaatov, Ismet A. "Ethnocultural basis of the formation process of the Crimean Tatar art culture and decorative and applied art (part one)." Crimean Historical Review, no. 2 (October 28, 2021): 134–70. http://dx.doi.org/10.22378/kio.2021.2.134-170.

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Based on the research results of Russian, Soviet and foreign archaeologists, anthropologists, geneticists and art historians, an attempt has been made to trace the process of formation of the artistic culture and decorative and applied art of descendants, who by the 10th –11th centuries took part in shaping of the Crimean mountain people, the Tats of the Crimea, the ancestors of the ethnographic groups of the modern Crimean Tatar people – the southern coastal and mountain Crimean Tatars, as well as of the Greco-Tatars – the Urums of the Azov region. And also to try to characterize the culture

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Iakovleva, E. L. "UNDERSTANDING THE FATE OF A PERSON IN TATAR FOLK ART." Culture and Text, no. 57 (2024): 98–115. http://dx.doi.org/10.37386/2305-4077-2024-2-98-115.

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The article analyzes the ontology of human destiny in Tatar folklore. The study revealed the fatal attitude of the Tatars to fate. Its supporting constants are the ability of a person to integrate into the life-changing flow and predict situations, learn from elders / life and work. According to the Tatars, a good disposition and a diligent attitude to work can contribute to maintaining and even improving a person’s fate. Initiation rites were of crucial importance when entering adulthood in the past. An echo of male initiation is the Sabantuy holiday, where a young man gets the opportunity to

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3

Goryacheva, Olga N., Svetlana М. Arefyeva, and Кseniia I. Arefyeva. "Semantics of Tatar ornamental motives." Laplage em Revista 6, Extra-A (2020): 87–96. http://dx.doi.org/10.24115/s2446-622020206extra-a562p.87-96.

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The decorative and applied art of the Kazan Tatars includes ornamental motives which are studied in the article from the point of view of the art semiotics. The relevance of the work is associated with realization of the relationship between the formation of ornamental elements with gesture and sound which in the process of evolution promoted to the creation of a pictorial language. The detected interaction is revealed through the description and ornamentation analysis method in all its forms: geometric outline, zoomorphic, plant, combined, religious, epigraphic, heraldic embodied by the Kazan

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4

Zaatov, Ismet A. "Mutual influence of the Crimean Tatar and Crimean-Armenian cultures in the context of musical, lexical and antroponymic parallels." Crimean Historical Review 11, no. 1 (2024): 183–206. http://dx.doi.org/10.22378/kio.2024.1.183-206.

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The process of formation of the Crimean Tatar musical culture, as a whole, can be divided into periods of post-Byzantine – Kypchak – Golden Horde, Tatar – Seljuk – Islamic, Ottoman – Nogai ethno-musical influence on the development of this process, as well as on the period of merging of the musical culture of the steppe and south mountain Crimean Tatars (Tats). The process of formation of the Crimean Tatar musical art, to a certain extent, was also influenced by the musical culture of the Crimean-Armenians who lived together with the Crimean Tatars in the Crimea for half a thousand years and w

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5

Zaatov, Ismet A. "Republican Crimean Tatar Museum of Art: the experience of creation (from the first person)." Crimean Historical Review 10, no. 1 (2023): 162–75. http://dx.doi.org/10.22378/kio.2023.1.162-175.

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Started in the 19th century by Gasprinsky the process of creating a museum of the Crimean Tatars was completed at the turn of the 20th and 21st centuries. the creation of the Republican Crimean Tatar Museum of Art – the first Crimean Tatar museum with an independent legal status, renamed in 2015 into the Crimean Tatar Museum of Cultural and Historical Heritage. The article briefly reflects the history of the Crimean Tatar museum construction filled with tragic events, overcoming prohibitions and persecution.

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PULDEMİR, Busenur, and Barış KARAELMA. "FOLK SONGS OF THE CRIMEAN TATAR DIASPORA AND THEIR USE IN THE PIANO AXIS BASED ON TURKISH MUSIC EDUCATION (ESKİSEHİR EXAMPLE)." ZEITSCHRIFT FÜR DIE WELT DER TÜRKEN / JOURNAL OF WORLD OF TURKS / TÜRKLERİN DÜNYASI DERGİSİ 15, no. 3 (2023): 167–85. http://dx.doi.org/10.46291/zfwt/150311.

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Culture is all of the traditional lifestyle, ideas and works of art that form the common feelings and thoughts of a society. It has been difficult for societies living in exile to preserve their culture and transfer it from generation to generation. Crimean Tatars have also suffered cultural deformation, just like other societies that experienced exile. Their cultural elements are changing day by day due to the influence of acculturation in the places they migrate to. In this study, music, one of the cultural elements of the Crimean Tatars, is discussed. Some theoretical similarities and diffe

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7

Barysenka, Volha. "The Presentation of the Tatars and the Turks in the Legends Related to Miraculous Images/Icons of Our Lady in the 17-18th Centuries in the Eastern Territories of the Polish-Lithuanian Commonwealth." Eikon / Imago 11 (March 1, 2022): 169–83. http://dx.doi.org/10.5209/eiko.77629.

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The paper investigates how Christians of different denominations in the Polish-Lithuanian Commonwealth described the Tatars and the Turks in the legends related to the miraculous image/icons of Virgin Mary. It includes both the use of topoi of Tatars devastating the icons during Tatar incursions in the 13-16 centuries, general vision of the Turks and Tatars by the 17 and 18-centuries’ authors, and presentation of them as military enemies in the setting of wars between the Ottoman Empire and the Polish-Lithuanian Commonwealth as well as reflection of these plots in the visual art. The research

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8

Bulatova, Alfiya K. "Tatar-Russian interaction in the Tatar dialects of the Penza region (based on the materials of a dialectological expedition)." Historical Ethnology 10, no. 2 (2025): 314–22. https://doi.org/10.22378/he.2025-10-2.314-322.

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The Tatars are one of the most ancient peoples of the Penza region. They live compactly in the Belinsky, Vadinsky, Gorodishchensky, Issinsky, Kamensky, Kuznetsky, Lopatinsky, Luninsky, Neverkinsky, Pachelmsky, Sosnovoborsky, Spassky, and Shemysheysky districts. A significant number of Tatars live in settlements with a mixed population. In total, there are about fifty Tatar settlements in the region. The Tatars of the Penza region belong to the Mishari Tatar subethnic group, among whom the western dialect of the Tatar language is widespread. According to the nature of the set of phonetic, gramm

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9

Iakovleva, E. "Detecting the specificity of the Tatarian national cuisine." Bulletin of Science and Practice 4, no. 3 (2018): 362–70. https://doi.org/10.5281/zenodo.1198814.

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The object of research is the national cuisine of the Tatars. Having passed the long path of its development, it experienced numerous influences, including ethnic, cultural and religious character. A huge role in the preparation of food played a furnace and Kazan, which are symbols of the Tatar house. It was revealed that the richness of forests, lands and rivers, occupation of agriculture, livestock breeding, and poultry farming determined the set of products included in the diet of the Tatars. Actively using natural gifts, the Tatars also observed ethical principles in relation to the surrou

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Akhmetshina, Gulnaz Radikovna, Klara Khakimovna Karamova, and Ravil Munirovich Muksinov. "Genesis and Evolution of National Costume." International Journal of Criminology and Sociology 9 (April 5, 2022): 2077–81. http://dx.doi.org/10.6000/1929-4409.2020.09.245.

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This study is devoted to the analysis of the foundations of the development and preservation of the national costume from the moment it appeared with justified exceptional characteristics and further modification due to its relationship with various factors and its use in modern times. The effects of geographical, natural, historical, cultural, economic and social factors are considered. The dynamics of the development of the Tatar national costume is revealed from the point of view of decorative and applied folk art. Also, the potential of folk art in the aspect of enriching professional desi

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Zaatov, Ismet A. "Ethno-cultural basis of the process of formation of the Crimean Tatar artistic culture and decorative art (part three)." Crimean Historical Review 10, no. 1 (2023): 120–46. http://dx.doi.org/10.22378/kio.2023.1.120-146.

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In the article an attempt is made to trace the stages of development of the process of the Kypchak-Tatar – Turko-Seljuk Turkization and the beginning of the process of Asia Minor–Central Asian Islamization of the population of the peninsula and formation of artistic culture and decorative art of the Crimean Tatars during the formation of the foundations of the Crimean Tatar statehood in the Black Sea uluses of the Golden Horde.

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Zaatov, Ismet A. "Ethno-cultural basis of the process of formation of the Crimean Tatar artistic culture and decorative art (part 4)." Crimean Historical Review 10, no. 2 (2023): 143–68. http://dx.doi.org/10.22378/kio.2023.2.143-168.

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In the article an attempt is made to trace the stages of development of the process of the Kypchak-Tatar – Turko-Seljuk Turkization and the beginning of the process of Asia Minor–Central Asian Islamization of the population of the peninsula and formation of artistic culture and decorative art of the Crimean Tatars during the formation of the foundations of the Crimean Tatar statehood in the Black Sea uluses of the Golden Horde.

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Iakovleva, Elena Liudvigovna. "Tatar Gastronomic Culture Through the Prism of Proverbs and Sayings." Ethnic Culture 3, no. 2 (2021): 43–47. http://dx.doi.org/10.31483/r-98682.

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A significant layer in the culture of an ethnic group is folklore, which includes a variety of folk art. It expresses the knowledge and experience of the people. Proverbs and sayings, where the centuries-old wisdom of the ethnic group is conveyed in a concise form, concerning different spheres of life, are of interest for learning. Thanks to proverbs and sayings, it is possible to reconstruct the national picture of the world and its components, but often this aspect remains out of the field of attention of scientists. In this regard, the aim of the study was the proverbs and sayings of the Ta

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Giniyatullina, Lyutsiya S. "Interregional Scientific Conference “Readings of Saif Sarai – 2022” (Samara Region, Kamyshla, May 17, 2022)." Golden Horde Review 10, no. 2 (2022): 491–94. http://dx.doi.org/10.22378/2313-6197.2022-10-2.491-494.

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On June 15, 2021, within the framework of the Year of Native Languages and National Unity in the Republic of Tatarstan, Marjani Institute of History of the Tatarstan Academy of Sciences hosted the International Scientific Conference “Medieval Written Heritage of the Tatars” (towards the 700th anniversary of the birth of Saif Sarai). The conference was attended by representatives of various scientific centers: Research Center for Islamic History, Art and Culture (IRCICA) at the Organization for Islamic Cooperation, Republican Institute of Higher Education of Belarus, State Historical Museum, N

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Ulemnova, Olga L. "The Kazan Avant-garde of 1910–1930s: Regional and National Specific Features." Koinon 3, no. 2 (2022): 147–72. http://dx.doi.org/10.15826/koinon.2022.03.2.021.

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The article highlights the regional version of the Russian avant-garde, which developed in such an important artistic center of Russia as Kazan, the capital of a vast region with a multi-confessional and multi-ethnic population. The article reveals the origins of the phenomenon and the main stages of its development, due to such historical events as the creation and reorganization of the Kazan Art School, the First World War and the Civil War, the revolution of 1917. The author positions the art of Kazan as part of the all-Russian artistic process. The new state cultural policy began to guide

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Nasibullina, Nurida, and Aigul Kabirova. "The history and activities of the Center for Writing Heritage of the Institute of Language, Literature and Arts after Galimzhan Ibrahimov of the Academy of Sciences of the Republic of Tatarstan." JOURNAL OF AWARENESS 8, no. 3 (2023): 261–70. http://dx.doi.org/10.26809/joa.2023.

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The purpose of the staff of the Institute of Language, Literature and Arts after Galimzhan Ibrahimov of the Academy of Sciences of the Republic of Tatarstan (IYALI) is to preserve and develop the Kazan Tatar people (Tatars) language, literature, art in the context of globalization. One of the necessary conditions for the implementation of this purpose is the preservation of the spiritual cultural heritage. To this end, the IYALI since the 1940s work is underway to collect, preserve and study the written and musical heritage of the Tatars, which since 2007 has been continued by an independent u

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17

Fazlutdinov, I. "The image of Yemelyan Pugachev in Tatar historical folklore." Philology and Culture, no. 2 (June 25, 2024): 214–19. http://dx.doi.org/10.26907/2782-4756-2024-76-2-214-219.

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This article examines samples of the Tatars’ non-fairy tale prose, which reflects the historical figure of the popular uprising leader in the Urals and the Volga Region, Yemelyan Pugachev. The author summarizes the popular assessment of the Peasant War leader’s actions, found in the historical tales of the Tatars from the republics of Bashkortostan, Tatarstan and other regions of Russia. Based on the analyzed sources, it is possible to obtain valuable information about those socio-political clashes that have left deep traces in the worldview and psychology of the local population. The relevanc

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18

JANOWSKI, Maciej, Agnieszka JANOWSKA, Adam NADOLNY, and Mohammad MOHAMMADI. "ARCHITECTURE OF POLISH TATARS - LOCAL IDENTITY AND HERITAGE." International Journal of Conservation Science 14, no. 1 (2023): 231–50. http://dx.doi.org/10.36868/ijcs.2023.01.15.

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Poland has very few historical architectural structures representing the culture of Islam. Islamic influences, especially reflected in the clothing and armament of the 17th century, and the existence of few but very well integrated communities of assimilated Tatars (the Lipka Tatars or the Lipkas) contributed to the creation of unique urban development and sacral development in the east of Poland. The villages of Kruszyniany and Bohoniki are places of special importance where works of art and architecture of religious and social values were created. The most important structures were mosques w

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Minnullin, K. M., and L. Kh Davletshina. "A COMPREHENSIVE APPROACH TO PUBLISHING FOLKLORE MONUMENTS: FROM THE EXPERIENCE OF PREPARING A 25-VOLUME ACADEMIC PUBLICATION «TATAR FOLK ART»." Culture and Text, no. 58 (2024): 92–102. http://dx.doi.org/10.37386/2305-4077-2024-3-92-102.

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This article is devoted to the experience of systematization and publication of folklore, implemented in the academic publication “Tatar Folk Art” in 25 volumes. The paper substantiates the need for an integrated approach based on the most syncretic nature of folklore and the state of modern folklore studies. Having analyzed the features of the classification of folklore texts containing mythological representations of the Tatars and data from the ritual tradition, the authors conclude that only with such a methodological approach folklore can be revealed in all its diversity as a single ideol

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Sychenkova, L. "Boris Denike’s Contribution to the Studies of the Crimean Tatar Architectural Heritage." Materials in Archaeology, History and Ethnography of Tauria, no. XXIX (December 27, 2024): 528–44. https://doi.org/10.29039/2413-189x.2024.29.528-544.

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This article presents a historiographical reconstruction of a little-known page in the heritage and biography of the art historian and orientalist Boris Petrovich Denike (1885–1941). The research uses the method of comparing the content of B. P. Denike’s article with the entries in his journal concerning the visits to the Crimea from 1905 to 1937. This approach allows the one to prove that the description of the monuments provided by B. P. Denike’s essay is the result of not only rethinking of the well-known current scholarship on the Crimean Tatar architecture, but also the scholar’s personal

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Zaatov, Ismet A. "Ethnocultural basis of the formation process of the Crimean Tatar artistic culture and decorative and applied art (part two)." Crimean Historical Review 9, no. 1 (2022): 123–54. http://dx.doi.org/10.22378/kio.2022.1.123-154.

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In the articlean attempt is made to trace the course of the early medieval (Old Turkic) stage of Turkization process of the plain, foothill, mountainous, southern coast population of the Crimea. And also it follows the formation of artistic culture and decorative art of the Turkic ancestors of that period among the Crimean Tatars, preceding the appearance of the Kipchaks-Polovtsy-Kuman on the peninsula, as well as those occurring parallel to this process. Among the ethnic community of the descendants of the ancient autochthons of the peninsula, the Crimean mountainous people of the Tats, the c

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Asan, Elmaz. "Elite culture of Early Modern Crimean Khanate: Western Travellers' Perceptions." Bitig Edebiyat Fakültesi Dergisi 4, no. 7 (2024): 31–42. http://dx.doi.org/10.69787/bitigefd.1413754.

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The statehood of the Crimean Tatars indigenous people of Crimea is little known worldwide. In the era of the Crimean Khanate, the Crimean Tatars cultivated elite culture characterised by a synthesis of European customs and Islamic religious traditions. The term "elite culture" refers specifically to the cultural society of the established aristocracy, the educated upper class, political influencers, and individuals active in fields such as education, art, literature, architecture, philosophy and the military. Elite culture in the Crimean Khanate can be described as the confluence of various in

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Muhametzyanova, Liliya Khatipovna. "Review of the series “Folk Art of the Bashkortostan Tatars”." Tatarica 16, no. 1 (2021): 188–93. http://dx.doi.org/10.26907/2311-2042-2021-16-1-188-193.

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Lugovskaya, Natalya V. "BOUNDARIES OF THE RELIGIOUS IN THE FINE ART OF SHAMAIL THE 19TH - 21ST CENTURIES." RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations 4, no. 3 (2023): 453–64. http://dx.doi.org/10.28995/2073-6339-2023-4-453-464.

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Most of the today researchers define the art of shamail as “religious” or “Islamic” art. The paper proposes to analyze the relevance of the established definition in relation to shamail term in order to consider the term in a broader framework, extending its geographical, cultural, religious and linguistic boundaries. Such a broader approach to defining the art of shamail, a shift away from presenting the Arabic-language and/or Arabic-graphic text on shamails as a text of exclusively religious character; consideration of shamails from regions outside the established borders (of modern Republic

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Мухаметзянова, Л. Х., and К. М. Миннуллин. "Hushavaz as a kind of lyro-epic folklore of the Tatars." Эпосоведение, no. 1(17) (March 28, 2020): 61–69. http://dx.doi.org/10.25587/svfu.2020.17.58366.

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Статья посвящается изучению некоторых теоретических и практических вопросов по татарскому фольклору, охватывает тему сбора образцов песенного наследия татар, проживающих в разных уголках России. Данная разновидность татарских народных песен на сегодняшний день одна из малоизученных областей в фольклористике. Хушавазы, своими корнями простирающиеся в глубь веков в истории существования музыкальной фольклорной традиции татар, и сегодня находят свое активное бытование в народной среде. Целью исследования является акцентирование внимания на хушавазах, как специфичном лиро-эпическом народно-песенно

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Akchurina-Muftieva, Nuria M. "Anthropomorphism and Zoomorphism in the Ornamental Art of the Crimean Tatars." Golden Horde Review 10, no. 1 (2022): 229–40. http://dx.doi.org/10.22378/2313-6197.2022-10-1.229-240.

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The author of the article reveals the problem of anthropomorphic and zoomorphic images in Islamic art, particularly in the Turkic ornamentation of the Crimea. Superficial, unscientific interpretations of motifs and ornamental compositions often lead to the search for and appropriation of anthropomorphism without appropriate research, loose interpretations of motifs, and the creation of a new mythology. Despite conservative views regarding the categorical denial of the permissiveness of the image of a person, there are many surviving works of fine and decorative art that confirm an opposite tra

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Mukhametzianova, L. Kh. "A look at N. Isanbet’s works in the field of Tatar folklore." Tatarica 24, no. 1 (2025): 49–58. https://doi.org/10.26907/2311-2042-2025-24-1-49-58.

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Tatar folklore is a spiritual gem that has been created by the people over the centuries and passed down from generation to generation. Folkloristics is a rich, complex, deep and important area of Tatar science, which, being of exceptional significance, makes up the spiritual foundation of our time. There are not many talented Tatar scholars who devoted their lives to the study of the Tatar people’s unique heritage, revealing the exciting scientific secrets in this area. One of the rare personalities, who made significant contributions to the popularization of the Tatars’ heritage and to the p

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Iakovleva, Elena L. "Metaphorical Perception of Kazan Through the Prism of the Tatar Gastronomic Culture." Humanitarian: actual problems of the humanities and education 21, no. 3 (2021): 289–97. http://dx.doi.org/10.15507/2078-9823.055.021.202103.289-297.

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The relevance of the research topic is due to the interest in urban space and its cultural and symbolic meaning. The city, perceived as a text, helps in interpreting to understand its specifics and represent it at different levels, which increases, among other things, its tourist attractiveness. The purpose of the study is to analyze the metaphor of Kazan-a woman through the prism of the gastronomic culture of the Tatars. Materials and Methods of Research. The methodological basis of the research consists of the cosmosophical ideas of G. D. Gachev, as well as the books of K. F. Fuchs, K. Nasyr

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Shaiakhmetova, Alfiia. "ART AND ISLAM IN THE CONTEXT OF THE CULTURAL POLICY OF THE YENISEI PROVINCE IN THE 1920–1930 YEARS (IN THE MATERIALS OF ARCHIVAL DOCUMENTS)." Bulletin of the South Ural State University Series «Social Sciences and the Humanities» 25, no. 1 (2025): 76–83. https://doi.org/10.14529/ssh250109.

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The historic events of 1917 marked a turning point in all areas of human activity. The beginning of the revolution in Russia gradually pushed religion into the background. The Soviet government quickly began anti-religious propaganda among the Muslim Tatars. One of the tools used was art in all its forms. Concerts and theatrical performances were organised in theatres, membership clubs and factories, where lectures and discussions on anti-Muslim themes were held. Religious holidays began to take on a secular character. The article considers the work of the Soviet government in the transition f

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SHAMSUTOV, R. I. "THE ARABOGRAPHIC ART OF KAZAN (VOLGA) TATARS AND ITS MODERN TRANSFORMATION." Islam in the modern world 13, no. 4 (2017): 141–64. http://dx.doi.org/10.22311/2074-1529-2017-13-4-141-164.

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Vagapova, Firdaus G., and Lyudmila S. Timofeeva. "The role of A. Makhmudov and Sh. Tagirov in the revival of book art traditions in the culture of the Middle Volga Region Tatars." Historical Ethnology 5, no. 3 (2020): 388–98. http://dx.doi.org/10.22378/he.2020-5-3.388-398.

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The article explores the period of reviving the art of calligraphy and handwritten book art in the Tatar culture, which falls on the end of the XIX century and is associated with the names of A. Makhmudov and Sh. Tagirov. The authors of the article presented the genesis and revealed the stages of calligraphy and hand-written book art formation in the culture of the Tatars. The article provides an art criticism analysis of the manuscript book art works included in the creative heritage of A. Makhmudov and Sh. Tagirov. A contrastive-comparative analysis led to a conclusion that the traditions of

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BORODOVSKAYA, LILIYA. "MUSICAL AND POETIC GENRE MUNADJAT IN ISLAMIC CULTURE OF DIFFERENT PEOPLES OF THE WORLD." Культурный код, no. 2022-3 (2022): 87–99. http://dx.doi.org/10.36945/2658-3852-2022-3-87-99.

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The relevance of the study of the ancient musical and poetic genre munajat is due to the revival of interest in the folklore of the Tatars in the context of world Islamic culture. The images and symbols permeating the texts of these chants are difficult for modern understanding. A brief review of world examples of munajat in the work of professional poets and in folk art is made. The main feature of the munajat genre is the ability to offer a prayer to the Almighty in the native language. The article contains a hermeneutical analysis of some fragments of Persian and Tatar munajats. Common Musl

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Rasulova, Risligoy A. "The role of Tatars in the introduction of theatrical art to Turkestan." Historical Ethnology 5, no. 1 (2020): 50–57. http://dx.doi.org/10.22378/he.2020-5-1.50-57.

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MUKHAMETZYANOVA, Liliya. "АРХАИЧЕСКИЕ ПЛАСТЫ И ИСЛАМСКИЕ ВОЗЗРЕНИЯ В ТАТАРСКОЙ ВЕРСИИ ДАСТАНА «ТУЛЯК»". Eposovedenie 3, № 35 (2024): 5–14. http://dx.doi.org/10.25587/2782-4861-2024-3-5-14.

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The Tatar version of the archaic-heroic dastan about Tulyak and Susylu deeply reflects the worldviews of the Turkic peoples, while preserving the poetic significance of Tatar folk art in a peculiar way; contains laconism, heroism, adventure character; handwritten copies of Tulyak convey historical memory, the continuity of generations to the present day. The unexplored Tatar version of dastan as a source of the epic culture of the ethnic group determines the relevance of the stated topic. The article systematizes all known variants of the national version of this folklore piece. The purpose of

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Zakirova, I. G., and I. I. Fazlutdinov. "Legendary tales about saints in Tatar folklore." Philology and Culture, no. 4 (December 29, 2023): 132–40. http://dx.doi.org/10.26907/2782-4756-2023-74-4-132-140.

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The relevance of the research topic is the cultural and social need to comprehend one of the Tatar history and culture key phenomena in terms of holiness and subjects, reflecting the image of “the saint”, the tasks of restoring the people’s spiritual values, the most important ones for the moral education of modern society, as well as the need to replenish knowledge about the specific features of folk spirituality and folk beliefs. The object of the study is Tatar legendary tales about saints. The subject of the study is the image of a saint and motifs about saints in Tatar legendary tales. Th

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Nepomnyashchy, Andrei A. "Unknown plots of the Crimean ethnographic research: Evgenia Spasskaya." Crimean Historical Review, no. 1 (2020): 151–67. http://dx.doi.org/10.22378/kio.2020.1.151-167.

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The given article discloses the unknown pages from the history of the Crimean studies, associated with the rich events of the 20s of the XX century. There were reproduced the unknown directions in the study of ethnography of the Crimean Tatars, in particular, was given the analysis and publication of material collections of the Crimean Tatar embroidery of the ethnographer-collector A. M. Petrova. the material is based on personal archival documents of a great researcher of the Crimea – ethnographer Evgenia Yurievna Spasskaya, they were identified in the National Archival Funds of manuscripts a

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Sheykhumerov, Amet-han. "«Crimean art»: about little-known aspects of raids of the Crimean Tatars and Nogays." Crimean Historical Review, no. 1 (2019): 71–95. http://dx.doi.org/10.22378/kio.2019.1.71-95.

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GAFAROVA, Ranetta. "ANALYSIS OF THE POEM-HYMN OF THE CRIMEA TATARS «ANT ETKENMAN» («I SWORN») NOMAN CHELEBIDZHIKHAN IN HISTORICAL PERSPECTIVE." Linguistic and Conceptual Views of the World, no. 71(1) (2022): 38–52. http://dx.doi.org/10.17721/2520-6397.2022.1.04.

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Crimean Tatar’s history is that of agony, exile, sorrow, oppression and persecution, but it is also the history of Crimean Tatar nation’s national struggle. Crimean Tatars’ history has 5 stages: 1. Crimean Khanate Period (1441-1783), 2. Russian Domination: Invasion of Crimea (1783-1917), Crimea during Russian Revolution and Early Bolshevik Reign: Crimean Tatar Republic (1917-1918), 4. Exile Period (1944-1987), 5. Return to Homeland (1987 – up to the present), 6. Repeated annexation of Crimea by Russia (2014 – up to the present). The first three periods are presented in Crimean Tatar National A

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Synowiec, Aleksandra, and Zybała Marcin. "Heritage Conservation, Education, Intercultural Dialogue: Functions of Lemkos, Roma and Tatars Creative Activity in Contemporary Poland." International Relations: Theory and Practical Aspects, no. 1 (May 2, 2018): 235–42. https://doi.org/10.31866/2616-745x.1.2018.142007.

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The purpose of presented study «Heritage conservation, education, intercultural dialogue: functions of Lemkos, Roma and Tatars creative activity in contemporary Poland» is to discuss contemporary functions of creativity among an ethnic minority groups on the basis of the research material collected in nationwide research project «Creative activity of ethnic minorities in Poland on the edge of XX and XXI centuries», conducted by Eastern Initiative Institute, Cracow, Poland. This paper is based on qualitative empirical data collected through individual interviews conducte

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Wilmer, Stephen. "After Dada: Fluxus as a Nomadic Art Movement." New Theatre Quarterly 33, no. 1 (2017): 59–64. http://dx.doi.org/10.1017/s0266464x16000634.

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In this article Stephen Wilmer applies Deleuze and Guattari's concept of nomadology to the Fluxus art movement that spread across the world, breaking down barriers between art and life, privileging concrete and conceptual art, and staging unusual events. He traces Rosi Braidotti's development of Deleuze and Guattari's concept into her notion of the nomadic subject in which she favours factors such as geographic movement, transnational identities, common space (in accord with the Deleuzian differentiation between the divisible earth or private property, and nomadic space which belongs to everyo

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Salakhov, A. M. "Arabic-speaking manuscript from Sterlibashevo." Minbar. Islamic Studies 11, no. 4 (2019): 819–32. http://dx.doi.org/10.31162/2618-9569-2018-11-4-819-832.

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The article provides a concise description of a collection of texts in Arabic. The copy is preserved in the Ibragimov Institute of Language, Literature and Art of the Tatarstan Academy of Sciences, Kazan, Russian Federation. The copy originates from the Sterlibash district / Bashkortostan. The MS book comprises a collection of works on tajwid (recitation of the Holy Qur’an), Islamic creed and medicine. The aim of the publication is to introduce another hitherto unknown item, since the general descriptions available are far from being satisfactory. The item has entered the collection in 2017 un

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Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 69. http://dx.doi.org/10.25038/am.v0i19.306.

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Books and artworks have a long common history. Written texts, as well as the joy of reading and the act of writing them, appeared in pieces of art from early Antiquity onwards, well before the current form of the book itself was invented. Apart from indicating readers and writers, the book had also become a basic symbol of culture, education, or the attribute of saints. On the other hand, there are many artists who create special books, i.e. special one-copy and one-edition volumes, not only containing the artist’s drawings or paintings but the whole assemblage of the book (and often even the

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Sharip, A. Zh. "Dombra: Types, Distribution Area, and Its Role in Epic Art." Bulletin of L.N. Gumilyov Eurasian National University. Political Science. Regional Studies. Oriental Studies. Turkology Series 149, no. 4 (2024): 341–60. https://doi.org/10.32523/2616-6887-2024-149-4-341-360.

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The dombra is a musical instrument that plays a significant role in the cultures of Turkic peoples (Kazakhs, Uzbeks, Bashkirs, Nogais, Tatars, Lakais) and several other ethnic groups (Tajiks, Kalmyks, Hazaras). This article examines not the use of the dombra in instrumental music, but its role in the art of epic singing. This topic has not been specifically studied from a scholarly perspective before. The author utilizes photo, audio, and written materials collected during foreign research trips to scientific centers, museums, and informants. Some information about the dombra was recorded on v

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Sharip, A. Zh. "Dombra: Types, Distribution Area, and Its Role in Epic Art." Bulletin of L.N. Gumilyov Eurasian National University. Political Science. Regional Studies. Oriental Studies. Turkology Series 149, no. 4 (2024): 279–98. https://doi.org/10.32523/2616-6887-2024-149-4-279-298.

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The dombra is a musical instrument that plays a significant role in the cultures of Turkic peoples (Kazakhs, Uzbeks, Bashkirs, Nogais, Tatars, Lakais) and several other ethnic groups (Tajiks, Kalmyks, Hazaras). This article examines not the use of the dombra in instrumental music, but its role in the art of epic singing. This topic has not been specifically studied from a scholarly perspective before. The author utilizes photo, audio, and written materials collected during foreign research trips to scientific centers, museums, and informants. Some information about the dombra was recorded on v

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Shklyaeva, Lyudmila M. "Gold Embroidery Style Features of the Mishar Tatars of the Ulyanovsk Region." Observatory of Culture 17, no. 2 (2020): 140–50. http://dx.doi.org/10.25281/2072-3156-2020-17-2-140-150.

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The article reveals the origins and style features of the gold embroidery of the Mishar Tatars of the Ulyanovsk Region. Though surrounded by a population that is not uniform in ethnic composition, including the Chuvash, Mordovian, Mari, Udmurt and Russian peoples, the Mishars have preserved the aesthetic preferences of their ancestors. For centuries, the bib — an element of the national costume — has maintained the visually expressed originality of its decorative design conditioned by the traditions characteristic of this local group. The gold embroidery was a hereditary female occupation; its

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RASHITOV, Danil D. "Russian jewelry school in Kazan at the beginning of the 20th century." Service plus 19, no. 1 (2025): 74–80. https://doi.org/10.5281/zenodo.15169981.

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The article examines the historical and cultural component of Russian jewelry in Kazan in the early 20th century. The purpose of the article is to make a comprehensive historical and cultural analysis of Russian jewelry of the period. The objectives are to identify the conditions for the development of jewelry, its interaction with culture, and to consider the decorative and symbolic meaning of jewelry. The main principle of constructing the article was the methodology of the history of everyday life, which provides objective facts inherent in the period. To solve the tasks, it is necessary to

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Minnegalieva, Aigul Ildusovna, Liailia Ihsanovna Mingazova, Aigerim Tarbinovna Ibrayeva, and Gelyusya Faridovna Kayumova. "Turkish World and Literary Relations of the East." International Journal of Criminology and Sociology 9 (April 5, 2022): 2514–20. http://dx.doi.org/10.6000/1929-4409.2020.09.306.

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All Turkic literature has a common cultural framework. A substantial confirmation of this fact comes from the national spiritual heritage, which has become the basis for the further development and flourishing of the verbal art of Turkic peoples. First of all, these are Китабы Деде Коркут of the Oghuz, the Kyrgyz heroic epos Манас (Manas), Идегей (Idegei) – the variants of which were widespread among the Kazakhs and the Tatars, the famous Чура батыр (Chura Batyr) among the Tatars, etc. The works such as A Thousand Nights and a Night (Мың бір түн), Shakhname or Shakh-Name (Шахнама), Kalila and

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Gatina-Shafikova, Dina F. "Images of Tatars by K.F. Huhn in periodicals of the second half of the 19th century." Historical Ethnology 10, no. 2 (2025): 249–65. https://doi.org/10.22378/he.2025-10-2.249-265.

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Since the 18th century, Russia has seen a growing interest in the ethnography and culture of peoples, which was reflected in publications in periodicals. Artists, such as Karl Fyodorovich Huhn (1831–1877), took an active part in the creation of illustrations reflecting the life and traditional costumes of various peoples, including the Tatars. K.F. Huhn, known for his watercolors and engravings, accurately conveyed details of costumes and daily life, which makes his works an important historical source. The master’s works were published in Russian and foreign periodicals, such as the magazines

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Donina, Larisa N., and Svetlana V. Suslova. "The Golden Horde Traditions in the Kazan Tatars’ Jewelry Art: On the Example of Almond-shaped Filigree Earrings." Golden Horde Review 7, no. 3 (2019): 461–84. http://dx.doi.org/10.22378/2313-6197.2019-7-3.461-484.

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Pilipchuk, Yaroslav. "WARFARE OF ULUS JOCHI (GOLDEN HORDE)." KAZAKHSTAN ORIENTAL STUDIES 12, no. 4 (2024): 373–86. https://doi.org/10.63051/kos.2024.4.373.

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This article is devoted to the military affairs of the Eurasian empire called the Golden Horde (Ulus of Jochi). The objective of this study is to summarize the materials concerning the military affairs of the Ulus of Jochi and to highlight its characteristic features. The novelty of this study is the analysis of military actions primarily in Europe. The article uses the methods of factor and diachronic analysis. The purpose of the study is to reconstruct the characteristic features of the military affairs of the Golden Horde. The results of the study are as follows: 1) the army of the Ulus of

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