The Ethnology Notebooks. 2019, № 6 (150), 1536—1541
ANIMAL’S DECORATIVE PATTERNIN THE SUBSTANTIVE WORLD OF THE CRIMEAN TATARS
ORCID ID: https://orcid.org/0000-0003-0468-8634
Graduate student of Lviv
National Academy of Arts,
Founder and leader
Design studio «Frandgulo»
38, Kubiiovycha Street, 79011, Lviv, Ukraine
Contacts: e-mail: email@example.com
Abstract. The urgency of accessing the language of the ornament is undoubted, it is a basic element in the system of transfer of cultural heritage between numerous generations of people of different historical eras. Moreover, the picture of the world created by the language of the ornament reflects a system of value orientations of a certain period in the development of culture.
Problem Statement. The artistic ornament is involved in the architectural construction as an element of composition and a means of artistic expression. The ornament was used as signs to help determine a person’s social and social position. He was given values associated with different images and phenomena of nature.
Purpose. The central object of this study is the world of ornamental art, created and broadcast using a specific language of symbols, in particular, the so-called «zoomorphic symbolism» in the subject world of the Crimean Tatars.
Methods. One of the difficult problems in the study of ornament is the difficulty in deciphering and dating the original origin, as well as belonging to a particular ethnic group. Over the years of the existence of decorative art, various types of patterns have emerged: geometric, floral, complex, etc. Early forms of ornament — geometric.Over time the abstract geometric pattern was combined with conditionally-realistic floral and animal’s decorative pattern.
Results. Stylistics, shaping, ornamentation indicate the openness of the Crimean Tatar art of various influences. The main cultural landmark was the Ottoman Empire, which defines the nature of artistic culture, life style, architectural traditions. The cultural traditions of the neighboring ethnic groups contributed to the enrichment of the Crimean Tatar art, and it also had an impact on their art.
Conclusion. The decorative and applied art of the Crimean Tatars retained its identity, built on the style and canons of Islamic art and its own ethnic tradition, which allows to speak about the historical significance and independence of this phenomenon in the culture of Crimea.
Keywords: the decoratively-applied art, Crimea, animal’s decorative pattern, Crimean Tatars, subject world.
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