Collections & Exhibitions - Devlet Saray Museum

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Crimean Tatar decorative art differs and fascinates with its beauty, expressiveness and restraint. As the art critic M. ya. Ginzburg noted,"...the greatest beauty, variety and richness of drawing, the most delicate range of colors reaches the artistic Tatar industry in weaving and embroidery production, in a variety of fabrics, amazingly colorful costumes, chadras and marams, belts...".

The Crimean Tatars ' textile consists of 4 main types. "Atma" - the main type of textile ("atmak" from the verb - "throw", "throw". Ondan solga atmak-throw from right to left). The second type - " ornegi sepme Atma "was called in the steppe zone and foothill areas," ornegi sachma"in mountain and South — Bank areas ("sepme"," sachma " - from the verbs sow, scatter, scatter), where the pattern, ornament are scattered, scattered on the surface of the fabric. Woven by the method of "Tahtali Atma"in mountainous and southern coastal areas or "katerlengen Tahtali" in the steppe zone, the fabric is characterized by relief pattern and decorative. It was used for home decoration both for holidays, weddings, and in everyday life. It was also used for making head coverings "marama" and "sherbenti". The fabric had a high strength and practicality, so it is often used at home as aprons "of ugluk" or "pestemal", scarves-knots "bahcha", covers of "arty", cloth "saprobes" or "kjonaas" towels "usbus", swipe "egybt" and more. Double sided ornamental textile "chabris Atma" is more often used in the South coast and mountainous areas of the Crimea.



The syncretism of Crimean Tatar culture is particularly evident in the toponymy of Crimea. Nomadic and sedentary worlds, ancient and medieval civilizations, inflorescences of languages, Islamic and pre-Islamic cults are ornate patterns on the ancient surface of the Peninsula. Toponymic web, the same age as the tudun and khans, a witness to the medieval heyday, reproduces the aura of the true Crimea. It stands out as a faint hope against the dim background of today's civilization.

The external splendor of the Crimean Tatar toponymy is in harmony with the internal content. The toponymic archive bears the priceless experience of our ancestors-the ability of wise and noble development of the Crimea. Everywhere in the deep valleys and remote steppes, toponyms accompany the Crimean Tatars with their father's edification. They will point out the water with a vine crossed in their skillful hands: Tash-kuya (stone well), Melek-Cheshme (fountain of angels), Otar-Chokrak (shepherd's spring); they will discover the natural properties of objects: Sijak-Chokrak (hot spring), Yale-hoba (windy cave), Barca (a rock composed of chalk). Toponymy Orient the shepherd: Keshla settlement (winter pasture), Suat (the watering hole), Mantras (the place of the tonsure, sheep) Barnacle (hay meadows).

The current Crimean garden is calculated in a European way, primitively utilitarian. Another thing — the old garden, captivating Eastern temperament and filling the mountain valleys with crazy fragrance and singing birds. And what a lovely place names that speak of him: Eriklik plum garden, Cevizlik — hazel, FLS-chair — mulberry garden.

The toponymy of Crimea reflects the religious syncretism of the Crimean Tatars: Altyn-beshik (Golden cradle, pagan), AI-Yori-Chokrak (source of Saint Yuri, Christian), Aziz (Saint, Islamic).