Tatar history, culture and art

Книга знакомит с искусством казанской кожаной мозаики и традиционными орнаментами узорной кожи. Уникальный иллюстративный материал содержит большое количество старинных и современных изделий. Впервые описан полный технологический процесс работы. В конце книги приведены подробные аннотации на татарском, немецком и английском языках.

The Patterned Leather of Kazan
Making of inlaid leather footwear is one of the most ancient traditional
handicrafts of Kazan Tatars. Leather-dressing was highly developed in the
times of Volga Boulgaria already. This is proved by numerous archaeological
finds on the territories of ancient settlements: workshops of leather-dressers,
remains of uppers and instruments.
We don’t know yet when the technique of leather mosaics and the seam
later known as «Kazan», or «Tatar», or «Kazan stitched-in work» became
used while making traditional footwear. The oldest ones that are kept in
museums of Russia are dated end of 18th – beginning of 19th century.
The handicraft of traditional Kazan patterned boots developed in
numerous suburbs of Kazan and villages outside Kazan during 18th-19th
century. The footwear was made not only in Kazan, but also in other
settlements of Tatars: in the cities of Central Asia, West Siberia, in Kasimov
and Orenburg.

Die Kazaner Ornament-Leder
Ornamentierte Lederstiefel waren bei den Wolga-Tataren im Laufe von
vielen Jahrhunderten die populärste Art des traditionellen Handwerks. Schon
die Vorahnen der Tataren – die Wolga-Bulgaren – beschäftigten sich mit der
Herstellung der farbigen Saffianleder und der weichen Juphtleder, die in
vielen Ländern als Bulgary bekannt war. Die archeologischen Funde bestätigen
die Angaben der mittelalterlichen arabischen Historiker über die hohe
Entwicklung der Lederherstellung in der Hauptstadt der Wolga-Bulgaren.
Im Mittelalter trugen die reichen russischen Bojaren die geschmückten
tatarischen Stiefel sehr gern. Die Russen nannten sie Itschigi.
Seit dem 18. Jahrhundert wurde in Kazan, der Hauptstadt des
Gouvernements im Osten Russlands, das Nähen solcher Schuhen zur
industriellen Herstellung. Im 19. – Anfang des 20. Jahrhunderts importierten
die Kazaner Kaufmänner Hundert Tausende “asiatische Schuhe” nach Europa
und den islamischen Osten.
Einen besonderen Platz im Buch nimmt die unikale Kollektion der
Tatarischen Stiefel Itschigi, die im Deutschen Ledermuseum in Offenbach
am Main aufbewahrt wird, ein.
Im Buch wird über die traditionellen Ornamente der Ledermosaik,
Handnähte und die für die Erfüllung der Naht notwendigen Instrumente und
Stoffe erzählt. Zuerst in der vorhandenen Literatur wird vom Autor die Kasaner
Handnaht beschrieben. Das Buch enthält auch die Empfehlungen zur
praktischen Arbeit.
The Patterned Leather of Kazan
Making of inlaid leather footwear is one of the most ancient traditional
handicrafts of Kazan Tatars. Leather-dressing was highly developed in the
times of Volga Boulgaria already. This is proved by numerous archaeological
finds on the territories of ancient settlements: workshops of leather-dressers,
remains of uppers and instruments.
We don’t know yet when the technique of leather mosaics and the seam
later known as «Kazan», or «Tatar», or «Kazan stitched-in work» became
used while making traditional footwear. The oldest ones that are kept in
museums of Russia are dated end of 18th – beginning of 19th century.
The handicraft of traditional Kazan patterned boots developed in
numerous suburbs of Kazan and villages outside Kazan during 18th-19th
century. The footwear was made not only in Kazan, but also in other
settlements of Tatars: in the cities of Central Asia, West Siberia, in Kasimov
and Orenburg.
While making leather mosaics, pieces of coloured leather are being bound
together by hand using original method that allows to sew the pieces and
make the embroidery over the seam simultaneously. This operation is made
with two threads – the sewing one and the embroidering one –
simultaneously. The embroidery was made with silken, linen, woolen and
even golden thread, winded round the needle in each stitch, so that on the
right side of the boot it produces a colourful decorative contour. The ornament
used for decoration of ichigi changed as time passed, and we can mark out
several groups of them. The most ancient ones are horn-like ornaments,
typical for the art of Turkic peoples. Under the influence of city fashion
style of 19th century the silhouette of the boots changed and new figures
were added to the ancient ornaments. The soft ichigi, that were worn with
galoshes made of thick leather, turned into the boots on heels – the attribute
of fashionable city girls. At the sides of the top of boots there appeared
«hard-contoured» hearts and rosettes. By the beginning of the 20th century
the composition with a stylized image of flowers in a vase («bouquet»)
appeared on the side parts of the top of boots.
The second half of 19th – begining of 20 th century was the period of
flourishing of production of patterned footwear that gained honourable
references and medals at the Exhibitions in Copenhagen and Paris. In Kazan,
up to millions of pairs of footwear was produced per year.

Статья представляет результаты исследований, проведенных автором на обширном материале музейных коллекций России и зарубежья, а также редких документов. Они убеждают в том, что оригинальная технология тачания кожи встык, известная в России уже в XIX в. как «казанский/татарский шов» или «казанская работа в тачку», входила в арсенал технических приемов художественной обработки кожи в разных культурах Азии и Европы, по крайней мере, в период с XVIII в. до начала XX в. Технические качества и художественные достоинства уникальной манеры сшивания кожи широко использовались не только в массовом производстве узорной обуви у казанских татар, но и в создании репрезентативных предметов, символизирующих особое положение османского султана в мусульманском мире.

Издание представляет собой русский перевод и исследование оригинального памятника традиционной мусульманской историографии Волго-Уральского региона "Таварих-е Булгарийа (Булгарские хроники)", принадлежащего перу известного татарского религиозного деятеля и историка Хусаина Амирханова. Сопровождается факсимильным воспроизведением оригинального текста по изданию 1883 г. и комментариями.

Для востоковедов, специалистов по истории мусульманских народов России и всех интересующихся культурным наследием татарского народа.

Yurtdışı Müzelerde Desenli Kazan Derisinin Örnekleri

Ünlü Tatar çizmeleri ve desenli Kazan derisinden yapılan diğer ürünler
19.yüzyılın tâ başında hem Rusya’da hem de yurtdışında koleksiyonların objesi
olmuştur. Çeşitli yurtdışı koleksiyonlarında korunan Desenli Kazan derisinin örnekleri
bu derinin süslemesi, teknik- stilistik özellikleri ve çeşitleri ile ilgili mevcut bilgilerini
önemli ölçüde tamamlamaktadır. Yazar, yurtdışı ihtisas ve sanat müzelerin (Almanya
Deri Müzesi (Deutsches Ledermuseum, Offenbach), The Bata Shoe Museum
(Toronto), Metropolitan Müzesi v.d.) koleksiyonlarını kullanarak analiz yapmaktadır.

Образцы казанской узорной кожи в зарубежных музеях

Знаменитые татарские сапожки и другие изделия ичижного промыс-
ла уже в начале XX в. стали предметом коллекционирования как в Рос-
сии, так и за ее пределами. Образцы казанской узорной кожи, хранящиеся
в различных зарубежных собраниях, значительно дополняют имеющиеся
данные о ее орнаментальном строе, технико-стилистических особенностях
и ассортименте. Автором привлечен обширный материал зарубежных му-
зеев специального и художественного профиля – Немецкого музея кожи
(Deutsches Ledermuseum, Оффенбах), Музея обуви Батя (The Bata Shoe
Museum, Торонто), Музея Метрополитен и других.

The Kazan Patterned Leather in Foreign Collections

Famous Tatar boots and other products of Kazan ichigi leathercraft become
collectible in Russia and abroad since the early 20th century. Patterned Tatar boots
takes place in various foreign collections, significantly complete the existing data on
its ornamental system, technical and stylistic features and range. Author attracted
extensive material from foreign Art and Leathercraft museums such as Deutsches
Ledermuseum, The Bata Shoe Museum, Metropolitan Museum of Art etc.

Die Kazaner Ornament-Leder
Ornamentierte Lederstiefel waren bei den Wolga-Tataren im Laufe von
vielen Jahrhunderten die populärste Art des traditionellen Handwerks. Schon
die Vorahnen der Tataren – die Wolga-Bulgaren – beschäftigten sich mit der
Herstellung der farbigen Saffianleder und der weichen Juphtleder, die in
vielen Ländern als Bulgary bekannt war. Die archeologischen Funde bestätigen
die Angaben der mittelalterlichen arabischen Historiker über die hohe
Entwicklung der Lederherstellung in der Hauptstadt der Wolga-Bulgaren.
Im Mittelalter trugen die reichen russischen Bojaren die geschmückten
tatarischen Stiefel sehr gern. Die Russen nannten sie Itschigi.
Seit dem 18. Jahrhundert wurde in Kazan, der Hauptstadt des
Gouvernements im Osten Russlands, das Nähen solcher Schuhen zur
industriellen Herstellung. Im 19. – Anfang des 20. Jahrhunderts importierten
die Kazaner Kaufmänner Hundert Tausende “asiatische Schuhe” nach Europa
und den islamischen Osten.
Bis heute blieben die Besonderheiten der tatarischen nationalen Schuhe –
Polychromie, Schnitt mit Ornamenten und die unikale Naht selbst erhalten.
Seit der zweiten Hälfte des 20. Jahrhunderts wurden diese Elemente zu Grunde
der eigenartigen tatarischen angewandten Kunst – der Kazaner Ledermosaik
– gelegt.

The Patterned Leather of Kazan

Making of inlaid leather footwear is one of the most ancient traditional
handicrafts of Kazan Tatars. Leather-dressing was highly developed in the
times of Volga Boulgaria already. This is proved by numerous archaeological
finds on the territories of ancient settlements: workshops of leather-dressers,
remains of uppers and instruments.
We don’t know yet when the technique of leather mosaics and the seam
later known as «Kazan», or «Tatar», or «Kazan stitched-in work» became
used while making traditional footwear. The oldest ones that are kept in
museums of Russia are dated end of 18th – beginning of 19th century.
The handicraft of traditional Kazan patterned boots developed in
numerous suburbs of Kazan and villages outside Kazan during 18th-19th
century. The footwear was made not only in Kazan, but also in other
settlements of Tatars: in the cities of Central Asia, West Siberia, in Kasimov
and Orenburg.

In the article, the book of the Ottoman Sufi Muhammad Yazidji-Oghlu Celebi (15th century) "Muhammadiyya" in the context of the culture of Russian Tatar Muslims of the 19th - early 20th century is discussed. Initially an "alien" phenomenon, it became an integral part of the Tatar culture in that period. For the first time published in Kazan in 1845, the book, thanks to subsequent reprints and use in educational institutions, got an exclusive distribution in the Tatar-Muslim environment. The chant of “Muhammadiyya”, along with the recitation of other books of religious content, made up a unique layer of the Tatar musical-poetic culture and retained its popularity until the end of the 20th century.

Статья посвящена проблеме оценки деятельности одного из крупнейших национально-религиозных лидеров татарского народа Габдерашита Ибрагимова. На основании архивных источников авторы рассуждают о специфике освещения его фигуры в государственных структурах и делают вывод о формирующемся государственном дискурсе в отношении эмигрировавшей религиозно-национальной элиты тюрок-мусульман Поволжья.

В статье рассматриваются вопросы деятельности суфийских групп, неофициальных мулл и паломничества к святым местам Волго-Уральского региона в период существования СССР (1950–1960- е гг.).
The article examines the activities of the Sufi groups, informal mullahs and the pilgrimage to the holy places of the Volga-Ural region in the Soviet period (1950-1960 - ies).

Türk Dünyasında Dericilik Sanatı
2. Uluslararası Sempozyum Bildirileri.
Kazan, 19-20 Eylül 2014
Доклады II. Международного симпозиума
«Художественная обработка кожи у тюркских
народов»
Казань, 19-20 сентября 2014 года
Proceedings of the 2nd International Symposium on
Leathercraft in the Turkic World
Kazan, 19-20 September 2014

В статье рассматриваются модернизационные процессы, имевшие место в мусульманских общинах Среднего Поволжья первой трети 20 в. На основании архивных материалов дается анализ трансформации социального и гендерного статуса женщин-мусульманок сельских и городских приходов.
The article deals with the processes of modernization that took place in Muslim communities in the Middle Volga region of the first third of the 20th century. Based on previously unpublished archival material analyzes the transformation of social and gender status of Muslim women in rural and urban parishes. The conclusion of the scale, nature and direction of the driving forces of modernization and Islamic religious practices in the region.

TATAR THEOLOGIANS ON PERMISSIBILITY OF MUSIC IN ISLAM
The question of permissibility of music (singing, playing on musical instruments) and listening to music in Islam is a subject of incessant discussions, which can be seen in significant number of sources in different languages.
In this article, the contribution of the Tatar theologians into this polemics is shown. These are little known materials of the beginning of the 20th century. It was a period when a great part of the Tatar Muslim clergy started discussions on many problems of national culture and of Islamic culture in general. The subject of music was among the most sharp ones: it was discussed in periodicals by ordinary Muslims, touched in different works of known writers and scholars, and was specially studied by the outstanding theologians of the time: Riza Fakhreddin (special chapter in the commentary on hadith “Jawamig al-kalim sharhe”, 1916), Hasan-Gata Ghabashi (the manuscript of the article on the attitude of Islam towards singing and music, approximately 1908), Hadi Kildebaki (the monograph “Music and Islam”, 1909).
Written independently from each other and because of different reasons, these works have much in common. The most important for all authors is to show the futility of indiscriminate prohibitions of music and listening in Islam. In their evidence, the authors base themselves on the analysis of the Koran, various tafsirs, multiple hadith sources, showing brilliant theological erudition. They mention the dependence of interpretation of music on different social “contexts” and its positive influence on a human.
In the article, the positions of all three authors are analyzed.

В статье на архивных материалах Восточного отдела ОГПУ рассматривается неудачная попытка советской власти расколоть верхушку мусульманского сообщества с целью ослабить влияние ислама на советских граждан.
In article on archival materials of East department of OGPU unsuccessful attempt of the Soviet power to split a top of Muslim community with the purpose to weaken influence of Islam on the Soviet citizens is considered.

This book is dedicated to the phenomenon of recitation of the Qur’an by the Volga Tatars. Here, different aspects of formation of the Tatar Muslim culture, the status of the Qur’an there and the specificity of the local traditions of recitation are examined. Together with various historical, religious, ethnomusicological sources, the materials that are collected by the author in the field trips in Tatarstan (Russia) in the 1990’s are analyzed.

The article’s subject is azan - a ritual call to prayer in Islam. Thanks to its sound form - the chanting of the canonized text - the azan has become a kind of musical symbol of Islam, both within the Islamic world and beyond. The connection of the intonation language of the azan with the Muslim East’s local musical traditions made it possible for researchers to attribute it to one of the forms of “religious music” in Islam.
While preserving the canons of this ritual’s performance that have not changed for centuries, there are changes in the existence and forms of the sound of the azan in the twentieth century. Factors contributing to these changes: the migration of the Muslim population, the ritual’s performance in a mixed confessional environment, the use of technology and media, social conditions, etc.
Given the factors that influenced the characteristics of azan’s performance in the past and present, this tradition is the first time considered in the context of the Volga Muslim Tatars’ culture. The article is based on observations collected in cities and villages with a Muslim population in Tatarstan and Russia, as well as in cities in the Netherlands, Uzbekistan and Morocco.