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The article reflects the results of a study of the technology ofthe Kazan Tatars’ jewelry art in the context of metal crafts of Eurasia. The article considers the peculiarities in ornamentation of Tatar chased jewelery plaques made using the method of coining and the technique of notching, which was most widely used inthe Kazan Tatars’ jewelry art in the 18th and early 20th centuries. The plates are distinguished by a common stylistic pattern: a low-relief ornament that preserves a clean smooth surface of the metal plate – on a textured background. The analysis of the iconic ornamental system design is conducted in the context of Muslim artfor the first time. The compositional construction of the plates adhered to certain principles: a text based on Arabic graphics was placed in the centre and was surrounded by a curb, mainly from a homogenious vegetative shoot, such as palmettes. Calligraphy in ornaments received original interpretations of handwriting styles: nash, sul, nastalig, and kufi. The article traces the origins and development of epigraphic ornamenttraditions in the ethnic culture of Tatars, moreover, it reveals the genesis of theforms of metal plaques, their role and functions in the complex of Tatar traditional costume decorations. Semiotic analysis of the content of the texts, the choice of motives and the use of technological techniques of their interpretation allow us to approach the understanding of the Tatar people’s spiritual and material heritage, which constitutes a part of the world’s Muslim artistic culture. |
