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Anniversary of the Tassr Through the Eyes of Our Contemporary Art Personalities

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Anniversary of the Tassr Through the Eyes of Our Contemporary Art Personalities M.M.KHABUTDINOVA DOI: 10.26907/2311-2042-2021-16-1-142-152 THE 100TH ANNIVERSARY OF THE TASSR THROUGH THE EYES OF OUR CONTEMPORARY ART PERSONALITIES Mileusha Mukhametzyanovna Khabutdinova, Kazan Federal University, 18 Kremlyovskaya Str., Kazan, 420008, Russian Federation, [email protected]. The article analyzes the artists’ works at the Exhibition of Works of Art depicting the significant events, related to the history of the TASSR formation (September 26–30, 2020). The winners of the competition for the grant of the Cabinet of Ministers of the Republic of Tatarstan were Nailya Kumysnikova’s interior panel “Altyn Kosh” (“the Golden Bird”), Rustem Shamsutov’s triptych “The History of the Tatar Written Language”, Anvar Sayfutdinov’s painting “My Mother”, Marina Samakaeva’s triptych “Festivities in Kazan”, Farit Valiullin’s “Laying the Stone of the Bulgarian Academy of Islam”, the painting “The Birth of Energy” by Grigory Eydinov and others, as well as Al- exander Drevsyannikov’s sculptural composition “Gabdulla Kariev” and Rustam Gabbasov’s “The Artist”. The purpose of the research is to reveal the features of historicism in the works of the artists, participating in the exhibition. Key words: Republic of Tatarstan, Tatars, painting, anniversary of the Tatar Autonomous Soviet Socialist Republic, historicism. Introduction Sayfutdinov, Rustem Shamsutov and Gennady In order to establish a fund of literary works Eydinov. and works of art, reflecting the significance of events, related to the history of the TASSR for- Methods mation, on the eve of the 100th anniversary of the We used the formal-stylistic and hermeneutic TASSR formation, the Cabinet of Ministers of the methods of analysis when considering the exhibi- Republic of Tatarstan created grants for the nomi- tion works. nations “Literature”, “Musical Art”, “Fine Arts” and “Art of Different Genres for Children”. Twen- Discussion ty four contemporary artists are known to have The exhibition featured an interior panel nominated their projects for the competition. On “Altyn kosh” (“The Golden Bird”) by Nailya September 26–30, 2020, at the Karim Tinchurin Kumysnikova, the triptych “The History of the Ta- Tatar State Drama and Comedy Theater, viewers tar Written Language” by Rustem Shamsutov, had the opportunity to get acquainted with the Anvar Sayfutdinov’s painting “My Mother”, the works of the winners of this competition. All triptych “Festivities in Kazan” by Marina works, presented at the exhibition, are distin- Samakaeva, the painting “The Laying of the Stone guished by their historicism. Following V. O. for the Bulgarian Academy of Islam” by Farit Kisunko, by historicism we mean “the self- Valiullin, the painting “The Birth of Energy” by domineering desire of artistic consciousness to re- Grigory Eydinov and other works, as well as Alex- produce the historical events of the past” ander Drevsyannikov’s sculptural compositions [Vzaimosviaz' iskusstv..., p. 17], and by histori- “Gabdulla Kariev” and “The Artist” by Rustam cism of thinking we understand “the ability of an Gabbasov. individual or a group of people to analyze and in- The main work of the exhibition was an interi- terpret a fact, event, phenomenon, etc. whose de- or panel “Altyn kosh”, made in the technique of velopment forms their history as a system of genet- leather mosaic by Nailya Kumysnikova, a member ically interrelated elements replacing each other in of the Union of Artists of Russia in the Republic of time” [Luchkin, p. 32]. The purpose of our re- Tatarstan, People’s Artist and Honored Art Worker search is to reveal the features of the image of the of the Republic of Tatarstan, laureate of the Minis- Motherland – TASSR - as a concept in the works try of Culture of the Republic of Tatarstan named of artists Nailya Kumysnikova, Anvar after B. Urmanche. Such works of the artist as “Birds” (2003), “The Tree of Arts” (2006), a series 142 TATARICA: CULTURE, PERSONALITY AND EDUCATION of leather bags dedicated to the 1000th anniversary Kumysnikova reinterprets the image of the bird of Kazan have become widely known. Nailya Simurg, which lived at the top of the world Kumysnikova’s works are held in the collections Baiterek-tree (“The Conversation of Birds”). The of galleries and museums in Russia and abroad. artist’s bird-statehood is the basis of the world tree, As noted by art critic Guzel Valeeva- the axis of the Tatars’ world. The spreading Suleimanova, the artist exhibited her interest in ap- branches of this tree with its center in the shape of plied arts in the early 1990s. The wall panel “The an artistically modified image of a shamrock from Seasons” (1995) was the first work in which the the Bolgarian ornament, on the one hand, convey main artistic effect was achieved by an expanded the idea of prosperity, on the other, they symbolize composition ornament. Valeeva-Suleimanova be- love for the native land. In the center of the panel, lieves that in her color compositions, N. there is a pattern in the shape of a pulsating heart. Kumysnikova refers to the traditions of leather At the same time, the shamrock motif conveys mosaic of its heyday period: the late 18th -mid-19th the idea of historicism. We dare to assume that centuries, using monochrome color combinations, through the composition of the panel the artist re- bringing them closer to the shades of the vegetable flects about the essence of the Tatars’ statehood. dyes used in the old days. [Kozhanaia mozaika, p. The shamrock motif allows N. Kumysnikova to 10]. express the idea of continuity in the principles of One of the panels by N. Kumysnikova adorns the Tatars’ state structure, their way of life. The the lobby of the Ministry of Culture of the blue shamrock refers us to Türk-El, the heavenly Republic of Tatarstan. “Stylized motifs of the Türks. The golden shamrock - to the Golden Age symmetrical panel, their traditional symbolism: a of the Tatars, associated with the Bolgar state and bird with outstretched wings flying towards the the Kazan Khanate, the heir of the Golden Horde; sun, paired birds of happiness, located at the base the red shamrock - to the TASSR, born on the of the Tree of Life, a tulip motif and other ele- wave of the revolution. The image of the garden- ments reflect the folk philosophy of understanding country is the Republic of Tatarstan, the country of the universe” [Ibid., p. 10]. the Tatars, which flourished after the signing of the In the interior panel “Altyn kosh” (“The Gold- Declaration of State Sovereignty (August 30, en Bird”) (2020), the artist looks towards the 1990). mythological past of the Tatar people. The Turks The image of the Altyn-kosh bird conveys the have a legend about the bird-people, which is an idea of flight, a manifestation of the divine es- echo of “bird totemism”. According to the legend, sence. This is one of the most beautiful patterns, the people of the Great Turkic El (state) were the which is similar to the zoomorphic ornaments of descendants of the bird-people from the land of antiquity. cloudless happiness and joy. The image of this bird The triptych “The History of the Tatar Written was immortalized by our ancestors on the forehead Language” attracted our attention at the exhibition. of the headdress decoration of Kul-tegin, the co- It was created by Rustem Shamsutov, an Honored ruler of Bilge-Kagan. Art Worker of the Republic of Tatarstan (2014), The panel makes us remember the immortal candidate of art history, laureate of the Republican lines of the Orkhon-Yenisei inscriptions, carved Prize named after I. B. Urmanche (2016). The idea during the creation of the first Turkic state. “Sky- itself is not novel, it was born in the mainstream of like, sky-born Turkic kagan, I have now sat down the artist’s creative searches and works, executed (to reign). Listen to my whole speech (you), my in the last decade. younger relatives and youth following me, (you) In 2010, Rustem Shamsutov participated in the my allied tribes and peoples ... gathered (I) the per- development of the conception of the Museum of ished, poor people, made the poor people rich, the Turkic-Tatar Written Language (headed by K. made the few people numerous ... may the Turkic Minnullin). Unfortunately, the project was not real- people never perish , let them be people ... ”, - ized. In 2014, R. Shamsutov was more fortunate Bilge-Kagan made such an address (Quoted from: and he was able to implement his ideas when creat- [Malov, p. 33]). ing the panel “The History of the Tatar Written Thus, N. Kumysnikova’s “Altyn kosh” con- Language” (L = 25 m, һ = 2.5 m), which adorns veys the idea of statehood, the idea of creating a the interior of the school in B. Saba. The project country of happiness for the Tatars. By means of was implemented with the support of the Ismail leather mosaic, the artist emphasizes the national Akhmetov Foundation. In 2015, a series of ceramic originality of the Tatars’ statehood image. N. panels by R. Shamsutov were awarded the Baki 143 M.M.KHABUTDINOVA Urmanche Prize of the Ministry of Culture of the after Tatarstan became part of the Soviet Union Republic of Tatarstan in the “Decorative Art” and after heated debates about updating the lan- nomination. In 2014, the Museum of Bolgarian guage, Yañalif, a script based on the Latin alpha- Civilization began to develop the conception of a bet, was declared the official one. In the work of R. thematic open-air exposition, dedicated to the his- Shamsutov, the revolutionary change of the Arabic tory of the Turkic-Tatar writing (the curator of the alphabet and the transition to the Latin alphabet is project was the Institute of History named after Sh.
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