The theme of Crimean Tatar symbolism and its use young artists in their works is practically not studied. With return Crimean Tatars to Crimea the two decades an active search unique Crimean style, which is expressed through interpretation and stylization ethnic motifs in ceramics, embroidery, appliques, paintings on fabric, modern costumes. A comparative analysis interpretation traditional and modern symbols Tatar motifs shows that interpretation ethnic symbols young artists changed and away from traditional one, it affected modern views on life and mutual cultures.

words: Keywords decorative art, ethnic motifs, young artists, Crimean Tatar culture.

A significant role in the development of the Crimean culture at the present stage belongs to the Crimean Tatar culture - the culture of the indigenous ethnic group, which for many years was rejected from its historical homeland, and now returned to the peninsula. Over the past 20 years, Crimea has undergone significant changes in the cultural life of Crimeans, associated with progressive changes, development, and the rise of spirituality of the Crimean Tatar ethnic group. It is important to note that the stay in deportation negatively affected all components of the culture of the Crimean Tatar people, in particular decorative art. The development of original types of decorative and applied arts was stopped. To a certain extent, cultural continuity has been disrupted, and the connection between generations has been interrupted.

Further development of the Crimean Tatar people is organically connected with the revival and evolution of its culture, which will help the younger generation to comprehend the spiritual heritage of their ancestors, preserve ethno-cultural memory and traditions. This is a complex process of enriching the spiritual experience of the Crimean Tatar people, the content of which is the reproduction and transmission from generation to generation of value meanings of phenomena, norms, ideals, attitudes and actions. Therefore, the revival and further development of Crimean Tatar culture in general and decorative art in particular is relevant as an integral part of improving the quality of life of the indigenous population of Crimea in the future.

The decorative arts of the Crimean Tatars developed successfully during the period under review and reached a fairly high level today. This was influenced by a number of circumstances. First of all, the aspiration to preserve and increase the cultural traditions of their ethnic group, the desire of educated and talented craftsmen to preserve the traditions of national art. Activities of a number of people's organizations

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It was aimed at creating modern decorative art products, as well as passing on creative experience to the younger generation. Thus, the oldest jeweler A. Asanov revived the jewelry workshop in Bakhchisarai. Artist and philanthropist M. Churlu created the creative association "Chatyr-Dag", which is working on the implementation of the project "Crimean Style", which aims to promote the value of traditional Crimean Tatar crafts, which opens up great horizons for young applied artists for creativity. During the years of deportation, they collected and preserved collections of objects of Crimean Tatar art, and after returning to their historical homeland, they transferred them to the newly created Museum of Crimean Tatar Art [Qirimtatar..., 2001]. Fevziye Kurtnebieva's efforts created a museum of Tatar folk culture in the Old Crimea with a rare collection of ceramics of the XIX-XX centuries.

A significant role in the revival was played by international institutions that initiated the development of a number of programs for the revival of the culture of the Crimean Tatars. These organizations provided material and financial assistance and moral support during their implementation. Thus, with the help and at the expense of the Vozrozhdenie Foundation, expeditions were organized to collect decorative art exhibits in Romania, Turkey, and Uzbekistan, which later replenished the funds of the Crimean Tatar Museum of Art (Akchurina-Muftieva, 2006).

The Crimean Tatar diasporas of Turkey, Germany, Romania, the Netherlands, and the United States, as well as governmental and public organizations of Turkey and Ukraine, provided a lot of assistance in the revival of the main types of decorative and applied arts.

In 1996, the Krym Foundation purchased and transferred to the Republican Crimean Tatar Museum of Art a collection of items of ornamental sewing and jewelry art by G. Zakiryaeva. This collection was collected on the territory of the Krasnodar Territory, where the South-bank and mountain Tatars who were exiled to the Urals moved after 1956 [Qirimtatar..., 2001].

Education and professional education play an important role in the training of personnel for enterprises involved in the production of decorative art products. The Crimean Engineering and Pedagogical University (hereinafter-KIPU), established in 1995, took over the solution of this problem. Within its walls, the Faculty of Arts is open, where professionals are trained-artists, masters of decorative and applied arts, and the faculty conducts scientific research in the field of Crimean Tatar art.

Cultural and ethnographic centers operating in the Crimea, such as in Bakhchisarai, Yevpatoria, Belogorsk, Alushta, and Sudak, play an important role in the revival of decorative art [Veisova, 2011]. The main tasks of the centers are::

- reviving the cultural experience of the Crimean Tatars by searching for masters who know traditional crafts, creating conditions for their creativity and passing on experience to the younger generation;

- revival, introduction and expansion of the ethno-cultural tourist product, which can include the production and demonstration of decorative and applied art products;

- study of the Crimean Tatar culture, and in particular decorative art;

- propaganda of Muslim, and in particular Crimean Tatar, culture.

Along with the above factors, the self-organization of the Crimean Tatar people played an important role in the revival of decorative art, which was manifested in the revival of crafts, the further development of national traditions, and readiness for cultural innovations.

The revival and development of culture is possible on the basis of continuity, which creates an initial base in the form of samples of material and spiritual values, based on the following principles:-

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accumulated in previous epochs. The best achievements of the Crimean Tatar ethnic group of past centuries in the field of decorative art give an impetus to the creativity of modern masters. In this regard, the preservation and appeal to traditions is caused not only by the goal of reviving the Crimean Tatar culture, but also by the general processes of globalization, which threaten to erode ethnic cultures. Respect for traditions contributes to the preservation of the social memory of an ethnic group.

In the field of modern decorative art, one of the most important traditions is the affirmation of creative freedom, which is expressed in the formation of individual creative author's styles, the richness of their genre themes. However, there are also common features inherent in the works of all Crimean masters: a wide use of ornaments, its symbols, and preferences for the color palette.

During the years of forty years of exile, many traditions of Crimean Tatar art were forgotten, it took time for young artists to get acquainted with the cultural heritage of their ancestors, to restore ethnic memory and create their own distinctive style based on it. Exhibitions of contemporary Crimean Tatar decorative art, the first of which opened in 2005 [Materials..., 2005], are becoming more meaningful and broader every year. The names of many master artists are gaining popularity. Only now it is possible to trace the emerging new traditions and trends in modern Crimean Tatar decorative art.

The revival of Crimean Tatar decorative art is connected not only with heritage, but also with innovation. Creative activity gives qualitatively new and socially significant results. Over the past ten years, based on the ancient traditions of national culture, there has been an active search for a kind of modern "Crimean style", which includes the interpretation and stylization of ethnic motifs in decorative and applied arts and modern costume.

The main sources of Crimean Tatar motifs are embroidery patterns of the late XVIII - first half of the XX century, which have come down to our time. Trends of the Crimean decorative art style are reduced to the use of ethnic motifs on objects made of natural materials, their interpretation and individual creative interpretation.

Modern Crimean artists often use the tree of life motif as an amulet in the design of interior textiles: wall panels, rugs, paintings made in mixed media, etc. Various compositions and variations on the theme of "tree of life" and " pot " are successfully used in painting fabrics, mosaics, and ceramics decoration.

M. Churlu adheres to the traditional three-part structure of the tree with nine main elements in his works. In his panels made in a mixed technique of applique and embroidery, the author's approach to stylizing motifs and enhancing the sound of color contrasts is clearly expressed [Personal..., 2011]. A similar approach to solving color is observed in decorative ceramics by R. Skibin. The brightness and sonority of colors, the brilliance of polychromy, probably indicate the influence on the work of masters of Uzbek culture, which they perceived for a long time during the deportation [Materials..., 2008] (Fig. 1).

For decorative panels. Sheepskin coat is characterized by allegorical symbolism, the use of folk ornaments, flatness of the image, decorative and bright color solutions, assimilation of the Crimean Tatar ornament with the experience of Ukrainian artists and the technique of Uzbek art Suzane. The "tree" ("pot") in her works is transformed into a flowering bush, which is based on the image of a cypress, tulip, and pomegranate fruit [Materials..., 2009] (Fig. 2).

The tree motif is widely used in embroidery of modern souvenir and gift products, which are made by the craftsmen of the association "Evdzhiyar" from Bakhchis-

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1. Fig. R. Skibin. Decorative dish. Keramika, 2008

paradise. Bags, purses, cosmetic bags, phone cases, gift headdresses (fezs), covers for the Koran, small framed paintings and other items are embroidered in the technique of high sewing with gold or silver threads using beads, pearls, sequins. As a rule, bright velvet of red, blue, purple, green, and black colors is chosen for products [Materials..., 2007].

The ornament on the fabrics and clothing of the Crimean Tatars has its own symbolism, a sign system associated with religion, customs, and cultural traditions. Modern craftswomen, having studied and restored traditional seams, combining them with pearls, sequins and especially beads, adding new techniques, get an infinite number of variations of the ornament. Gold embroidery on velvet (red, green, purple) saturated with color has a special direction (Fig. 3). The fascination with the contrast of bright shiny gold and dark velvet is rather an imprint

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2. Fig. by Yu. Tulupov. Decorative panel "Tree of Life". Embroidery, applique. KIPU, 2011

Uzbek culture, rather than following the Crimean Tatar traditions, in which such a phenomenon took place only in the festive clothes of the rich strata of the population.

Floral motifs are widely used by artists in the ornamentation of ceramics and interior textiles. These are tablecloths and napkins, towels, bedspreads, sofa pillows, embroidered wall mats and other products made by the masters of Bakhchisaray, Belogorsk, Simferopol (Fig. 4).

The motifs of flowers, fruits, and gardens of paradise, taking into account their symbolic context, are now reflected in the design of a modern ethno-suit (Fig. 5,6 ). Embroidery, painting, jewelry in the form of stylized traditional Crimean Tatar motifs are becoming an integral part of modern ethnic everyday life.-

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3. Kh. Yunusov's drawing. Crimean Tatar gold embroidery, 2010

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4. Fig. M. Volk. Panel "Blooming garden". High gold embroidery on velvet. KIPU, 2010

It is also used as a costume for weddings and various celebrations. Young artists and designers-graduates of KIPU - work in this field. Using the historical and cultural experience of folk traditions, students and graduates of the university revive the originality and unique color of national costumes, create highly artistic exhibition samples and modern models in ethnic style.

The theme of the Garden of Eden is reflected in the decorative works of contemporary artists: embroidered, applicative, ceramic, woven panels. Paradise is presented to contemporaries in the form of a city located under a huge fruit-bearing tree and reminiscent of the Crimea of ancient and present times. The city with colorful minarets, paradisiacal trees, flowers and birds is strewn with numerous stars and crescents - Islamic symbols of eternity, high aspirations, and ideals. I. Patrakova depicted the Crimean Peninsula as a corner of such paradise in her bachelor's work, made in the form of decorative decoration in the technique of embroidery of a double-sided Tatar surface. A fabulous island located in a bowl, washed by two seas. Here gardens bloom, minarets rise, tulips bloom. The sun is shining over the island, and peace and grace reign. Crimea is a Garden of Eden, and for many Crimean Tatars it is also the end of a long journey back to their homeland (Fig.
A similar interpretation of the Crimean Peninsula, the Garden of Eden, can be observed in the works of contemporary artists made in the technique of ceramics, appliques, embroidery, tapestry. This is how the symbol of paradise is understood by young artists, for whom religion is not of primary importance today. In addition, the works include

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5. Drawing by A. Osmanov. Modern wedding dress, KIPU, 2011

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images, new interpretation of motifs, explained by the influence of Uzbek and Ukrainian (Slavic) cultures. For example, in the works of M. Churlu there are images of durbe (mausoleum) with blue domes, horses, as if descended from oriental miniatures. In the graphic work of the young artist E. Gusenov (Fig. 8), paradise is depicted as a ship with a mihrab 1, above which two "angels" (good and evil) hover in the form of stylized birds [Materials.., 2010].

The appearance of "epigraphic monuments" in Crimea dates back to the pre-Golden Horde period. Today, Arabic calligraphy is reflected in the modern practice of decorating ceramics, embroidery, wood carving, metal engraving, and the design of printed products. However, calligraphy on products is more often "drawn" rather than written, and, as a rule, performs a decorative function, rather than a semantic one.

Students of the KIPU Art Faculty made a number of decorative panels that combined the author's stylization of the tree motif, symbolizing the family of the owner of the house, and the calligraphic inscription of prayer, organically inscribed in the tree motif. Such works, made for a modern interior in an ethnic style, emphasize the national flavor, serve as an amulet, amulet and decoration of the interior of the home at the same time (Fig. 8).

In the works of young artists, the use of ethnic symbols, taking into account modern views on life and mutual influences of cultures, occurs with a significant interpretation of their meaning, semantic context and placement on products. The influence on the culture of the Crimean Tatars during the deportation of the Uzbek culture and in the last twenty years of the Ukrainian culture has led to the use in decorative art of new, unlike traditional, techniques in embroidery, ceramics, woven and textile panels. The figurative solution of motifs acquires the sonority of Central Asian art. Young artists have a new interpretation of motifs, which is explained by the influence of Ukrainian (Slavic) culture.

6. Drawing by E. Kerimov. Stylization of the Crimean Tatar women's costume, KIPU, 2012

1 Mihrab-a niche in the wall of a mosque, often decorated with two columns and an arch. The mihrab indicates the direction of Mecca (Qibla) and is most often located in the middle of the wall.

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7. I. Patrakova. "My Crimea". Two-sided Crimean Tatar surface. KIPU, 2008

As we can see, the fact of the long-term residence of the Crimean Tatar ethnic group on the territory of Uzbekistan contributed to the introduction of elements of Uzbek culture into its art, which were reflected in:

- use of some seams and techniques of Uzbek suzane in embroidery;

- changing the color of decorative items in the direction of brighter and more contrasting colors;

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8. Fig. E. Gusenov. "Magomed's ship". Drawing for the poster of the exhibition "Crimean Style", 2010

- the use of enlarged elements in ornamental compositions;

- making large-scale embroidered and combined panels for residential interiors.

Today, objects of decorative art, carrying reflections of the past, reflect the artists ' modern vision of the cultural heritage of the Crimean Tatars. Many types of applied arts have found a new life with the return of the Crimean Tatars to their historical homeland. Preserving and developing the heritage of Crimean Tatar culture is one of the ways leading to harmony, mutual understanding between peoples, mutual enrichment of cultures, and solving many issues that are currently acute.

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Вейсова В. Е. Відродження духовної культуры кримських татар (на прикладі театрального і декоративно-прикладного мистецтва 1990-2010 pp.). Автореф. diss. ... cand. культурології: 26.00.01 / TNU/. Сімферополь, 2011.

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"Chatyr-Dag" associations of creative style " " Crimean exhibitions Materials / Art Museum of them. Kroshitsky. Sevastopol, 2008.

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Churlu M. Personal exhibition / Exhibition hall of the National Union of Artists of Ukraine. Simferopol, 2011.

sanati dekorativ-ameli Qirimtatar (XIX-XX asir). Simferopol: SONAT, 2001.

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