克里米亚鞑靼艺术文化与装饰应用艺术形成过程的民族文化基础(上)

Ismet A. Zaatov
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摘要

俄罗斯研究成果的基础上,苏联和外国考古学家、人类学家,遗传学家和艺术历史学家,已经尝试跟踪的过程中形成的艺术文化和装饰与应用艺术的后代,他由10 -11世纪参加克里米亚山地人的塑造,克里米亚的刺青,现代的民族团体的祖先克里米亚鞑靼人,南部沿海和山克里米亚鞑靼人,以及希腊鞑靼人——亚速海地区的乌鲁姆人。并试图描绘克里米亚半岛土著和移民族群的文化和装饰艺术,他们后来参与了克里米亚山区和南部沿海地区人口的古代文化起源过程。这也显示了草原和山麓克里米亚鞑靼人文化发生过程的初始阶段,这一阶段与山区和南部沿海克里米亚鞑靼人艺术文化的发生和形成过程是平行的。
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Ethnocultural basis of the formation process of the Crimean Tatar art culture and decorative and applied art (part one)
Based on the research results of Russian, Soviet and foreign archaeologists, anthropologists, geneticists and art historians, an attempt has been made to trace the process of formation of the artistic culture and decorative and applied art of descendants, who by the 10th –11th centuries took part in shaping of the Crimean mountain people, the Tats of the Crimea, the ancestors of the ethnographic groups of the modern Crimean Tatar people – the southern coastal and mountain Crimean Tatars, as well as of the Greco-Tatars – the Urums of the Azov region. And also to try to characterize the culture and decorative arts of the aboriginal and immigrant ethnic groups of the Crimean peninsula, who later took part in the process of ancient cultural genesis of the population of the mountainous and southern coastal Crimea. It also shows the initial stage of the process of cultural genesis of the steppe and foothill Crimean Tatars, which was going on parallel to the process of cultural genesis and formation of the artistic culture of the Tats of the mountainous and southern coastal Crimean Tatars.
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Tatar poet Sagit Suncheley and Crimea in the early 1920s Ethno-cultural basis of the process of formation of the Crimean Tatar artistic culture and decorative art (part three) Musical instruments of the Crimean Tatars in the collection of the Bakhchisarai Museum-Reserve Republican Crimean Tatar Museum of Art: the expe­rience of creation (from the first person) Rehabilitation of the Crimean Khanate by Historians in a five-volumes book about the Crimean Tatars
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