ETHNIC STYLE IN THE CONTEMPORARY ART OF CRIMEA

Research objective: To provide an art history analysis of the interpretation of ethnic motifs in the modern art of Crimea. Recently, among contemporary decorative artists in Crimea, there has been a surge in the revival and use of Crimean Tatar national symbols. Over the past fifteen years, there has been an active search for a peculiar Crimean style, expressed through the interpretation and stylization of ethnic motifs in decorative and applied art. Research materials: The fact that a great number of very interesting, colorful works appeared is connected with the publication of research works related to the practically forgotten Crimean Tatar arts. The analysis was carried out on the basis of the exhibitions of "Crimean style" by the creative association "Chatyr-Dag" (since 2005) and diploma works of students of the Crimean Engineering and Pedagogical University. There is an active use of motifs such as "the tree of life" and "the flowerpot", symbolizing family and its continuity. The decor of modern ethnic costume includes ornamental motifs of the curled branch "Egri-dal", paradise gardens, flowers and fruits. Stylized floral motifs fill the surface of ceramic products, jewelry, embroidered and painted textiles intended for interior design. Arabic calligraphy, often included in ornamental compositions of decorative products, has found a wide reception in the modern practice of products decoration. At the present time, however, calligraphy on the products is more often "painted" than written, and, as a rule, it performs a decorative rather than semantic function. The novelty and the results of the research: Taking into consideration modern points of view on life and mutual influence of cultures, the usage of ethnic symbols in works of contemporary artists is accompanied by a significant interpretation of their meaning, semantic context and their placement on products. As a result, the influence of Uzbek and Ukrainian (Slavic) cultures is noticeable. This is manifested in the use of new ceramics and textile panels in contrast to traditional techniques of embroidery. In the imaginative choice of motifs, shades of a Central Asian style can be traced. There is a new interpretation of the motifs, explained by the influence of Ukrainian culture.