This publication is dedicated to the creative work of a new generation of Crimean Tatar artists whose art has already entered into the artistic life of the Crimean Peninsula in the 21st century. Fine art of young people is interesting for its searches, distinctive perception of the world, for its attitude to modernity, to national and world artistic culture, for its variety of artistic styles, themes, images and creative individuality.
It should be noted that modern Crimean Tatar art is a relatively young phenomenon, compared with the general tendencies of national schools development in the world art, and yet it did not remain aside from the world’s creative processes.
In order to fully provide a general picture of national fine arts development, we should make a short historical digression into the past. Development of Crimean Tatar art was influenced by many historical vicissitudes, accompanied by dramatic events. The deportation of 1944 remains to be one of the most dramatic pages in Crimean Tatars’ history, which caused irreparable damage to the national culture and art.
Taking into account the chain of historical events and characterizing integrity of Crimean Tatars’ art development, we can divide evolution of Crimean Tatar art into three stages: pre-war period, post-war period and the end of the 20th – beginning of the 21st century. It is especially important to single out the initial, pre-revolutionary period, which requires a separate study.
First quarter of the 20th century can be considered as the beginning of the modern Crimean Tatar art formation. Works of such remarkable artists as UseinBodaninsky (1877–1938), AbdurefiAbiyev (1879–1938), TohtarAfuzov (1901–1942) and AmetUstaev (1909–1990) laid the foundation of the tradition of Crimean Tatar art.
Russian and Ukrainian traditions had a significant impact at the initial stage of the modern Crimean Tatar art formation. Undoubtedly, we should also admit the European influence.
During the period of deportation of the Crimean Tatars, cultural traditions of the Uzbek, Tadjik and other nations of Central Asia substantially influenced processes of the national art formation.
A powerful impulse Crimean Tatar art received in the 1990s – early 21st cent., which is associated with a difficult return to the historic homeland – Crimea and equally excruciating attempt to settle in. This period is characterized by the richness and variety of styles, techniques, genres and images that are accessed by artists.
This edition does not pretend to cover the creative work of all young Crimean Tatar artists, but provides an opportunity to get acquainted with the works of thirteen masters, who are representatives of different types of fine arts: painting, drawing, sculpture.
It should be emphasized that the overwhelming majority of young artists received a basic art education in the Crimea. Some authors are currently continuing professional education, but already outside the peninsula – in universities of the Arts of Kiev, Kharkov, Moscow.
Most young Crimean Tatar artists consider not only a reflection of the surrounding world’s beauty, but also the embodiment of deep philosophical ideas, creating images in different genres and subject-thematic compositions.
We can single out two bright representatives of the diversity of artistic techniques, who are experimenting with forms and colors, – painters LenurVelilyaev and ElzaraKursait. In their landscapes, still lifes, story compositions emotional and psychological tension are sensed, which is achieved by the color chords of warm and cold gradations, by the ratio of the sizes of the forms and the subtlest development of the nuance of the color scale. Color in their work is one of the most important element of creating an image of a painting.
A generalized retro-look at customs, at events of a completely vanished life, at the history of the Crimean Tatar people are felt in a series of watercolors and graphic compositions by RizaAbdudzhemil and MuksumSherfedin. Folklore images in R. Abdujemil’s works are tribute to the memory, nostalgia for the past epoch, transmitted by the author in details, addressed to contemporaries, so that the past does not sink into oblivion. In the series of Paulo Coelho’s “The Alchemist” book illustrations the author – M. Sherfedin – precisely transmits mood and disposition of the main characters. Expressive stylistics of watercolor and pencil graphic series, created by these masters, is characterized by the decorative nature of the color scale, forms’ rhythm, by the size ratio of the figure and background.
Works of the painter Suleiman Gezlevli attract by their genre diversity and academic mastery. In his thematic compositions and Crimean landscapes figurative philosophical generalization and the depth of space are felt. Color tone in still-life compositions, based on the unity of the color scale and reproduction of the material texture of the physical environment. In the portrait works are felt the color unity and detailed elaboration of the forms, which conveys psychological characteristics and the inner world of the picture’s agonist.
The prevailing theme of ZubeirKadri-Zade, AyderYagya, HatidzheReshit’s paintings is Crimean nature, with its generalized features of the mountain landscape and motives of the coastal open spaces. Lyrical sensation in these works is achieved by the consonance of color shades, the diversity of the Crimean landscape’s nature and the preserved historical corners with rich national coloring. In the graphic sheets of A. Yagya, which are dedicated to the miraculously preserved national dwellings and the lost nooks of the Crimea, the landscape is reconstructed and amazing emotional environment is created. Artists Z. Kadri-Zade and H. Reshit do not confine themselves in landscape’s imaging art, but also create paintings in the still life genre.
Picturesque and graphic works by SeyareAmet, ElmazDremdzhe, EmineSadykova are imbued with romance and poetry. Their creativity is substantially devoted to the motherland. Authors are concerned about the relationship between man and nature, they are interested in the spiritual world, that’s why their works are marked by the desire for poesy depicted. The picturesque and emotional mood of the paintings is based on a variety of colors. Main feature of the authors’ paintings are the recognizable tune of the Crimean nature and city streets, the absence of a certain plot in the landscape, imbued with a sense of silence. The composite image in all works is achieved by the integrity of the color harmony.
Plot compositions with folklore images in the splint style made by ZeraAblyazis attract by their decorativeness of color and plasticity of the figures. Deep love for the national artistic heritage is manifested in a series of her works. Author skillfully interlaces ornamental forms and details into the visual series, creating a holistic, harmonious picture. It should also be emphasized that the works of Z. Ablyazis are performed in the author’s technique of painting on glass.
Detailed and stylistically generalized plastic images of easel sculpture, created by the young sculptor Oleg Alim, are attracted by the tension of the form and expressiveness of the silhouette. Being in constant creative search for new images and themes, author finds unusual artistic solutions. In the plot compositions of the sculpture, made in metal and stone, the emotional and psychological states of the images are felt, and in a number of works dramatic and ironic conditions are sensed.
Creativity of young Crimean Tatar artists is gaining ground, works presented in the publication – are only one of many steps to the intended goal. Reality gives the necessary spiritual impetus, which is stimulating their creativity. It should be noted that young authors still have a lot of things to do in order to fully reveal and show their unique style, in order to reveal more graphic descriptions of history and modernity in their works.
D. Giankozzi, the art critic