Fonte: Revista Turismo Estudos e Práticas - RTEP/UERN; No. 1 (2019): Caderno Suplementar; 1-6
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Resumo: The process of the most complete development and creative rethinking of various layers of the artistic heritage and ethnic culture of the region as a whole proceeds in Tatar art in the 1990-2000s. National-patriotic enthusiasm, the Turkic idea in the minds of the people and the religious factor predetermined the features and development trends of the Tatar fine art of this period. Along with the expansion of the thematic spectrum and the stylistic variety of secular (easel and monumental), there is a revival of Islamic sacred art. The process of the formation of a new national paradigm and the “Muslim renaissance”, which has long been the subject of special sociological, religious studies, and cultural studies in Tatarstan, has led to the revival of such traditional forms and genres of Muslim art as calligraphy, shamail, and ceramics. In the works of modern masters of Tatarstan, a variety of Muslim plots and legends take on a role, reflecting which painters are a great example of the interpretation of Muslim culture, the figurative heritage of the Tatar people from the standpoint of modern art standards and universally recognized standards, which gives the region’s fine art a special individuality and originality.This article discusses the reflection of Muslim motifs and Quranic images in the works of modern artists of Tatarstan from the standpoint of art criticism and philosophical reflection.
