The Bashkir ornament – one of the phenomena of the national Bashkir culture, the originality which has reflected it and peculiar features. The ornament for the Bashkir people was the only form of art and graphic creativity. Almost total absence in the Bashkir folk art of realistic images of animals, people and landscapes was caused by influence of Islamic culture, namely – a ban of Islam to represent the live. Islam not only excluded from art all other images, except an ornament, but also defined an extreme stilizovannost of its form, distribution of a geometrical ornament. Nevertheless, northern areas of the Muslim world knew broad application of images of animals in an ornament, a thicket stylized, and sometimes even rather realistic character.
The Bashkir ornament (both separate elements, and all composition) is almost always symmetric. The whole world contains the phenomena only in opposition: day – night, life – death, light – darkness, man's – female, left – right, etc. It is shown through symmetry of resisting figures of animals. In order that contrasts in mutual fight didn't destroy each other, the third element of composition, their differentiating – golden mean, a reference point, the symbolical image of an axis of the world is necessary. Thus, in an ornament ancient ideas of a triple rhythm of life, characteristic for the majority of the people were reflected.
In similar compositions the female figure, sometimes the tree image most often was central. Sometimes the central place was taken by a symbolical rhombus. Such replacements aren't casual and logical as also a female figure (an image of the goddess of all real), and the tree (a life tree), and a rhombus (an earth arable land symbol) are symbols of fertility, the life source.
On Bashkir kharaus it is possible to meet as strongly stylized anthropomorphous figure in the composition center, and the tree image.
Composition of patterns Bashkir kharaus has many options. It can't be considered as simple loan of an ornamental plot. Connection in one composition of horses, a tree, the person, birds doesn't contradict national representations. "In the Bashkir folklore, – researcher M. M. Sagitov notes, – in critical situations the horse becomes a sacred patrimonial tree of the poplar which mighty branches lift the hero on inaccessible height and that rescue from the enemy persecutor. The motive of transformation of a horse in a patrimonial tree is characteristic for the TurkicMongolian epos" [6-9].
Data on spiritual culture the Bashkir testify that preconditions for preservation of the representations which have been originally connected with a horse, were great, and with a deer and a rooster – aren't so considerable. Possibly, in the Bashkir culture the initial symbolics remained in the most general terms: this composition was comprehended as a good wish of fertility and in connection with the "life-deaththe new birth" complex [10].
References
1. http://www.langust.ru/review/lang_h02.shtml#02_01
2. Kuzeev R. G., Bikbulatov N. V., Shitova S. N. Decorative creativity of the Bashkir people. Ufa: Bashk. branch of Academy of Sciences of the USSR, 1979, 244 p.
3. Dulgarov A.Ya. Semantics of an ornament in the Buryat Buddhist architecture, 2010, the thesis on competition of a scientific degree the candidate culturologists. Ulan-Ude, specialty: Theory and cultural history. 193 pages, as the manuscript.
