What book inspired a muralist from St. Petersburg
What happened to traditional ornamentation on the walls of the boiler room tanks
Kreal/Ashesteen
(Saint Petersburg)
62 Beloglazova Street

Untitled

Исемсез

Context

On the walls of the boiler room tanks, the St. Petersburg artist Kreal reworked ornamentation from the collection of Fuad Valeev, founder of the study of Tatar art, «Tatar Folk Ornamentation».

«From the Book's Appendix «Tatar Folk Ornamentation», 2002:
This is the second supplemental and revised edition of the monograph by F.Kh. Valeev, «Ornamentation of the Kazan Tatars,» published in Kazan in 1969, The second edition includes for the first time both color and black and white artist's drawings in the form of an Appendix from tables prepared by F.Kh. Valeev for the separate book «Tatar Folk Ornamentation». That book could not be published at first; only twenty years after its creation, it was finally published as an illustrated supplement. With the new publication, it received a new name and, in addition, some adjustments were made to the text and the decoration changed.

A few words about the artist's drawings in the book's Appendices. They present the main types of decorative art: ceramics, stone carvings, wood carvings and home decor, patterned weaving and lint-free carpet weaving, embroidery, gold embroidery, leather mosaics, jewelry, reflecting the best examples of Tatar ornamentation.

They are part of the expeditionary material collected by F.Kh. Valeev for almost twenty years in the Republic of Tatarstan and its neighboring regions with a Tatar population. Among the drawings there are also individual works of art, including from the medieval period, from the collections of the National Museum of the Republic of Tatarstan, the State Museum of Fine Arts of the Republic of Tatarstan, the State Historical Museum, the Armory of the Moscow Kremlin, the Russian Museum, and the Museum of Ethnography of the Peoples of Russia. In preparing the book, materials from the museums of Chistopol, Sarapul, Kasimov and other cities were also used.»

Valance. Silk ribbon embroidery technique, the end of XIXth century.
Various architectural details of Dzhami Mosque (The Central Mosque, Bolgar), the end of XIIIth Century.
«From the Book's Appendix «Tatar Folk Ornamentation», 2002:
This is the second supplemental and revised edition of the monograph by F.Kh. Valeev, «Ornamentation of the Kazan Tatars,» published in Kazan in 1969, The second edition includes for the first time both color and black and white artist's drawings in the form of an Appendix from tables prepared by F.Kh. Valeev for the separate book «Tatar Folk Ornamentation». That book could not be published at first; only twenty years after its creation, it was finally published as an illustrated supplement. With the new publication, it received a new name and, in addition, some adjustments were made to the text and the decoration changed.

A few words about the artist's drawings in the book's Appendices. They present the main types of decorative art: ceramics, stone carvings, wood carvings and home decor, patterned weaving and lint-free carpet weaving, embroidery, gold embroidery, leather mosaics, jewelry, reflecting the best examples of Tatar ornamentation.

They are part of the expeditionary material collected by F.Kh. Valeev for almost twenty years in the Republic of Tatarstan and its neighboring regions with a Tatar population. Among the drawings there are also individual works of art, including from the medieval period, from the collections of the National Museum of the Republic of Tatarstan, the State Museum of Fine Arts of the Republic of Tatarstan, the State Historical Museum, the Armory of the Moscow Kremlin, the Russian Museum, and the Museum of Ethnography of the Peoples of Russia. In preparing the book, materials from the museums of Chistopol, Sarapul, Kasimov and other cities were also used.»

Valance. Silk ribbon embroidery technique, the end of XIXth century.
Various architectural details of Dzhami Mosque (The Central Mosque, Bolgar), the end of XIIIth Century.

Process

Art form: mural
Method: abstract painting
Material: spray paint

Ital. Mural — wall

Monumental wall painting created on a faсade or a blank wall of a building or any other urban architectural objects.
«We wanted to see an abstract drawing on the tanks of the APTS boiler house, so we chose Kirill Kreal from St. Petersburg. He used recycled ornaments from the collection of the founder of Tatar art studies Fuad Valeev «Tatar Folk Ornamentation».

Transferring ornamentation to the walls of the tanks, Kreal used a characteristic technique for his work: an exact, rhythmic image loses its immobility and begins to flow away, as if it was flooded with liquid black gold, Tatar oil.»

«Untitled». Artwork full size, 2017.
«We wanted to see an abstract drawing on the tanks of the APTS boiler house, so we chose Kirill Kreal from St. Petersburg. He used recycled ornaments from the collection of the founder of Tatar art studies Fuad Valeev «Tatar Folk Ornamentation».

Transferring ornamentation to the walls of the tanks, Kreal used a characteristic technique for his work: an exact, rhythmic image loses its immobility and begins to flow away, as if it was flooded with liquid black gold, Tatar oil.»

«Untitled». Artwork full size, 2017.

Author


Kreal, aka Kirill Ashestin (currently the artist signs his work with the name Ashestin), has been painting the walls of cities for several years (he represented the international graffiti team TAD Crew for several years) and is actively collaborating with major brands (Nike, Bosco, etc.). One of the most catchy motifs in his works is the conflict between the sharpness of patterns and the plasticity of the image: his geometric patterns seem to melt and spread.
Painting on the street. Moscow, 2018.
Kreal, aka Kirill Ashestin (currently the artist signs his work with the name Ashestin), has been painting the walls of cities for several years (he represented the international graffiti team TAD Crew for several years) and is actively collaborating with major brands (Nike, Bosco, etc.). One of the most catchy motifs in his works is the conflict between the sharpness of patterns and the plasticity of the image: his geometric patterns seem to melt and spread.
Painting on the street. Moscow, 2018.

Address

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