wedding ceremony in the outline of tatar prose

This article is devoted to the study of a folk wedding ceremony reflection in a literary text outline as the source of artistic imagery. Wedding ceremonies are one of the most striking and ancient examples of people spiritual culture, which attracted the attention of travelers, researchers, missionaries, and scientists since the 18th century. In the 19th century, the customs and rites of the Tatar people attracted the attention of such famous scholars as the German ethnographer, historian, and archaeologist Karl Fuchs, and the Tatar enlightener ethnographer Kayum Nasyri. In the future, wedding ceremonies were the subject of research by the scientists of the Society of Archeology, History and Ethnography at the Imperial Kazan University named after M. Pinegin, G. Akhmarov, and Y. Koblov.
In the twentieth century a lot of work was carried out concerning the collection and study of ritual folklore, including wedding ceremonies by the scientists of the Institute of Language, Literature and Art at G. Ibragimov Academy of Sciences of the Republic of Tatarstan.
In this article, the object of our attention is the implementation of wedding ceremonies in the literary texts of Tatar writers.
The aim of the work is to study the function of wedding ceremony inclusion in Tatar fiction of the first half of the 20-th century. The object of this study was the selected works by Tatar writers whose work dates back to the first half of the 20th century: “The fate of the Tatar dirl” by Galimjan Ibragimov, “Son-in-law” by Gayaz Iskhaki, “My Motherland is the green cradle” by Humer Bashirov, and “Ring” by F. Husni, where the wedding rites of the Tatar people are revealed most clearly and widely in the canvas of an artistic text.
Hermeneutical, comparative and cultural-historical research methods are used in the work.