Color images in the artistic and color system of contemporary Tatar literature

Color images play an important role in the poetics of a literary text and in the work of writers, acquiring symbolic features. In philological research, the artistic and colorative symbolism of the texts of conteporary Tatar writers has not been sufficiently studied. Linguistic research reveals the function of color meanings in classical Tatar literature in the context of Turkic literature and folklore. A.N. Kononov (1978) reveals the specifics of using the semantics of color meanings in ethnonyms, toponyms, personal and common onomastics, A.F. Sitdikova (2013) calls color designations the key concepts expressing the linguocultural signs of national specificity. In our research, the main attention is paid to the picturesqueness of modern Tatar literature, in which color images acquire a symbolic sound and play the role of Tatar national codes, reflect native folk color traditions, creating a vivid emotional picture, conveying the author’s thoughts and feelings more deeply and accurately. In the texts of many contemporary Tatar writers, love, philosophical, landscape lyrics, as well as reflections on poetic creativity grow from deeply intimate, private experiences to ideological, global generalizations in the context of history and modernity. In this article, using the example of the work of contemporary Tatar poets, we examined the relationship between Tatar general cultural connotations of color terms going back to ancient Tatar poetry and general Turkic mythopoetics with the individual author’s understanding of coloristic symbolism, artistically embodied in the work of contemporary Tatar writers (the poetry of R. Kharis, R. Zaydulla, G. Morat, R. Fayzullin, L. Leron and the prose of R. Mukhamadiev, N. Gimatdinova), creating their works in the Tatar language, and revealed that they will endow traditional color images with new meanings, enriching them. We also examined the work of Russian-speaking writers (the poetry of R. Bukharaev and the prose of I. Abuzyarov), whose work is located on the Russian-Tatar national-cultural border, which allows them to use a wider color palette.