努尔巴依《塔塔尔人的分俗习惯》

In the glorious and fertile land of Xinjiang, often celebrated as the land of song and dance, thirteen ethnic groups coexist harmoniously. Among them are the Tatar people, who migrated to Xinjiang nearly 200 years ago. They have integrated seamlessly with various ethnic communities, significantly contributing to the development of Xinjiang's cultural education, literature, and art. The Tatars have added a vivid hue to Xinjiang's diverse cultural tapestry through their unique culinary traditions and vibrant cultural expressions.

Tatar folk literature is a rich and diverse treasure trove, encompassing various forms and humorous language, including myths, legends, folk stories, ballads, proverbs, riddles, and maxims. Their myths cover many themes, from totemic origins to animal and dragon lore. Notable examples include "The Myth of Alefu Bolgar," "The Myth of Totems," "The Myth of the Wolf," and "The Myth of the Dragon." Among these, the poetic myth "Sak and Suk" stands out, warning of the tragic consequences that family discord can bring, such as children never returning to their mother's side.

The Tatar people are naturally gifted in singing and dancing, using these forms of expression to convey their joy publicly. Whether in duet dances or group performances, singing and dancing are integral to their cultural identity. Tatar folk songs predominantly reflect their daily lives, agricultural practices, and the romantic sentiments of the youth. Joyous melodies characterise songs like "The Song of Harvest," "The Song of Haymaking," and "The Scythe Maiden." Many Tatar songs celebrate the beauty of nature, featuring birds, beasts, flowers, trees, and domestic animals, fostering a deep connection with the natural world. The white swan, revered for its nobility, often symbolises noble character in Tatar songs, receiving frequent praise and adoration.

Tatar folk instruments, a testament to cultural exchanges between Eastern and Western musical traditions, highlight the Tatars' adaptability and openness to learning from other cultures. Historically, they used various drums and wind instruments to accompany their dances, crafting them from grass stems, tree wood, animal bones, and metal sheets. The kurai and kubiz are particularly representative and remain popular today. The kurai, a vertical wooden wind instrument with a low, mournful tone, is often used for playing melancholic traditional music. The cubic, a mouth harp made of copper or iron, is commonly used to accompany folk dances and music, similar to instruments found among the Kyrgyz, Kazakh, and Xibo ethnic groups.

Living in relatively cold regions, the Tatars favour leather clothing. The "tuna," a sheepskin coat worn by herdsmen without a fabric lining, and fur-lined cloaks made from animal skins are common. Traditionally, Tatar men wore long robes called "jalpan" without collars or buttons, fastened at the waist with a square scarf. These were paired with white shirts featuring wide sleeves and straight collars, opened on the left side, and often completed with a black vest or long jacket embroidered with intricate patterns.

Tatar cuisine, primarily based on wheat products, features an array of baked goods. The most renowned is "karachitokash" bread, made from a dough fermented with milk, eggs, cream, and sugar, then baked to perfection. The staple "ikmak" bread comes in two varieties: a vegetarian version and a more decadent version with added oil and eggs for guests. The Tatars also prepare savoury baked pies known as "Biloxi" and "guberniya," filled with meats, fruits, vegetables, cheese, eggs, a touch of rice, and preserved fruits.

Tatars are masterful cooks, embedding their good wishes and cultural sentiments into their cuisine, making food a symbol, a sentiment, and a carrier of their rich ethnic heritage.

Respect for older people is a cornerstone of Tatar culture, exemplified in their proverbs:

"Do not point randomly in front of elders,

Do not boast excessively in front of wise men."

— Tatar proverb

Tatars have a cherished custom of welcoming distant or distinguished guests by offering honey and butter upon arrival. This gesture symbolises the host's hope that guests feel as comfortable and beloved as they would at home. The fragrant honey soothes homesickness, relieves travel fatigue, and inspires the warmth of friendship, reflecting the host's enthusiasm and sincerity.

Honey is a staple in Tatar's daily life, featuring prominently in their well-known cakes and the ethnic beer "Kelxima." It graces their dining tables year-round, offering a bright, crystal-clear sweetness reminiscent of fairy-tale nectar. Whether consumed with water or spread on bread, honey provides a sweet and refreshing taste, leaving a lingering fragrance. To the Tatars, honey is more than a delicious food; it represents sentiment, sustenance, vision, and wish. It frequently appears in folk songs and dances as a metaphor for beautiful things and feelings. In one folk song, a girl fetching water, intoxicated with sweet love, muses, "What's in the bucket is probably honey." A song and dance performance reflecting Tatar life once captivated Xinjiang, aptly titled "Our Life Is Sweeter than Honey," capturing the essence of Tatar life in its mellow and sweet portrayal.