SAANS – CRIMEAN TATARS VARIANT OF TAGINES

Abstract

The aim of this study is to conduct a comprehensive analysis of the Crimean Tatar saan as a local variant of the tagine, within the broader system of Crimean material and artistic culture. The research focuses on the historical origins, functional purpose, ornamental features, and symbolic reinterpretation of saans in both past and contemporary contexts.
Research methodology. The study is based on interdisciplinary methods combining comparative art history, material culture studies, and field research. Particular attention is given to the transformation of North African and Middle Eastern ceramic traditions under the influence of Islamic domestic aesthetics and their adaptation in the Crimean context. Visual analysis of historical specimens and contemporary ceramic reconstructions plays a key role.
Results. The research establishes that saans, although inspired by the tagines of the Maghreb and the Middle East, represent a distinct development in Crimean Tatar material culture. Made traditionally from tinned copper with conical lids and engraved decoration, saans were used exclusively for food serving rather than cooking. Their ornamentation includes vegetal motifs, inscriptions in Arabic calligraphy, and geometric patterns aligned with Islamic concepts of ritual cleanliness and beauty. The loss of the saans tradition during the 20 th century was closely linked to the forced deportation of the Crimean Tatars in 1944. However, in the late 20 th and early 21st centuries, the form was revived by contemporary ceramic artists. Figures such as Rustem Skibin, Abdul Seit-Ametov, Aider Abibulaiev and Eldar Gusenov have reconstructed the saans as a symbol of cultural memory, post-genocide resilience, and national identity.
Novelty. This article presents the first focused scholarly study of saans as a phenomenon of cultural transformation, revealing their significance in preserving Islamic and Crimean Tatar artistic traditions.
Practical significance. The findings contribute to the understanding of traditional forms in modern ceramic practices, educational curricula in art history, and the development of museum and heritage preservation initiatives.