Ornaments: Spiritual treasure of Kazakhstan

Ornaments represent a long-standing folk art form, tracing their roots to ancient times. As time progressed, the design and the terminology associated with these ornaments evolved, reflecting people's distinctive characteristics, orientation, and life experiences during different epochs. The craft of ornament-making, enriched with new content and innovative characteristics, is deemed a spiritual and tangible treasure of the Kazakh community.

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A Brief History of Kazakhstan's Fine Art Evolution

In our globalised world, there's an urgent need to cultivate and uphold an authentic, comprehensible, and relatable cultural representation of Kazakhstan for the global audience. Today, in nearly all facets of Kazakhstan's cultural expressions, we witness not just the impact of emerging global trends but also endeavours to reconnect with the core principles and values intrinsic to the Kazakh ethos. Among the most iconic forms of Kazakhstan's traditional art stands the ornament. It is perhaps the oldest and most deeply-rooted symbol of Kazakh national identity, articulated through distinct visual representations.

Particular emphasis should be placed on semantics - the symbolic significance of ornamental patterns employed by the Kazakhs in their traditional attire and jewellery. The ancient craftsmen recognised that ornaments have a potent emotional impact on individuals, uniquely conveying a spectrum of emotions such as joy, sorrow, love and elation. Nearly all ornamental designs were once ‘interpreted’. Every nomad, from a tender age, was familiar with the symbolism encapsulated in these designs and could effortlessly unravel their meanings.

Ornamentation lavishly embellished the apparel of men, women, and children alike. The extent and style of ornamentation on clothing often mirrored one's social standing - whether lavish or modest, meant for the affluent or the less wealthy, signifying a person's age, regional background, and, more precisely, tribal lineage. This, in turn, aided in navigating social interactions. For youngsters, the ornamentation was particularly distinctive. Every phase of a Kazakh child's life was marked by special ornamental adornments on clothing, linen, and jewellery. Given that Islam prohibited the depiction of living beings, individuals found a creative outlet for their aesthetic expressions through ornamentation.

Typically, clothing was adorned through embroidery or appliqué, which depended on the fabric and materials in use. The design and essence of the ornamentation consistently aligned with the shape of the apparel or the item being decorated. Moreover, it resonated with the material's origin: each design narrated a tale rooted in significant inspirations drawn from the environment, natural elements, or cosmic patterns. For instance, the rhombus, representing fertility, was fundamental to garment decoration. Stylised plant patterns symbolised the vast steppes, while a depiction of a seed expressed aspirations for a large family lineage. The nomadic society's reverence for natural elements was encapsulated in landscape-themed symbols featuring imagery of clouds, lightning, and fire. These denoted vastness, invulnerability, prosperity, and infinity, often rendered in vivid, intense hues. Cosmogonic designs, reflecting beliefs about the universe's inception and the cosmos, were evident in patterns such as multi-pronged stars and concentric circles imbued with solar or astral significance. Predominantly, these ornate designs graced the robes of the elite, indicating their esteemed status. Ornamental art adeptly depicted the richness and allure of one's homeland, as well as the fluctuations of societal experiences. Every piece of attire, every design, told its unique folk tale. Each intricate detail held profound significance, reflecting a life philosophy. Many of these exquisite garments can still be found in the ethnographic museums of Russia and Kazakhstan.

Beyond merely being adornments, Kazakh jewellery held deep symbolic meanings. While contemporary academic publications and decorative arts often feature recurring ornamental patterns, a closer look at ancient jewellery and the seals of steppe chieftains reveals a broader and more diverse range of designs. The patterns on these signet rings, backed by historical records, can shed light on the social status of the bearer. For example, a teardrop pattern typically represented the elite ruling class; the religious clerics favoured round-shaped rings, while leaders and warriors chose oval, pear-shaped, or square patterns. This customisation was also seen in weapons: some swords were intricately set with diamonds, while others had simpler gold or silver embellishments, reflecting varying levels of wealth, design preferences, and detailed craftsmanship.

In bygone times, ornaments often bore ritualistic significance. Many nomads wore bronze and silver talismans featuring solar circles, which were seen as magical symbols representing happiness, prosperity, and spiritual beliefs. These designs were also thought to ward off malevolent steppe spirits and avert misfortune. They enriched both everyday life and festive occasions and, in the minds of their creators, mystically connected individuals to the enigmatic forces governing the cosmos. Regrettably, in today's world, ornamentation, now merely a decorative aspect of everyday items, no longer carries that profound semantic essence.

Colour arrangement in ornamentation is vital, with specific sequences enhancing the design's vibrancy. The sequence of colours in an ornament aligns with its thematic essence, and each colour's selection is deeply rooted in the ethnographic history of the Kazakh people, carrying symbolic interpretations. For instance, blue represents the sky, red signifies the sun or fire, yellow embodies wisdom or sorrow, black stands for the earth, and green symbolises youth and spring. Therefore, the chosen colour for a piece provides aesthetic value and conveys symbolic meaning. Thus, the colour choices and their design arrangement mirror a community's historical perceptions of the world, its aesthetic preferences, and distinct cultural traits.

To sum up, ornamentation is a versatile visual medium, and it was integral to expressing the nomads' creativity, permeating all aspects of their lives. These ornate designs succinctly encapsulated the nomads' worldview and their unique spiritual culture, becoming symbols for cross-cultural dialogue. Within this framework, ornamentation signifies a shared, foundational worldview, symbolic across not just a singular ethnic group but also broader cultural communities. Here, the ornament acts as a portal, offering insights into the deeper meanings of both tangible and intangible culture. At its core, ornamentation can be seen as an ancient form of language, enduring and consistent compared to other mediums of cross-cultural exchange. Even after undergoing various structural and interpretative evolutions, it persisted, forming the bedrock of cultural traditions in the nomadic landscapes of the Eurasian steppes and cultures beyond typical nomadic characteristics.

Written by: Amira A. (Curator)

FAQ (Frequently Asked Questions)

What are ‘Kazakhstan's traditional ornaments’?

Kazakhstan traditional ornaments refer to decorative patterns and motifs originating from Kazakhstan's cultural heritage, often seen in textiles, jewellery, and architectural elements.

What significance do these ornaments hold in Kazakh culture?

These ornaments carry deep symbolic meanings, often representing nature, spirituality, ancestral connections, and the nomadic way of life.

How have the nomadic traditions influenced Kazakh ornaments?

The nomadic lifestyle is reflected in designs inspired by nature, animals, and the elements, showcasing the intimate relationship between the nomads and their surroundings.

What materials are traditionally used to depict these ornaments?

Felt, leather, wood, metal (especially silver), and textiles are commonly used mediums to display Kazakh ornamental designs.

Are certain colours symbolic in Kazakh ornamentation?

Yes, colours like blue (symbolising the sky), white (purity), red (life and energy), and gold (sun and wealth) often hold specific meanings in Kazakh ornaments.

What is the 'saukele'?

The 'saukele' is a traditional Kazakh headdress worn by brides, adorned with rich ornamental designs and often featuring precious stones and metals.

How have Kazakh ornaments evolved?

While maintaining core traditional elements, Kazakh ornaments have evolved due to influences from neighbouring cultures and modern design elements.

Do modern Kazakh designers still incorporate traditional ornaments in their work?

Absolutely. Many contemporary Kazakh designers draw inspiration from traditional motifs, merging them with modern aesthetics to create unique and culturally rooted designs.

How are traditional ornaments preserved in today's Kazakhstan?

Through educational programmes, artisan workshops, and cultural festivals, the rich tradition of Kazakh ornaments is kept alive and passed down to newer generations.

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A Brief History of Kazakhstan's Art Evolution