Traditional and contemporary art of Kazakhstan

Kazakh leather craft bears the mark of the ancient history of the culture, traditions and art of the people. The earliest archaeological finds demonstrating the skills of skin and fur processing in Kazakhstan, namely in a number of regions of Southern and Central Kazakhstan, date back to the Paleolithic period. Judging by the archaeological remains, the main game animals were saiga, kulan, wild boar and others. Leather was a by-product of cattle breeding, the main industry of the nomadic Kazakhs, who raised large and small horned cattle, horses and camels, whose skins were actively processed. Therefore, the raw materials for various crafts were most often wool, leather, and bones of mainly domesticated animals — sheep, horses, camels, and cows. Zhylky terisy (horse leather) was particularly valuable: it was used to make saddles, whips (kamsy), water bags (saba), strong belts and harnesses. Syir terisy (cowhide) is strong and thick and was used for shoe soles, belts, bags and sacks. Koi terisy (sheepskin) is soft and light: it was used in clothing and linings and was often trimmed with fur. Eshki terisy (goat leather) was smooth and thin and was used for small items, jewellery and handbags. Tuye terisy (camel leather) was thick and durable. It was used in the manufacture of large items such as sacks, leather covers and sometimes shoes.

While women were engaged in wool processing and weaving among the Kazakhs, men were involved in leather processing, embossing, and the manufacture of horse harness parts and leather containers for storing and transporting kimyz.

Due to the unique properties of leather as a strong, durable, malleable, light and flexible material, leather goods were widely used both in nomadic life and in decorative and applied arts. It was used to make everyday items such as tableware, shoes, clothing, horse harnesses and bags. Leather had cultural and ritual significance: it was used in ceremonies, for example, at the birth of a child or during wedding ceremonies, which is associated with the traditions of shamanism. Among the ancient Turks and pre-Islamic Kazakhs, animal skins were associated with spirits and were used mainly in shamanic clothing. Leather had a sacred meaning — many items made from it were used in rituals and passed down from generation to generation.

Traditionally, various methods of leather processing were used: tanning, smoking, drying, and dyeing with natural dyes. Leather was used in crafts, decorated with ornaments, and played an important role in the traditional aesthetics of the Kazakh people.

Leather tanning methods

There are several leather tanning methods, each of which has its own characteristics and advantages and is used depending on the purpose of the item being manufactured. Working with leather included tanning (vegetable, fat), kurdzhun (soft leather), and saffian (thin coloured leather).

Tanning with vegetable substances. Tannins are used — substances contained in the bark of trees (oak, willow, etc.). The process itself lasts from several weeks to months. The resulting leather is easy to carve and emboss, durable, and widely used in the manufacture of saddles, belts, sheaths, and traditional products.

Fat (meaty) tanning. Animal and vegetable fats are used to obtain elastic, moisture-resistant leather. It is less durable, for example, soft suede, than tanned leather and is mostly used in the manufacture of clothing.

Smoke (traditional) tanning. A natural, ancient, labour-intensive method. Smoke from smoldering organic matter (wood, grass) is used. It makes the leather resistant to moisture and odours. It is mainly used for making outerwear and utensils.

Decorating leather goods

Decorating and processing leather in Kazakh clothing is an important part of traditional culture, reflecting both the utilitarian and aesthetic aspects of nomadic life. Leather was used not only as a durable material for clothing and utensils, but also as a medium for artistic expression.

Embossing (ornek basu or oyulap ornekteu) — a wide variety of patterns were pressed into damp leather. The patterns were applied with a hot tool.

Burning on leather, or in Kazakh — tanba salu (sometimes also ornek tanba salu) — is one of the oldest methods of decorating and marking leather goods among the Kazakhs. This method was widely used both for artistic design and for practical identification. Tanba salu literally translates as "to mark" or "to brand". When burning patterns onto leather goods, red-hot metal stamps or sharp tools were used, and sometimes special burners. The most commonly decorated items were belts (kise), torsykhtar (leather flasks), konek and bags, saddles (er-tokym), book covers, scabbards and cases.

In certain cases, a clan or personal tanba was applied, as each Kazakh clan had its own unique tanba, similar to a coat of arms. They were placed on livestock (usually on the thigh) to distinguish one's herd. They were also placed on personal weapons, utensils, saddles, belts, and belts to identify ownership and the owner.

Painting and dyeing are important elements of decorative and applied art in traditional Kazakh culture. These practices reflect the aesthetic preferences, spiritual beliefs and everyday needs of a nomadic people. This craft was applied with particular care in the manufacture of clothing.

Natural dyes were used, extracted from plants (bark, leaves, roots), soil, minerals and even animals (e.g. bile).

Leather embroidery in traditional Kazakh culture is a unique and labour-intensive art that combines decorative and utilitarian elements. Leather embroidery in traditional Kazakh clothing is a rare but exquisite element of decorative and applied art. It emphasised the craftsmanship of the artisan, the status of the owner and traditional cultural symbols.

Embroidery was used as a status marker — embroidered belts and bags belonged to noble women and respected men. It was often combined with appliqué, embossing and metal decorations (buttons, plaques).

Metal decorations on Kazakh leather clothing reflect the rich culture and subtle sense of form and style characteristic of Kazakh decorative and applied art, representing a synthesis of utility and art that conveys spiritual symbolism. They emphasised the beauty and sophistication of the product. They were often combined with embroidery and embossing.

Sometimes they performed a magical function. It was believed that metal protected against the evil eye, disease and evil spirits. The decorations served as amulets. They were an indicator of the owner's social status, age, gender and marital status. Women wore patterned silver elements, while men wore more restrained ones, often embossed, but with large plaques and buckles.

Brass and silver overlays were also used on leather belts and shoes. Buckles (toka) made of brass, bronze and silver were also placed on belts and (horse harness). A pendant (shashka) made of silver, which served as an amulet, decorated the belt.