Traditional and contemporary art of Kazakhstan

The living space of the Kazakh nomad included a vast array of embroidered items made from a wide variety of materials (homespun cloth, suede, felt and factory-made fabrics), many of which were accorded great importance and special significance.

The significance of embroidery is captured in the Kazakh saying ‘өмірге ұл келсе ат ұстар, ал, қыз келсе кесте тігер’, which, in context, means: if a boy is born, he will raise horses, and if a girl is born, she will embroider. Many studies emphasise that embroidery is used to create a homely atmosphere and is closely linked to the feminine principle; it is associated, as modern researchers like to put it, with a socially prosperous home and is a valuable family heirloom.

It is women who are the principal organisers of all ceremonies and rituals in traditional society. The nomad’s life, regular in rhythm and, in essence, monotonous, was structured around three main events: birth, marriage and death. Hence, the functional, ceremonial and ritual aspect of embroidered items—and indeed of all objects marked with ornamentation—lies in establishing contact between the profane and sacred worlds. This contact between the worlds (rite and ritual) could not only ensure the attainment of one’s desires—health, well-being, prosperity, protection, and so on—but, if established incorrectly, a person could lose all the above. It is a kind of contract with external forces. The success of contact with the supernatural and powerful world was ensured by strict adherence to the rules: ritual regulations and taboos. This applies not only to the process of producing the embroidery, but also to its role in the rites of the life cycle. Hence the multifunctionality of embroidery, and in the context under study, the unique protection against physical harm and negative influences of otherworldly origin noted by A.A. Mikhailova [1, p.53].

The largest embroidered item, a significant attribute of a Kazakh bride’s dowry and an essential element of yurt decoration, is the wall panel – tuskiiz. It is sometimes called ‘tus keste’ or ‘tus kilem’. In keeping with established tradition, we shall use the term ‘tuskiiz’. Experts put forward several theories regarding the origin of the name ‘tuskiiz’. According to one theory, this is linked to the fact that the reverse side of the embroidered fabric of the rug was originally made of felt. According to another, put forward by the craftswoman T. Kapkazy, the etymology of tuskiiz relates to the expression ‘түсінде ілініп тұр, which means ‘hanging behind/above you’. However, ‘tus’ in the Kazakh language is a polysemous concept, meaning colour, appearance, surface, sleep and midday.

On the kerege (wall) of the yurt, between 3 and 5 such panels could be hung in a row; that is, the embroidery covered the entire visible part of the yurt and was usually positioned opposite the entrance in the tor (place of honour) area. Each of the embroideries possessed its own unique character. This gave the yurt a special atmosphere, which B.O. Yuzefovich noted: the carpets, along with many richly embroidered velvet—predominantly crimson—and silk cushions, embroidered or trimmed with gold and silver braid, served as an important decorative accent in the interior. ‘In terms of their interior decoration, richly furnished yurts can rival any Oriental-style rooms found in many wealthy homes in Europe’ [2, p. 128].

Experts distinguish several types of tuskiiz. We find the approach of N. Nurfeizova most fruitful; based on materials from the A. Kasteev National Museum of the Republic of Kazakhstan collection, she identifies four main types of ornamentation [3].

Other embroidered items include bedding for newlyweds (and the entire range of wedding accessories): pillowcases – ‘zhastyk qap’, bedspreads – ‘tosek zhapqysh’, bed skirts – ‘tosekayaq’ and bed curtains – ‘shymyldyq’. Bedding made using the gold embroidery technique is distinguished by the richness of its decoration and the intricacy of its patterns; such items were an essential part of a wealthy bride’s dowry.

According to folk beliefs, the newlyweds’ embroidered textile set possessed a special magical power; it was forbidden to sell or give them to strangers, as this was believed to lead to the collapse of family happiness. They were passed down exclusively by inheritance, and on the wedding night, the marital bed was always made by an elderly woman with many children (sympathetic magic).

The ornamental decoration of the marital bed consists of numerous variations of various tree-like and plant motifs: the trefoil motif, flying seeds, multi-petalled flowers, bushes, etc. These should be regarded as relics of the World Tree and the associated image of the Great Mother, where ‘the primary function of the embroidery lay in its protective and magical properties, which facilitated the continuation of the lineage’ [4, p. 28].

The next category of embroidered items (household objects) from the collections of Kazakhstani museums includes: ‘tegerish’ – a cover for the dome section of the yurt, ‘tundik bau’ – a strip for decorating the yurt, ‘uzik bau’ – a strip for decorating the yurt, ‘tuırlyq bau’ – a strip for decorating the yurt, ‘beldeu bau’ – a strip for decorating the yurt, ‘tosek zhapqysh’ – a bedspread, ‘jainamaz’ – a prayer mat, ‘shymyldyq’ – a curtain, ‘dastarkhan’ – a tablecloth, ‘sandykqap’ – a chest cover, ‘ayaq qap’ – a wall-mounted bag for crockery, ‘sulgi’ – a towel.

The embroidery on traditional Kazakh costumes is particularly rich, highlighting the wearer’s social status, age and, at times, tribal affiliation. It served not only as a decorative embellishment but also as a key element of the costume’s artistic design, lending it a sense of solemnity, expressiveness and individuality.