Signs and symbols in traditional art of Kazakhs.

  • Ivanova A.A. Алтайский государственный университет Email:
  • Lichman E.Y. Павлодарский государственный педагогический университет Email:
  • Grechneva N.V. Алтайский государственный университет Email:
Ключевые слова: Символ, symbol, знак, sign, традиционное искусство Казахстана, traditional art of Kazakhstan


Analysis of symbols and signs, forming traditional Kazakh culture is conducted in the article. The authors concludes that specifics of art is in the fact that it attracts different languages of culture into its sphere, selects their semiotic means, and develops their expressive abilities.


Данные скачивания пока недоступны.

Биографии авторов

Ivanova A.A., Алтайский государственный университет

магистр истории искусств, выпускница факультета искусств и дизайна Алтайского государственного университета

Lichman E.Y., Павлодарский государственный педагогический университет

кандидат искусствоведения, доцент кафедры теории и методики музыкального образования Павлодарского государственного педагогического университета

Grechneva N.V., Алтайский государственный университет

кандидат искусствоведения, доцент кафедры истории отечественного и зарубежного искусства факультета искусств и дизайна Алтайского государственного университета


1. Аязбекова С.Ш. Картина мира этноса: Коркутата и философия мира казахов. Алматы, 1999.
Контекст: ...On basis of culturological priorities on relation to Space, the God, Nature and Society different types of images of the world may be presented as cosmocentric, theocentric, ecocentric, socioentric and anthropocentric [1, p. 53]...
...Performing as a symbol of divine space, Nature can be equalized to the God (pantheism) and divided with it (theism) [1, p. 61]...
...Soi-ety, defines a change of links of a Human with the World, when the link with the Space, the God and the Nature are changed into social links, and the Thing, the Capital acquires the main value in World relation links” [1, p. 64]. “The basis of formation of antropocentric image of the world was presentation about uniqueness of the Human being and subordination of the whole World to the world of the Human being, i.e. presentation...
...uniqueness of the Human being and subordination of the whole World to the world of the Human being, i.e. presentation about such structure of world creation, which main value and center is a human being” [1, p. 65]...
2. Безертинов Р.Н. Тенгрианство - религия тюрков и монголов. Казань, 2004.
Контекст: ...The Sun, the Moon, stars, the Sky, water, air are gifted and available to everyone in an equal proportion [2, p.47]...
...For tengrianity triform organization of the Universe is charactered, in every part of which gods and spirits live [2, p.8]...
...Everything was based only on oral and visual basis” [2, p.9]...
3. Досанов Т.С. Тайна Руники: графический дизайн в эзотерической концепции бога Тенгри, сокрытой в знаках рунического письма, родовых тамгах и в символах геометрического генеза. Алматы, 2009.
Контекст: ...In modern historical, linguistic and other sources, it is highlighted that Tengri or Tengir was known among Shumers under the name of Dingir, and the root of the word (Ten) means Equal + (ir) is a formant of the present and future tense, possessing in total meaning “being in the center” [3, p.18]...
4. Кокумбаева Б.Д. Онтология культуры. Павлодар, 2005.
Контекст: ...Strictly speaking, full name of Tengri is the god made of the light, being a father and a mother of human gene Kok Mangi Taniri (Infinite Blue Sky) [4, p.169]...
5. Шакенова Э. Кочевники: Эстетика познания мира традиционным казахским искусством. Алматы, 1993.
Контекст: ...created from many happenings, which are necessary to acquire practically and spiritually. “Natural world, sensitively perceived, - one of the basis, on which national world attitude of nomad is grown” [5, p.63]...
6. Сейдимбек А. Мир казахов. Этнокультурологическое переосмысление. Алматы, 2001.
Контекст: ...vested transcendental power, being a carrier of certain functions and features, possessed certain function, implementing in it a support and spirit, high believe in batyrs, speakers, wise men and poets” [6, p. 412]...
7. Шаханова Н.Ж. Мир традиционной культуры казахов: этнографические очерки. Алматы, 1998.
Контекст: ...Significant is as the whole costume, as its separate elements. “Signed” or semantic content of the costume and its elements exist in traditional Kazakh clothes, where it is perceived in universal categories “up-down”, “sacral-usual”, “fruitfulness-fruitlessness”, “male-female” [7, p.66]...
8. Ayazbekova S.Sh. Kartina of the world of ethnos: Korkut-ata and philosophy of the world of Kazakhs. Almaty, 1999.
9. Bezertinov of R. N. Tengrianstvo - religion of Turkic peoples and Mongols. Kazan, 2004.
10. Dosanov T.S. Tayna Runiki: Graphic design in the esoteric concept of god Tengri hidden in signs of a runic pism, patrimonial tamga and in symbols of geometrical genesis. Almaty, 2009.
11. Kokumbayeva of B. D. Ontologiya of culture. Pavlodar, 2005.
12. Shakenova E. Nomads: Esthetics of knowledge of the world traditional Kazakh art. Almaty, 1993.
13. Seydimbek A. Mir of Kazakhs. Ethnoculturological reconsideration. Almaty, 2001.
14. Shakhanova N.Zh. Mir of traditional culture of Kazakhs: ethnographic sketches. Almaty, 1998.
Как цитировать
A.A. I., E.Y. L., N.V. G. Signs and symbols in traditional art of Kazakhs. // Культурное наследие Сибири, 2020. Т. 6, № 24. С. 43-50. URL:
Теоретические аспекты искусствознания и культурологии