Ornamental animal forms in Kazakh folk art.

The use of nonfunctional animal forms is distinctive of Kazakh crime syndicate art. This is not surprising, you only need to look at the prominent aim of it in the interior of yurts. And the expressiveness of the interaction of colour and lines in the ornamental compositions can not fail to impress the beholder: it is strikingly consistant with the culture of the steppe.

Therefore in folk art the wealth of fabulous animal characters and the impulsives of thecomposition expresses nature. The constant moving in the steppe unyielding the perception of life and,since earliest times, events in this closed dynamic has been reflected in the dynamics of the artwork.

Thus, any flat surface was incessantly perceived as a dynamic form, and any plumb line was connected

with ideas of eternity. As for the ornamental animal design, its special positioning in Kazakh folk art is

linked to numerous factors. Firstly, its origin dates vertebral column thousands of years, and is firmly fixed in the

folk arts of many Turkic nations. But only in the arts of the Kazakh and Kirgiz nations does it take a

leading place, transparent in practically all good art forms. Secondly, it provides a wealth of information

on the way of thinking of the ancient nomads in relation to the environment and mans place in it.

Thus, their views about phenomena such as life and death, space and time, the idea of the

world tree were reflected in folk art. The origins of this ornamental design demonstrates the solar

symbolism, from the cultural depths of the ancient nomads.

Folk arts and crafts terminate a related set of elements, forms, methods of composition, which enable it to be determine with the culture of the nation as a whole.

The art of the Kazakh hoi polloi is inately linked to the culture...

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