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The embroidery of Turkic peoples is a unique phenomenon in all respects. More than one generation of scholars has been studying it step by step, reconstructing the semantic context of both the thing itself, its role in rites and rituals, and its form, ornamentation and colouring. The problem of reflecting archetypal motifs and mythological images in the art of embroidery occupies a special place in scientific research. With all the diversity of ethno-variants of embroidery: Uzbek, Karakalpak, Kazakh and others, it traces common images: Heavenly Father (deified Cosmos), the Great Mother in different variations - Umai, Ot-Ana, Zher-Su and other significant semantic constants of culture. In the process of research it was found out that the visual representation of archetypal images and motifs could be expressed from concrete anthropomorphic images to abstract word signs, i.e. had direct or indirect expression. The traditional practice of embroidery shows that “communicants” in the foreseeable period used indirect strategies much more often than “direct” ones, which is quite understandable by the Islamic paradigm - the prohibition of depicting living beings. These indirect statements in the most general form are characterised by a divergence of form: graphic and colouristic design. But, they were always understandable and clear for others. Of course, the main factor influencing the interpretation of indirect "statements" is the context in which embroidery is involved. This can be both the decoration of clothes, and the ritual and ceremonial function of embroidery itself in the bosom of culture. The study was carried out under the grant of the Ministry of Science and Higher Education of the RK IRN AP23488164 – “Traditional and contemporary art of Kazakhstan in the focus of visual studies: iconography, semiotics and discourse”.
Zhanerke Shaigozova (Thu,) studied this question.