Galina Pachshenko (Kazakh) - Golden Retriever (watercolor, 2025)
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Galina Pachshenko (Kazakh) - Golden Retriever (watercolor, 2025)

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Kazakh hair ornaments
Yuriy Burmistrov (Kazakh) - Cradle of Life (watercolor, 2026)
According to information gathered by Dzh. Kh. Karmysheva in the Cımkent Region in 1971, every khoja who had become the spiritual guide of a particular clan or large subclan would, as early as the beginning of the 20th century, visit the auls (villages) of his followers annually or once every two or three years. In areas with a semi-nomadic economy, his visit was timed for the fall, after the harvest, when the livestock was in good condition. The khoja brought his charges inexpensive gifts and presents (dried fruit, children’s tyubeteykas, amulets, and various other items), which were received with reverence by the hosts, whose banquets he honoured with his visit. After staying in the auls and completing the tasks awaiting him (mainly the circumcision of boys), the khoja would return home, taking with him the gifted livestock and pack animals loaded with grain and other provisions. All of this was given to him as payment for his services and as a vow offering (näzir). As the khojas explained to the people, they [the khojas] were to give a portion of these goods to the mosque, madrasa, or mazar in their locality, as well as to various other charitable causes. The same custom existed among the Uzbeks.
The author of the aforementioned satirical work did not overlook the activities of the khojas among the Qazaqs:
As soon as Nowruz arrives, the khojas begin to argue.
Every khoja wants to tell fortunes himself [for the New Year]
And predict the unknown.
These khojas are fugitive aliens from all directions:
From Bukhara, Khiva, the Qaraqalpaqs, and the Qizilbash [i.e., from Iran].
They tell fortunes, write amulets, whisper over the sick,
They steal cattle from Qazaqs by trickery,
Assuring them that they can do everything:
And heal the sick and predict what kind of winter it will be,
And what affairs await them in the coming year—
Thus the khojas themselves fall into unbelief,
And all those who believe them.
However, the khojas—both those who had settled among the Qazaqs and adopted the Qazaq language, and those who came from “Sart” regions with their long-established settled population—enjoyed Qazaqs' trust and respect. The Tatar historian and regional scholar K. Khalidi recounts an incident, apparently dating to the second half of the 19th century, when a dying wealthy Qazaq refused to allow the appointed mullah to recite a prayer at his bedside; he demanded that a khoja be brought to him. When the old man was told that the khoja had arrived, he opened his eyes and said: “O my light, noble saint, chosen by the Prophet himself! Speak what you know, and I will repeat after you.” Soon after the words of the prayer, he breathed his last.
— V. N. Basilov, Dzh. Kh. Karmysheva, Islam u kazaxov [Islam Among the Qazaqs], 31-33.
Im kind of wanting to make Aidos more (physically/appearence-wise) legally distinct from the character i stole & renamed to make him, lol, so that id be able to add him into a story of mine (a story I really wanna publish one day, even if just on ao3 or tumblr or any other site rather then as an actual book). But idk exactly how to do that.... been thinking about it alot. should I change his eye color from deep magenta to a more natural / real eye color, like black or brown or smth like that? 🤔
i mean i already gave him a new hairstyle in general, specifically, but thats not really much on its own.... (im def keeping his "white with black tips" hair, cuz its just cool and aids in his lion aesthetic, and im not gonna change his tanned/light brown skintone to pale or smth.)
Hes Kazakh, so in generally trying to give him a bit more of an eurasian look to his appearance (in terms of his nose and face shape mostly). hes also of persian decent too... but idk exactly how to incorporate that 🤔😭 i suppose i could hint at it in his new outfit, and give him specific jewelery ??? (Like a specific type of earrings?? Idk)

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Men’s outerwear in the 19th and 20th centuries consisted of various types of undershirts and insulated outer garments. Men’s shirts were divided into two types: open-front and closed-front. The latter was distinguished by its neckline: on the piraxan (Tajiks) or yaktak ko'ynak (Turcophone population) shirts, the cut of the neckline was triangular; on the kiftaki or kiptaki (Tajiks), or mullocha (informal, everyone), or musulmon ko'ynak (Fergana Sarts, Khojas, Qıpçaqs), the necklines were horizontal-oval. The open-front shirt yaktak was typical of Fergana kara (commoners), i.e. Sarts and Tajiks who did not belong to the ak (aristocracy); that is the opinion of representatives of both groups (ak and kara), especially the locals of Andijan, Pskat, Parkat, Sijjak, etc. Fergana yaktak (open-front), yaktak-ko'ynak, or piraxan were particularly short (it barely covered the knees even of old men). The long shirt mullocha, or musulmon ko'ynak, as it is known informally, was popular among students of religious establishments and Muslim clergymen of different levels (which is still preserved by the older generation). However, as we know, the clergy was not just represented by the settled population (Sarts and Tajiks), but, like village elders, also consisted of those who belonged to the ak. That is why the local population consider mullocha or musulmon shirts to traditionally belong to the ak (Khoja, To'ra, Sayyid, etc.) — ularning azali ko'ynagi. This status is confirmed by the significance ascribed to the mullocha-musulmon ko'ynak, which is often no longer explained by the population. In various places in the “vestments” of the newborn (a rectangular piece of fabric bent in half), the hole for the head was cut only horizontally, with a particular meaning — irimiga (“that is the custom”). Sometimes there were attempts to heal a weak child by robing it in a mullocha (but the sides were not sewed); this technique was also used on adults. The bestowal of names such as Igitali, Xudoyberdi, Xoja, and certain others was always accompanied by dressing the child in a mullocha, just as was done when wishing for various virtuous qualities. A shirt of this cut was considered beautiful and was called shah-style, i.e. groom-style (just as the groom is called a shah), and was part of the groom’s attire. A shirt with a triangular neckline, however, was considered “inappropriate” for a groom, and a button-down shirt was even deemed “unacceptable”. The musulmon ko'ynak supposedly “facilitated” the adoption of the “Islamic faith” and its preservation, something the kara in particular needed. This explains why the Qurama, Qaraqalpaqs, Qıpçaqs, and others tried to wear this shirt more often, especially in childhood and youth, and then in old age. Nevertheless, their “favorite, hardening, courage-inspiring, and manly” garment, just as it was for the Sarts and Tajiks of the kara, was the open-fronted shirt—the yaktak.
— R.Y. Rassudova, Sravnitel'naja xarakteristika mužskoj odeždy naselenija Fergansko-Taškentskogo regiona (XIX–XX vv.) [Comparative description of men's clothing of the Fergana-Tashkent region's population], in Tradicionnaja odežda narodov Srednej Azii i Kazaxstana, 144–45.
Gulfairus Ismailova (Kazakh) - Set Design for the Ballet "Kambar and Nazym" (gouache on paper, 1958)