Renowned for his exquisite silver craftsmanship, Serzhan Bashirov (Kazakh-Naiman Tribe) has captivated the world with his unique mystical designs that seamlessly blend tradition and innovation from his home country of Kazakhstan. As a three-time UNESCO award-winning jewelry designer, Bashirov’s creations are visually stunning and deeply rooted in cultural heritage and artisanal mastery. His works have been exhibited and sold in Kazakhstan and elsewhere in Central Asia, as well as in the United States, Germany, and Hungary.
Bashirov grew up in a remote village in eastern Kazakhstan, where he witnessed traditional ways of life and nomadic customs. “I learned the craft from the traditional Kazakh master of jewelry, Asylmardan, from the Kostanay region. I was his pupil for five years,” Bashirov says. “I have always been interested in traditional Kazakh jewelry. Initially, I copied museum exhibits, but eventually, I developed my own style. The techniques and styles I use are truly ancient, starting with the Huns, Kimaks, and Kipchaks. Masters in northern Kazakhstan continued these ancient Kipchak traditions until the 19th century.”
Bashirov selects materials such as silver, brass, and copper, which are traditional materials for Kazakh jewelry. “I also use bones, carnelian, turquoise, and lapis lazuli for engraving and combine silver with wood. I use traditional techniques such as forging, smithery, traditional Kazakh engraving, and drawing silver wire,” he explains. Among the jewelry Bashriov fashions are rings, pins, earrings, bracelets, and broaches. He uses elements such as bones, leather, stones, felt, and wood to portray the beauty of nature and pay homage to his nomadic ancestry. Some of Bashirov’s favorite motifs include spirals and the cross marks from the sun and fire, which come from the time of Zoroastrianism. “The Kazakhs have many ritual ornaments,” he says. “Rings were originally male [accessories]. Warriors adorned their own hands to seal luck and strength.”
Kazakh jewelry is unique, as traditionally, it was not made to be sold. “Our ancestors never made jewelry to sell as the people in neighboring countries did with their ancient traditions in trading. Instead, these were ritual items made to be handed down through the centuries. In ancient times, Kazakhs ordered jewelry for daughters so that they could pass it down from one generation to another as an heirloom. A master jeweler was invited to the home, staying for months at a time while producing an individual item that corresponded to the girl’s character. This completed piece was more valuable from a spiritual point of view than from a material one, never being measured with a monetary value. This attitude is lacking nowadays. I hope people will again turn to the spiritual nature of things,” Bashirov says.
As an Indigenous artist, Bashirov faces many challenges, “In Kazakhstan, we [are] a unified people, but there are challenges for those living in remote regions. Many artisans lack knowledge of marketing, have not traveled to larger cities, and have no understanding of pricing. They also face difficulties accessing materials and equipment. Making a career out of being a master jeweler in our country is unprofitable,” Bashirov says, which is part of the reason that he also teaches at the Zhurgenov Kazakh National Academy of Arts.
The legacy of colonization has also had a negative impact on Indigenous artists. “After independence, Kazakh traditional jewelry art experienced a renaissance, and the demand for Kazakh traditional handmade jewelry is steadily growing,” Bashirov says. “It is very important for my people and country to revive our culture. During the Soviet era, the Kazakhs suffered the most. All culture was unified under Soviet standards—music, decorative arts, cinema, and so on. The people stopped speaking their native language. Many traditions and techniques for making and processing decorative items from metal, leather, wood, and felt have been forgotten. Currently, there is a gradual restoration of decorative arts.”
For Bashirov, participating in the Cultural Survival Bazaars “has [had] a very positive impact on learning about and getting to know other cultures. It helps people stay informed about cultural life in America and allows them to network with artisans and exchange experiences,” he says.
Top: Serzhan Bashirov at the Cultural Survival Bazaar in Newburyport, MA.
Below: Bashirov’s jewelry.
Stay tuned for our upcoming Cultural Survival Bazaars at bazaar.cs.org
