Honour in national philosophy has very high price: it that, for what it is not a pity to give heads (life) alsoзачестьголовагибнет; честьголовоюоберегают. Loss of the honorfor Russian and the Kazakh is more terrible than death:лучшечесть, нежелизолживот; бесчестьехужесмерти; хотьплетьмивысеки, толькочестинелишай; ердінамысөлтірер; өлімненұяткүшті.At the same time, in consciousness of people there is a distinct understanding that given recognition and respect require high responsibility from its bearer: больше почет, больше хлопот; чем больше чести, тем больше напасти; велик почет не живет без хлопот.
Hereby, comparison of the concept “honor” in Kazakh and Russian languages permits us to speak about the proximity of absolute ethic values, about similarity of their perception in Russian and Kazakh ethno cultures.
Cultural-creative identification of Kazakh ethnos, as other ancient nations, realized through art. Nomadic community of Kazakhs evolved over the period of long history from the matriarchy to patriarchal system, from the period of military democracy to early forms of feudalism. But the main peculiarity of the nomads that their specific way of life organization doesn’t change through centuries. Traditional Kazakh art (musically-poetical, specifically aitys and epos, artistic-applied, decorative) be found in high level of development.
In folkloric works utilitarian facility is inseparable from esthetic. It’s the result of synthesis, which put together integral outlook of human society, including ethnos.
It is impossible to forget that Kazakhs were successors of sociocultural communities in which life the leading place occupied a nomadic economy.
The Kazakh musical art is traditionally solo. The main characteristic of traditional music is that for long time it was left unwritten. Oral musical art of Kazakhs has left a certain mark also on interrelations of the artist-executor and an audience, removing any contradictions between way of an existing art and its internal essence. Here the musician is the artist creating "publicly".
Integrity of world perception, inherent in nomadic world view, is clearly represented in aitys- song competition of akyns. Aitys is builds under the artistic-esthetic empathy of akyn and listeners. In aitys the creative process is fixed. “Imagination, fantasy creates such a reality when interior freedom of the person is in inseparable connection with the free spirit of aitys creates an integral world picture. In conditions of oral culture artistic-poetic gift was one of the possibilities of persons’ formation”
World view of ancient Kazakhs reflected in traditional mythology. Mythological thinking is an early stage of ethical relation toward the world. In Kazakh folklore mythologems about world creation are incarnated (beautiful, harmonious or featureless, elevated or ordinary), which closely connected with the lifestyle of steppe inhabitants.They transferred terrestrial orientation to heaven world in space and time and occupied it with animals from the real environment. The natural world sensually perceived, - one of the bases on which the national attitude of the nomad has grown. Each nation have a landscape in which perception of cultural traditions (steppe and mountains) refract.In ancient Kazakh art steppe is an image of terrestrial life, mountain is a symbol of greatness. Water is a dead kingdom. The nomadic elements gave sensation of a variety, promoted an openness, fastening of the active beginning as attitude element. Therefore «the person is the centre of the immense world, not the tiny point which has got lost in it, and its part, same immense and powerful, as an eternal sky, boundless steppes, open spaces which you will not capture at once»
The Kazakh magic fairy tale became original synthesis of mythological aesthetic representations of the most ancient times. In myths, in fairy tales dreams of ancient people of conquest of natural forces were reflected. In fairy tales are embodied animistic and cosmogonic representations of forefathers of the Kazakh ethnos. In them totemism, \fetishism, a taboo, shamanism, a cult of ancestors are present as ways of attitude and outlook, as a way of life. In fairy tales Nature is occupied by demons. Occurrence of demons marks new quality of the human relation to the nature: care, fear, sensation of the powerlessness before mysterious and terrible elements.
Therefore in fairy tales is narrated about space pursuits, prosecutions; cosmogonic motives were embodied in representation about the general stream of a life in which there was an earth and heavenly bodies, there were animals and people. The idea of general transformation of one in another, cultivation of ancient beliefs about resettlement of souls is very popular in fairy tales. The magic in the Kazakh ancient fairy tales is a magic first of all things: hair, a wool, stones and magic of elements, first of all fire. Fire is omnipotent: it is necessary to burn a feather of bird Samryk - and hero leaves the trouble. Shamanism - worship the sky, the moon, the sun, honouring totems - patrons of ancestors, calling spirits is present in fairy tales as means of wish achievement.
However the main theme of art, a source of pleasure, experience fine (or awful) is a nature.
"Sekirtpe" (‘Playful’). A folk song from Eastern Kazakhstan, sung byKlara Tulenbaeva (b. 1976) accompanying herself on the syrnai.
My aul is on the bank of Ak Kemer.
I am a glorious snowdrop among my six brothers.
However much you whip your horse, my darling,
You will never catch me.
Flowers, flowers...
Let your face sparkle with carefree laughter.
My precious one in a golden gown with pearly buttons.
All the girls around you bow their heads before you.
Gakku-goi, gakku-goi, sing to this tune!
"Altyn altai" (‘The Golden Altai’). A folk lyric with music composed by
Edil Huseinov (b. 1955), a composer, performer and researcher who is
restoring and revitalizing archaic Kazakh instruments and their music.
I will take zhetygen and sing a song with deep meaning.
The Golden Altai is my native land.
I am longing for my homeland,
My treasure, inherited from my forefathers,
I cannot forget you, golden Altai,
I long for my motherland.
The originality of attitude of that time was expressed by ethnos in evolution of folklore consciousness. There is the most ancient literary genre - the epos idealising a person as a carrier of exclusive energy and force, as hero. Centuries-old process of occurrence and evolution of epic forms of Kazakhs covers the period of an is patriarchal-patrimonial system (including feudal). Epic art is cosmological, an image of the general prevails, person is not individualised, does not resist to the nature, a patrimonial generality, ethnos, tradition. The mythology feeding the epos, focused on integrity of life, harmony of the person and the nature, the person and the world.
In the epos all fantastic is represented as real-life. The life fundamental principle - elements of water, the earth, air, fire is sensually perceived, they generate space and natural integrity, and each natural phenomenon reflects harmony or disharmony of space. In Kazakh epos there is no space and time division. Features of epic attitude reveal in the grandness of images. Space comparisons are monumental. In the epos the idea of equivalence of person and world ripens. For epic attitude of Kazakhs the feeling of movement, a way is characteristic.
The Kazakh epos became the original encyclopaedia of a nomadic life,image of real events of a life of ethnos, customs, customs. In an epic genre direct lines of a life, attitude have got character is universal-typical. Multidimensional structures of is art-shaped development of the world, metaphorical, allegorical, mythological receptions are used. The life and the nature are poeticized:
И помчал его конь вперед.
Конь пространство, как воду, пьет.
Вихрем мчит его по степи.
Or:
Байчубар быстрее летел:
Он вытягивался струной,
Воздух он разрывал стрелой,
Ветер громко в ушах свистел
Убатыраиуконя
In epic legends the nature much can clear, underline in the person. The condition of the hero, feature of its character are transferred through natural phenomena. Emotions are rectilinear, unpretentious, общи, are abstract. There is no psychologism, there is no scale of experiences. The inwardness of the hero reveals in subject display. The natural phenomena are so bright, impressive and visible, that become identical to the world of emotions and moods of the hero.
The unification of the person and the nature is transferred by means of an image of affinity of the epic hero to fruitful and powerful Mother Nature, merges to it in a uniform stream of a life. The sun becomes expression of the life-giving beginning. Alpamys is born together with a dawn rising in the east, with sunrise Kozy-Korpesh has grown, his life has returned to himin three days. The death is not dated for a decline. The grief is compared to a black cloud, anger - with night darkness. The aesthetic feeling of the nature at ancient Kazakhs has been developed strongly what testify «Alpamys», "Koblandy-batyr", "Kambar-batyr". Echoes of a primitive identification of the person with fauna are surprisingly poetical zoomorphic comparisons in which the mythological basis of a sight at beauty is traced.
Character of estimated social stereotypes depends on set of factors of socially-demographic, national-cultural characteristics, educational level of an individual, etc. So, axiomatic orientations of habitants of cities and villages,the Western Europe and Central Asia, young and old, men and the women, rich and poor do not coincide. Americans on the foreground put forward personal success and financial well-being; Russian, on Vezhbitsky, aspire to unification, their feeling of a collectivism is strongly developed; for Kazakhs and for people of the Central Asia the respect of related relations, honouring of seniors, following to traditions and customs of the nation, as a whole, is characteristic.
The nature in the epos is still described in traditions of a myth, but there is a crisis at its perception. Any more grandness of natural phenomena, and new foreshortenings of perception of the world, pleasure of life, полнокровности lives start all to appear more clearly in epic legends. It marks attitude change, interest to the nature, vitally simple and ordinary. Landscape descriptions become more detailed. The world around is considered in space: the nomad perceived the world, steppe, as a circle. The Kazakh epos is historical. The mythological picture of the world is combined with its poetic perception in colourful and plastic variety. Evolution of aesthetic vision of the world has led to its new perception. So, in characteristic motive for the Kazakh epos - - the new relation to the nature is expressed protection of animals. Finds force motive of life-giving dialogue of the person with the nature world.
However in a reconstruction of complete shape of the nature flexibility, plasticity remains. Already in an antiquity the landscape was the major form of comprehension of generality of life. In this genre the relentlessness of the eternal nature in relation to feebleness of the person was quite often underlined. Pleasure, a disinterested admiring, sensation of completeness and pleasure of life, delight, triumph, pleasure and, on the contrary, grief, grief, melancholy, indignation - all this scale of feelings, moods, propensities and liking of the person became in the Kazakh epos means of development of the nature in all originality and originality of its displays. In the beginning it meant ability to be guided in space that demanded, besides knowledge of the terrestrial natural phenomena, studying of movement of heavenly bodies.
What were representations of the Kazakh epos about infinite? In-contemplation of the nature the person had no business with really infinite. It seized only psychologically equivalent to the infinite: a distance of heavens, open space of steppes, i.e. Space to which there is a limit. But contemplation of this prospect lost in a distance caused feeling of infinity. Not infinite time, not eternity of the Universe, but only rather far prospect. The psychological effect of the infinite arises from transferring of visible infinity on the validity. It arises at contemplation of open spaces of steppes, heavens, the star sky.
That it was possible to recognise works of art art and aesthetically true, Gegel put forward idea about necessity to get used the artist «in spirit of last times and another's people», understanding of the main thing, that «occupied thoughts and soul of the people, for it substantive in an epoch and the people if it only originally, remains clear for all times» [12]. Self-identification, formation of national character became these substantive in the heroic epos of the Kazakh ethnos historical and cultural and sociocultural. The system of sights at the world which underlies the epos of the Kazakh nomadic society, became an element of traditional consciousness of the Kazakh ethnos [13].
From a myth and the epos the descriptive manner of the story, the contemplate relation to the nature, space, person, world order, representation about fine as harmonies, metaphoricalness and hyperbole art consciousness, culture as a whole, the contrast image of life [14], respect by the way, moral dominants of culture have entered into a flesh and blood of national consciousness of Kazakhs. Epic heroes, folklore plots became poetic symbolics of national consciousness of the Kazakh ethnos. Organic communication of folklore, national tradition with literary art creativity [15] has created original aura of translation and accumulation of mythological and epic motives by the Kazakh national mentality. The present of a myth sings of the ethnos world - the human world, greatness of business of the person belonging to this ethnos; the nature appears as a sphere of action of the person, it is a life in unity with the individual, past and present communication: « Landscape»myths allow to feel communication with history.
The historical landscape appears as intelligent life, the certificate of greatness of the world, movement of time, continuity of generations. The idea of a current of time, relay race of generations, pride and admiration of descendants, historical prospects in movement of human life feed modern national consciousness. «Complete view on the nature, its beauty and the harmony, transferred by previous generations in the form of a continuous chain of oral legends, songs, legends, ethical creations is necessary for the person of XX century. In them there is a place to gods and heroes, customs and beliefs, reflexions about destinies of the world and the person, and also all to best of spiritual experience of centuries, an originality of outlook of ancient, their aspirations and hopes» [16].
It is impossible to forget that national images of the world of the Kazakhs, transferred through the oral nomadic culture which has left the most appreciable trace in national mentality and psychology, speech, figurative, behavioural stereotypes mismatch in many respects to a pragmatism of a present life [17]. Character of the nomad, bent for to free pastime, the regular life which has been not burdened by requirement and necessity of hourly work is felt. There is no feeling of personal benefit, self-interest, barefaced individualism. And at the same time the internal spiritual culture, vital necessity of open space, immunity to narrowness, requirement to see in the dwelling microcosmof Universe is ineradicable. All it mismatches modern rates of an industrial civilisation in its western variant. From here discomfort, "intensity" of consciousness of ethnos, its emotional condition.
In due time the ZH.-item Sartre in « Sketch of the theory of emotions» has entered the concept of "uneasy consciousness», which much explains in a situation of emotional perception and world vision. It starts with representation about emotion as complete expression of a human reality which is self-sufficient and самоценна in the estimation of the world, in the relation to it. On Sartre, «the uneasy consciousness» is the emotion understood as meaning phenomenon and designating such type meaning the phenomenon of life (it the person is) which gives sense to the existence, to an act, updating, estimates them. Emotion in this situation becomes image of "magically focused behaviour of the person in the difficult and ambiguous world. With reference to ethnos in national consciousness the mentality carries out function of designing of a harmonious national image of the world not rational, not logic means, and means of spiritual symbolization, art culture of ethnos. Such updating assumes transformation of national culture. The world of national culture appears as unity of the natural and social validity in the field of activity of the person and as unity of these spheres in time of culture of the ethnos, connected with type of activity of the person and increase of value of time.