The moon occupies a special place in Kazakh mythology, it is associated with female hypostasis and various magical properties are attributed to it. He is a folk model of beauty and grace and participant in some ritual and ceremonial acts: The new moon was revered, and its four phases represent the four main phases of human life in many cultures – birth, maturation, ageing, and death. Relics of the worship of this night star can be found in folklore and in a number of prohibitions/taboos (do not point your finger at it, do not go to the toilet facing it, etc.), and newborn girls were often given names related to the moon (Aisulu, Aigül, Aitolğan, etc.). The ancient nomads began any important business at the new moon. Other variants of the pattern (“ai gül”, “aishyq gül”, etc.) are derived from “ai” (moon). It is often found on carpets, women’s jewellery and other products.
The crescent moon is no less popular in Kazakh culture. In ancient times it most likely symbolised the moon deity, i.e. it corresponded to the moon cult and was a kind of “ladder” connecting the world of the living with the spirit world. This sign was used by many Turkic peoples as a patrimonial tamga. Even today it is used in Muslim cemeteries as a symbol of the spirit world (and the last phase of the moon – the sign of the afterlife).
This pattern was often used in woodcarving and to decorate horse harnesses. From this ornamental motif there are several derivations: “üsh aishyk” – three crescents and “tört aishyk” – four crescents.
The semantics of the astral symbols (ai, aishyq, zhūldyz, etc.) is clear not only because of their belonging to the upper world, but also because of their position on the tombs filling the upper tiers – parapets, architrave belts, etc.
