Abstract
The authors of this article clarify the theoretical and methodological foundations of the decorative and applied art of «shi» (reed) weaving as a phenomenon for preserving the culture of national traditions. The study provides a comprehensive analysis involving systemic, syncretic, culturological, axiological, and ecological methodological approaches. Drawing on historical and cultural data, the article presents a new interpretation of «shi» weaving in the context of contemporary globalization, specifically focusing on its impact on societal culture. Consequently, the research identifies the influence of colonization and globalization processes in Kazakh history on the evolution of «shi» weaving and subsequent cultural-cognitive shifts.Significance of the Research: The new findings and scientific conclusions, which treat «shi» weaving as a reflection of the national worldview and aesthetic consciousness, serve as a framework for analyzing the syncretism of ethnography, culturology, and art history, while defining the theoretical foundations of the problem. The symbolic signs of «shi» art examined by the authors are visualized, allowing for a more specific interpretation of ornamental content, which elucidates the connection between humanity and nature and the continuity of personal traits. Furthermore, the description of weaving techniques and the transformation of «shi» art mastered by students within specialized disciplines, along with the demonstration of their practical works, highlights the applied significance of the research.Keywords: culture, «shi» weaving, ornament, symbol, national worldview, value, craft.