ASTANA – Balbals, the ancient stone sculptures of the Turkic people, stand as silent witnesses to history, culture and tradition. Carved from stone, they have preserved the artistic and religious heritage of the early Turkic tribes, offering a glimpse into their way of life. These weathered monuments, dating back to the early Middle Ages, can still be found scattered across the Kazakh steppe.
Photo credit: Matthias Buehler and David Goetz / flickr.com
They are known by different names—the ancient Turkic term “badiz,” the regional variation “musin,” and the widely recognized “balbal.” From the sacred Orkhon River in Mongolia to the shores of the Caspian Sea, these stone figures, warriors, heroes and giants, remain as testament to a lost era.
Stone witnesses to history
A balbal is a stone sculpture, partially embedded in the ground and shaped to resemble a human figure. Most range from half a meter to a meter in height. One of the first recorded studies of Kazakhstan’s balbals was conducted by archaeologist Alkei Margulan, who described them as part of a larger funerary complex.
Ancient Balbal in the open-air museum in the Kyrgyz Republic. Photo: Marina Pisareva / BigStockPhotoSen
“This complex includes a mausoleum, a burial mound, a pedestal, a slab, a stela and the balbals themselves—ranging from ten to 600 in number. They were often erected in honor of rulers, nobles, and warriors such as kagans, tegin princes and military commanders. However, even ordinary people created balbals as part of traditional mourning and commemoration rituals,” wrote Margulan.
Some balbals feature simple designs—flat bodies with recognizable facial features—while others are intricately carved, depicting figures holding cups, wearing jewelry, or carrying weapons. Experts believe these more elaborate sculptures appeared in later periods.
Balbals are found throughout the Kazakh steppe. In the Karkaraly and Bayanaul mountains, chains of 300 to 350 balbals once stood, emphasizing the authority of the deceased. At the burial sites of Bilge Kagan and Kultigin, rows of balbals stretched for two to three kilometers.
The tradition of stone sculptures evolved over time. Balbals from the sixth to eighth centuries belong to the ancient Turkic period, while those from the ninth to 14th centuries are associated with the Kipchak era. After the Kipchak period, the practice spread westward to the North Caucasus, Russia, Ukraine and the Danube. Over time, the figures’ form changed, leading to the development of tombstone monuments such as the kulpytas, still found in western Kazakhstan. These later structures reflect the influence of Islam.
Mysteries of meaning
Janiya Saktanova, a staff member at the National Historical and Cultural Museum in Turkistan, has observed the visitor’s reactions to the museum’s balbal collection.
“Their faces light up with amazement as if discovering something previously unknown. Many ask: ‘Who do these guardians of the steppe depict? Gods, ordinary people or clan leaders? What do the objects in their hands symbolize? And why were they carved in such great numbers?’” she told The Astana Times.
Archaeologists remain divided on the purpose of balbals and whom they portray. One theory suggests that they represent fallen enemies, placed at the graves of victorious warriors to serve them in the afterlife. The number of balbals surrounding a grave could symbolize the warrior’s prowess and the number of foes defeated. This practice may have also carried a political message, serving as a demonstration of military power.
Another interpretation links balbals to the steppe kagans, reflecting their era of dominance and the hierarchical structure of Turkic society. According to this view, the artistic quality of a balbal indicates the status of the individual it represents—those of noble rank, for example, are often depicted sitting cross-legged or holding a ceremonial cup.
A disappearing legacy
The balbals’ craftsmanship reveals remarkable skill—stylized eyebrows, delicate fingers grasping a vessel, and detailed facial expressions suggest that ancient sculptors sought not only to depict physical likenesses but also to capture the character of the individuals they portrayed. In some cases, the sculptures feature exaggerated proportions, with disproportionately large heads. This reflects Turkic cosmological beliefs, where the head symbolized the sky, the torso represented the earth, and the legs were connected to the underworld.
Despite their historical significance, balbals are vanishing. Many have been stolen, damaged or destroyed. This concern was first raised by Margulan in the mid-20th century, and the issue remains pressing today.
State Counselor Erlan Karin spent five years studying balbals across Mongolia, Russia, the Kyrgyz Republic, China and various regions of Kazakhstan. In his documentary “Balbaltas – From the Orkhon to the Caspian”, he emphasized their enduring message:
“They seem to speak to modern Kazakhs with a simple reminder: ‘Your ancestors lived on this land, and now it is yours to preserve and pass down to future generations.’”
