Mariia Khas

Mariia Khas is a Buryad-Mongol silversmith and the founder of Shuwuu Silver, creating sculptural jewelry that exists somewhere between adornment, armor, and personal talisman. Her work is rooted in Buryad-Mongol culture, Buddhist symbolism, mythology, and traditional ideas of protection.

For Mariia, silver is more than a precious material. In Buryad-Mongol tradition, silver is the white metal — associated with purity, protection, good intentions, and sacred use. Jewelry, amulets, ritual objects, and household pieces were traditionally made from silver because it was believed to protect the person and stay close to the body.

Mariia's path began through self-directed practice and a deep need to work with her hands. Later, she studied traditional chasing in Mongolia under her teacher, where the technique is passed directly from master to student through observation, repetition, and disciplined handwork.

Through Shuwuu Silver, she transforms ancient symbols — protective spirits, animals, ritual forms, armor, and steppe imagery — into contemporary silver objects. Rather than copying the past, she carries its meanings forward, allowing them to change shape and live in the present.

The process

Traditional chasing and hand-forging are central to Mariia's work. Chasing is a slow metalworking technique where the surface is shaped by repeated strikes using hammers and punches. Every mark changes the metal, and every movement requires control, rhythm, pressure, and patience.

Unlike purely decorative surface work, chasing is physical and direct — it keeps the hand visible. Hammer marks, carved lines, patina, irregular surfaces, and the weight of silver become part of the final piece rather than something to hide.

Mariia combines traditional metalworking with contemporary jewelry processes: wax modeling, casting, forging, chasing, engraving, patination, and hand finishing. This mix lets her create pieces that feel both ancient and modern — objects that carry cultural memory, but are made to be worn today.

Her technique is not only about making jewelry look old or symbolic. It is about building objects that feel alive, personal, and protective — pieces that stay close to the body not only as decoration, but as small guardians.