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Traditional and contemporary art of Kazakhstan

A Virtual Journey into the World of Kazakhstan’s Artistic Heritage

This Web Gallery presents the diversity of artistic practices in Kazakhstan, reflecting the continuity of cultural traditions and the dynamic development of contemporary creative processes. The virtual exhibition features works based on national images, symbols, and themes, as well as artworks by contemporary artists who reinterpret the country’s cultural heritage through contemporary artistic forms, expressive means, and modern technologies.

The selected works demonstrate the relationship between traditional and contemporary art, revealing the distinctive features of the national worldview, cultural identity, and cultural meanings. The presented materials allow viewers to trace how elements of historical and cultural heritage are reflected in contemporary artistic practice, while maintaining their significance and relevance in an increasingly globalized world.

The Web Gallery is aimed at promoting Kazakhstan’s artistic heritage, expanding public access to works of art, and fostering a lasting interest in national culture and art among a wide audience.

Kus muryn yuzik

West Kazakhstan. Silver, engraving, scan, granulation. A. Kasteyev National Museum of Arts of the Republic of Kazakhstan

Kus muryn yuzik

Ring (juzik), ‘qus muryn’ type (bird-beak-shaped shield) A ring with a developed, elongated shield; it belongs to the category of traditional women’s jewellery of a status-symbol and amulet nature.Silver; hammering, engraving, filigree, granulation. A combined technique was used: relief shaping of the shield followed by the application of filigree decoration.The shank is solid and unbroken, flowing smoothly into a widened shield of a teardrop-shaped, elongated (‘beak-shaped’) form. The shield is raised above the base and features a rim with granulation and a wire border. The central part is slightly recessed, forming a compositional field. The composition is axial, extending along the longitudinal line of the shield. The centre is shifted towards the upper part, where the main decorative elements are concentrated. The framing reinforces the directionality of the form and emphasises the dynamism of the ‘beak’.The decoration is executed in the scani technique incorporating granulation: spiral scrolls, teardrop-shaped elements and pseudo-granulated accents. The ornamentation draws on a zoomorphic interpretation (a stylised ‘beak’ of a bird), which in tradition is associated with protective symbolism and notions of defence and vital energy.