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.

Syqyrlauyq

Private collection of S. Bashirov • Yurt door. Private collection of S. Bashirov • The door of a yurt – sykyrlaryk (interior view)

Sykyrlauyk is a double door for a yurt, most often decorated with carvings or paintings, bone inlays, and sometimes with different decorative techniques on both the inside and outside. The decoration of the doors is often determined by the rectangular shapes of the panels, which become a kind of background for ornamental compositions. The name of the door, sykyrlaik, translates as “creaky”. The craftsmen used oak, pine and other woods to make the doors. The multi-layered symbolism of the yurt door ornamentation reflects both Islamic and historical pre-Islamic folk sacred beliefs (Zoroastrianism, Tengriism, etc.). First and foremost, the door is a significant secret symbol of the separation of the inner world from the outer world, and the door ornamentation served a magical protective function. There is a great variety of sykyrlauykornamental compositions: simple blind panels; balusters made on a lathe were independent elements or combined with decorative motifs of contour or flat relief carving and painting, which were arranged in a straight or mesh pattern, or as medallions in the centre of the door composition. Plant motifs – trefoils – ush zhapyrak, palmettes, gul oyu – floral variations; vortex rosettes; geometric motifs – triangles, circles and other figures had complex worldview meanings. E.A. Masanov noted that the colour ornamental design, as well as the use of bone for the decoration of syqyrlau among the Turkic peoples of Central Asia, is more characteristic of the Kazakhs (Masanov 39). The doors were typically painted in red, blue, green and yellow, which had semantic meanings: red symbolised the sun, blue symbolised the sky, and green and yellow symbolised nature.