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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.

Prayer rug 20th c.

Collection of the National Museum of the Republic of Kazakhstan. 141-tk. Almaty Region. Silk, cotton, coloured threads, tambour stitch

Жайнамаз – молитвенный коврик ХХ в.

The Jainamaz is made of silk and cotton fabric, decorated with embroidery in coloured threads. The ornament is created using the tambour stitch technique, in which the pattern is formed by chain-like stitches. This technique allows for the creation of smooth contour lines and complex ornamental compositions with a rich decorative effect.The rug’s composition has a clearly defined symmetrical structure. The central part is left relatively open and is intended to accommodate the worshipper during prayer. The ornamental scheme is built around this central zone and includes a wide decorative border around the perimeter, side ornamental panels and an upper compositional section resembling the arched form of a mihrab — a symbolic indication of the direction of prayer. The side panels are decorated with vertical garlands of plant shoots, connected by rhythmically repeating elements. The colour combinations of the piece form a harmonious and rhythmically organised composition.