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.

Besik

Willow, traditional manufacturing technique. First half of the 20th century. Sherbakulsky Museum of History and Local Lore • Besik. 18th century. Collection of the Turkestan Regional Museum of History and Local Lore.

Besik is a traditional cradle, whose sacred origins are shrouded in legend. There are strict rules and prohibitions regarding the use of the cradle; for example, one must not rock an empty cradle, or one may be left without children. Ritual celebrations, such as the first time a child is placed in the cradle – “Besik salu” – are held with wishes for the baby’s health and well-being. “The process itself begins with singing: the child’s cradle is the door to the universe (balanyn besigi – ken dunienin esigi, Tole-bi)” (Nurlanova 22). There is a popular belief that trees, as natural apotropaic symbols, protect children’s health from all kinds of everyday misfortunes and calamities. In the folklore studied, “… among all the Turkic-speaking peoples of Siberia, trees feed (give birth to) children; they are a symbol of life and a guarantee of the well-being of the members of the clan” (Oktyabrskaya et al. 32).The cradle was made of meadowsweet, poplar or willow and other hard woods. The cradle had a modular design: the cradle itself or box; legs, sometimes placed on bent wooden slats, allowing the cradle to be rocked; a long handle – belagash, connecting the ends of the cradle. To decorate the cradle, craftsmen used many artistic techniques of woodworking: turning, carving, painting, applying ornaments with benevolent meanings: family tamgas, koshkar muiiz, etc. The importance of the besik symbol to the people is reflected in the profound and apt expression: “El bolamyn deseң besigіңді tүze.” The meaning of the saying is that for the life and development of a prosperous people, it is important to preserve their roots and nurture traditions in new generations.