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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.

Wall alasha carpet, first half of the 20th c.

First half of the 20th century. Karaganda Region. Collection of the Central State Museum of the Republic of Kazakhstan

Wall alasha carpet, first half of the 20th c.

One of the most interesting variants of the tusalasha is an item woven from four strips of white baskur, created using a mixed technique. This combination of weaving techniques gives the surface of the carpet a varied texture and emphasises the graphic nature of the ornament.The composition alternates between wide and narrow strips, creating a clear rhythm and visual order. Against this backdrop unfolds a rich system of traditional patterns: omyrtqa, tumarsha, qanqa, taraq, qosmuyiz, synykmuyiz and others.The semantics of these motifs are deeply rooted in the traditional ornamental system, where omyrtqa (‘spine’) is a symbol of the axis of life, stability and the continuation of the family line; tumarsha is a protective amulet that safeguards the home and family; qanqa (‘skeleton, frame’) is an image of the foundation, internal structure and support; taraq (‘comb’) is a symbol of order, protection and the feminine principle; qosmuyiz (‘paired horn’) – one of the oldest zoomorphic symbols, associated with strength, abundance and prosperity; synyqmuyiz (‘broken horn’) – a variation on the horn motif, lending the ornament a sense of dynamism and complex plasticity.The white background of the baskur enhances the contrast of the patterns, whilst the composition demonstrates a harmonious blend of structural rigour and the decorative richness of Kazakh ornamentation.