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.

Dastarkhan

Kyzylorda Regional Museum of History and Local Lore

Dastarkhan – a table with low legs and raised edges of the tabletop was known to many tribes that inhabited the territory of modern Kazakhstan in early historical times: the Saka, Usun, Xiongnu, and ancient Turks. The word dastarkhan comes from the Iranian words dostur – tablecloth, khan – food (N.Zh. Shakhanova). Modern researchers interpret this polysemous word in different ways: not only a table, but also a tablecloth, and actually an attitude towards the world. Usually, a beautifully embroidered tablecloth was used to cover square or round tables, which were 30–35 cm high. However, the surface of the tabletop was often painted with ornaments. For example, there is a well-known colourful floral pattern, gül oyu, on a round tabletop, sketched by E.A. Klodt during an expedition to the Karaganda region in the first third of the 20th century. The tabletops were removable and after the communal meal ceremony they were stored separately. The importance of the dastarkhan in family life is determined by its place in the yurt: the table was located in its sacred centre, next to the hearth, and was a sign of family prosperity.