Prehistoric gems
The earliest forms of expression in Kazakhstan date back to the Palaeolithic period. The earliest animal silhouettes incised in rock were discovered in the Hantau and Karatau mountains. Later petroglyphs from the Neolithic and Bronze Ages are concentrated in the caves of Bayanaulsky (Pavlodar province) and Tamagaly. These walls depict elks, lions, a bow-wielding hunter and an ox dragging a cart. On the north shore of Lake Balkhash, human figures confront each other in a sword duel. These representations are invaluable for giving us an insight into the customs of ancient tribes.
170 km north-west of Almaty, the Anrakai mountains are home to the Tamgaly site, a UNESCO World Heritage Site. The site boasts an exceptional concentration of engravings. No fewer than 5,000 petroglyphs have been counted over 900 hectares. They have been dated over a vast period ranging from the 2nd millennium BC to the 20th century. Large incised figures, solar deities, hunting scenes, ritual dances, daily chores, animals... the most common motifs are horses and deer, symbols of power and beauty. The use of animal skins and the proximity of funerary sites lead us to associate them with rituals. This site offers a rich catalog of the evolution of the beliefs of the peoples of the Central Asian steppes.
In the first millennium BC, the Saka tribes produced an art form that laid the foundations of Scythian culture. The most famous Saka creation is known as the Golden Man. Clad in gold-coated armor, boots and helmet, the Golden Man was the product of admirable craftsmanship. Found at the Issyk Kurgan burial site, a copy can be seen at the Kazakh Museum of Archaeology in Almaty city. A symbol of the country's heritage, the original has been encased in a time capsule for preservation.
Medieval period
In the Middle Ages, the Silk Road trade route enriched the culture of the populations it passed through. New techniques were introduced. Several towns, including Isfijab, Yangikent and Kulan, became important commercial centers, forming a bridge between East and West. In the medieval era, cultural activity was concentrated in Otrar, Taraz, Balasagun, Sygnak and Sauran. This was the time of the mausoleums: Kozy-Korpesh and Bayan-Slu (8th-10th centuries), Alash-khan (12th-14th centuries), Dzhuchi-khan (13th century). Under Islamic influence, monuments were adorned with white and blue mosaics, chiselled motifs, Arabic inscriptions and painted majolica.
The rise of ornate tapestry and pottery marks the Middle Ages in Kazakhstan. Household carpets were both decorative and protective. Among the most common figurative motifs are folkloric scenes, hunting, birds and, of course, the horse, revered as essential for travel and fighting. Sacrificed to the gods, horses were buried with warriors.
The birth of painting
The nomadic lifestyle hindered the development of painting on canvas. But the collapse of nomadic culture and the Soviet revolution coincided with the discovery of Russian art in these lands. In Kazakhstan, fine art in the classical sense had its origins in the 19th century, under the impetus of Russian painters Vasily Verechtchagin (1842-1904) and Nikolai Khloudov (1850-1935). These artists traveled throughout Central Asia, painting what they saw. Everyday scenes, wars, landscapes and monuments are depicted using European techniques. Vershchagin then settled in Munich, where he painted numerous war scenes with the breathtaking dramatic flair for which he is renowned. Arriving in Kazakhstan in 1877, Nikolai Khloudov taught art to the first Kazakh painters, developing a local artistic school. A room is dedicated to him at the Central State Museum of Kazakhstan in Almaty. His most famous pupil, the Soviet-Kazakh painter Abylkhan Kasteyev (1904-1973), was awarded numerous national prizes. The first professional painter, Kasteyev added creativity to Khloudov's realism. He depicts landscapes, traditions and people with an almost naive freedom. In 2014, the Home Museum of Abylkhan Kasteyev opened in Almaty.
Sergey Kalmykov (1891-1967) studied architecture, painting and sculpture in Moscow. Invited in 1935 to paint the set of the Almaty theater, the man nicknamed the Eccentric brought the avant-garde, and a strong spirit of freedom underpinned by his theories on creation.
Art school and severe style
After the emergence of painting in the 1920s and 1930s, the 1950s were marked by the Soviet academic school. This evolved into the "severe style" of Soviet art in the 1960s. Born in the wake of Stalin's death, this style is characterized by freedom of treatment and a preference for realism over idealism. The next two decades saw the emergence of the "performance school".
In the 1950s, young Kazakh painters studied art in Moscow and Leningrad. Immersed in Soviet culture, they learned to produce art that was nationalist in form and socialist in content. Narrative scenes depict a rural life filled with nostalgia, glorifying the golden age of old values.
The major artists were Aitbaev, Mambayev, Tansykbaev, Shardenov and Telzhanov in painting, and Nauryzbaeva and Sergebaeva in sculpture.
A modern twist
In the 1960s, artists tried bold explorations. Their rejection of academic norms aroused the indignation of their elders. As the Iron Curtain withered away, they caught a glimpse of the pictorial revolutions shaking the West, such as Italian Futurism, Matisse and Fauvism.
At the end of the 1980s, with the fall of the Iron Curtain, an avant-garde began to take shape. Established codes were challenged. The first art exhibition to incorporate "forbidden ideas" took place in 1988. The event showed a wide variety of directions in innovative practices. Art was imbued with psychology (Tulkeyev), mysticism (Sydykhanov), and the styles of Picasso (Akanaeva). At the same time, traditional and decorative arts were being revitalized. This can be seen in all the local schools, as well as in the work of Menlibayev and Ghazaryan.
The history of the visual arts is traced at the Abylkhan Kasteyev State Art Museum in Almaty, founded from the collections of the Shevchenko Kazakh State Gallery. Also worth discovering is the sculptor Isaak Itkind, a creative genius hailed for his approach to wood by his friend Marc Chagall.
Contemporary art takes pride of place in this museum, the largest in the country.
Independence
Kazakhstan's declaration of independence was signed on December 16, 1991. The changes were felt in all areas. The country opened up to diplomatic missions, to foreign companies offering their patronage of cultural events, and consequently to international buyers. To cater to this young market, art galleries opened one after the other. In 1995, the "Parade des galeries" event was launched. Every year since then, galleries have exhibited a selection of their discoveries over the course of a few days. A healthy emulation that feeds young artists.
From then on, artists have a place to show their work, and receive commissions. Recognition was not long in coming for Akzhana Abdalieva, Maksim Vedernikov, Dinara Dukenbayeva and Carmine Barbaro, among others.
Today in Almaty, the Aspan Gallery promotes contemporary artists under the leadership of Merouert Kalieva.
Mythological symbolism is the dominant trend of the early 21st century.
Photography
Kazakhstan's natural splendors are an inexhaustible source of inspiration for photographers. In this context, it's not surprising that complex personalities share their singular view of their country.
Among his many talents, Sergey Khodanov devotes himself to street photography. He celebrates urban centers, telling as many stories and facets of the city as he encounters individuals. Instead of analyzing Almaty, Khodanov transmits snapshots to better appreciate it.
Sanat Ongarbaev immortalizes vast expanses, abandoned places, but also scenes taken on the spot showing marginalized people such as a hermit, workers and circus performers. Everywhere, he finds beauty and draws attention to those forgotten by society.
Based in Almaty, Leila Turlybekova uses her camera to capture scenes of everyday life, stolen moments, whether in transport, on the street or in sports halls. Through her social approach, she raises awareness of mental health and immigration issues.
Through her work as a photographer and performer, Irina Dmitrovskaya is interested in the notion of gender, equality and identity. In 2017, she received the Qazphoto Award for best portrait.
Street art
Urban art is celebrated every year at the Mural Fest Almaty.
Throughout the year, numerous murals can be admired in the city's streets. Don't miss the long, colorful fresco by Tanai and Zakir Ali of the Tigrohaud Crew, on the façade of the Almaty Gallery (Dostyk Avenue 44). Their style openly pays homage to Matisse.
Committed street art is asserting itself in Kazakhstan. A veritable wall war pits the government against a group of activist visual artists. The latter are opposed to the influence of Nursultan Nazarbayev, and to the orchestration of his succession, embodied by the appointment of Tokayev, after his departure from the government in 2019. The population's fears are reflected in works of art widely circulated on social networks. Some have even gone viral.
At the intersection of Zharokov and Mynbayev streets, stylized portraits of Nazarbayev are enhanced with satirical details. No sooner had the walls been cleaned by the authorities than other caricatures appeared. Nazarbayev reappeared with nicknames such as the number "01", or the ironic Forever Young, in reference to his longevity in power. Far from running out of steam, this game of hide-and-seek boosts the imagination of young artists. Led by the "Qazaq Koktemi" (Kazakh Spring) movement, they won't give up until their enemy fades away.
