- көркемдік жүйеге дәстүр мен жаңашылдықты енгізе отырып тәуелсіздік дәуірінде жаһанданудың рухани мәдениетке ғаламданудың өтпелi қарқынының өсуін белсендіреді. Постмодернизм шарттарында суретшiлер жартас символикасының меншiктi интерпретацияларына дәстүрлi мәдениеттiң жеке ойлау шығармашылы әдiс сапасында қолдана отырып көрсетеді.
Зерттелген материал жартас бейнелеу өнерi және қазiргi Қазақстан суретiнiң аралығындағы дәстүрлi мәдениет негiзіне байланыстырылған рухани және дүниетану деңгейдегі бірізділіктің терең байланысы сақталғанын көрсетеді.
FADEEVA OLGA SERGEEVNA
Artistic traditions of rock art of the Bronze Age, Early Iron and Turkic period in the paintings by contemporary artists of Kazakhstan
Summary of the thesis for the academic degree of Master of Art
17.00.04 – Fine and decorative applied arts and architecture
INTRODUCTION
The revitalization of thinking processes of traditional worldview of people has seen in the modern world. The interaction of tradition and professional art forms adequate reality artistic language and largely determines the nature of its specific and current trends.
Actuality of the study. The beginning of the XXI st century in Kazakhstan is marked by a new level of understanding of cultural and spiritual values. In the terms of globalization increasing role of the preservation of traditional values and self-identity of the Kazakh national culture is an important and urgent task. Activation of the spiritual life stimulates the increasing interest to the past, makes us look for a language adequate to its history in the context of total history.
The Art of Central Asia is rich in experiences of various trends and influences, but nevertheless, according to the expression of N. Akhmedova, is independently evolving system, self-enough and accumulating everything new [1, p.19]. At the present stage there is a need to analyze the specifics of the formation and character of development of painting in Kazakhstan. Contemporary art of Kazakhstan is in the search of identity, which is a complex process that requires several problems solving. In the preservation of cultural identity and finding its own niche in the global system the meaning of fine art is evident. The fine art is an area where the spiritual heritage of people finds an opportunity for further development. Artists and explores’interest to historical roots was widespread in recent years.
The need to preserve cultural traditions in an open world puts the problem of finding a new artistic language on the base of artistic traditions of antiquity. Number of studies devoted to the rock art traditions in Kazakhstani painting in the period of independence is insufficient. Currently, the artistic traditions of rock engravings in the painting of the Kazakhstani artists of the early of the XXI st century have not been the subject of detailed scientific analysis yet.
Object of the study. Painting of Kazakhstan after gaining of Independence by the state and the first decade of the XXI st century.
Subject of the study. Interpretation of artistic images of petroglyphs from the Bronze Age, Early Iron Age and the Turkic period in the works of contemporary painters of Kazakhstan in the beginning of the XXI st century.
The aim of the study. To explore methods and directions of interpretation of artistic images of rock prints in the works of contemporary artists.
Research objectives:
- to reveal the artistic traditions and stylistic peculiarities of the rock art of the Bronze Age, Early Iron Age and the Turkic period;
- to review the work of contemporary painters of Kazakhstan, using rock art images.
Degree of scrutiny. The range of literature related to different areas of scientific knowledge is defined by the theme of the thesis. Sources of our research conventionally can be divided into three main groups: the works of archaeologists and historians, studying the monuments of rock art; the study, which examined the emergence and development of Kazakhstani easel painting: study devoted to an issue of forming a new artistic language following the gaining of Independence by the State.
1. Archaeological studies of rock engravings from the Bronze Age, Early Iron Age and Turkic period in the territory of Kazakhstan.
Of particular importance to this thesis work were the works of domestic and foreign archaeologists, describing and systematizing rock art sites in the territory of Kazakhstan: A. Maximova, A. Medoev, M. Kadyrbaev, A. Ermolaeva, A. Maryasheva, A. Rogozhinsky, K. Baypakov, Z. Samashev, Ya. Sher, V. Zheleznyakov, V. Novozhenov. Large amount of archeological material relating to ancient rites and beliefs is described in E.-O. James’s work. The history of emergency and state of Indo-European tribes of andronovs in the territory of Kazakhstan are highlighted in the books of E. E Kuzmina, S. Klyashtorny and T. Sultanov.
2. Studies on the formation and development of Kazakh easel painting before gaining of Independence by the State. Starting with pre-war period, the Kazakh easel painting was first studied and systematized in the works of B.Veirmarn, A.Kanapin and L.Varshavski, O.Dzhusupova, I. Rybakova, M. Gabitova, G. Sarykulova, E. Mikulskaya. Their works reflect the questions of formation of picturesque expression means and characterize the work of many prominent artists of Kazakhstan.
3. Works covering the questions of artistic language formation in the modern Kazakh painting after gaining of Independence by the State.
In the early 90-s with the proclamation of the Republic's Independence the splash of creative individualism, the emergence of many different styles and manners, the appearance of new artistic expression means were seen. The work of artists for whom the idea of national self- identity became the priority aroused the interest of several authors: R. Ergalieva, A. Jusupova, B. Barmankulova, R. Kopbosinova, H. Truspecova, K. Li, A. Dzhadaibaev, V. Ibraeva, Z. Sydyhanova, Zh.Tanieva.
Also philosophy research topics of G. Shalabaeva contributed to the development of this theme: “Kazakhstan: from ancient civilizations to modern times” [2], “Culture: between chaos and order” etc.
Special attention deserves the article of N. Ahmedova “Art of Central Asia and the world cultural space (some of the geopolitical and outlook aspects)” [1].
The article of R. Kopbosinova “Kazakhstan Arts” is directly relevant to this study [3].
Some issues of postmodernism in the CIS countries are shown in articles by A. Genis [4] and M. Herman [5]. The problem of traditionalism and cultural marginality are discussed in the article by A. Naurzbayeva “Search for archetypes or demythologization of consciousness” [6].
Methodological foundation for research is based on a number of general theoretical works in the field of Art: U. Lotman [7], A. Banfi [8], A. Losev [9].
Philosophical and psychological aspects of a researched problem are identified in the papers of K.G. Jung [10] and Z. Freud.
Thesis research was conducted using an integrated approach, within which were the following methods:
- cultural-historical method, which allowed to reveal main stages in the development of painting;
- comparative-confrontative method conducing to art analysis conduct.
- historical-typological method, by which archaic stylistic features of petroglyphs have been identified and their place and role in picturesque works of modern Kazakhstan have been determined.
- method of description and formal analysis, which enabled to analyze the works of a number of Kazakhstani artists who used traditions of rock art in order to identify traditions’ influence on the contemporary art of Kazakhstan.
Scientific novelty of study. The study attempted to review trends in the development of professional painting in Kazakhstan from the transition period to the present. In the thesis research the peculiarities of using of art tradition of the Bronze Age, Iron Early Age and the Turkic period in the picturesque works of Kazakhstan's Independence period have been identified. The thesis, first time, gives a detailed art analysis of paintings of the last decade of Independence, turned to the style of ancient and medieval art of Kazakhstan and reveals the methods and directions of interpretation of artistic images of rock engravings in the works of contemporary artists.
Theoretical and practical significance. The results of dissertation research can be used in educational-theoretical courses on the fine art of Kazakhstan, at preparation of train and methodical aids in higher and middle educational establishments of artistic and humanitarian profile. Some conclusions are expounded in the publications of materials of inter-universities scientific conferences.
Approbation of the research. Some results of the research are presented in articles of international and republic-wide scientific and practical conferences.
Structure of the thesis consists of an introduction, two sections, a conclusion, a list of used sources and two appendixes. The amount of text is 65 pages, bibliography contains 103 items, in Appendix A 8 black and white illustrations, in Appendix B – 12 color reproductions are used.
CONTENT OF WORK
In introduction is given the ground of actuality of researched theme and her scientific novelty; an aim, tasks, object and subject of research is determined; the state of scientific working out of problem is characterized, the methodological base of research is set.
The first section “Expressive means of rock art of the Bronze Age, Early Iron Age and Turkic period on territory of Kazakhstan” is devoted to study and identification of specific features of the Kazakh petroglyphs. In the section the most important monuments of rock art of Kazakhstan are classified, the circle of plots and characters, most steady groups of images are determined, their relationship with the religious-ideological system of the ancients is revealed and a stylistic analysis is conducted. The special attention in subdivision is paid to the specific features of rock pictures of cultural - historical regions of Seven Rivers (Semirechye). Every epoch is examined in the context of succession in the technique of implementation, composition, reflection of mythological conception.
The first subsection “Epoch of bronze” characterizes the repertoire of petroglyphs, closely associated with the cult of Miter and accompanying its cults of bull and fertility. The circle of plots and characters of that time interlaced with ancient Aryan texts. Mythological ideas are expressed in putting images of solar deities, signs, numerous animals, marriage pairs and women giving births. The basic group of petroglyphs of Western Semirechya possesses specific features, allowing to single them out into the so-called tamgaly tradition. The brightest monuments of rock art of epoch of bronze on territory of Kazakhstan are Tamgaly, Eshkiolmes, Sholak etc.
The second subsection “Epoch of Early Iron” examined saka rock arts showing by itself a synthesis inherited from andronovs artistic techniques with influence of graphic tradition of Front Asia. Characters in works of saka feral style are built on a certain canon with distribution of signs corresponding to the types of animals. General thing in petroglyphs of periods of bronze and early iron is an interpretation of animals’ pictures: expression of pose, outline of feet and horns. The plots adopted from the Iranian art undergone certain stylistic remaking at saka tribes. The most characteristic and constant image of Saka art is the deer. Early originated in Eurasia cult of nature with its idea of cycling and plant starting, resulted in the image of the tree of life and a three-tier structure of the world. Exactly in petroglyphs ungulates image (especially deer) with horns-trees is more often seen.
The third paragraph “Turkic period” observes the circle of The Middle Age plots, which become simpler and was executed in the laconic style. In the Turkic era warrior cult claims new aesthetic principles. Most of the former beliefs extinguished and the dominant way of rock art is equestrian rider. A special expressiveness of petroglyphs of previous eras in the Turkic period disappeared, replaced by schematic enough drawings of soldiers, standard-bearers, archers, fight scenes, and hunting. Most of palimpsests, which may not be deprived of ideological background but show tactful attitude, belong to the Turkic period. The most studied images of Turkic-time are shown by monuments ridge Karatau, Tamgaly, Bayan-Zhurek etc.
In the final subsection “Techniques of execution and composition”, applying methods of petroglyphs in various historical periods and features of the compositional structure are determined.
In ancient cultures, art had an entirely different meaning and purpose, rather than in the modern world. Fine art was an instrument of expression of ideological and aesthetic foundations of the ancient complex outlook. Meaning of rock image was inseparable from the natural landscape features, and the meaning of natural objects was supplemented by the content of petroglyphs. Choosing the rocky gorges for the pictures printing was not accidental: nearby springs or rivers, the height of the sites (high Asy and Aksu Dzhabagly) is elevated to the sacred. A single stable model of the universe of ancient people lined up on the basis of nature deification.
The second section “The artistic traditions of rock art in the works of contemporary artists” examines the traditional interpretation of the archetypes, images and plots of rock art on modern art of Kazakhstan.
In the first subdivision, “The new artistic reference points in painting of the end of 1980-1990 th of XX c.” work of painters of Kazakhstan is analyzed from the transitional period to the end of 1990 th. With proclamation of independence, the noticeable transformations in painting of Kazakhstan artists happened, foremost related with intensifying of creative individualism. The artistic methods of reflection of reality enter into the difficult process of search of national and cultural identity. In search of adequate to new reality artistic language painters are directed to spiritual heritage of ancient people. A cosmogony symbolism, plots and images of the rock engraving had influence on a number of artists of the end of 1980th and subsequent decades: A. Sydyhanov, A. Akanaev, N. Bube, A. Esdaulet, G. Маdanov, K. Hairullin, A. Bectasov, M. Bekeev, V. Gvozdev, A. Аhat.
In the second subdivision “Painting of Kazakhstan of the second decade of independence”, the modern state of painting is estimated from the point of view of addressing to rock artistic traditions. In work of the Kazakhstan painters in the context of interpretation of rock images, three most preferred methods are come to light. First, it is painters, as a rule, quoting petroglyphs: A. Akanaev, N. Bube, K. Hairullin, and A. Аhat. These artists, possessing bright originality of manner of painting and applying the different techniques of it, use rock images, saving its originality and knowableness.
A. Akanaev lays the thick layers of paints, giving a volume and relief to the images.
In works of N. Bube pictures of petroglypshs are, mostly, the method of decorating of background, giving to composition the special semantic loading: connection of generations and indissolubility with sources. Numerous rock figures fill free space of canvas, strengthening their decorative effect.
А. Ahat creating the whole series of works with motives of petroglyphs, writes with bright color spots and delicate contour lines. A color becomes main thing in his interpretation of rock art.