K. Hairullin works with the help of local planes, filling them in saturated clean colors.
By another way rock traditions are represented in painting of A. Sydyhanov, M. Bekeev and A. Esdaulet, interpreting images of petroglyphs in an own unique manner.
M. Bekeev in his work creates mystic characters and plots, carrying likeness with rock images. The loved theme of wandering by M. Bekeev gives a prompt to the artist to choose exactly those characters, which underline connection with sources, and at the same time most clearly corresponds to an artist’s circle of ideas: horse and wagons, and birds.
Symbolics of petroglyphs in works of A. Sydyhanov sounds remotely from archaeological description, originally and organically. The sign painting of artist is conventional, its language aims to expose the concept of object and incarnate an idea.
Pictures of A. Esdaulet are close to archetypes prompted by collective unconscious. The ancient contrasting of powerful animal and vulnerable man prevails in them. Basic difference of Esdaulet’s animals from their rock easy and extended prototypes is heaviness and force.
Among artists, in whose works a traditional culture is individualized, saved in the way of the artistic thinking and shown in composition methods and some elements of symbolics, can be named G. Madanov, A. Bectasov, V. Gvosdev.
Abstract images of A. Bectasov express artist’s inclination to the universal language. An artist directs maximally to get rid of artistic means, and represents his ideas with the help of expressiveness of line as primary natural form. Clearly expressed tier, architectonics, structuralness are traced in works of G.Madanov. An artist bases his works on principles of ancient people’s thought, perceiving the real in hierarchical order.
Work of G.Madanov is a bright example of reflection of mythological conception in the modernized form.
A fine art is that sphere of culture, where spiritual heritage of people finds possibility of existence and development. Absorbing various tendencies and styles, a modern art saves an own spiritual core, foundation of nomads worldview.
CONCLUSION
The study of influence of rock artistic traditions of antiquity and middle ages on development of the Kazakhstan painting in transitional period and in the last decade of independence allowed getting the row of conclusions and results:
- In painting of Kazakhstan ideological-moral priorities and archetypical features of national consciousness are shown up. Tracing a tendency of rock characters applications and methods of their interpretation in modern painting, it is possible to set an undoubted succession with sources of traditional culture. After gaining independence by Kazakhstan, its art appeared before the world as the original, bright phenomenon. In terms of happened transformation of consciousness and threats of globalized mass culture, a question of maintenance of national and cultural identity in a fine art is actual.
- The world-view of modern Turkic people reflects inherited archetypes. The perceived picture of the world is a basis of national culture in its artistic and aesthetic measuring.
- At the end of 1980th - 1990th the change of paradigm promoted transformations of graphic language to the side of metaphorization, symbolizing, convention. Saturated by events Transitional Epoch, left serious changes in area of fine art and extremely influenced on artists’ looks and approaches to the modern painting. In a transitional period full of searches of expressive means and artistic experiments, comprehension of national spiritual culture takes place. Painters come to the reflection of ancient signs, codes and archetypes in their work.
- In the epoch of independence the increasing rates of globalization make actual to address to the spiritual culture, bringing confluence of traditions and innovations to the artistic system. In the conditions of post-modernism artists directed to own interpretation of rock symbolics, using the individual comprehension of traditional culture as a creative method.
Investigated material allows concluding that between a rock fine art and modern painting of Kazakhstan there is a deep connection of succession at the level of world-view and spirituality, which stipulates a basis of traditional culture.