CC BY
13
Study of art HcKyccTBOBegeHMe
UDC 7.036.1 DOI: 10.29013/AJH-20-11.12-3-8
S. M. KRYKBAYEVA G. A. ABDURAKHMANOVA1, Z. M. ERMAGANBETOVA 2
1 Kazakh National Women's Teacher Training University
2 Тeacher, Palace of Schoolchildren named after Al-Farabi
CONTENT ARCHETYPES AND IMAGES IN THE WORKS OF SURREALISTS ARTISTS OF MODERN KAZAKHSTAN
Abstract
Objective: analysis of artistic images and archetypes that define Kazakh national traditions in the work of contemporary Kazakh surrealist artists.
The research methodology assumes the unity of such methodological approaches as cultural-philosophical, comparative analysis method, and generalization method.
Results: A scientific and artistic analysis of the works of contemporary Kazakhstani surrealist artists has been carried out. Almost all the works of the surrealists are aimed at revealing the deepest secrets of the human soul. They shook everyone's inner self and allowed them to look their fears and ghosts straight in the eye. This is one of the reasons why interest in the work of the surrealists is still growing. In the era of modern globalization, when the country seeks to rethink its original culture and form a national idea and ideology, one of the most pressing problems of the modern era is the study of the origins and nature of our national traditional art.
Scientific novelty lies in the fact that the concept of "surrealism" is represented to the beyond, located somewhere in the deepest layers of the unconscious of each individual, as "a universal feature that permeates all that exists and exists before the appearance of humanity. The important structural features of the concepts "shanyrak", "mazar", "balbal" in traditional art in relation to Kazakh culture are analyzed.
Practical significance: the main results and conclusions of the paper can be in lecture materials, at seminars and practical exercises in higher humanitarian educational institutions.
Keywords: art criticism, archetypes, symbolism, tradition, culture, image, surrealism.
For citation: Krykbayeva S.M., Abdurakhmanova G.A., Ermaganbetova Z.M. Content archetypes and images in the works of surrealists artists of modern Kazakhstan// Austrian Journal of Humanities and Social Sciences, 2020, No. 11-12. - P. 3-8. DOI: https://doi.org/10.29013/AJH-20-11.12-3-8
Introduction. The name of the avant-garde move- century, surrealism comes from the French word «surment in art and literature of the first half of the twentieth réalisme », which literally means over or over realism.
It appeared in the 20s of the last century in France. Initially, this direction appeared in literature, later it covered painting, sculpture and other forms of art. The goal of the followers of the ideas of surrealism was to create completely new sets of images by completely freeing the deep forces of their subconscious.
Surrealism, as an artistic movement in philosophy and art, has aroused great interest in society since its inception, and such interest was primarily related to the topics raised by surrealists. Philosophy, art or the real sciences: life, death, time, memory, war, love — these topics are always relevant for all areas of humanity and worldview. Therefore, a lot of scientific and artistic research has been devoted to the direction of surrealism and the works and works of its representatives. It is true that Surrealism has had a great impact on the development of world culture and art, as well as scientific art criticism of this phenomenon in art has undoubtedly contributed to the formation of artistic tastes of the new wave of artists. Today, the work of young and talented artists is combined with modern painting and traditional classical art. In recent years, new artistic forms and genres have emerged, a high level of aesthetic language, including modern methods, national traditions and views, and modern artistic styles, including approaches to the aesthetics of surrealism [1, p. 247-252].
For the first time, an attempt is made to present the connection between science and art through surrealism. It is shown that it is the super-reality that is the product of genius — the concept of the eternal, like the universe itself, and genius is the connecting link between the superreal and objective reality. A genius person is a gift of the super-real, and no scientist is capable of creating a genius or establishing a clear classification of a genius person.
Modern trends in Kazakhstan's painting expand the range of themes, enrich the artistic language, contribute to the search for national values and spirituality, and today have opened new directions based on the national worldview, forming a language different from the language of art of other nations. In modern painting, national themes, traditional customs, concepts and myths are formulated in a new way. Modern painting in Kazakhstan differs from modern European art in the development of methods inherited from traditional painting in new ways, in the creative freedom achieved during the years of independence, and in a wide range of directions and quests based on national traditions and world contemporary art.
The basis of the deep and unique phenomena in the fine arts of Kazakhstan is accumulated in the ethnocul-ture of the nation, that is, it arises from the traditional historical worldview of the Kazakh people. The original idea and stable core of the Kazakh culture, which has survived to this day, and the influence of national identity and national consciousness, which is the basis of spirituality, have become an influential source of guidance and spiritual culture for modern art.
Consideration of the native culture of the peoples of the world, including the fine arts, which have formed into an ethnos to this day, through the own worldview of those ethnic groups, determines their archetype. Archetype means «argy tup» in the Kazakh language. The archetype is reflected in the worldview and mythology of each nation. The plot line of mythology, the similarity of themes and ideas in different peoples is its universality, and the difference is its uniqueness. For example, the main concept in the fine arts of the ethnic groups living in the mountains is the height, while in coastal countries the main theme is the abyss. And the main world outlook of the Kazakh people living in the vast steppe is closely connected with space. According to the well-known art critic Raikhan Ergaliyeva, the original images recognized as archetypes in the fine arts can be divided into three groups:
1. Universal-continuum (space, being, space, time, etc.)
2. Anthropological and axiological (life, life, traditions, national values, etc.)
3. Mythological-theological (mythical cognition, the first religious
beliefs, religion) [2, p. 182].
Speaking of archetypal features of the Kazakh national worldview, first of all, the original images of the Kazakh national culture are «Space», «Steppe», «Road», «Mother Earth», «Tengri», «Ru and tribe», «Moon and Sun»». Second, the national way of life, arising from the peculiarities of life, migration, animal husbandry, hunting, customs, traditions, household appliances, especially the shanyrak, had an archetypal character. Thirdly, the nature of the world, the forces of nature, the mysteries of nature, and religious beliefs are rooted in ancient mythological beliefs and are intertwined with the worship of deities, the heavens, the sun, and fire, and Islam. However, in the Kazakh national culture, the archetypal images of these three groups are often reflected in the form of images that are permanently connected with each other.
Let's take an ordinary Kazakh yurt as an example. Today, researchers of the national worldview say that the yurt is a simple model of the nature of the world in terms of cognition. The fact that the house is spherical and the roof is circular is a symbolic symbol. And when the Kazakh people had a great respect for the shanyrak, it was probably a sign of worship of the Sun. Therefore, the frequent appearance of the image of the shanyrak in the works of Kazakh artists can be explained by the fact that before the beauty of appearance and everyday necessities depict the archetypes of the ancient worldview.
Shanyrak, tundyuk, toono (Bashk. Sagyra"K; Chuv shanarka, Kazakh shanyrak, Kyrgyz tunduk, Bur., Mong. Toono) — a structural element crowning the dome of the yurt in the form of a lattice cross inscribed in a circle. Shanyrak is of great symbolic significance for Kazakhs. It is a symbol of home, home, procreation, so it is no coincidence that the shanyrak is depicted on the emblem ofmodern Kazakhstan. Shanyrak was a family heirloom, passed down from generation to generation, the kara shanyrak of his father's yurt was revered by his sons as a shrine. In serious cases, the Kazakh swore, looking at the shanyrak [3, p. 234-229].
And now, the comparison of shanyrak and the sun in modern Kazakh art is a clear manifestation of the recognition of these archetypes. For example, the comparison of the Kazakh yurt with the surrounding world in the work of the artist Kulbay Aitbai «Bereke-Birlik» is an example of a comparison of its real and symbolic appearance. One of the clearest manifestations of the archetypal image of sun worship in modern art is the image of the «Sun» on national flag of the Republic of Kazakhstan. The reason why it is supported in the public aesthetic consciousness and meets modern tastes and requirements is that the permanent signs are reflected in the collective unconscious. One of the most revered archetypes of the Kazakh people, along with the Sun, is the Moon. It is usually a symbol of unattainable, flawless, pure and proud beauty. In Kazakh mythology, the nature of the world consists of three parts: the sky, the earth's surface and the underworld. As a rule, the sky is the abode of good, the subsoil is the abode of evil, and the earth is the abode of the two. Guzybek Akpanbek, an artist who has analyzed this archetype, believes that another common archetypal image is a bird sitting on the right hand of an ordinary balbal stone — the Sky, a bowl in his left hand — Water or Underground, and the man in the image of a balbal — a symbol of life on Earth. In addition,
the equations «Blue — Father» and «Earth—Mother» have a special place in nomadic culture. One of the main archetypes of Kazakh art is the theme of heroism in the protection of the Motherland from the evil enemies of the sky [4, p.215].
One of the most common permanent personal images in modern Kazakh fine arts is the Mother Archetype. In the Kazakh sense, the concept of «Mother» is a very sacred and sacred concept. Therefore, its anthropological image was transformed into a theological version and became clear in the form of Umai-ana. Umai was the goddess of the Mother Earth, the benefactor of the Kazakhs, the patron saint of procreation in the mythology of the ancient Turkic peoples, the goddess of abundance. Transformed into the position of «Mother Nature» in the modern archetypal view, taking its archetypal initiative as a protector and patron of fire from such equations as «Earth — Mother, Heaven — Father». Therefore, the image of Mother, which began with Umai Ana, has become a symbol of respect for women and mothers in modern Kazakh art. For example, the image of the mother in the painting «Domalak Ana» by the artist Baseback Akanaev is similar to the image of Umai ana, the guardian of the Kazakh hearth and its strength, the patron saint of the young mother [5, p. 488]. One of the anthropologically and axiologically stable features is the traditions of life, ie the principles of customs and traditions. This is the archetype that is often seen in the desire to return to our modern national spiritual identity and revive it. The theme of most Kazakh artists is connected with this archetype. The issue of Death and Life in the traditional Kazakh worldview is one of the constant themes in modern art. It is natural that this process, which is more stable than the public consciousness and the unconscious, has a clearer place than art [6, p. 496].
In the works of Kazakh artists, death is depicted not through human corpses, but mostly through mazars and balbal stones.
Mazar (arab.— a place of pilgrimage, worship), for Muslims a religious building over the tombs of saints. The tradition of building mazars has long been widespread in the Muslim countries of the Middle East, Central, South and Southeast Asia [7, p.548]. Mazars are the most outstanding monuments of our glorious history, our instructive stones from the past.
Balbal is a monument in the form of a man carved from a stone, which is often found in the ancient Turkic era. The word balbal consists of two words: bal + bal,
which means «beat», «forging». But this concept has a common meaning. In the opinion of Turkologists, this means «signs fixed to the stone. «Ethnocultural customs of Balbala were unique in the ancient Turkic period (VI-IX centuries). Balbal is one of the most semantically significant components of ritual complexes dedicated to the ghost of the troupe. Their construction is a way to honor the memory of the dead and raise the monument [8].
A steppe sculpture carved out of balbal stone, which is a ghost or a witness to history, is a monumental image that is often found in the works of Kazakh artists of all periods. The image of the balbal stone is a symbolic image of the ancestral spirit, and sometimes even perceived as a canon that characterizes the «Kazakh spirit» of the steppe, glorifying the inseparable image and true picture of the Kazakh Sahara. Therefore, its transformation into a stable and unchanging canon in traditional art is evidenced by the transformation of archaic sculpture into modern art.
In terms of the development of national trends in painting and conceptual art, the genre, stylistic positions and original authorial aspirations of modern art in Kazakhstan are of particular interest to the traditions of ancient nomads, which defines painting as a new segment of visual culture conveying philosophical and poetic ideas. This artistic direction includes the connection between realistic and surrealist tendencies and nomadic archaics, European modernism and postmodernism. Especially of great interest are the creative pursuits ofE. To-lepbay, B. Tulkiev, A. Kazgulov, which define the emotional freedom achieved by overcoming internal obstacles and liberation from the harsh regimes and pressures of antiquity, whose work is based on traditional mythology, ancestral heritage, nomadic tribes, man, nature and space. It is based on the worldview of communication and reflects on the past. Kazakh artists gradually began to move to the language of abstraction and symbols, stylistically changing them. The work of A. Zhantasov, E. Zhumanov, Zh. Kairambaev, A. Begalin, which touches on topical issues related to the moral and ethical issues of modern society and ecology, stands out with its unique artistic style and spiritual and philosophical depth, derived from the aesthetics of surrealism.
Continuity in the art of the XXI century has opened up many opportunities for creative pursuits. Today, modern artists have mastered many styles and techniques of execution and are exploring new methods through various experiments, complicating the language of modern
painting and creating and developing traditional and non-traditional styles typical of the postmodern era in modern art using a variety of visual materials. Different artistic principles began to appear in Kazakhstani painting, for example, in the works of B. Tulkeev very complex psychological themes, the works of E. Zhumanov — mystical visual compositions, the compositions of Zh. Kai-rambaev are full of improvisation, the works of A. Zhan-tasov are characterized by chaotic visual solutions. E. Tolepbay's painting consists of expressive formalism, which reflects the inner forces of nature and the human soul through artistic and plastic forms. Almost all of these artists still make disciples and directly contribute to the formation of artistic taste and aesthetic vision of the new generation of Kazakh artists.
Serik Tainov, a graphic artist and master of the brush, who was at the forefront of Kazakhstan's surrealism and is currently writing works in the field of mystical realism. The main themes in the work of the artist Serik Tainov are steppe motifs, beautiful landscapes of our vast land, the image of the galloping Tulpar, which is an archetype in Kazakh art, the aesthetics of ancient jewelry, handicrafts, fairs and the simple life of ordinary people engaged in animal husbandry. dedicated to customs, traditions and history. Serik Tainov connects the fantastic plots in his paintings with the colorful scenes of the native land and vivid memories of his childhood. The author's works consist of phantasmagoric images, surrealistic motifs. For example, in the painting «Seven Treasures» Serik Tainov depicts a Kazakh girl who combines beauty and decency, shyness, a sable and an eagle, which have long been the main attributes of hunting culture, a horse revered by the Kazakh people, and a book with a weapon on his shoulder.
The main character is a Kazakh guy. These are the true values of people, and the artist shares the idea that these values should not be forgotten in each of his paintings. The ancient wisdom that «there can be no future for a nation that rejects history» is used by the artist as the credo of the beginning of his work. Another bright representative of modern Kazakh painting is Bolat Tur-gunbay. Metaphysical images in the artist's works are concentrated in the «unreal» surreal space, depicting such images, the artist seeks answers to spiritual and philosophical questions that have always been important for mankind. According to the artist, humanity is an integral part of space. Bolat Turgunbay called his direction in fine arts «Sana art» because of the central theme ofhis work.
The theme of space and cosmic consciousness in the artist's work occupies a special place in a number of works, meaningfully enriching each other due to conceptual ideas reflecting the results of the work of recent years. If you look closely at paintings with various geometric shapes, you can immediately notice that Bolat Turgun-bai pays special attention to bright red, green, bright and vibrant colors. This may not be a coincidence. For example, an artist looking at space and the Earth as a whole wants to convince people who are constantly looking for their place in life that the network of millions of roads in endless space depends on the light inside them depicts a positive mood. The palette of warm colors evokes feelings of joy and wisdom in the heart. Light color is the color of kindness, kindness, joy. This is proof that the artist keeps away from aggression and evil. Any of these works is a metaphor for the assumption that if man and nature were in harmony, human civilization would flourish. He believed that ifhuman consciousness were to coexist with the laws of space, human civilization would be free from gross errors and would be able to open the door to great changes.
Conclusion. It is obvious that modern Kazakh art has begun to develop in three new directions: symbolic, conceptual and new realism. The richness of national archetypal images of the Kazakh people, their mythological and philosophical significance, the experience of intertwining centuries-old traditions and customs allow to translate traditional art processes in accordance with
modern requirements. and the characteristics ofbreadth of thought, content and species specificity.
Innovative artists, who took new directions, were able to turn the intuition of complex artistic perception into a masterpiece of art. Following the reins of true realism, in which all the trends of art are reflected, they managed to discover for themselves in a abstract way a new direction of surrealism. From their work we can recognize the imaginary nature of the past, present and future, which directly affects the consciousness through color, space, rhythm, and includes the integrity of time. Their works lead the viewer to solve unanswered riddles.
Surrealism helped to strike the strongest blows on the key postulates of the white masculine European Christian civilization and anticipated the project of a hypothetical other civilization, about which forecasters and diagnosticians of civilization at the end of the twentieth century are trying to reason. The point is not that beginning in the XXI century. a new phase in the development of civilization will have to become materialistic, savage and paranoid (for all its high technology): such conclusions would be extremely primitive and vulgar. The point is that the forecasts ofM. Berman, J. Deleuze and a number of other thinkers regarding the «new enchantment» of the picture of the world (science, art and everyday consciousness), appearing at the end of the 20th century, largely restore those motives and postulates that were relevant to surrealism in the first half of the century.
References:
1. Bell Michael S. "Surrealism: An Alternative Approach: Veristic Attitudes in the Work and Writings of Contemporary Surrealists." - Leonardo. 1984.- P. 247-252.
2. Ergalieva R. A. Ethnocultural traditions in modern art of Kazakhstan.- Almaty, 2002.- 182. Print. (in Russian).
3. Bekmagambetov Sh. The concept of global space and its ways of representation in human language // Search. 2009.- No. 1.- P. 234-229. Print (In Kazakh).
4. Ensegenuly T. Background channels (archetypes) of the history of Kazakh literature: ... in the records of Russian travelers of the early 19th century.- Astana: Altyn kitap, 2007.- 215 p. Print (In Kazakh).
5. Orynbekov M. Tengriism in the Kazakh worldview // History of Philosophy. Twenty books.- Astana: Translation, 2006.- 14. T - 488 p. Print. (In Kazakh).
6. The worldview of the ancient nomads. Twenty volumes. 1. T.- Astana: Translation, 2005.-496 p. Print. (In Kazakh).
7. Kazakh culture. Encyclopedic reference book. Almaty: Aruna Ltd. TOO, 2015.- 548 p. Print. (In Kazakh).
8. Kyzlasov L. R. On the meaning of the term "balbal" of ancient Türkic inscriptions // Türk.- M., 1966. TPA.-M.-L., 1969.
- ISSN 2310-5593 (Print) / ISSN 2519-1209 (Online) -
Information about the author
Sara M. Krykbayeva, Candidate of Art Criticism, Acting Associated Professor; Kazakh National Women's Teacher Training University.
Address: Republic of Kazakhstan, Almaty, Ayteke bi 99, 050010 E-mail: [email protected]; +87078202466; ORCID: https://orcid.org/0000-0003-3648-1419
Galiya A. Abdurakhmanova, Senior Lecturer, Master, Kazakh National Women's Teacher Training University, Address: Republic of Kazakhstan, Almaty, Ayteke bi 99, 050010 E-mail: [email protected]; +87013764575 ORCID: https://orcid.org/0000-0003-1272-1705
Zaira M. Ermaganbetova, Teacher, Palace of Schoolchildren named after Al-Farabi, Address: Republic of Kazakhstan, Nur-Sultan 010000 E-mail: [email protected] ORCID: https://orcid.org/0000-0003-0176-0549
