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24Journal of Siberian Federal University. Humanities & Social Sciences 8 (2011 4) 1109-1126
УДК 314.122.66
The Visualization of Ethnic Theme in the Khakass Artists' Paintings and Graphic Works of Art
Natalia N. Nevolko*
Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041 Russia 1
Received 5.08.2011, received in revised form 12.08.2011, accepted 19.08.2011
The article is devoted to the specific visualization of ethnic culture in the works of Khakass graphic artists and painters. Researching the tendency of artists' appealing to the ethnic theme, the author covers the entire history of the Khakass art development from 1920s to 2000s. The article reveals the specific character of so-called «Siberian avant-garde», the contemporary school of Khakass visual art, and its connection with the visualization of ethnic theme in the works of various artists. Having found out the tendency of the Khakass artists to appeal to the archaic forms of ethnic culture in their works, the author suggests a classification of the works of art based on the nationally significant values of the Khakass ethnic groups, the archaic - material and spiritual culture of the Khakass ethnos expressed in the paintings and graphic works. The author distinguishes three most important values of the Khakass (the Khakass' religious and mythological world outlook, the value of self-awareness as a representative of Khakass ethnic group, the world of the ethnos) allowing to systematize the creations of the Khakass artists. Each of these blocks introduces a number of representational painting and graphic. Much attention is paid to the analysis of the visual potentials of the works of art, the artistic form of expressing the archaic - material and spiritual traditions of the native population. The cave drawings of the ancient Khakass determined the world outlook of the ethnic group and became the basis for interpreting the content of the works of art. This enabled the researcher to identify the original ideals of the Khakass that could serve as a specific factor in ethnic self-identification in the multicultural system.
Keywords: archaic - material and spiritual culture of the Khakass, visual art of Khakassia, Siberian avant-garde, Khakass ethnos, Khakass artists, ethnic values.
The work is carried out with the financial support of the federal purpose oriented program «Scientific and scientific-pedagogic staff in innovative Russia for 2009-2013».
1. Introduction
In the last twenty years (1990-2010s) the smaller indigenous peoples of Russia (Dolgans, Nenets, Selkups, Khakasses, Chulyms, Enets, Evenks, Yakuts and others) experience powerful assimilation. In most cases they are forced to
accept and assimilate the dominant culture of the population resident in the area where they live. As a result, the significance of their national ideals is levelled within the ethnic group although they still exist in-crowd. In the worst case some forms of the traditional culture of the ethnic group are lost
* Corresponding author E-mail address: NevolkoN@yandex.ru
1 © Siberian Federal University. All rights reserved
as unclaimed by the representatives of the nation in the modern life conditions. That happened with the national religion of the Khakass, shamanism, which has lost its original meaning and is not perceived as religion by the representatives of the nation. Assimilation which has become a natural process for the multi-ethnic regions of Russia, as a result, redirects the consciousness of the ethnos representatives to other cultural ideals that are, though not their "native", still valuable in the environment of a different ethnic group. Awareness of the processes occurring within the ethnic group generates anxiety among the representatives of the smaller peoples. In its turn, the anxiety boosts the need to search the traditions that would revive the ethnic self-identification of the people and the ethnic culture in general. Therefore, the research of the artistic culture of a small ethnic group enables us to reveal the values that are relevant for the given ethnos and that serve as a specific factor in the identification of ethnic group members, as long as the artistic culture is the unique sphere of human life where which preserves the original and native ideals of the people. The work of art is one of the main expressive forms of the national culture reflected in the artistic culture which is understood in this study as a means of fixing the archaic - material and spiritual traditions of the people.
The object of this research is the artistic culture of the Khakass ethnic group, which is a small people of Siberia and the titular ethnos of Khakassia.
The subject of the study is pictorial and graphic works of art created by Khakass artists throughout the development of visual art in the Khakass Republic.
The researchers became interested in studying the artistic culture of the Khakass in the beginning of the XX century. At this time the first works devoted to the various aspects of the applied art and the earliest forms of artistic culture
of the Khakass were published. This sphere of the artistic culture of the ethnos was a basic trade in the people's life and therefore it has gone through the way of formation and development before painting and sculpture.
Among the authors who studied the decorative and applied arts of the Khakass in the 1930-1990s it is necessary to name the following: Abrosimova A. A, Kaplan N.I., Mitlyanskaya T.B, Aloev N.G, Ivanov S.V., Kidiekova I.K., Korol G.G., Kyzlasov L.R., Patachakov K.M., Sunchugashev Y. I., Schneider E.R. and others (Abrosimova et al., 1984; Aloev, 1990; Ivanov, 1954, 1961; Kidiekova, 1972, 1997, 2002; Korol, 1990; Kyzlasov, 1959, 1988; Patachakov, 1982; Sunchugashev, 1979; Schneider, 1930).
Until the 1970s Khakass art was considered by researchers along with the art of Siberia as a whole. No separate publications devoted to the art of Khakassia were developed until this time. Perhaps it can be explained with the fact that the Khakass art was still in its infancy and the material for the study had not been accumulated yet. Therefore, the first works devoted to the research of Khakass art are only a few articles included in ethnographic or encyclopaedia publications. These are articles by S.V. Ivanov, S.M. Chervonnaya that considered the problem of studying sculpture in the framework of Khakass art, like works of such sculptors as G.A. Atknina, V.F. Kidiekova, I.N. Karachakova along with the works by the leading artists of the 1960s like A.F. Kalinin, M.A. Burnakov and V.A. Todykov (Ivanov, 1954, 1961; Chervonnaya, 1969, 1972).
The first researches devoted to the Khakass art appeared in the 1970s. So, in the year 1972 I.K. Kidiekova in her article «Art in Khakassia» first considered the problem of the formation and development of visual arts in Khakassia and disclosed it through the review works of such individual artists as G.A. Atknin, D.P. Cherepanov, A.F. Kalinin, I.N. Karachakova,
M.A. Burnakov, V.A. Todykov, V. Protopopov and V.M. Novoselov. In 1999 the researcher referred to the study of Khakass graphic arts. In the introduction to the album "Graphic works of Khakassia" by I.K. Kidiekova the origins of Khakass graphics are briefly described, the works of the graphic artists like V.A. Todykov, A.A. Tovoev, R.I. Subrakov, G.N. Sagalakov, G.S. Krasnov and A.E. Ulyanov are analyzed.
In 2002 I.K. Kidiekova defended her thesis «Folk art in the traditional culture of Khakassia» where she explores the main types of folk art in the material and spiritual culture of Khakasses. According to the researcher, it is important to understand the ethnic history of the people, to find its place in the ethnic and cultural community and to identify the ethnic world outlook universals of the people. As the accumulated material on the art of Khakassia needs systemizing on some theoretic basis, researcher M.P. Chebodaeva in her thesis «The formation and development of visual arts in Khakassia: 1920-2000s» examines the history of formation and development of visual arts in Khakassia from the Paleolithic epoch to the beginning of XXI century. The author first proposes a scheme of periodization of the history of art in the Republic according to which the Khakass art passed through three stages: formation (1920-1950s), development (1960-1980s) and contemporary art (1990-2000s). The work is accompanied by extensive illustrations of works of art that are valuable for studying the problem of visualization of the ethnic themes in the works of Khakass artists.
In the XIX-XX centuries, as a result of numerous archaeological and ethnographic expeditions, a lot of factual materials valuable for the analysis of works of art of Khakass artists were published. So, cooperative work «Folk drawings of Khakasses» by L.R. Kyzlasov and N.V. Leontiev (Kyzlasov and Leontiev,
1988) is the systematization of Khakass folk pictures found in the mountains of Oglahty on the Yenisei River and other points of Khakassia Autonomous Region. The authors describe the drawings (anthropomorphic images and images of animals), reveal the plot of the drawings and their semantics.
Biography of the artists living in Khakassia and the works of the artists belonging to Khakass ethnic group are represented in the work «Writers and artists of Khakassia» by A.C. Kyzlasov and V.N. Tuguzhekova (Kyzlasov and Tuguzhekova, 1997).
There are few researches covering analysis of the ethnic theme in the works of the Khakass artists. Mostly, these works are written by contemporary researchers who study the Siberian artists' appeal to the national themes within the context of modern ethnic processes. In particular, a study of the ethnic themes in contemporary art of Siberian artists is presented in the works by E.J. Pavlov and E.P. Matochkin.
In his article «Ethnic theme in contemporary art and folk crafts» E.Y. Pavlov (Pavlov, 2007) notes the growing interest of the contemporary artists in Western Siberia for ancient cultural traditions. As the basis for their artistic work the authors use mythological motives and national traditions of their people along with ethnographic, archaeological and historical materials. The author examines the current state of Siberian art within the so-called «Ethnofuturism» tendency in art, which originated in the end of the 1980s. According to the author, this trend is the one that most discovers the essence of modern art. It determines the place of ethnos and its culture in the modern world by the use of the archaic forms. Nevertheless, the author does not attempt to establish any relation of this concept with the content of the works of art.
The specificity of «arheoart» as a special tendency in the visual arts in Siberia is
considered in the article by E.P. Matochkin called «Archaeology, ancient heritage and arheoart of Siberia» (Matochkin, 2009). The author makes an attempt to detect the prerequisites of the origin of one of the most modern trends in Siberian art and also marks out its distinctive features. The consideration of arheoart in its development is relied on the review of the works by some individual Siberian artists (in particular, the works by V.I. Surikov as «the forerunner of Siberian arheoart», the works by G.I. Gurkin, N.Y. Tretyakov, V.F. Kapelko, I.I. Ortonulova, M.P. Chevalkova, S.P. Lazarev, V.N. Kyzlasov, etc.). The review of the works by Siberian artists includes the descriptions of individual paintings, mainly the storyline, which the author relates to the legacy of the past as its direct reflection. According to the researcher, the appeal to arheoart is «striving through the art of antiquity once again to contact with the maternal warmth of the Earth, with the myths that gave rise to the natural being» (Matochkin, 2009, p.10). In addition, the artists aspire to comprehend the cultural space of Siberia through the legacy of the past and arheoart becomes one of the means of its attainment. In this case the task of the artist is to create a new spiritual space of modernity after having looked into the past.
Thus, the visual art of the Khakass Republic is of particular interest for the researchers. The prerequisites of the national school origin, the work of the leading masters, their genre preferences, the work techniques and traditions taken up by Khakass school are being researched. The contemporary scholars consider the national theme in the works of the Khakass masters along with the painter's work overview. Though, no holistic study devoted to the specificity of the ethnic themes visualization in the works of Khakass masters has been performed.
The purpose of this study is to identify the important national landmarks of Khakass ethnos
through the research of the artistic means of visualization of the ethnic themes in paintings and graphic works by the Khakass masters.
To achieve this goal, it is necessary the following tasks are to be complete:
1. research the trend of Khakass painters and graphic artists' appeal to visualization an ethnic themes;
2. systematize the Khakass masters' works of art from the position of the values that are expressed by means of visualization of the ethnic themes.
2. Ethnic theme in the history
the Khakass visual art development
The study of the trend of Khakass art to appeal to visualization of the ethnic theme is necessary for subsequent ordering of the works of art in order to express the concepts of value for the ethnic group.
Khakass visual art has gone through a long way of formation and development. And all throughout its development, the artists' appeal to the ethnic theme can be observed.
According to the tendency of Khakass artists to appeal to the ethnic theme, the first phase of the development of national visual art in Khakassia falls on the 1920-1940s. This is the initial period when the development of the Khakass language entailed an establishment of writing in 1924. At this time there was a need to develop visual arts. From 1924 textbooks, books and papers started to be published. This entailed the development of book graphics. In the 1930s local authors took part in the design of the first books along with the artists from Novosibirsk, Altai and Moscow. At this time, language book graphics became the leading art in Khakassia. It was a way to convey elementary Khakass literacy by means of illustrations accessible and clear to the reader. Mostly it was expressed by appealing of the graphic artists to the visualization of the heroes
that have ethnic look and specific attributes. For example, women were usually portrayed wearing national costume and headdress. Khakass men were depicted with national instrument - chathan and other attributes.
Some of these works are P.S. Afanasyev's illustrations for «The book to read» by K.S. Todyshev (1928), G.A. Atknin's illustrations for «Mal-Halari» (1935) by E.F. Ivanov, as well R.S. Ananyin's illustrations for «How the land turned into silver» (1958).
Thus, in the 1920-1940s the visual art of Khakass ethnos had mainly applied nature. The leading role belonged to book graphics which became the base for the artists' appeal to the ethnic theme and the realistic Khakass art in general. It is impossible to carry out a sufficient research of the specificity of the ethnic theme visualization in the works by Khakass artists without taking into consideration the pictorial works created in the 1920-1940s.
The second period of Khakass visual art development and, therefore, the tendency of the artists' appeal to the ethnic theme covers the 1950-1980s.
At this time the national school was formed. It was encouraged by a number of cultural events. Firstly, it is necessary to mention the regular participation of artists from Abakan in the territorial exhibitions held in the 1940s. Among these participants there are A.M. Novoselov, P.P. Sarychev, K.T. Soldatov, I.I. Ryaskin, R.K. Ruyga, D. P. Cherepanov and others. Besides, in 1953 the Abakan branch of the krai cooperative society «Artist» was opened. By that time in included more than 20 members. In addition, in the 1950s easel painting technique appeared and occupied the leading position in the artistic culture of Khakasses. At this time the main genres emerged. Among these we can mention small landscape, topical painting, still life and portrait. In fact, it created the base for the
further development of the work of Khakass artists'.
At that time the first pictorial pictures visualizing the ethnic motives were created, for example, «Khakass girl reading a book» (1952) by Alexander Mikhailovich Novoselov, «Khakass warriors» (1958) by Pavel Ivanovich Sarychev and works by Andrey Topoev. In the paintings of the 1950s A.A. Topoev visualized the ethnic theme by depicting some of Khakass celebrations («Wedding in ulus», 1957, «Carnival», 1958) and the motives of national legends («Hygeia' song», 1958, «Bais' singer», 1958). In the 1970-1980s the ethnic theme in the works by A.A. Topoev was expressed by means of some episodes from the Khakass history. In particular, these are episodes of the Civil and the Great Patriotic Wars («Gaidar in Khakassia», 1976) and collective political repressions («Seeing off the shaman», 1980; «Les outcasts», 1980).
Subsequently, the ethnic theme in the works by Khakass masters began to occupy the leading position. Almost every genre of visual art could contain some national motive, no matter whether it was a portrait, for example, works by M.A. Burnakov (1933-1977) or a still life, like works by A.Z. Asochakova (born 1939).
Vladimir Alexandrovich Todykov's creations are no less significant for the formation of the national school in Khakassia. According to the researchers, he performed great merit for the development of the national art style. His principal creations are illustrations for Khakass heroic legends, like «Aydolay» (1963), «Oh Chibek Aryg» (1968), «Khan Mirgen» (1969), «Altyn Taichi» (1973), «Hara Hushun» (1977), «Altyn-Aryg» (1987) and «Hay Huuchyn» (1991).
Thus, in the 1950-1980s the national school was formed. Easel painting became the leading genre which approved the national theme as a priority field of the artistic creative work.
The third stage of the visual arts development in Khakassia falls on the modern 1990-2000s. Among the conditions that caused the flourish of visual art in Khakassia are vast cultural and educational activities in the Republic. It is manifested in the opening of the various exhibition sites, like the Local Republican Museum of Regional Studies, N.G. Domozhakov National Library, Khakass State University, Abakan exhibition hall «Gearki», Urban Art Galleries of Minusinsk, Chernogorsk, Shushenskoye Art Gallery and other facilities. Besides, in 2000 at the Artists' Union (AU) conference the local authorities of Abakan approved a program for holding competitive exhibition called «Golden Brush» that would be open for artists all over Siberia. Upon the initiative of A.E. Ulyanov, the chairman of AU, starting from the year 2004 open air festivals for Siberian artists are being organized. As a result, a number of exhibitions was held in other Siberian cities. Such active cultural policy indicates the desire of the Khakass for integration into a wider cultural space and the wish to engage other representatives of the artistic life into the cultural space of their ethnic group. On the background of these events national culture gains the superior value in the life of the ethnos. It is confirmed by the active interest of Khakass artists to paint their culture. Its being connected to the past of the people is especially important. G.G. Kotozhekov determines the artists' appeal to the legacy of the past as follows:
«In themodern image the originalconnections with the ancient earth, universal roots of the art, world of the spiritual experience of the people rise again and again. In the works by contemporary artists the most striking fact is not the play of colours and lines, but the skill of the artist «to get used» to the epoch, to see the prototypes of their heroes, to resurrect their psychological, spiritual outlook and to go a thousand, two thousand years back in their imagination. This striking
phenomenon of peculiar vision of «the world view» is an expression of deep cultural memory of the Siberian peoples»1.
The author notes that the contemporary art appeals to expressing the cultural memory of the Siberian population. Undoubtedly, it is impossible not to agree with it. However, if we take into account the ethno-cultural situation that was in the country in the 1990s, when there was an awareness of the need to preserve and develop the culture of indigenous smaller peoples not only in Siberia, but also in the Far East and the North, the appeal of the artists, the Khakass artists in particular, to the past of their people is explicable. Just an appeal to their «roots» was a definite means to self-identify themselves in the conditions of living among another dominant culture. It became a sort of a «saving bridge» for small Khakass ethnic group trying to preserve, support and consolidate their national ethnic traditions. Therefore, the appeal to the national theme becomes a priority trend in the artistic culture of the ethnic group, in the field of visual arts in particular.
Within the last two decades the traditional archaic culture of the ethnic group acquired so much significance that it started to play the main role in formation of the artistic style of the Khakass masters. It is no coincidence that today there is a large number of definitions of this modern art trend. Artistic criticism defines it as «mythical», «historical and cultural», «Siberian neomythologism», «Siberian arheovangard», «ethnoarchaic», «ethnofuturism», «arheoart», «Siberian avant-garde». In respect of the visual arts in Khakassia, «Siberian avant-garde» is the priority name of this modern trend. According to this tendency, the creative work of Khakass artists is aimed at the visualization of Khakass mythology, archaeological antiquities and shamanism, its national religion. In accordance with this tendency the ethnic theme gets its
further development in the works of the following Khakass artists: M.A. Burnakov (1933-1977), V.F. Kapelko (1937-2000), A.V. Domozhakov (1955-1998), V.M. Novoselov (1924-2006), G.N. Sagalakov (born 1955), R.I. Subrakov (born 1941), A.L. Ulturgashev (born 1955) and V.N. Kyzlasov (born 1965) and others. More detailed research of specific ethnic themes visualization in the paintings by Khakass artists working in the «Siberian avant-garde» mainstream is set forth later under systematization of the works of art.
In that way, the 1990-2000s were the golden era of the artistic life in Khakassia. It can be interpreted as a response to the social and cultural situation which took place in the country at that time. As a result of the fast assimilation process the ethnos' ideals were being levelled and neglected. It promoted the awareness of the need to maintain ethnic and cultural values, and, therefore, the search of the way to revive the ethnic traditions. Therefore in that period there were lots of trends in the artistic culture not only of Khakass people, but also of other smaller peoples of Russia. However, all these tendencies reflect the essence of one thing - an appeal to the archaic past that carries itself the «purity», that is not absorbed into any «foreign» culture. The most priority tendency in the Khakass art is «the Siberian avant-garde», which supposes an appeal to legacy of the past (archaeological antiquities, mythology and religion). So, the ethnic issue is the main theme of the works of Khakass artists in the end of the XX and the beginning of the XXI centuries. And that is a means of self-identification of the ethnos. An archaic material that reflects both material and spiritual traditions of the indigenous population becomes valuable for the artists. By systematizing and analyzing the way Khakass artists visualize the ethnic theme in the works it becomes possible to retrace the specific character of the artistic means of expressing these traditions.
3. Systematization of paintings and graphic works by Khakass artists from the point of view of expressibility of nationally significant values of the Khakass ethnos' archaic - material and spiritual culture
The further research of specificity of the ethnic theme visualization in the works by Khakass artists is connected to the analysis of the works of art. The most important point for the analysis is not the time of creation of the work of art, but the visual way the master appealed to while creating the work. That is an art form which is a «tool (or set of tools) through which artistic content of the work «is formed»2.
Having studied the evolution of the appeal of Khakass artists to the ethnic theme, we can conclude that archaic character of their work plays the major role in work of art. The artist Grigory Gurkin, a representative of indigenous peoples of Siberia, Altaian from the family Choros, was one of the first professional artists working in this trend. Then the same line was carried on by the artist Nikolay Yakovlevich Tretyakov from Omsk. In his opinion, the appeal to visualization of archaic forms is the basis of art. He wrote: «... primary art, like life, is the foundation» (Matochkin, 2009, p.9). The archaism is one of the principles of the ethnic theme imaging in the works of art by Khakass artists too.
In the works of art by Khakass authors the archaic element is expressed by the visualization material and spiritual culture of Khakass ethnos. It is achieved by the representation of a certain number of values.
The visualization of the religious and mythological outlook of the Khakasses is the first most important value for the ethnos.
The basis of artistic creativity for many Khakass artists who visualized the religious and mythological outlook of Khakasses is the findings of archaeological excavations. One of such objects
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Fig. 1 «The steppes of Askis», 1994 by V.M. Novoselov ^^^H
is megalithic architecture which is the main character of pictorial canvases by Khakass artists. For example, there are works by V.F. Kapelko «Uybatsky Chaa-tas» (1983), V.M. Novoselov «The steppe of Askiz» (1994), G.N. Sagalakov «Tepsey» (2002) and F.E. Pronskikh «Tashtyp» (2001).
It may be an image of mountains or some certain types of megalithic architecture like menhirs, single vertical stones, (V.F. Kapelko «Uybatsky Chaa-tas», B/.M. Novoselov «The GjNoSBj Hsdz») or cromlechs, stone slabs placed in a circle ( V.M. Novoselov «The steppe of Askiz», F.E. Pronskikh «Tepsey»). The representation of the mountains and megalithic architecture accentuates the significance of the Khakass religious world outlook, namely the cult of the sacred rock (menhir / slabe) which played an important role in the life of the ethnic group. Almost all the public prayers were called "tayyf" (the victim) and were accomplished on mountain tops or, in any other way, were connected with rocks. Most of them were accompanied by sacrifices of sheep or horses and shamanistic rituals. According to L.R. Kyzlasov and N.V. Leontiev, the Khakass researchers of the petroglyphs, medieval Khakasses called the
v» ■ ■ ,
Fig. 2 «Tepsey», 2002 by G.N. Sagalakov
sacred rocks «Bengo hai». It means «The eternal rock» («The monument is left at the century») (Kyzlasov and Leontiev, 1988, p.65). There was faith in reverence and worship to the natural stone phenomenon as the original form of the national world outlook of the Khakass.
In addition to the reverence of the sacred rocks covered with petroglyphs, in the XIX century and prerevolutionary period there was a widespread cult of the life-giving nature (sky, sun, moon, water, sacred trees and animals). The representation of the artistic space of the painting is an important component of expressing the religious outlook of the Khakass. Landscape was the leading genre throughout the development of visual arts in Khakassia. So an artistic space of the paintings by Khakass artists is presented by landscape depicting some parts of the Khakass Republic, mostly the oldest settlements, like such big villages Askiz and Tashtyp in particular. It is the idea of «small homeland» and «one's own statehood» of Khakass ethnos which is expressed by the visualization of the Khakass surroundings (Grosheva, 2010). The theme of nature is represented in the works of virtually every artist. There are works by V.K. Ananyin (1942-2005), L.R. Baranowski (born 1938), V.P. Butanaev (1929-2003), M.A. Burnakov (1942-2005), V.A. Valkova (1949-2007), K.G. Mamyshev
1993), L.D. Chernobaev, A.I. Chekhlov and others.
h|iEe!i-Byz hmi3Eh|iiiiEi wi
following characters found on the rock carvings and stone sculptures in the canvases by Khakass
siiyis9i^siahaiiUi nmhe i^iiedi2iig ^miBiKEQ^iis hE0|3iiSiiP|SHBiE n^ffle^ning ijji||in|i|2ini|ginuuh^ s^neiiiiRi heip|||fliei[iFiiiix^m ss
represented in the works by A.V. Domozhakov «The sacred deer» (1991) and A.L. Ulturgashev
1t'|R|BeiwS|3eiB|B|ei|Bi|SS^Iih|E||is
Hinmi @a2S3EEIEEsE.E23iEa!E5EE
by ancient drawings had great importance for Khakass ethnos, the pictures borrowed from
vl Bd^^Bhe miiis^iU^bSBSaSj nns egRiihiiB^isiBi^i^hMsiaigeiasi ^
aQ|CQ|tsa@ as^ghgnaticiRSgUvFO
in religious conception of cattle-breeders. The purpose of initiation of the «yzyh» is to ask the
0BySThsyno52e| nepR^ntgRihnicyhi eAfLiiuituiga^hen g^rh^fflRylGOgglimSRa
was conceived as a sacral and sacred animal by Khakasses just like by many other ethnic groups.
deer became a symbol of renewal and rebirth. In that way, it symbolized fertility of human
uPiediQnimpoitan nRscgiinmg igou r^nitiatQoniof the Rnzyh»ilSESS^;3hi
Siimal like deer has a symbolic meaning for the
works «A horse-deer» (1990) and «The sacred deer» (1991) by A.V. Domozhakov were created
nanyiojhuiiB bisksE
m^mmmMMmmi i annsa
renaissance.
Fig. 4 «A horse-deer», 1990 by A.V. Domozhakov
mKhakassnhegQ CneheQs^&n^uSs ltjss^iH ij3j!—SEiEi2irEl iimsjiigjiOg lejaejv
to the national religion - shamanism is of great importance for the expression of the religious and
ffieipQOSggQOiiOQejfim
Mo mBSJBjgtaJjnl BBJgl RfjOSjl-l (s [1
Khakass is mainly represented by the graphic
egmfnffilTllhmej^^
Subrakov «Kok Han», «Khan Mergen», «Hubal
SWMkiiillsRnfflhSPICS
Sgi) h^^^^ . nE^nessdStis «c^
«Altyn-Aryg» and «Ay Huuchyn».
¡VQ№nSVCP|CP23ChhaSIPiEitant state is one of the main characters of the themed works imaging the Khakass epic. The character can be represented with horrent arms, holding a sword or galloping on horseback with a spear in his hand. It presents a struggle in which the hero is the main participant. In addition, a hero demonstrating his courage for the sake of his people can be a character too. In particular, there are some series of xylography illustrations by V.A. Todykov to the book by storyteller - hygeia - S.P. Kadysheva «Oh Chibek Aryg». These graphic works depict the Khakass girl, Ami Chibek Aryg, who was in Jg|reB2SmBeagB|mggle of her people to expel f^ri the; ountry. The military theme is also represented in the works by P.I. Sarychev, particularly in the painting called «The Khakass
¡as ml|jChl:E15BiCPisi )[im]
d^bjrijJSn^^^k^O^^^^^^^^^^^^^^^k s is that the line,which is the principalartistictechnique,
the national identity of the character that belongs to the Turkic ethnic
sHfflfflCS Cm«™® iflKeV ASJ Qod^ro
the national spirit of the ethos. As an ideal
Fig. 5 «Khakass myths and legends», 1994 by R.I. Subrakov
Fig. 6 «Oh Chibek Aryg», 1994 by V.A. Todykov
representative of the ethnic group, he s the courage and braverHBBB^SEig
wo^immagjiKngse
The works depicti^^^^g^^^i^^^^^^^^^S^^^^^.
heroes are intended to influence the viewer, each
ssHasegais m^fflBi egn^iixyTm nap jwi^shygePBs—nsipijKaBjih ^SSihSKmfkJgS®
of the national and ethnic values.
A large group of works by Khakass artists is
hQkQSll^WQjlgOQgT (99QraT№ Rnd ^BSE
SmmWJIJngs, the spirits («The tesi», word for word «foundation», «essence») without which shamanism is impossible.
ngsiio i^^m knohmnj^^PiFo
tambourine» (1990), «The secret relations of spirits» (1991), «The shaman» (1991) by A.V. Domozhakov, «The seeing off the shaman»
SBairihe^J^^SSJSff!!^
spirit» (1999) by aBI i^lBBBBiffiBBEBcosaaHl
V.N. Kyzlasov and «The expulsion of the holy
¡■ais^Bi^^a^lBlg^ss ^OTr^jsejPB^c^^jBjn^iSnBi^ I!fflynHImm|jl Iprajni IJlj^B^l^jl^lllRaiSB
but it is the basis of shamanic power, the activities
Fig. «The shaman's tambourine»,H 1990 by A.V. Domozhakov
of the shaman. The shaman is painted with his tambourine which sets him the rhythm of the entry into the state of shamanistic ritual.
The appeal of the painters to the subject of national religion, shamanism, indicates the importance of the religion in the world outlook
which semes as one of the factors ofthe s^lf-
nOfrEtSSSS!
Thus, one of the ways of visualizing the archaic - material and spiritual traditions is to appeal to the religious and mythological world
tShhjfrtaSSSsElE graphic works by Khakass
- etonemonuments (mountains, mtgalEtWc architecture);
- some villages of Khakassia, so-called
CBE ESSSSeSSEHI 3OO3 OSSSIS o^o
¡OI^^^KE^a^aii sEicafi hshSiPjtt Qbostt
asots^
- the plots of Khakass heroic legends;
- the characters from Khakass mythology and shamanism.
osQid»№(]iiR« ffljTtBgh ssfssioii Egj^ai^^^o^^y^ii^^^^^e os □¡Sjiis^^siSj^jA.ATyss^
hTUOffîehiSSlsIEi^Saibl^N
as a hero possessing some moral courage. It is the renaissance and renewal of such ideological positions of the ethnos as the belief in the sacred meaning of animals, spirits, ancient deities and of course the belief in the shaman power.
The value of self-awareness as a Bap resentative of Khakass ethnic group is the ai^l^gy^ln^lgg^l^mRm^ni^Pmimi^^i cal value visualized
IE
OSlgijljS?^
the portrait genre. Portrait like no other genre is intended to accentuate the value and significance of a person.
group portraits. The representatives of this genre rneflmBHintllnSffl
Rnjifsviiisi dinn^^^ij^i^^njEej^
the artist from Askiz. Among the works by M.A. Burnakov the following portraits can be
»mra Bjj^a^iji^itT^^i UBmujSSIiJHB7!
«The Khakass old man» (1977), «The picture
g^Hl^l^^ll^y^^^^^w^JPn!^^ ^ SKI
Topoev, «The picture of shepherd» (1975) by
¡m gsgosojBfflisEiBpss »sop he
Khakassia» (1987), «Khakass costumes» (2003)
ROPjOieiiiP^ijE^^^tiiOOiii&i^iis«
ma»*
ng||Ejg fflSIOeESil|es indicating any particular
Fig. 8, 9 «The picture of shepherd», 1975 and «The picture of Khakass» by M.A. Burnakov
- Bam-
persoQinRwge Esssvssffii^HBks^a ssibRtgni SnffijcaiiggnffinBr paitiCgnan- pg
emphasized. Among these, there are the narrow shape of the eyes, the epicanthus, black hair, prominent cheekbones, diamond / oval shape of
hS0&M9fflha&aS&№0mSu ess^gmass^ ffiddig^rassgiigffljRjss®!
ffijjoj^reHw^fflf (CatBi^Ebi^^j^i^^oi sp
cult took an important place in the religious ideas of cattle-breeders, or playing chathane. It is the most common national instrument without
smahaiin QouisinotE^Xs^^TH^^iai^sai1
haiac t^i^^iisi
gitiiiiihe^jCg^^iEc^shats^ii^^^iita^
background of rocky landscape and megalithic architecture, or menhirs. Representation of one character or a group of characters in the natural ancl^ Rat^ E9sornS Reiel
ffl |Selg|gpraslo hieB^Ua' BiemmgUosI
tiaitiimaE^u3ii3miEEaiaz^KiiS^^iH eies
Smirens.
Thus, there are no any attributes that would indicate the person depicted in the paintings. So, it is possible to conclude that the portraits
sgKiniamosRu/Qovai s^pgjE9^sa2s*
wwu tnnrfflOH lagisispoi[aiwiffl
the foreground. His or her figure occupies a large plane of the canvas. So the figure of the character is dominant regarding the artistic space of the
n^g.
niiimCTi
such
kind of art as still life. Many Khakass artists worked in this genre, but the ethnic issue is mostly presented by still lives by Agrafena Zakharovna
¡^ic^gmm^ffl iSfjt i^iiP^pigiag
«Still life with an old pitcher» (1978), «Still life
1191111 BS511M Hji ISI7M
iwfflH i jiP|Sgjiiij|j!Sij[^ iiB^.
The objects of Khakass household become the characters of the art space of her still lives. There are bronze and iron pots, trays, wooden spoons, cups and bowls, leather flasks, mittens, pouches, fur coats and fabrics decorated with national ornament, and tobacco pipes. The
In this case, for the reason of the specificity of the genre, the art space of still life has the purpose to present to the viewer some certain objects of the everyday life of Khakass ethnos. It is the image of the things which are everyday for daily life of each Khakass. It enables the artist to represent the nationally significant ethnic ideals by means of the still life genre. The still life offers the viewer to see something familiar to him, the reflection of his culture, by means of the «language» most simple and accessible for the viewers. It affirms the value of the usual things and turns the people to the value of the things that surround them and that can serve as one of the factors for ethnic identification.
In the 2000s the archaic tendency is one of the priority trends in the visual art of Khakassia. However, the archaic form undergoes some modification to symbolizing some artistic images. The art space of such painting is now filled with more symbols rather than specific archaic forms of megalithic architecture, for example, or pictures of animals, etc. The work by Vitaly Nikolaevich Kyzlasov represents the future evolution of the
MS [Sm31I|| mSIRQj19 [Si g^^ifl^nginffliBj^ Ejml jfe
¡iiij2!2T[fifl RgjjWjn RSSllUiiO ESE^
dimensions» (2005), «The eternity» (2005), «The dance of shaman» (2006), «The ancient world» (2007). His appeal to the symbols signs the indicatives of the further tendency of development in Khakass visual art. The artists' continuing to turn to national topics only using other artistic means is aimed at deeper comprehension of the processes occurring inside the Khakass ethnic group and society as a whole.
Thus, the classification of the works by Khakass masters from the point of view of artistic forms' expressing of the archaic - material and spiritual traditions of Khakass ethnos enables us to identify the following significant national ideas of the ethnic group. There are the following
values: the value of Khakasses' religious and mythological world outlook, the value of self-awareness as a representative of Khakass ethnic group, and the value of the world of the ethnos' life.
4. Conclusion
The present research is devoted to the study of the specificity of the visualization of the ethnic theme in the works by Khakass artists. The study is based on the research of the ethnic theme throughout the history of art in Khakassia. As a result of the study, it is possible to make the following conclusions.
1. There is a tendency of the Khakass artists to appeal to the ethnic theme throughout the development of visual arts in Khakassia. The most interest to the visualization of national motives falls on the end of the XX -the beginning of the XXI centuries when the period of active self-determination of the ethnic group in the system of polycultures was on.
2. The archaic character of Khakass ethnos is the most priority tenor to visualize the ethnic traditions. At the turn of the XX-XXI centuries this tendency was formed into a modern trend in the visual arts of Khakassia called «Siberian avant-garde». According to it, the artistic
creativity of local artists is aimed at rendering Khakass mythology, archaeological antiquities and shamanism, the national religion.
3. In the works by Khakass artists the archaic - material and spiritual traditions of the ethnos are specified by the expression of a certain number of values. They are expressed through the visual potentialities of the paintings and graphic works. The analysis of the works by Khakass artists enabled us to systematize the productions according to the expressibility of the ethical values.
4. In the works by Khakass artists three blocks that correspond to the expression of the ethnic values can be marked out. They are:
a) the religious and mythological world outlook of the Khakass as the value expressed in the paintings and graphic works by Khakass artists through the following images:
- stone monuments (mountains, megalithic architecture);
- some settlements of Khakassia - «small country», «their own proper state»;
- the ancestors of the Khakass ancestors, militant Turks;
- the stories from Khakass heroic legends;
- the characters from Khakass mythology and shamanism.
Art tendency SIBERIAN AVANT-GARDE
Ethnic The value
values The religious and mythological world outlook of the Khakass expressed by the use of the images: of self-awareness as a representative of Khakass The world of the ethnos' life
ethnic group
Artistic means of the ethnic values visualization stone monuments some villages of Khakassia (landscapes) the ancestors of the Khakass the stories from Khakass heroic legends characters of Khakass mythology and shamanism appeal to portrait genre appeal to still life
The ethnic values of archaic - material and spiritual culture and the artistic means of their visualization in the works by Khakass artists
b) The value of self-awareness as a representative of Khakass ethnic group is expressed by means of portrait genre.
c) The world of the ethnos' life is represented by such genre as still life.
The ethnic values and artistic means of their visualizing identified in the course of the analysis are intended to accentuate the most important factors of ethnic self-identification of the Khakasses living in a multicultural society.
The results of the study can be summarized in the following table.
5. The paintings representing the modification of archaic tendency can compose an independent block. Mostly, there are works created in the 1990s - 2000s. In these works the art space is filled rather by symbols than specific archaic forms of the ethnos. The trend of deviation from realistic image has a certain ethnocultural content associated with the modern processes taking place in the society and it demands a separate study.
1 G.G. Kotozhekov, Culture of the peoples of the Sayan-Altai plateau (Abakan, 1992), p. 45.
2 Philosophical dictionary, ed. by А.А. Ivina (Moscow: Gardariki, 2004), 1072.
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Визуализация этнической темы в живописных и графических произведениях искусства хакасских мастеров
Н.Н. Неволько
Сибирский федеральный университет Россия 660041, Красноярск, пр. Свободный, 79
Статья посвящена рассмотрению специфики визуализации этнической темы в творчестве хакасских графиков и живописцев. Исследуя тенденцию обращения художников к этнической теме, автор охватывает всю историю развития изобразительного искусства в Хакасии с 1920-х по 2000-е годы. Раскрывается специфика современного направления хакасского изобразительного искусства «Сибирский авангард», его связь с визуализацией этнической темы в творчестве художников. Обнаружив в основе художественного творчества хакасских художников тенденцию обращения к архаическим формам культуры этноса, автор предлагает
систематизацию произведений искусства с позиции национально значимых ценностей архаико-материальной и духовной культуры хакасского этноса, выраженных в живописных и графических работах. Автором выделено три наиболее значимые ценности хакасского этноса (религиозно-мифологическая картина мира хакасов, принадлежность к хакасской этнической группе, мир вещей хакасского народного быта), позволяющие систематизировать творения хакасских мастеров. Внутри каждого блока представлен ряд репрезентативных живописных и графических работ. Большое внимание при анализе уделяется изобразительным возможностям произведений искусства, их художественной форме выражения архаико-материальных и духовных традиций аборигенного населения. Основой для интерпретации содержания произведений искусства послужили наскальные рисунки древних хакасов, определявшие мировоззрение этноса. Это позволило исследователю выявить исконные идеалы хакасов, могущие служить определенным фактором самоидентификации этноса в системе поликультур.
Ключевые слова: архаико-материальная и духовная культура хакасов, хакасское изобразительное искусство, Сибирский авангард, хакасский этнос, художники Хакасии, этнические ценности.
Работа выполнена при финансовой поддержке федеральной целевой программы "Научные и научно-педагогические кадры инновационной России на 2009-2013 гг."
