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Journal articles on the topic 'Art, Kazakh'
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1
G.B., Narymbet, and Baibosynova G. "Historical significance of Kazakh heroic epics during the period of Jochi Ulys." Bulletin of the Karaganda university History.Philosophy series 111, no. 3 (September 30, 2023): 100–105. http://dx.doi.org/10.31489/2023hph3/100-105.
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Today, the heroic epic represents an important part of the spiritual heritage of the Kazakh people. Ethnic history of Kazakhs and historical events are considered in oral folk art of Kazakhs. In this regard, the purpose of the article is to reveal the historical significance of the Kazakh heroic epic, characteristic of the Ulys Jochi period. In the article, the main plots and motifs of the Kazakh heroic epic are considered, the works of Kazakh and foreign researchers are analyzed, and the historical significance of the Kazakh heroic epic is determined.
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Khazbulatov, A., and Zh Shaigozova. "Zoomorphic code of kazakhstan culture: camel symbols (cultural and art history understanding)." Pedagogy and Psychology 44, no. 3 (September 30, 2020): 231–42. http://dx.doi.org/10.51889/2020-3.2077-6861.28.
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The purpose of this article is to study symbolism of the camel that existed among the ancient nomads of Central Asia, example of Kazakh culture. The authors, studying the evolution of the multi-valued image of a camel from the pantheon of sacred animals of the Turkic-Mongolian world, try to consider it as one zoological personification of the picture of the world of ancient Kazakhs, as one of the elements of the zoomorphic code of Kazakh culture. In present Kazakh culture, the sacred meaning of the camel is lost, but people still love and believes in camel’s unconscious faith power.
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SHARIPOVA, Karlygash. "The theoretical basis of the scientific and methodological heritage of Akhmet Baitursynov." ОҚМПУ ХАБАРШЫСЫ – ВЕСТНИК ЮКГПУ 27, no. 1 (March 2021): 38–45. http://dx.doi.org/10.47751/skspu-1937-0025.
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The author of the article shares information about the methodology of Akhmet Baitursynov – the largest person who occupies a special place in the political and cultural life of the Kazakh society in the first decades of the twentieth century. Ahmet Baitursynuly is the spiritual leader of his people, a wise son who "sows the seeds of honesty". He is a co-owner who has worked for one institute or a dozen authors to date. In particular, Akhmet Baitursynuly is a reformer who created a national script for six million Kazakhs of that period, a public figure who made efforts to teach Kazakh children in their native languages, the author of "alphabets", textbooks for teaching children the Kazakh language in national schools, a linguist who laid the foundation of the national science-Kazakh linguistics; the first scientist-philologist, representing the theory of Kazakh literary studies, the first scientist-culturologist, researcher of the history of the culture of the people, teacher-innovator, presenting the methodology of teaching the native language in a new way, one of the organizers of Kazakh science, one of the first professors of the Kazakh language and literature, who laid the foundation of our national Academy today. The main of these names is the art critic of the Kazakh word, the art critic of the Kazakh language.
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Baisaldina, G. Zh. "History of military traditions of the Kazakh Khanate of the 15th-17th century." Proceeding "Bulletin MILF" 51, no. 3 (September 15, 2022): 59–65. http://dx.doi.org/10.56132/2791-3368.2022.3-49-06.
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Annotation. The article tells about the military tradition of the Kazakh Khanate in the period from the XV to XVII centuries. It is written about the history of the Kazakh Army, created to preserve the terraced integrity of the country, about the main tactical techniques used in the course of attacks, about maneuvers. The main features in the management of the army are recorded. It is written about aspects of the military history of the Kazakhs, about the specific specifics of military art.
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Karim, Baigutov, Myrzakanov Madvakas Seksembaevich, Aiman Suyuberdieva, Gulzhan Maulenberdieva, Marzhan Kudaibergenova, Lyazzat Baybolat, and Kymbat Ibrayeva. "Painting education of Kazakh mythology." Cypriot Journal of Educational Sciences 16, no. 4 (August 31, 2021): 1956–75. http://dx.doi.org/10.18844/cjes.v16i4.6064.
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Various scientific studies, interpretations, analyses, and comparisons have revealed a strong link in the origin of Kazakh mythology in contemporary Kazakh society. The main problem in this lies in the fact that existing research on mythology has always centered in fields of literature, philosophy, religion and culture, and history. Previous scholars have always overlooked the study of mythology in the field of art. It’s for this reason, that this research article centered on the mythology in the art of painting education and especially pictorial analysis of Kazakh mythology. In the article, the definition and history of Kazakh mythology are given and the studies of the researchers on mythology are mentioned. The painting educations made within the scope of the research article are inspired by the myth of "Er Tostik". The research conducted within the scope of a creative and scientific analysis shows that the works related to the formation of Kazakh mythology have an important place in the history of Kazakh painting education. Besides, important subjects of Kazakh mythology in Kazakh art history were determined and how they affected the works of the painters were examined and interpreted comparatively.
Keywords: Kazakh mythology, Kazakh painters, Er Tostik, art, painting, woodcut technique
6
Beisenuly, Zh, and M. Arslan. "Kazakh-uzbek literary connections." Bulletin of L.N. Gumilyov Eurasian National University. PHILOLOGY Series 138, no. 1 (March 30, 2022): 144–54. http://dx.doi.org/10.32523/2616-678x-2022-138-1-144-154.
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Kazakhs are kindly disposed towards Uzbeks regarding them as brothers, andUzbeks sympathize with words “If your friend is Kazakh, then you are not left in trouble”. It is asign of brotherhood between two nations. Proclamation of the year 2018 the year of Uzbekistanon the Kazakh land as a symbol of brotherhood and rendering honors to great Kazakh poet Abay’screative work in Uzbek country are made deliberately. These significant events in literary processalso point to the dynamic development of cultural and literary intercommunication in the Turkicworld. It is known that worldview features of the nation are reflected on its art of the word. Forthis reason, it is important to study Kazakh-Uzbek literature with common historical roots in thecontext of comparative literature studies. This article examines Kazakh and Uzbek literaryrelations originating from folklore, and literary relations between them are divided intochronological periods in accordance with principles of historical development. Accordingly theaim of the article is to identify historical bases of Kazakh-Uzbek literary relations and specialaspects of their development.
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Akimov, Zhaxylyk Makmutovich, and Bakyt Uzakbaevna Syzdykbaeva. "CHARACTERISTIC OF ETHNIC TOURISM RESOURCES OF KAZAKHSTAN IN THE LIGHT (IN THE VIEW/BASED ON) OF THE HISTORICAL AND CULTURAL HERITAGE OF THE KAZAKH PEOPLE." Bulletin of Toraighyrov University. Humanities series, no. 3.2020 (October 14, 2020): 80–95. http://dx.doi.org/10.48081/plcq8623.
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The Kazakh nation has come a long way with numerous tribes and nations taking part in its formation process. The nation takes a prominent place in the history of Eurasia as one of the most ancient ethnic groups with the rich culture that participated in its development. The article discusses the development of national ethnographic tourism, taking into account the historical and cultural heritage of ethnic Kazakhs. Authors identified historical and national ethnographic cultural resources describing the Kazakh yurt and the national craft, such as felt production, weaving mats, embroidery, art crafts, a variety of motifs of ornamental art. The article considers the current state of cultural heritage in the view of the country’s potential and state programs on the historical and cultural heritage preservation.
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Adilova, A., and B. S. Kaukerbekova. "Abay and modern Kazakh art texts." Bulletin of the Karaganda University. Philology series 101, no. 4 (December 30, 2020): 6–12. http://dx.doi.org/10.31489/2020ph4/6-12.
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The article considers the place of Abay's poems in modern Kazakh artistic texts. Each author conveys his worldview and worldview in different situations through an artistic text. His lexicon includes, along with various means of the national language, fragments of various texts known to varying degrees in a certain linguistic and cultural community, as well as the word use of poets and writers who lived and worked before him. Such fragments may be used without change or А.С. Əділова, Б.С. Каукербекова 12 Вестник Карагандинского университета with a transformation. In the Kazakh linguistic and cultural community, Abay's poems can be called strong literary texts with a high frequency of use. Quotation at the level of structure, word, phrase, sentence, whole text can be seen in poetic and prose texts of the last 60–70 years in the Kazakh literary process. In this regard, the texts of such writers as M. Makataev, M. Magauin, J. Abdrashev, G. Zhailybai, G. Sаlykbai, M. Raiymbek, J. Sarsek are immediately recalled. Pointing out that this trend continues by young poets engaged in creativity in the last decades of this, XXI century, the authors concludes that the legacy of Abay is a standard of verbal art for more generations of poets and writers.
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Bazheneyeva S. "YESTERDAY AND TODAY OF KAZAKH KUY." International Academy Journal Web of Scholar, no. 12(42) (December 30, 2019): 34–37. http://dx.doi.org/10.31435/rsglobal_wos/30122019/6844.
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The article discusses the history of the performance of the Kazakh kuy throughout the history of the separation of Kazakhs into a separate ethnic group to the present. Examples are provided to familiarize readers with the general context. Especially we focus on the Kazakh traditional forms of music-making.Since in the 20th century kuy appeared on the stage and was placed within the framework of a European-style concert, this could not but leave an imprint on how kuy was perceived, influenced the situation in the life of the once nomadic society, in the system of its spiritual values and the viability of kuy, especially in an urban environment.Now that the “Kazakh traditional art of dombra kuy” has been included in UNESCO's representative list, stakeholders need to take measures to safeguard the element of intangible cultural heritage.
10
DEMİRCİ, Ümit Özgür, Mehmet HAZAR, İbrahim ÖZKAN, and Ali KILIÇ. "Kazakh Epic Janibek Batır." Journal of Old Turkic Studies 6, no. 2 (July 19, 2022): 272–364. http://dx.doi.org/10.35236/jots.1144775.
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There are many opinions about the Kazakhs being one of the Turkish tribes living in Central Asia since the time of the Saka-Scythians and appearing on the stage of history. According to the most common view, Kazakhs emerged when a community that did not comply with Abulhayhan Khan tended to live in a nomadic way between the Chu and Talas rivers. In Kazakh Turkish, the word dastan corresponds to the words jir, epos, köne epos, dastan. For heroic epics, batir jiri, batik epos, heroic epos; love epics are used as gaşıgtik jir, romandik epos, liro epostik jir. As in most epic traditions, Kazakh epics are sung in a mixed form in verse and prose, and traditional instruments such as dombra and kopuz are used in the verse. Telling an epic is called jirla-. While heroic epics are sung in the style of jır, love epics are told in the style of black dead. This epic, which is in the library of Muhtar Avezov Literature and Art Institute, is a copy of Aqıt Qajji Ülimjiwlı. Taken from the fifty-ninth volume of the multi-volume publication Atalar Sözü published by the Kazakh Language Development Institute. As the subject, it tells the heroism of the Kazakh folk hero named Janibek, some of his adventures and his fame among the people, and also reveals the life lived in the Kazakh steppes of that period in a plain language. In this study, the translated text of the work, the transfer of the text to Turkey Turkish and its index are presented to the attention of researchers as well as those who are interested in this field.
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Dosmurzinov, Rustem K. "Ethnography of the Kazakh People in Grigorii Potanin’s Studies." Archaeology and Ethnography 19, no. 3 (2020): 105–9. http://dx.doi.org/10.25205/1818-7919-2020-19-3-105-109.
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Purpose. In the conditions of accelerated development of modernization processes in Kazakhstan, there is increased interest in the study of Kazakh heritage by historians and ethnographers of the 19th – 20th centuries. The purpose of this work is to identify the main scientific issues in the ethnography of the Kazakhs covered in Grigorii Nikolaevich Potanin’s studies. Scientific works of this outstanding scientist in this respect are particularly relevant. Firstly, the researcher was born in one of the fortifications in the Kazakh steppe and had a good command of the Kazakh language as he was familiar with the peculiarities of culture and life of the Kazakh people since his childhood. Secondly, he was a famous ethnographer, a member of the Russian Geographical Society and participated in several scientific expeditions on the territory of Kazakhstan, Mongolia, China. This article deals with studying the traditional culture of the Kazakh people by the famous ethnographer G. N. Potanin (1835–1920). We analyze the main works of the researcher devoted to the study of the spiritual culture of the Kazakh people. On the basis of our study, we identify that the study of folklore was one of central and most important issues among the various scientific aspects G. N. Potanin raised. Results. G. N. Potanin focused on studying oral folk art of the Kazakh people including genealogical legends. He analyzed the origin of those legends and their similarities with legends of other peoples. The researcher also collected and recorded fairy tales, proverbs, riddles and tongue twisters of the Kazakh people. G. N. Potanin proved the so-called “eastern hypothesis” of the origin and development of the medieval European epic. In our opinion, G. N. Potanin concentrated on studying oral folk art because it reflects the life of the Kazakh people. The researcher noted a certain influence of Islam and Central Asian culture on the traditional culture of the Kazakh people. He studied ethnic composition, social structure, traditional economy and material culture of the Kazakh people. Conclusion. Thus, the study of Kazakh folklore, including oral and musical creativity, was the main important issue in G. N. Potanin’s research. He made conclusions on the ethnic composition, the traditional system of life support of the Kazakh people. In this small work, we noted only a small range of aspects that are reflected in the work of the great researcher. It is necessary to widen the range of archival materials studied to continue investigating the heritage of this outstanding Russian scientist, a true friend of the Kazakh people.
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Ryskaliyev, T. Kh, V. A. Esengaliyeva, G. S. Sarkulova, and M. S. Sarkulova. "On the originality of Kazakh philosophy." Bulletin of the Karaganda university History.Philosophy series 111, no. 3 (September 30, 2023): 226–35. http://dx.doi.org/10.31489/2023hph3/226-235.
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The article reveals the essence and features of Kazakh philosophy. Kazakh philosophy share the same problems with Greek, Indian, Chinese and Russian philosophy, so from this point of view, Kazakh philosophy is related to the world philosophy. At the same time, Kazakh philosophy has its own specifics, its own distinctive features. Kazakh philosophy is peculiar with its problems, specific forms of expressing its thought, with its own style of thinking that is why there is no need to constantly look back at the developed Western philosophy. It is necessary to learn from others, but one should not imitate or borrow their style of thinking. The purpose of philosophy is to be understandable for everyone, to influence people, to teach and change them for the better. The Eastern philosophy was like that and the philosophy of the Kazakhs is so today. Kazakh people's worldview peculiarities are associated with nomadic civilization, nomadic culture, the development of verbal forms of culture, the lack of a historical source base of philosophy. The authors of the article emphasize that the traditional Kazakh philosophy, which originates from Akyn-zhyraus and found its continuation in the philosophy of Abai and Shakarim, is not a professional, scientific philosophy, but is a philosophy of wisdom, a philosophy of understanding and education, intertwined with everyday human life, religion, art, literature. The creative work of Kazakh philosophers has always been dominated by the problems of good and evil, honor and dignity of man. The authors of the article call Kazakh philosophy a practical philosophy based on I. Kant.
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Makulbekov, Aidos, and Gulzada Abdalieva. "Audience of traditional art in Kazakh steppe." Bulletin of the L.N. Gumilyov Eurasian National University. Historical Sciences. Philosophy. Religion Series 146, no. 1 (2024): 335–53. http://dx.doi.org/10.32523/2616-7255-2024-146-1-335-353.
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This article considers the evolution of the stage art audience formation in the traditional society of the Kazakh steppe civilization, linking it to the ancient historical, cultural, and ritual processes of our people, as well as to the very origin of the earliest form of stage art. We regard the future improvement of the artistic culture of today's spectator on the assumption that cultural and spiritual continuity between different generations of spectators of the Kazakh steppe will not be broken. Consequently, it becomes obvious that this position is a trend characteristic of the world history of art. For example, folk art activities in other countries are based on the traditional entertainment of the gathered audience. In general, the origin of art is closely intertwined with folk art. They are inextricably related and cannot develop without each other. This phenomenon is confirmed by numerous facts from the history of world theater. There is every reason to come to a scientific conclusion that this position is applicable to the formation of artistic public. We can say that various kinds of entertaining folk games and festive performances, originating in real scenes of nomadic life of the Kazakh people, developed on the basis of national customs and were the initial stage of formation of spectators and listeners of arts and crafts of the traditional Kazakh civilization. Examining the rich cultural history of the steppe, we believe that the study of the audience of the performing arts in the traditional Kazakh society is of great scientific theoretical and practical importance. This issue is still in the category of topics not considered in the framework of scientific research of the national culture philosophy. It is known from history that centuries-old cultural heritage of the steppe region and Kazakh people has a diverse and rich content, along with its own unique style. It is culture that plays a huge role in the vitality of any nation. If we consider the identification of a nation through the prism of its contribution to the development of mankind, then national art is just that distinctive feature that helps defining the nation. Thus, the spiritual contribution of the Kazakh people to world culture is determined, first of all, by its national art.
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S. K. Berdibayeva, A. S. Syrgakbayeva, A. Z. Abdualiyev, S. K. Berdibayev, and A. Garber. "PSYCHOLOGICAL NATURE OF THE ART OF AITYS." BULLETIN 1, no. 383 (February 15, 2020): 235–41. http://dx.doi.org/10.32014/2020.2518-1467.29.
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The main purpose of present research was to investigate the psychological nature of Kazakh Aitys and it’s impact to personal development, ethnocultural values and other skills of Kazakh young People, which required by modern market world. Also the opportunity of creating the communicative and interactive model of creative process of Aitys is considered. According to the results of the present research there are considered that the Aitys is a jont dialogical creative cognitive activity, which psychological structure has communicative-interactive nature and depends on Kazakh ethnic picture of the world. Aitys as a kind of folklore has a change trends. Process of communication in the Kazakh ethnos has it's features. Aitys isn't result and a victory of one person during competition, since Aitys is result of joint creativity of listeners and poets, because they are representatives of the same ethnos. With the influence of an Aitys uniform ethnic integrity of the Kazakh people is created. During an Aitys there is a co-authorship, empathy of the same problems and conditions of the people. Aitys introduces novelty and according to the contents it leads to particular change in human minds. In the intellectual sphere of young people there are the development and flexibility, resourcefulness. In this regard, one more function of Aitys in the process of communication is the development of critical thinking of youth, and also a new creative position in a communication process.
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Baigutov, Karim, Aman Ibragimov, Alzhanov Gadilbek Kh., Kumarkan Muratayev, Taiyrzhan Iskakov, and Dzhanaev Miyat. "Evaluating and redesigning the teaching practices of the Kazakh Mythology- engraving techniques." PLOS ONE 19, no. 5 (May 14, 2024): e0296905. http://dx.doi.org/10.1371/journal.pone.0296905.
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The study was designed to explore and develop art students’ interest and engagement in Kazakh mythology and using engraving techniques. The archetypic and challenges of Kazakh mythology in art students were not previously explored. Therefore, the need for study in this domain was essential to cover the gap in the literature. The gap has been recently discovered by Kazakh scholars although it has been explored by foreign authors but the authenticity of such studies remains a question. The study was experimental and the results show a strong association between art’s student’s engagement with Kazakh mythology using engraving techniques. Moreover, the elective course was selected by 90% class of the art students voluntarily. The teaching method developed for the study provides strong results and the outcome of the experiment was well above 80%. The study used a systematic method along with comparative analysis based on Kazakh myths, culture, ethnology, folklore, mythology, and archeology.
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Akhmetova, N., and G. Tulesheva. "MY TONGUE IS THE HEIGHT OF THE PEDESTAL." Vestnik of M. Kozybayev North Kazakhstan University, no. 2 (51) (December 29, 2021): 86–93. http://dx.doi.org/10.54596/2309-6977-2021-2-86-93.
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The authors of the article - «Тілімменің – тұғырыңбиіктегі», starting with the words of AkhmetBaitursynov, "The nationality of people who speak their own language, writing their own language, will never disappear. The most powerful of what causes both the preservation and the loss of a nation is language. The people who have lost their language will disappear themselves", they say that every great word should give free rein to the consciousness and heart of every Kazakh. Language is not only a means of communication, it is a national being and spirit, it is culture, it is art, it i s education and science, it is upbringing, in one word, it is the main indicator of civilization. The Alash leaders, acutely aware of the language possibilities, approached the issue of preserving and developing the Kazakh language at the level of national values.The authors also wrote about the struggle of the Alash intellectuals for the purity of language and culture, along with the creation of the alphabet, spelling of the Kazakh language, scientific substantiation of internal laws.The Soviet ideology had a serious negative impact on our national language; this is characterized by the position of the Kazakhs of the North Kazakhstan region and the state of the Kazakh villages seeking to preserve the status of the Kazakh language in the region.The article ends with the words of academician ManashKozybayev, who studied and analyzed the past, present and future of the Kazakhs. "... Only people whose native language is developed, whose ancestral history is recognized, are the only generation of civilization."
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Malikova, A. "The philosophical nature of oratory in the context of the national theater." Bulletin of the L.N. Gumilyov Eurasian National University. Historical Sciences. Philosophy. Religion Series 144, no. 3 (2023): 232–43. http://dx.doi.org/10.32523/2616-7255-2023-144-3-232-243.
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The philosophical nature of oratory in the context of the national theater was determined and theoretical considerations were made in the scientific article. At the same time, it was confirmed that the roots of the philosophical essence of the art of oratory in the context of the national theater can be traced back to the traditions of the ancestors in ancient times, selecting the main social and cultural norms, and it was determined that the art of oratory is the heir of the cultural and spiritual wealth of the people formed over the centuries in the course of their further development. The article distinguishes that the national theater is an expression of the freedom of thought, recognition and action of the Kazakh society. It can be justified that the art of Kazakh oratory is both a platform and a cornerstone of the manifestation of human conscience and freedom of language. It is always based on the thought system, thought process, thought flow that leads to the abyss of world life. From this point of view, modern philosophical researches are first of all based on classical works of Kazakh theater, national folklore, including eloquent words, and we study the vital worldview of the Kazakh nation, the country's own system of knowledge, and the process of thinking. Therefore, here we believe that the spiritual and philosophical thoughts and ideas will be the methodological backbone of the nation, when the art of Kazakh oratory is connected with the art of Kazakh theater.
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Kussanova, Anipa, Balzhan Tleubayeva, Lyudmila Nikolayeva, and Aliya Shankibayeva. "DIRECTOR’S INTERPRETATION OF KAZAKH DANCE: DEVELOPMENT TRAJECTORIES IN THE PERSPECTIVE OF CREATIVITY." Creativity Studies 14, no. 2 (November 24, 2021): 535–48. http://dx.doi.org/10.3846/cs.2021.14722.
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The study investigates the director’s interpretations of Kazakh dance in the perspective of creativity on the example of works dated the last quarter of the 20th – early 21st century to determine the choreography’s development vectors with taking into account the aspect of creativity. This research is based on the small and large dance performances analysis. The study relevance lies in the fact that it can become a tool for determining the expression level of the national aspect in Kazakh dance art. The results of the study show the role of creativity in the dance education and its ffectiveness in the development of Kazakh dance art. This tool is necessary for the choreographer’s worldview theoretical analysis and his/her dance interpretation, for the Kazakh choreography subsequent enrichment, and preservation of Kazakh historical identity.
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Kelgembayeva, B. B. "Folk Philosophy on Life and Death in Lamentations." Iasaýı ýnıversıtetіnіń habarshysy 132, no. 2 (June 30, 2024): 53–63. http://dx.doi.org/10.47526/2024-2/2664-0686.43.
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The article is devoted to the analysis of existential-philosophical aspect and historical bases of the genre “joktau” (lament). The researcher shows that this genre inherited oral-poetic traditions of Sak, Hun, Uysun tribes and has deep roots of existential philosophy of Kazakh people. The author relies on the works of famous philosophers, folklorists and linguists in his research. According to the author's opinion, joktau reflects the humanistic worldview of Kazakhs about human existence and the meaning of each stage of the human life’s cycle “birth-growth-death”. The living tradition of joktau, along with its deep philosophical significance, demonstrates the genesis of folklore poetics and reflects the historical reality of the era in which it was created. The author emphasizes the world outlook connection of joktau with Kazakh myths and fairy tales. The text of «Joktau on Hajj Abdullah», which was found by the author in the manuscripts fund of the National Academy of Sciences is of great historical value. This oral-poetic text reflects the era of colonization of Kazakh lands by the tsarist power of Russia. Zhoktau describes how Kazakh tribes, that lost their lands, migrated from the eastern region of Kazakhstan and wandered in search of a home in Mongolia, China and Russia. The researcher notes that the joktau genre needs a deep study as it is an important monument of oral folk art, associated with the worldview, life philosophy and history of the Kazakhs.
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Абдинуров, Алиби Куттымбетович. "On some aspects of studying the Kazakh kyui." Музыкальное искусство Евразии. Традиции и современность, no. 3(8) (October 5, 2022): 12–22. http://dx.doi.org/10.26176/maetam.2022.8.3.001.
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Статья посвящена комплексному исследованию особенностей программности и формообразования наиболее развитого жанра казахского устного народного и профессионального инструментального творчества - кюя. Программность кюев получила большое значение, так как в ней запечатлены самые важные события из жизни казахов, а особенности формообразования в традиционном кюе связаны с самим инструментом, с конструктивными особенностями и техникой игры на казахской домбре The article is devoted to a comprehensive study of the features of shaping of the most developed genre of Kazakh oral folk and professional instrumental art - kyui. The programming of cues has gained great importance, because it captures the most important events in the life of the Kazakhs, and the features of shaping in the traditional kyui are associated with the instrument itself, with the design features and technique of playing the Kazakh dombra
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Aralkhanov, B., A. Sakhov, and S. Kurbanbayeva. "Cultural and philosophical significance in the art of Kuyi." Bulletin of the L.N. Gumilyov Eurasian National University. Historical Sciences. Philosophy. Religion Series 141, no. 4 (2022): 150–60. http://dx.doi.org/10.32523/2616-7255-2022-140-3-150-160.
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The art of kyui has a special place in the development of the spiritual world of the Kazakh people. It is necessary not only to distinguish the stages of spiritual development but also for the future of cultural development, to thoroughly understand the meaning and specificity of this phenomenon, which has its own complex structure and deep mystery. The recognition of kyui art and its cultural features and philosophical thoughts is very important for the permanent strengthening of our modern independence. It is clear that we have the task of recognizing and appreciating the spiritual heritage of the people, training them in the national spirit, and being able to create them for the needs of today's era of democratic social construction. The legends and stories of the Kazakh kyuis are spoken only by research, and not by systematic cultural and philosophical analyses. Because the specificity and breadth of the subject, the complexity of the content of worldly phenomena in the status heritage of the people were considered worthy of special study. The art of folk kui, which occupies a special place in the content structure of Kazakh philosophy, is of great importance in the formation of the national mentality.The art of kuyi is a source in the formation of our national culture. It has become a cultural value of the Kazakh people, contributing to their worldview for this reason. When we analyze the place of musical art in the framework of the cultural development of the Kazakh people, then it is impossible not to mention its national basis and spiritual life. At the basis of this idea are concepts such as self-recognition, feeling, acceptance as a nation. As a result, we recognize the dignity of the nation, its ability to recognize the nature of state art, which has become the core of its spiritual wealth.
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Yeginbayeva, T. Zh. "MODERN PERFORMANCE ON THE KAZAKH KOBYZ." Arts education and science 1, no. 2 (2020): 176–80. http://dx.doi.org/10.36871/hon.202002021.
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Global processes in the musical culture of Kazakhstan are the result of the numerous events that have taken place in the country over the past 20 years. The independence of the state has become a key factor that has had a decisive impact on the economic, socio-political and cultural development of the country. We have entered a new life, which has a rich cultural heritage and was carefully preserved by our ancestors. One of the proofs is the history of Kazakh kobyz art from ancient times to the present day. Modern kobyz art is closely connected with ancient history and has a rich natural tendency for new development, based on centuries of experience. Therefore, kobyz music of the XXth–XXIst centuries absorbed the traditions of European genres and styles, and is widely used in mass music, in various directions of ethnorock, art-rock, folk and others. Two lines of development of music for kobyz and music on kobyz existed in ancient times and nowadays. From here comes the divergence of creative direction among modern composers and in ensemble performance.
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Asylbekuly, S., Zh Ashirov, and Sh Kuttybaev. "HISTORICAL AND SOCIAL FOUNDATIONS OF MODERNISM." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 217–21. http://dx.doi.org/10.51889/2020-4.1728-7804.45.
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The article discusses theoretical issues and prerequisites of the modernist trend, which influenced the development of literature and art. The main factor influencing the emergence of literary modernism is global change in the historical and social life of human development. Features of European culture and art are considered in the context of literature and art space. The relationship between historical and social factors and factors causing new discoveries in literature and art is revealed. The world of the late 19th century and the beginning of the 20th century was full of new discoveries. Looking at this stage of human development from today's height, we will see that in the twentieth century it underwent multifaceted and radical changes. It began in the European literature of novelty, and also in the Kazakh literature. New and valuable domestic works appeared and the" Golden Fund "of Kazakh literature was replenished with valuable works of Kazakh writers.
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Amalbekova, Maral B., and Bakytgul E. Shagimgereyeva. "“Translation is a child of science and art”: Gerold K. Belger’s translation principles." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2021): 3–10. http://dx.doi.org/10.20339/phs.3-21.003.
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The article presents the experience of understanding the translation principles of the Kazakh multilingual writer and translator G.K. Belger. His knowledge of the German, Kazakh and Russian languages determined his special creative, practical and research translation experience. The hypostasis of Belger as translator-practice, translator-researcher is not sufficiently exposed to scientific reflection in Kazakh and Russian translation studies. His rich practice of translation and critical understanding of his colleagues’ translations from Kazakh into Russian and German allowed G.K. Belger crystallized translation principles and theoretical conclusions, which are valuable for the further development of a particular theory of translation from Kazakh into Russian and German, as well as for a special theory of translation — translation of fiction. The article is accompanied by quotations by G.K. Belger in order to provide the readers themselves with some of the important conclusions of the translator and critic, and not with the translations and interpretations of the authors of the article. His rich practice of translation and critical understanding of his colleagues' translations from Kazakh into Russian and German allowed G.K. Belger crystallized translation principles and theoretical conclusions, which are valuable for the further development of a particular theory of translation from Kazakh into Russian and German, as well as for a special theory of translation — translation of fiction. The article is accompanied by quotations by G.K. Belger in order to provide the readers themselves with some of the important conclusions of the translator and critic, and not with the translations and interpretations of the authors of the article. Another reason for the sufficient number of citations is related to the fact that the books of G.K. Belger has little access to the Russian translation researcher.
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Kaztuganova, A. Zh. "Innovative methods in the study of kazakh dombra art." Keruen 74, no. 1 (March 15, 2022): 295–306. http://dx.doi.org/10.53871/2078-8134.2022.1-23.
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The article characterizes the works of foreign and domestic scientists in the field of musicology, which are devoted to the traditions of improvisation; in particular, dombra art, analyzes the current issues of scientific research, and reveals the novelty of analysis methods and main conclusions. The purpose of the study is to solve theoretical issues of music, to present an innovative system through the concretization of methods and techniques used in the understanding the specifics of the works which are chosen as objects in the framework of the problems being developed. New methods included in the scientific works of the leading representatives of the art history on the issues of innovative musicology are presented. The received hypotheses have been confirmed, the collected materials have been systematized. The practice of studying the art of song, kuy, zhyr, which form the basis of Kazakh traditional music, in connection with monodic cultures, is reflected in the works of domestic researchers. So, A.I.Mukhambetova, emphasizing the issues that go back to the nature of the Kazakh kuy, analyzes the features of correlation of subsections (vocal, instrumental) in the structure of shashmaqom and kuy, fixes the commonality of rhythmic units, compares specific terms, L.Ya.Kopbayeva, noting the correspondence of the concept “maqam” of the modal and genre spheres, shows the dependence of the genre designation in kuy on the modal structure, R.T. Nesipbai, based on the works of scientists who studied the theoretical foundations of monody (Yu.plakhov, S.Galitskaya, T. Djani-Zade, T. Osina, L.Khaltaeva and others), studies the structure and composition of the kuy in the context of bourdon polyphony and oriental monody. Since the Kazakh musical art is based on the traditions of improvisation, the works of the same name from the of Kazakh kuys and issues of systematization in artistic culture were chosen as the basis for the study. It is emphasized that, having presented the systematization of internal factors in the study of maqom as the main genre of monodic culture, T.B.Gafurbekov, in fact, opens up new opportunities for solving complex problems that generate discussions, in particular, in determining the essence of the “genre”. The specificity of the "triple factor", which is reflected in his theoretical concept, led to a new formulation of the issues and systematization of categories, determined by the immanent nature of the Kazakh kuy art. In the process of classification (based on internal parameters), the specifics of improvisational art and the development line of the performing traditions in the creativity of the kuishi were taken into account. As a result, the significance of such characteristics of the Kazakh kuys as cyclicity, variations, situational and regional specifics was determined. The proposed system allows solving problems that relate to the categories of "genre" and "style" involved in the study of the Kazakh kuys.
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Altynbekov, Krym, Vera L. Zheleznyakova, and Elina K. Altynbekova. "New Sample of Ancient Art from Kazakh Altay." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 3, no. 29 (September 25, 2019): 100–114. http://dx.doi.org/10.24852/pa2019.3.29.100.114.
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AUELBEKOV, Erzhan. "IMAGES OF TURKISH ETHNOCULTURE IN KAZAKH DECORATIVE ART." Turkology 112, no. 4 (December 15, 2022): 92–109. http://dx.doi.org/10.47526/2022-4/2664-3162.05.
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The article examines the essence and content of folk decorative crafts in the system of art education, which is implemented in the country on the basis of such programs as “Cultural Heritage”, “Spiritual Revival”, “Seven Facets of the Great Steppe”. The manifestations of centuries-old Turkic culture in Kazakh decorative crafts are considered in detail, its character in the theories of Turkic ethnoculture is analyzed from historical, spiritual, artistic points of view. On the basis of the Turkic knowledge, the stylistic, symbolic and figurative features of some handicrafts, especially headdresses, such as saukele, takiya, and the use of ornaments in them, characterizing the features of the Turkic ethnoculture, are analyzed. The similarities of folk crafts of the Kazakh and other Turkic peoples in the Turkic ethnoculture are shown, as well as evidence that the development of folk crafts is in close connection with the worldview, beliefs, way of life, economy of the peoples. National ornaments, symbolic images, motifs in the crafts of the Turkic peoples are compared, their semantic features are described as signs of the Turkic ethnoculture. The special place of Kazakh crafts in the Turkic ethnoculture as a direct successor of nomadic traditions on the land of the Great Steppe is determined, historical, ethnographic and artistic scientific explanations are given to them.
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Aitenova, А., and S. Kairatuly. "December – 1986: Evaluation, Causes and Representation in Art." Al-Farabi 76, no. 4 (December 15, 2021): 154–67. http://dx.doi.org/10.48010/2021.4/1999-5911.12.
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The authors of the article make an attempt to analyze the events that took place on December 17–18, 1986 in the Kazakh Soviet Socialist Republic, using the methodology of “cultural trauma”. The December events are defined as a multifaceted social and humanitarian problem. It is shown that the December events must be assessed comprehensively as a historical, social, humanitarian phenomenon. The reasons for the December events were determined by the dismissal of Dinmukhamed Akhmedovich Kunayev, the crisis of communist political ideology, the political, economic voluntarism of totalitarian power, the narrowing of the scope of the Kazakh language, the ecological crisis of Soviet Kazakhstan, the emergence of the history of the third generation of the Soviet people. In general, the December events are viewed as an open form of healing the mental wounds of the Kazakh people inflicted by the administrative decisions of the Soviet red empire. Despite the fact that the December events as a social phenomenon are more than a quarter of a century old, the Decembrists and their activity do not leave the agenda in the public consciousness. The importance of using the December events as a universal tool in the formation of various forms of social practice is growing. The conceptualization of this point of view in the article is determined by the representation of the lessons of the December events in contemporary Kazakh art (sculpture, cinema, literature, theater). At the same time, the article also shows that the representation of the December events in art is the form and content of the “healing” of the trauma of the December events.
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Ishkalova, G. "KAZAKH TRADITIONAL HUNTING IN FOLKLORE." History of the Homeland 98, no. 2 (June 29, 2022): 244–54. http://dx.doi.org/10.51943/1814-6961_2022_2_244.
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The folklore of each nation is an indicator of national culture, its national identity, historical memory and worldview. Adapting to the environment, the people form their unique material and spiritual culture in accordance with the way of life. The Kazakh people, like other peoples, tried to interpret and convey the events of everyday life in various ways. Although folklore is an art created by the people, based on human wisdom, but it also acts as a true historical source. In folklore there are descriptions of historical events, pictures of everyday life and economic activity are reflected. Thus, the data of oral folk art are narrative sources among other types of sources. In accordance with the above facts, the author aims to consider traditional hunting on the examples of Kazakh folklore. In particular, on the basis of fairy tales, heroic and lyrical songs, ritual folklore and didactic folklore, the scenes of traditional hunting and the place of hunting in society are studied. An attempt was made through Kazakh folklore to show the national character and originality of traditional hunting, and the relationship between oral literature and ethnography was also revealed.
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Zhubanova, Zh. "Kazakh ornament: from traditions to the new combinations of shapes in contemporary art." Pedagogy and Psychology 46, no. 1 (March 31, 2021): 195–203. http://dx.doi.org/10.51889/2021-1.2077-6861.26.
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In the training of specialists in the art education field, it is essential to know the continuity in the evolution of national art. In Kazakh folk art, the semantic content and structuring of ornamental forms and compositions are the result of a long historical development and spiritual experience of the nomadic people. In the decorative and applied art of the people, the mental processes of society are represented. The artist-nomad is a spokesman of the Kazakh nomadic mentality, which is characterized by the originality of spiritual experience and traditions and is formed as a result of the long development of historical eras and periods under the influence of geographical, social, cultural conditions of life. In the Kazakh arts and crafts, a system of expressive means and images has been formed, which reveal the specifics of the nomadic way of life. The ornaments are a historical source that sheds the light on the peculiarities of the beliefs, the way of life of the nomads. The artistic vision of the Kazakh people is manifested both in the forms and in the decorative decoration of the dwelling household items, military equipment, jewelry. In the products of decorative and applied creativity, the artistic picture of the world of their creators is reflected ideas about heavenly bodies, natural phenomena, animal and plant life. Ornament plays a role of a kind of tool for symbolic and sign thinking. A stable system of specific signs and combinations of units is recorded in the Kazakh ornamental language. Craftsmen and contemporary artists, using the language of ornaments as an important visual communication tool, have filled their artworks with non-verbal messages and mental information.
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Zh.D., Ramadanova. "Art as a reflection of the genetic cultural code (on the example of Kazakh folk dance)." Bulletin of the Karaganda university History.Philosophy series 107, no. 3 (September 30, 2022): 169–81. http://dx.doi.org/10.31489/2022hph3/169-181.
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This article presents the results of the study of the genetic cultural code, reflecting the spiritual values of the people on the example of the traditional dance-plastic art of the Ka- zakhs. As a research method, the author uses a semiotic analysis of movements and pos- tures of traditional Kazakh dance, which is part of the Turkic culture. The article provides definitions and functions of such terms as «art», «figurative language in art», «arche- type», «semantics», «semiotics». It also gives an analysis of the art of dance as a semiotic system, based on the fact that the language of dance, expressed by body movements, is non-verbal, containing signs and symbols that reflect, among other things, the subcon- scious thoughts and feelings of the dancer. The author, based on the symbols of sacred geometry and sign language, compares Kazakh national patterns and movements of Kazakh dance with similar names with the interpretation of the meaning of symbolic forms reflecting the cultural code of the people. In comparison, the author relies on the fact that the basis of the Kazakh ornament is made up of signs-symbols, for the development of which the folk masters are the source of the phenomena and objects of the surrounding world. As a result, elements of Kazakh dance are identified, which are common not only for the eastern peoples but also for the dances of the peoples of the Middle East and Egypt, which is indirect evidence of the common roots of the above cultures. The conclusions are partially confirmed by research works in the DNA genealogy of mankind, as well as by the works of a number of Türkologists
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Ilyassova, N., and G. Raeva. "TERMINOLOGICAL MEANING OF THE WORD "KAZAKH" IN THE LANGUAGE OF WRITTEN MONUMENTS." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 86–90. http://dx.doi.org/10.51889/2020-4.1728-7804.17.
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The article analyzes the word "Kazakh" from a linguistic point of view and finds out that it is used in two different terms. Linguistic facts and finds prove that the name "Kazakh" appears by the 9th-10th centuries, and the word "Kazakh" is established as an ethnic term that has shaped language, art, culture, military power, the basis for building a strong state. The root of the word "Kazakh" is associated with the semantics of the words Uisin, Khun, Turkic. This is confirmed on the basis of the language of ancient and medieval Turkic inscriptions. On the basis of research and historical data related to the origin of the word "Kazakh", attention is drawn to the features characteristic of the Kazakh people. In addition, the word "Kazakh" is recognized as a term reflecting nationality. It is proved that the essence of the nation is preserved in the language, the analysis of linguistic data reflecting the essence of the Kazakh nation is carried out.
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Shamshiev, A., and G. Zhumaseitova. "THE PROBLEM OF THE DEVELOPMENT OF KAZAKH MEN'S DANCE." ARTS ACADEMY 6, no. 2 (June 30, 2023): 5–21. http://dx.doi.org/10.56032/2523-4684.2023.2.6.5.
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The history of dance art is difficult to access because it does not have well-defined physical artifacts such as stone tools, sculptures, hunting tools or rock paintings that have survived for thousands of years. It is impossible to determine exactly when the art of dance became a part of human culture. The art of Dance has held different functions in each society. One of them is social communication and communication. It was used in folk festivals and rituals. The art of dance was also used as a method of treating sick people, people who are in depression and stress. The most basic also considered the art of dance as a means of conveying feelings between men and women. In this scientific article, the author, reviewing the history of dance of the peoples of the world, pays attention, including to the development of men's dance. Studying the development of Kazakh men's dance, he shows the facts that hinder it. Tries to find ways to solve the problems mentioned. Formulates with concrete evidence the benefits of dance art for human life and health.
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KOZHABEKOVA, ZH, and А. PANGEREYEV. "NATIONAL IDEA OF KAZAKH AITYS OF THE XIX–XX CENTURIES." Iasaýı ýnıversıtetіnіń habarshysy 130, no. 4 (December 15, 2023): 126–38. http://dx.doi.org/10.47526/2023-4/2664-0686.11.
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The article is devoted to the study of Kazakh poets’ aitys of the XIX–XX centuries, when the specific and syncretic art of the Kazakh aitys was revived in the western part of Kazakhstan. The authors study the national spirit and ideas in the aitys by comparing aitys to relevant poetry cross-culturally or cross-linguistically and map aitys onto the folkloric Russian-Kazakh legacy. The works of Abubakir Kerderi, Sarysholak Boranbaiuly, Kurmanali Dauituly, and Nurpeyis Baiganin are also compared. The authors of research articles about the problem of the national idea in aitys have proved that its historical development is a kind of thematic-ideological, artistic character of aitys, using methods of analysis, systematization and formulation. The authors argue that aitys is not only an art and genre, but also a spiritual value of Kazakh people, although also found in other peoples, but its development over many centuries is a national feature born of the nation’s attitude to cultural heritage and attention to the art of speech. The new aspect of the proposed method is the authors’ focus on the main cognitive purpose of the art of aitys being primarily to develop its own content and complement it with an idea, continuing the tradition of honoring and studying the spirit of a fully developed person. In particular, an expressiveness has been formed – the invaluable work of aityskers developing both oral and written qualities of a rich literary heritage, so genre development is comprehensively analysed.
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Saitova, Gulnara, Gulnara Jumasseitova, Aigul Kulbekova, Alima Moldakhmetova, and Toigan Izim. "CREATIVITY OF KAZAKH PEOPLE IN THE CONTEXT OF KARA JORGA DANCE: PRESERVATION AND DEVELOPMENT PROSPECTS OF KAZAKH CULTURAL HERITAGE." Creativity Studies 16, no. 2 (November 24, 2023): 726–39. http://dx.doi.org/10.3846/cs.2023.16695.
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This research is devoted to the study of the examples of the early Kazakh folk dance kara jorga, also referred to as the dance of joints, preserved on the territory of Kazakhstan, China, Mongolia, and the Altai Region (Western Siberia, Russia). Research based on a generalized art history analysis, the characteristics of the performance of Kazakh dances on the territory of China, Mongolia, the Altai Region, and Kazakhstan are presented. The results of the study were obtained with the help of the historical analysis of the traditional culture of the Kazakhs of the 20th and the beginning of the 21st centuries, search expeditions, the study of scientific and methodological methods of professional and creative skills of performers, as well as the performing, research, and pedagogical experience that we have accumulated. Research includes analysis dance kara jorga in the aspect of “first” and “second” existence. It is considered in the context of two components of creativity (first – novelty, second – usefullness, effectiveness, or value) and the prospects of its application in the field of dance therapy.
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Sharipova, D. S., A. B. Kenjakulova, and A. I. Tulenova. "Actualizing national folklore in graphics and comics in Kazakhstan." Keruen 74, no. 1 (March 15, 2022): 253–64. http://dx.doi.org/10.53871/2078-8134.2022.1-20.
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The article deals with one of the significant problems of contemporary culture – the ratio of global and local on the example of mastering of national folklore in the works of graphic artists of Kazakhstan. The authors trace changes in visual interpretation of Kazakh folklore in the context of development of the visual art of Kazakhstan in different socio-historical conditions. The main issue for researchers is the actualization of folklore in the modern Kazakh graphic art and comics, which reflects common identification strategies, as folklore provides an opportunity to represent ethno-cultural identity, and simultaneously, through turning to folklore motifs, artists try to learn new art forms and reach innovative formal and conceptual solutions, meaningful in the global context. The recognized problem is largely brought up to date by the popularity of comics with modern audiences. The features of motifs depicting rituals, holidays, ritual scenes, which, according to researchers, are associated with the expansion of the influence of the traditional culture of the Kazakh people, the appeal of graphic artists to national codes, moral imperatives of the nation, as well as their active propaganda, are studied. It is revealed that the appeal to folklore, the use of its figurative-semantic system leads to the fact that in easel graphics and comics not related to the illustration of folklore, the folklore understanding of the hero as a fighter against chaos and instability of the world is used, performing the therapeutic function of adaptation to modern reality.In this article the attention is given not only to Kazakh graphic art, but also to the achievements of the global graphic art, which allows revealing the potential of global art trends for innovations on a regional scale.
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Azi, Essentugel A., Samet Azap, and Nurbol A. Saduakas. "Көшпенді сал-серілерінің халықтық-діни көзқарастары." BULLETIN of the L.N. Gumilyov Eurasian National University. Historical sciences. Philosophy. Religion Series 138, no. 1 (2022): 142–54. http://dx.doi.org/10.32523/2616-7255-2022-138-1-142-154.
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The «serilik» tradition is of great importance in the history of the cultural heritage of nomads, including the culture of the Kazakh people. «Sal-seriler» is the spiritual image of the Kazakh Steppe, which adheres to the traditions, has a universal human value, is rich in educational and educational heritage. The article considers the work of the Kazakh «Sal-Seri», which combines a wide variety of Arts in the history of the culture of the nation, the art of speech, that is, the art of poetry, singing, composition, improvisation, eloquence and eloquence on the basis of historical, cultural and literary sources. The scientific and creative work of the Masters of the word in the history of national literature, the culture of language, the system of artistic thinking, the national spirit and consciousness, and the national and spiritual values are presented philosophically. Most of the spiritual culture of the Kazakh people was repressed, banned, and the names of many prominent figures, cultists and followers of cultural traditions were forgotten. Their return to the people, their involvement in cultural life creates the need for a holistic understanding of the eternal spiritual values created by them, which has every reason to take its rightful place in universal culture. A huge role in the socio-political and spiritual life of Kazakhs of the XV-XIX centuries was played by representatives of oral poetry – poets, zhyrau, sal and seri. «Sal and Seri» through his work is a connecting beginning of the spiritual experience of the people, accumulating a repetition of the experience of previous generations. As a public figure, «Sal and seri», worried about the future, became enemies to all the authorities – both their rich and their colonialists. «Sal-seri», which expressed a progressive mood, reflected moral, ethical, sociocultural, philosophical and historical ideas and knowledge in a new way in their works, served as defenders of the interests of the people. If the artistic heritage of «Sal-Seri» is a special type of creativity, then their image is a vivid reflection of the national mentality.
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M.Y., Ybyraikhan, and Saktaganova Z.G. "On the development and role of culture in rural everyday life of Central Kazakhstan in 1964–1985." Bulletin of the Karaganda university History.Philosophy series 108, no. 4 (March 30, 2022): 189–202. http://dx.doi.org/10.31489/2022hph4/189-202.
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Culture and art are important spheres that determine the dynamics and trends in the daily life of the population. The article examines the issues of cultural development and its role in the daily life of the villagers of Central Kazakhstan in 1964–1985. The study is based on archival documents (materials from Russian archives — RGASPI and GARFA, Kazakh archives — Central State Administration of the Republic of Kazakhstan) and interview materials conducted by the authors with Kazakh villagers of Karkaraly, Egyndybulak, and other districts of the region. The study of the specifics of the development of culture and the holding of cultural events/projects in Kazakh rural areas allows us to conclude that participation in them was massive. The events held did not set a task and were not used to revive the national spirit, but played an institutional role as an ideological tool of the state in promoting communist ideas. As a result of the study, achievements and shortcomings of development in rural cultural everyday life were identified, the position and place of national culture and art in rural everyday life of the region were determined. In conclusion, in the studied decades in rural areas, the development of Soviet culture was active, but there were certain difficulties and obstacles to the development of Kazakh national culture and art.
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Krykbaeva, S. M., G. A. Abdurahmanova, and L. Sh Bakirova. "ARCHETYPES AND IMAGES OF THE KAZAKH NATIONAL CULTURE IN CREATIVITY CONTEMPORARY ARTISTS." EurasianUnionScientists 2, no. 2(71) (2020): 4–7. http://dx.doi.org/10.31618/esu.2413-9335.2020.2.71.583.
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Background. reveals art analysis of archetypes and artistic images reflecting the Kazakh national culture in the paintings of modern artists of Kazakhstan The ways of art history analysis have been revealed for the most characteristic archetypes and artistic images of the Kazakh national culture, which are revealed by modern Kazakhstani artists in their paintings. A typological method is suggested in studying the development of contemporary contemporary art in Kazakhstan. The revival of the traditional worldview in the modern art of Kazakhstan is justified. Scientific novelty is connected with the historical and art history analysis of symbolizing, ethnosign functions of culture on the basis of reconstruction of the sign-symbolic system of the pictorial type, through which an interpretation of various types of contemporary art of Kazakhstan is given. Contemporary art of Kazakhstan is characterized by the integration of various types, genres and styles, while the development of the world by new means is carried out through signs and symbols established in the context of traditional culture. The performed art history analysis indicates that the sign-symbolic system of the Tengrian world picture is actively and quite fully implemented in various types and genres of modern art in Kazakhstan. In the works of contemporary artists, along with geometrics, signs and symbols of the animated world (plant and zoomorphic) are used, relevant in the aspect of the ecology of culture, as an answer to the global challenges of our time. The results are significant for theoretical and practical understanding of the problem under consideration, in particular, for Евразийский Союз Ученых (ЕСУ) # 2(71), 2020 5 deepening the description and analysis of works of art by Kazakh artists, as well as for further systematic analysis of works with elements of archetypal motifs and mythological images. Article materials can be used in training courses of art faculties and specialties
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Zhukenova, Zhazira D., and Zhazira Zh Zhekibaeva. "Development Stages of the Modern Jewelry Art in Kazakhstan." Observatory of Culture 16, no. 3 (July 19, 2019): 322–32. http://dx.doi.org/10.25281/2072-3156-2019-16-3-322-332.
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In the context of globalization of the modern world and the growth of intercultural interaction, the question of spiritual development of the nation, the issues of formation, establishment, and the main trends in the further evolution of its art become the subject of research by many art historians, who, through the use of their topical articles and speeches, have made conditions for the further improvement of art studies in Kazakhstan.Currently, the Republic of Kazakhstan is on the way of radical changes in its political, economic and cultural system, which became possible with the acquisition of Kazakhstan’s status as a sovereign state.Scientists of Kazakhstan — historians, ethnographers, culturologists, art experts of the 20th—21st centuries — conducted comprehensive studies of the history, culture and art of the Kazakh people. Special attention was paid to description of the traditional types of applied art (felting, weaving, embroidery), as well as the work of master jewelers.While the traditional types of applied art have been widely described and studied by art historians in ethno-cultural aspects, the professional jewelry art of Kazakhstan, the work of modern national masters are still insufficiently investigated, including the issues of archaic and traditional forms interpretation in today’s jewelry art.Contemporary jewelry artists working in the most topical forms keep the Kazakh traditions of jewelry craftsmanship: they use generally accepted techniques of metal processing in their works, creatively interpret traditional forms.The active use of the established techniques by modern masters is complemented by the latest technology.The artistic features of modern jewelry are based on the author’s interpretation of forms and techniques of traditional jewelry art; there is a kind of synthesis: a mixture of traditions of the Kazakh craft, techniques of folk applied art, and current artistic trends.
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Omarova, A. K., A. Zh Kaztuganova, and D. F. Karomat. "GLOBALIZATION AND ETHNOMUSICOLOGY." BULLETIN 384, no. 2 (April 15, 2020): 216–21. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.61.
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The interpretation of the category “genre” which is presented based on the classification of makom, due to its internal nature, causes disagreement among the scholars, and difficulties due to its designation of a specific type of work and/or national art form. In particular, the emphasis on circumstances related to the centuries-old, extended, regional, situational development in line with the oral tradition and in the frame of improvisational art, and the definition of the national type of musical art as a “genre” lead to disproportionate indicators in theoretical issues. In this regard, the reasons for the incorrect use of the category “genre” in the studies of the Kazakh kuy art were commented: in one case, it is correlated as a whole with the “kuy” phenomenon, in the other, it is used in relation to certain phenomena arising from the study of its internal distinctive nature. The “Triad of factors” – multivariance, cyclicity and locality – which formed the basis for conceptual generalizations of the famous musicologist T.B. Gafurbekov in the works revealing its system-forming nature in monodic culture is shown in conjunction with principles that reflect the genre specificity of instrumental music of the Kazakhs. The groups of macrovolume can include “Akzhelen”, “Kosbasar”, “Nauayi”, the microvolume barnch by Kurmangazy “Kisen ashkan”, “Kobіk shashkan”, “Turmeden kashkan” etc. The regional kuys with the same name by Kurmangazy, Dauletkerey, Dina “Zhiger” can be cited as an example. The situational kuys include “Kenes”, “16-zhyl” etc. As a final conclusion, the importance of considering the art of the Kazakh kuy in the system of monodic cultures and a new “clarification” of its inner nature is emphasized. From this point of view, the theoretical concept of T.B. Gafurbekov is updated as capable of forming a common scientific platform for studying the traditions of the Turkic-speaking peoples based on improvisation.
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Shoshanova, Saltanat. "The Asharshylyq in Contemporary and Public Art of Kazakhstan: The Politics of Commemorating the Kazakh Famine of the 1930s." History & Memory 36, no. 1 (March 2024): 45–82. http://dx.doi.org/10.2979/ham.00003.
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Abstract: This article explores the politics of the commemoration of the Kazakh famine of the 1930s by analyzing the commemoration strategies employed by visual artists in the period from 2012 until 2019. It identifies two types of art production on the topic—governmental public art, which avoids politicizing the famine and reads it as the greatest humanitarian catastrophe of the Soviet period, and art projects by independent artists who call the Kazakh famine a genocide. Although these two positions seem to be ideologically opposed on a rhetorical level, the article shows that the difference in the visual language used to express these opposite political positions is not always as pronounced as one would expect, and proposes several explanations for this incoherence.
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Mazhıyeva, Nazim, Nargiz Baltabaeva, and Parchat Yussup. "The Art Image of Polygam Marriage in Kazakh Epics." Bulletin of L.N. Gumilyov Eurasian National University. Philology Series 129, no. 4 (2019): 61–66. http://dx.doi.org/10.32523/2616-678x-2019-129-4-61-66.
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Suraganov, S. K. "SILVER OF KAZAKH ZERGERS: TRADITIONS IN MODERN JEWELRY ART." Archaeology, Ethnology and Anthropology of Eurasia 37, no. 3 (September 2009): 135–44. http://dx.doi.org/10.1016/j.aeae.2009.11.015.
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Ashirkhanova, K., and Zh Suinzhanova. "Reflection of Folk Healing in Kazakh and Turkish Oral Literature." Iasaýı ýnıversıtetіnіń habarshysy 122, no. 4 (December 30, 2021): 37–46. http://dx.doi.org/10.47526/2021-4/2664-0686.04.
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Folk healing is one of the oldest, most important objects of the study of oral folk art. It is important to study the history, to determine the place of folk healing in science. In Kazakh folklore science, the roots of folk healing, known by various names, have their roots in the pre-Islamic Turkic belief system. At the root of the Kazakh traditional folk healing are the Kok-Tengri religion, shamanic beliefs / Baksanism. Folk healing, which plays a rather important role in our daily life, has developed so widely in the Turkic world that its application can be seen in any sphere of life. The purpose of this study is to study various analyses, opinions, approaches concerning folk healing, as well as the results of the study of Kazakh and foreign scientists regarding Kazakh folk healing. It is also possible to prove through the judgments of researchers that in the works of oral folk art accumulated over the centuries, one can also find reflections and experiences of our ancestors concerning everyday life, traditions, and a healthy lifestyle. The article discusses various names, definitions of the concept of folk healing in Kazakh and Turkish oral literature, examples, methods of treatment that are not found in other literary works about folk healing except the book Korkyt Ata, which is a priceless pearl of oral folk healing.
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Kenzhetaeva, Aliya, Karlgash Aitkalieva, and Tolkyn Amreyeva. "Integration of Experience and Achievements in the Development of Performing Skills of Kazakh Dance in Higher Education Institutions of the Republic of Kazakhstan." Harmonia: Journal of Arts Research and Education 23, no. 1 (June 29, 2023): 53–63. http://dx.doi.org/10.15294/harmonia.v23i1.43859.
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The main purpose of this research is to study the experience and achievements of previous generations of folk dance performers to improve work with future choreographers who study Kazakh folk dance in higher education institutions of the Republic of Kazakhstan. The study’s methodological approach is the search and theoretical analysis of sources aimed at studying both the history of the Kazakh folk dance itself and the development of the performing skills methods of Kazakh dance in future choreographers. This research uses typological, historical, and thematic analysis methods from used literature collected during the writing of the article. The author analyzes the historical stages of the development of the professional training of choreographers-performers and the influence of the experiences and achievements of previous generations on the performing skills of future choreographers in Kazakh higher educational institutions. This study also found that modern teaching is based on the integration of experience and achievements in the art of choreography for the development of performing skills and choreographer-performer skills of Kazakh folk dances in higher educational institutions of the Republic of Kazakhstan. This research work is of practical importance in the study, as well as training of future choreographers who study dance in various areas of original folk art in higher education institutions of the Republic of Kazakhstan.
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Abisheva, Sandugash, Saule Shunkeyeva, and Meiramgul Zhetpisbayeva. "ON THE PEDAGOGICAL EDUCATIONAL POTENTIAL OF ANIMATION CONTENT FOR THE DEVELOPMENT OF TODDLERS." 3i intellect idea innovation - интеллект идея инновация 2 (2023): 248–55. http://dx.doi.org/10.52269/22266070_2023_2_248.
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The article discusses the issue of the pedagogical and educational impact of animation on the development of toddlers, and the disclosure of their speech potential. At the same time, the key aspect is animated content based on children's folklore materials. The authors analyzed domestic and Russian animated films for toddlers in the Kazakh and Russian languages, revealing their pedagogical and educational potential. In 60-70s of the last century, Kazakh animation art was based on the works of Kazakh children's folklore and played an important role in the upbringing of the child, the formation of the best qualities in him, the national picture of the world. Due to a long period of stagnation in the animation art of Kazakhstan, there is a lack of animation content in the Kazakh language for toddlers, which has pedagogical and educational value; dominance in the information space of foreign animation products. This causes the problem of the formation and development of speech in the Kazakh language in children who prefer foreign cartoons and master the world through the prism of foreign language and culture. The authors conclude that digital animation content is a powerful educational tool for the development of toddlers. At the same time, when creating cartoons for toddlers, it is important not only the content side but also the sound side of speech, and interactivity.
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Sharipova, D. S., S. Zh Kobzhanova, and A. B. Kenzhakulova. "INTERTEXTUALITY IN CONTEMPORARY ART OF KAZAKHSTAN IN THE ASPECT OF CULTURAL MEMORY." Bulletin of Kazakh National Women's Teacher Training University, no. 2 (July 16, 2021): 179–90. http://dx.doi.org/10.52512/2306-5079-2021-86-2-179-190.
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For the masters of modern art of Kazakhstan, along with the importance of samples of classical culture and discoveries of modernist art, Kazakh folk art is becoming a single field of tradition today. Intertextuality, constant dialogue with different layers of world and national painting and sculpture determine the search for new expressiveness in art. This article describes the role of intertextuality in the development of new forms of artistic statements, namely, as in the works of modern Kazakh sculptors (S.Bekbotayev, D.Sarbasov, Z.Kozhamkulov), jewelers (A.Mukazhanov), tapestry masters (A.Bapanov), the importance of the values of native culture as a space of cultural memory is preserved. Experiments with the material are perceived as a ritual, a creative act, a search for their own author's style, modern means of expression of the artist. It is shown that the danger of losing one's own national identity associated with the process of globalization explains the interest of the masters in the author's myth-making, designed to awaken the spiritual foundations of the nation in the minds of contemporaries. Through mechanical details, sculptors create new myths in order to streamline the ethical and psychological state of a modern person, while in the works of masters of decorative and applied art, bricolage is practiced as a combination of different materials and textures, meanings and images closest to the construction of a myth.
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Altayev, Zhakypbek, and Zhuldyz Imanbayeva. "The values of traditional Kazakh culture." Central Asian Journal of Art Studies 6, no. 2 (June 29, 2021): 10–24. http://dx.doi.org/10.47940/cajas.v6i2.373.
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Eastern (including Kazakh-Turkic) philosophy differs from classical Western philosophy in that it does not make a major distinction between the universals of culture and philosophy. For Kazakh traditional society, philosophizing is characteristic of a non-abstract, extremely generalized, figuratively complete form of reflection. For the most part, philosophical categories and concepts are reflected and enshrined in artistic and religious texts. Therefore, the study of Kazakh philosophers should be conducted in a broader socio-cultural context. A holistic conceptual understanding of the worldview universals of a nomadic civilization is one of the most urgent tasks of modern Kazakh philosophy. To accomplish this task, we have at our disposal a huge amount of material from the monuments of the Orkhon-Yenisei runic writings, to priceless samples of oral folk art in the form of folk legends, heroic epics, proverbs, and sayings, the poetical and musical heritage of the zhyrau-akyns, etc. Traditional Kazakh culture is the quintessence and reflection of a special nomadic type of economy. Nomadic civilization is an example of a favorable coexistence between nature and man. An eco-friendly lifestyle was a reflection of the internal attitude towards maintaining harmony between man and nature. At the same time, the Kazakhs managed to create a special socionormative culture based on deep spiritual traditions that widely regulated social relations. The genus origin was the fundamental principle of the individual's self-identification and linked him by inseparable blood ties with the community and the territory of residence as a continuation of his social and natural existence. A nomadic collective was a hierarchically designed social organism, where human life was strictly regulated. Every action in everyday life had not only practical, but also spiritual meaning, value. Sacralization of actions took place through the ritual. Almost every single thing in everyday life was endowed with symbolic meaning. Having mastered the methods, principles and categorical apparatus of Western philosophy, modern Kazakh philosophy has become capable of deeply analyzing and actualizing the past examples of the spiritual culture of the Kazakh people. At the same time, it opens itself up to other cultures and thus new opportunities for intercivilizational dialogue appear.
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Аbzhet, B. "The Scientific Significance of the Search and Publication of Kazakh Fairy Tales Preserved in Manuscripts." Iasaýı ýnıversıtetіnіń habarshysy 121, no. 3 (September 30, 2021): 7–15. http://dx.doi.org/10.47526/habarshy.v3i121.729.
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The process of collecting and publishing Kazakh fairy tales dates back to the second half of the 19th century. During the period of the colonization of the Kazakh steppe by the Russian Empire, people of different professions who came here for different purposes and worked in the civil service began to pay attention not only to the registration of land wealth, but also to the study of samples of oral folk art. On the pages of the first editions “Turkistan ualayatynyn gazeti”, “Dala ualayatynyn gazeti”, published in the second half of the 19th century in the Kazakh language and spreading in the Kazakh steppe, numerous folk tales were published, taken from oral folk art. Along with Russian scientists, representatives of the Kazakh intelligentsia and educators were also engaged in the study of fairy tales. Kazakh fairy tales were published several times at the beginning of the twentieth century and after the establishment of Soviet power. After gaining independence of Kazakhstan, numerous fairy tales were published in whole volumes. At the same time, some publications were found and re-published fairy tales that had not been previously published. We know that Kazakh fairy tales, collected in manuscript centers and library funds, have a rich heritage. Finding and republishing unpublished tales is an urgent need today. In the article, the author notes the importance of searching for fairy tales in the archives of the regional level, as well as among the manuscripts collected in manuscript funds and written in Cyrillic, Arabic or Latin letters, and the publication of these fairy tales, especially previously unknown ones. He also draws attention to the spiritual heritage of the people and the significance of fairy tales in modern folklore.