Art and Culture - The Times Of Central Asia

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Cultural Heritage Myths Tales Kazakh Art Art and Culture life and culture History

Gods and Demons of Central Asia

In today's dynamic world, Central Asia is emerging as a trendsetter in fashion, culture, lifestyle, and worldview. The ancient Tengrian faith, deeply rooted in Central Asian mythology and superstitions, may soon resurface creatively among the region's people, though it is unlikely to be reinstated as an official religion. While some in Kazakhstan attempt to distance themselves from Abrahamic religions, Tengrism remains a vital part of the cultural heritage, featuring gods, demigods, and dark entities that shaped the beliefs of our ancestors during the pre-Islamic era. [caption id="attachment_22010" align="aligncenter" width="167"] photo: pininterest: Tengri's domain[/caption] Divine entities According to Tatar scientist and writer Gali Rahim, shamanism attributes significant roles to various spirits and deities. Among the Turkic peoples, the supreme deity is Tengri, the eternal blue sky. Rahim's lectures on “The Folklore of the Kazan Tatars,” presented at the East Pedagogical Institute in the 1920s, describe Tengri as the primary god in Turkic cosmology, with the earth and humanity emerging from the union of the sky and the earth. Umai, the goddess associated with motherhood and children, stands next in importance. Ancient Turkic inscriptions and symbolic artifacts, such as the stone carving discovered in 2012 in the Zhambyl district of Almaty, Kazakhstan, depict her as a protective figure for children. Teleut pagans represented her as a silver-haired, young woman who descended from heaven on a rainbow to guard children with a golden bow, and the Kyrgyz appealed for her help during childbirth and when children fell ill. Motifs dedicated to Umai by Shorian shamans, were positioned around cradles. Boys' cradles were pierced with an arrow, girls' with a spindle, and wooden arrows were placed within the those of both. Another prominent character common to Turkic, Mongolian, and Altaic mythology is Erlik or Yerlik Khan. Ruler of the underworld, the horned deity presides over the realm of the dead from a palace of black mud or blue-black iron on the bank of the Toibodym, a river of human tears. A single horsehair bridge is guarded by monsters known as dyutpa whilst the palace is protected by Erlik’s sentries or elchi, brandishing pike poles known as karmak. His breath, carried by a tan, a light warm breeze, was believed to paralyze anyone who inhaled it, which is why the Khakas term for paralysis, tan sapkhany, literally means “wind blow.” Kudai (Khudai), also known as Ulgen, is another central deity who, alongside his brother Erlik, created the land, its vegetation, mountains, and seas. Kudai created man from clay, and Erlik gave him his soul. Kudai created a dog but it was Erlik who clothed it in hair. Whilst Kudai created the first animals, the horse, the sheep, and the cow, Erlik created the camel, the bear, the badger, and the mole. Kudai brought down lightning from the sky and commanded thunder. In a dispute over who was the mightiest creator, Kudai won. The brothers parted ways, and after producing nine sons, from whom the tribes of Kpchak, Mayman, Todosh, Tonjaan, Komdosh, Tyus, Togus,...

Kazakh Art Art and Culture

An Exploration of Identity by Kazakh Artist Gulnur Mukazhanova

There are some abstract works that can feel like a spiritual encounter. We are all familiar with the work of Mark Rothko, a master in materializing emotions and bringing viewers to transcendence through simple hues, nuances, and color gradients. Far fewer people however, will be aware of Gulnur Mukazhanova, a Kazakh artist whose felt paintings are imbued with a tenderness that offers viewers solace and comfort, and grounded in hope, open new horizons. When I first saw the artist’s work at the Parisian art fair ‘Asia Now’ two years ago, I was immediately struck by her unique use of wool and felt in the creation of abstract art. Delicate and evocative at once, her work successfully elevates craft to the status of fine art. [caption id="attachment_21715" align="alignnone" width="732"] Photo: Estefania Landesmann: Gulnar at work[/caption] Born in Semipalatinsk, Kazakhstan, shortly before the end of the USSR, the artist has been working with textiles since beginning her practice, and influenced by Kazakh traditions, employs felt as a primary material. Mukazhanova studied at the Art Academy in Almaty and later, at the Kunst Hochschule in Berlin Weißensee. She has now lived and worked in Berlin for many years and it was here, that she started to process her Kazakh origins, heritage, and the state of society, with an international audience in mind. Spiritual and emotional, her abstractions are informed by issues concerning identity and the transformation of traditional values of her native culture in the age of globalization. TCA caught up with Gulnur to discuss her latest work, her creative process, and how her Kazakh origins continue to influence her art. TCA: What initially drew you to art and how did your journey begin? GM: My earliest memories involve drawing animals when I was around five years old. My cousin, also an artist, had a significant influence on me and was the first person to open my eyes to the world of art. I studied art at the university in Kazakhstan and then moved to Berlin, initially to study textile design. However, I quickly realized that design wasn’t my path and so, shifted my focus to more experimental approaches with textiles. By the end of my studies in Berlin, I was fully immersed in working with felt and it has remained a central part of my practice ever since. [caption id="attachment_21716" align="alignnone" width="2500"] Photo: Thierry Bal : Öliara & the Dark Moon[/caption] TCA: Your work often carries deep emotional and historical weight, as illustrated by your series “Öliara: The Dark Moon” and your abstract self-portraits. How do you approach abstraction in these works? GM: “Öliara: The Dark Moon” was a solo show in Mimosa House in London that dealt with dark periods in Kazakh history, particularly the tragic events of "Bloody January" 2022. The series reflects on life, death, and the fragile nature of existence; themes that are unfortunately all too relevant in our world today. The felt pieces in this series are abstract allowing them a deep emotional resonance which would not be afforded by a...

Cultural Heritage Art and Culture

Samarkand to Host International Music Festival “Sharq Taronalari”

The XIII International Music Festival “Sharq Taronalari” will be held in Samarkand from August 26 to 30 under the auspices of UNESCO, the Ministry of Culture in Uzbekistan reported. “‘Sharq Taronalari’ is considered one of the largest festivals in Central Asia. The main objectives of the festival are to promote achievements in national musical art to the wider public, to preserve and develop the cultures and traditions of nations, to support talented youth in the fields of music and singing, and to expand international creative ties while promoting the ideals of peace, friendship, and mutual tolerance,” according to the festival's press release. More than 300 delegates from 70 countries are expected to participate in the festival this year. As of August 1, delegates from 62 countries have expressed their desire to participate, and applications for the festival are still being accepted. The festival’s opening ceremony will be held on August 26. On August 27-28, an international scientific and practical conference on “Music Culture of Eastern Peoples: Principles of Creative Convergence in the Processes of Globalization” is scheduled. On August 27-29, a competition will be held, and an international jury will evaluate the participants' performances. The closing ceremony will be held on August 30, and the winners will be announced. The “Grand Prix” of $10,000 will not be awarded, however, if a worthy candidate is not found according to the decision of jury.

Education Culture Social Art and Culture UK

British Publisher Promotes Kyrgyz Artists

The second issue of 'The Great Steppe Treasury', released in July by British publisher Hertfordshire Press, includes the addition of work by three artists from Kyrgyzstan: Seid Atambaev, Larisa Pak, and Gulmira Ayipova. The art catalogue which promotes the diversity of Eurasia's contemporary art, culture, and creativity, represents 24 artists from the UK, Kyrgyzstan, Lithuania, Belarus, Kazakhstan, Russia, Germany, and Crimea. Regarding the second edition, publisher Marat Akhmedjanov commented, “We are glad to be able to give artists from Kyrgyzstan the opportunity to share their creativity with an international audience through our unique project. And we especially admire how Seid Atambaev, as a deputy, combines his political activities with promoting his country through creativity, demonstrating the variety of ways to support the growth and representation of Kyrgyzstan." Copies of the catalogue will be sent to significant galleries in the UK and plans are in place for participants to present their work in Glasgow, London, Almaty, Minsk, St. Petersburg, and Batumi.

Art and Culture Comic book industry

An Overview of Kazakhstan’s Comic Industry by Oraskhan Zhakup, CEO Khan Comics

TCA: What inspired you to create comics and get involved in the industry? My entry into the comic book industry was intuitive as opposed to a conscious decision. I just followed my passion. It all started when aged 10-12 years old, my friends and I drew comic strips in school notebooks and sketchpads and then stapled them together to create homemade comic books. Over time, this childhood hobby became more serious and we formed a club with several members. In 2003, Pavel Shein, Stas Misyurin and I decided to launch a newspaper titled ‘Comics’ which included three comic strips, each spanning around eight pages. The newspaper was black and white, with a circulation of about a thousand copies. Several issues were printed, providing our entry point into the industry. We then started a comic book magazine. After a long hiatus, we organized a comic book exhibition in 2010, and with work amassed from the show, published our first anthology in 2011. Named ‘KZ Comics’ the 112-page publication, again in black and white, had a print run of 500 copies. It was in this magazine that the Khan Comics logo first appeared. TCA: Tell us more about the Khan Comics Art Studio. The Khan Comics Art Studio in Almaty was originally a place where a few people gathered to create comics and then, a couple of years ago, we extended our practice to include cartoons and animation. Over the last 5-6 years, I have also been experimenting with making toys based on our comics. All of this naturally requires considerable financial and human resources as well as time. But we keep working, making comics and everything related to them. TCA: How has the comics culture developed in Kazakhstan since you entered the industry? Unfortunately, there is no market for Kazakh comics in our country. Regular players are needed for such a market to exist, but there are none. Our studio has been publishing 5-6 books annually for 13 years. Occasionally new players enter the field, but after a year or two, disappear. The popularity of comics in Kazakhstan is not related to the local market, but to global trends spurred by the release of Hollywood movies based on comics, such as ‘The Avengers’ and ‘Spider-Man.’ The popularity of comic books in post-Soviet countries (CIS) is now in its third wave and we are its pioneers. The first began in the early 2000s with the arrival of comics from IDK Publishing, and the second, was associated with manga. TCA: What key events or projects would you single out as the most significant for the development of Kazakh comics? I would cite the ‘Erketay’ and ‘Jetysu’ comic series as our studio’s key projects. ‘Erketay,’ currently being adapted, is an ethno-fantasy based on Kazakh mythology, whilst ‘Jetysu’ is an urban fantasy. Both of these projects are important for us. Although I love 90% of what we produce, ‘Erketay’ stands out as number one. [caption id="attachment_20321" align="aligncenter" width="589"] Jetysu[/caption] [caption id="attachment_20319" align="aligncenter" width="568"]...

International Cooperation Art and Culture

Almaty’s Aspan Gallery Champions Central Asian Art at Home and Abroad

“It’s difficult to be a point, but it’s easy to be a line, as everything in our world is moving.” The quote by Soviet avant-garde artist Sergey Kalmykov became the title of a 2020 show by Kazakh artists Almagul Menlibayeva and Yerbossyn Meldibekov, the first exhibition by Almaty-based gallery Aspan to be staged in the UK. This concept of continuous movement aptly describes the nine-year trajectory of the Aspan Gallery, founded and directed by Meruyert Kaliyeva. Maintaining its focus on contemporary Central Asian art, the gallery is constantly expanding and adapting to the dynamic of the international art world. [caption id="attachment_20211" align="aligncenter" width="776"] Dilyara Kaipova @Aspan[/caption] The story of how the gallery came into being is unconventional. Meruyert Kaliyeva studied art in the UK, with the intention of practicing as an artist. She soon discovered, however, that the life of an artist was not for her and explained to TCA: “To be an artist, you must sacrifice your social and family life. You must disconnect from it all, and I was not willing to do that.” At the same time, she noticed that unlike her, many individuals at art school seemed destined to become artists. "Some people don’t have the luxury of choice,” she recalls. “I felt that these people needed to focus solely on creating art, and I realised I could help unburden them from some practical preoccupations.” After four years and a half working in auction houses in the UK, Kaliyeva finally decided to return to Kazakhstan. Having quickly realised the importance of supporting artists in a region where institutional support for contemporary art is extremely limited, she opened what is now the Aspan Gallery. Kaliyeva’s mission was twofold. In tandem with developing the Central Asian art scene locally, through staging important historical exhibitions, publishing books and catalogues, and commissioning artists, she also concentrated on disseminating knowledge of Central Asian art abroad. A case in point is Aspan’s recent, significant donation to the Stedelijk Museum in Amsterdam. The donation was curated by Robbie Schweiger, based on research conducted in Kazakhstan, Kyrgyzstan, and Uzbekistan, and with input from Kaliyeva, connections were drawn between Central Asian artists and the Stedelijk’s permanent collection. The Times of Central Asia spoke to Kaliyeva about both the donation and the growth of the Kazakh art scene over the past few years. TCA: Why did you choose the Stedelijk Museum in Amsterdam for such a significant donation? MK: We were keen to have some of our artists represented in major institutions and identified three museums as contenders. The first on the list was the Stedelijk, which already held a collection of Central Asian art. The donation comprised 22 works by 13 artists from Kazakhstan, Kyrgyzstan, and Uzbekistan, spanning almost fifty years, from 1974 to 2020. Works from the 1970s and 1980s, created by artists associated with the underground art scene of the former Soviet republics, were complemented by work made after these republics gained independence in the early 1990s., in which artists explored national...