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Journal of Siberian Federal University. Humanities & Social Sciences 8 (2011 4) 1109-1126 ~ ~ ~

УДК 314.122.66

The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art

Natalia N. Nevolko* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041 1

Received 5.08.2011, received in revised form 12.08.2011, accepted 19.08.2011 The article is devoted to the specific visualization of ethnic culture in the works of Khakass graphic artists and painters. Researching the tendency of artists’ appealing to the ethnic theme, the author covers the entire history of the Khakass art development from 1920s to 2000s. The article reveals the specific character of so-called «Siberian avant-garde», the contemporary school of Khakass visual art, and its connection with the visualization of ethnic theme in the works of various artists. Having found out the tendency of the Khakass artists to appeal to the archaic forms of ethnic culture in their works, the author suggests a classification of the works of art based on the nationally significant values of the Khakass ethnic groups, the archaic – material and spiritual culture of the Khakass ethnos expressed in the paintings and graphic works. The author distinguishes three most important values of the Khakass (the Khakass’ religious and mythological world outlook, the value of self-awareness as a representative of Khakass ethnic group, the world of the ethnos) allowing to systematize the creations of the Khakass artists. Each of these blocks introduces a number of representational painting and graphic. Much attention is paid to the analysis of the visual potentials of the works of art, the artistic form of expressing the archaic – material and spiritual traditions of the native population. The cave drawings of the ancient Khakass determined the world outlook of the ethnic group and became the basis for interpreting the content of the works of art. This enabled the researcher to identify the original ideals of the Khakass that could serve as a specific factor in ethnic self-identification in the multicultural system. Keywords: archaic – material and spiritual culture of the Khakass, visual art of , Siberian avant-garde, Khakass ethnos, Khakass artists, ethnic values. The work is carried out with the financial support of the federal purpose oriented program «Scientific and scientific-pedagogic staff in innovative Russia for 2009-2013».

1. Introduction accept and assimilate the dominant culture of the In the last twenty years (1990-2010s) the population resident in the area where they live. As smaller indigenous peoples of Russia (, a result, the significance of their national ideals is Nenets, Selkups, Khakasses, Chulyms, Enets, levelled within the ethnic group although they still , and others) experience powerful exist in-crowd. In the worst case some forms of assimilation. In most cases they are forced to the traditional culture of the ethnic group are lost

* Corresponding author E-mail address: [email protected] 1 © Siberian Federal University. All rights reserved – 1109 – Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art as unclaimed by the representatives of the nation of the Khakass were published. This sphere of the in the modern life conditions. That happened with artistic culture of the ethnos was a basic trade in the national religion of the Khakass, , the people’s life and therefore it has gone through which has lost its original meaning and is not the way of formation and development before perceived as religion by the representatives of painting and sculpture. the nation. Assimilation which has become a Among the authors who studied the natural process for the multi-ethnic regions of decorative and applied arts of the Khakass in the Russia, as a result, redirects the consciousness of 1930-1990s it is necessary to name the following: the ethnos representatives to other cultural ideals Abrosimova A. A, Kaplan N.I., Mitlyanskaya that are, though not their “native”, still valuable T.B, Aloev N.G, Ivanov S.V., Kidiekova I.K., in the environment of a different ethnic group. Korol G.G., Kyzlasov L.R., Patachakov K.M., Awareness of the processes occurring within Sunchugashev Y. I., Schneider E.R. and others the ethnic group generates anxiety among the (Abrosimova et al., 1984; Aloev, 1990; Ivanov, representatives of the smaller peoples. In its turn, 1954, 1961; Kidiekova, 1972, 1997, 2002; Korol, the anxiety boosts the need to search the traditions 1990; Kyzlasov, 1959, 1988; Patachakov, 1982; that would revive the ethnic self-identification Sunchugashev, 1979; Schneider, 1930). of the people and the ethnic culture in general. Until the 1970s Khakass art was considered Therefore, the research of the artistic culture by researchers along with the art of as a of a small ethnic group enables us to reveal the whole. No separate publications devoted to the values that are relevant for the given ethnos and art of Khakassia were developed until this time. that serve as a specific factor in the identification Perhaps it can be explained with the fact that of ethnic group members, as long as the artistic the Khakass art was still in its infancy and the culture is the unique sphere of human life where material for the study had not been accumulated which preserves the original and native ideals of yet. Therefore, the first works devoted to the the people. The work of art is one of the main research of Khakass art are only a few articles expressive forms of the national culture reflected included in ethnographic or encyclopaedia in the artistic culture which is understood in this publications. These are articles by S.V. Ivanov, study as a means of fixing the archaic – material S.M. Chervonnaya that considered the problem of and spiritual traditions of the people. studying sculpture in the framework of Khakass The object of this research is the artistic art, like works of such sculptors as G.A. Atknina, culture of the Khakass ethnic group, which is a V.F. Kidiekova, I.N. Karachakova along with the small people of Siberia and the titular ethnos of works by the leading artists of the 1960s like Khakassia. A.F. Kalinin, M.A. Burnakov and V.A. Todykov The subject of the study is pictorial and (Ivanov, 1954, 1961; Chervonnaya, 1969, 1972). graphic works of art created by Khakass artists The first researches devoted to the Khakass throughout the development of visual art in the art appeared in the 1970s. So, in the year 1972 Khakass Republic. I.K. Kidiekova in her article «Art in Khakassia» The researchers became interested in first considered the problem of the formation studying the artistic culture of the Khakass in and development of visual arts in Khakassia the beginning of the XX century. At this time the and disclosed it through the review works of first works devoted to the various aspects of the such individual artists as G.A. Atknin, D.P. applied art and the earliest forms of artistic culture Cherepanov, A.F. Kalinin, I.N. Karachakova, – 1110 – Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art

M.A. Burnakov, V.A. Todykov, V. Protopopov 1988) is the systematization of Khakass folk and V.M. Novoselov. In 1999 the researcher pictures found in the mountains of Oglahty on referred to the study of Khakass graphic arts. In the Yenisei River and other points of Khakassia the introduction to the album “Graphic works Autonomous Region. The authors describe the of Khakassia” by I.K. Kidiekova the origins drawings (anthropomorphic images and images of Khakass graphics are briefly described, the of animals), reveal the plot of the drawings and works of the graphic artists like V.A. Todykov, their semantics. A.A. Tovoev, R.I. Subrakov, G.N. Sagalakov, G.S. Biography of the artists living in Khakassia Krasnov and A.E. Ulyanov are analyzed. and the works of the artists belonging to Khakass In 2002 I.K. Kidiekova defended her ethnic group are represented in the work «Writers thesis «Folk art in the traditional culture of and artists of Khakassia» by A.C. Kyzlasov and Khakassia» where she explores the main types V.N. Tuguzhekova (Kyzlasov and Tuguzhekova, of folk art in the material and spiritual culture 1997). of Khakasses. According to the researcher, it There are few researches covering analysis is important to understand the ethnic history of the ethnic theme in the works of the Khakass of the people, to find its place in the ethnic and artists. Mostly, these works are written by cultural community and to identify the ethnic contemporary researchers who study the Siberian world outlook universals of the people. As the artists’ appeal to the national themes within the accumulated material on the art of Khakassia context of modern ethnic processes. In particular, needs systemizing on some theoretic basis, a study of the ethnic themes in contemporary art researcher M.P. Chebodaeva in her thesis «The of Siberian artists is presented in the works by formation and development of visual arts in E.J. Pavlov and E.P. Matochkin. Khakassia: 1920-2000s» examines the history In his article «Ethnic theme in contemporary of formation and development of visual arts art and folk crafts» E.Y. Pavlov (Pavlov, 2007) in Khakassia from the Paleolithic epoch to notes the growing interest of the contemporary the beginning of XXI century. The author artists in Western Siberia for ancient cultural first proposes a scheme of periodization of the traditions. As the basis for their artistic work the history of art in the Republic according to which authors use mythological motives and national the Khakass art passed through three stages: traditions of their people along with ethnographic, formation (1920-1950s), development (1960- archaeological and historical materials. The 1980s) and contemporary art (1990-2000s). The author examines the current state of Siberian art work is accompanied by extensive illustrations within the so-called «Ethnofuturism» tendency of works of art that are valuable for studying the in art, which originated in the end of the 1980s. problem of visualization of the ethnic themes in According to the author, this trend is the one the works of Khakass artists. that most discovers the essence of modern art. In the XIX-XX centuries, as a result of It determines the place of ethnos and its culture numerous archaeological and ethnographic in the modern world by the use of the archaic expeditions, a lot of factual materials valuable forms. Nevertheless, the author does not attempt for the analysis of works of art of Khakass to establish any relation of this concept with the artists were published. So, cooperative work content of the works of art. «Folk drawings of Khakasses» by L.R. Kyzlasov The specificity of «arheoart» as a special and N.V. Leontiev (Kyzlasov and Leontiev, tendency in the visual arts in Siberia is – 1111 – Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art considered in the article by E.P. Matochkin called through the research of the artistic means of «Archaeology, ancient heritage and arheoart visualization of the ethnic themes in paintings of Siberia» (Matochkin, 2009). The author and graphic works by the Khakass masters. makes an attempt to detect the prerequisites of To achieve this goal, it is necessary the the origin of one of the most modern trends in following tasks are to be complete: Siberian art and also marks out its distinctive 1. research the trend of Khakass painters and features. The consideration of arheoart in its graphic artists’ appeal to visualization an ethnic development is relied on the review of the works themes; by some individual Siberian artists (in particular, 2. systematize the Khakass masters’ works the works by V.I. Surikov as «the forerunner of of art from the position of the values that are Siberian arheoart», the works by G.I. Gurkin, expressed by means of visualization of the ethnic N.Y. Tretyakov, V.F. Kapelko, I.I. Ortonulova, themes. M.P. Chevalkova, S.P. Lazarev, V.N. Kyzlasov, etc.). The review of the works by Siberian artists 2. Ethnic theme in the history includes the descriptions of individual paintings, the Khakass visual art development mainly the storyline, which the author relates The study of the trend of Khakass art to to the legacy of the past as its direct reflection. appeal to visualization of the ethnic theme is According to the researcher, the appeal to necessary for subsequent ordering of the works arheoart is «striving through the art of antiquity of art in order to express the concepts of value for once again to contact with the maternal warmth the ethnic group. of the Earth, with the myths that gave rise to Khakass visual art has gone through a long the natural being» (Matochkin, 2009, p.10). In way of formation and development. And all addition, the artists aspire to comprehend the throughout its development, the artists’ appeal to cultural space of Siberia through the legacy of the the ethnic theme can be observed. past and arheoart becomes one of the means of its According to the tendency of Khakass artists attainment. In this case the task of the artist is to to appeal to the ethnic theme, the first phase of the create a new spiritual space of modernity after development of national visual art in Khakassia having looked into the past. falls on the 1920-1940s. This is the initial period Thus, the visual art of the Khakass Republic when the development of the Khakass language is of particular interest for the researchers. The entailed an establishment of writing in 1924. At prerequisites of the national school origin, this time there was a need to develop visual arts. the work of the leading masters, their genre From 1924 textbooks, books and papers started preferences, the work techniques and traditions to be published. This entailed the development taken up by Khakass school are being researched. of book graphics. In the 1930s local authors took The contemporary scholars consider the national part in the design of the first books along with theme in the works of the Khakass masters the artists from Novosibirsk, Altai and . along with the painter’s work overview. Though, At this time, language book graphics became no holistic study devoted to the specificity of the leading art in Khakassia. It was a way to the ethnic themes visualization in the works of convey elementary Khakass literacy by means Khakass masters has been performed. of illustrations accessible and clear to the reader. The purpose of this study is to identify the Mostly it was expressed by appealing of the important national landmarks of Khakass ethnos graphic artists to the visualization of the heroes – 1112 – Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art that have ethnic look and specific attributes. For further development of the work of Khakass example, women were usually portrayed wearing artists’. national costume and headdress. Khakass men At that time the first pictorial pictures were depicted with national instrument – chathan visualizing the ethnic motives were created, for and other attributes. example, «Khakass girl reading a book» (1952) Some of these works are P.S. Afanasyev’s by Alexander Mikhailovich Novoselov, «Khakass illustrations for «The book to read» by K.S. warriors» (1958) by Pavel Ivanovich Sarychev Todyshev (1928), G.A. Atknin’s illustrations for and works by Andrey Topoev. In the paintings «Mal-Halari» (1935) by E.F. Ivanov, as well R.S. of the 1950s A.A. Topoev visualized the ethnic Ananyin’s illustrations for «How the land turned theme by depicting some of Khakass celebrations into silver» (1958). («Wedding in ulus», 1957, «Carnival», 1958) and Thus, in the 1920-1940s the visual art of the motives of national legends («Hygeia’ song», Khakass ethnos had mainly applied nature. The 1958, «Bais’ singer», 1958). In the 1970-1980s the leading role belonged to book graphics which ethnic theme in the works by A.A. Topoev was became the base for the artists’ appeal to the ethnic expressed by means of some episodes from the theme and the realistic Khakass art in general. It Khakass history. In particular, these are episodes is impossible to carry out a sufficient research of of the Civil and the Great Patriotic Wars («Gaidar the specificity of the ethnic theme visualization in Khakassia», 1976) and collective political in the works by Khakass artists without taking repressions («Seeing off the shaman», 1980; «Les into consideration the pictorial works created in outcasts», 1980). the 1920-1940s. Subsequently, the ethnic theme in the works The second period of Khakass visual art by Khakass masters began to occupy the leading development and, therefore, the tendency of the position. Almost every genre of visual art could artists’ appeal to the ethnic theme covers the contain some national motive, no matter whether 1950-1980s. it was a portrait, for example, works by M.A. At this time the national school was formed. Burnakov (1933-1977) or a still life, like works It was encouraged by a number of cultural events. by A.Z. Asochakova (born 1939). Firstly, it is necessary to mention the regular Vladimir Alexandrovich Todykov’s participation of artists from in the creations are no less significant for the formation territorial exhibitions held in the 1940s. Among of the national school in Khakassia. According these participants there are A.M. Novoselov, to the researchers, he performed great merit for P.P. Sarychev, K.T. Soldatov, I.I. Ryaskin, R.K. the development of the national art style. His Ruyga, D. P. Cherepanov and others. Besides, in principal creations are illustrations for Khakass 1953 the Abakan branch of the krai cooperative heroic legends, like «Aydolay» (1963), «Oh society «Artist» was opened. By that time in Chibek Aryg» (1968), «Khan Mirgen» (1969), included more than 20 members. In addition, «Altyn Taichi» (1973), «Hara Hushun» (1977), in the 1950s easel painting technique appeared «Altyn-Aryg» (1987) and «Hay Huuchyn» and occupied the leading position in the artistic (1991). culture of Khakasses. At this time the main Thus, in the 1950-1980s the national school genres emerged. Among these we can mention was formed. Easel painting became the leading small landscape, topical painting, still life and genre which approved the national theme as a portrait. In fact, it created the base for the priority field of the artistic creative work. – 1113 – Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art

The third stage of the visual arts development phenomenon of peculiar vision of «the world in Khakassia falls on the modern 1990-2000s. view» is an expression of deep cultural memory Among the conditions that caused the flourish of the Siberian peoples»1. of visual art in Khakassia are vast cultural The author notes that the contemporary and educational activities in the Republic. It is art appeals to expressing the cultural memory manifested in the opening of the various exhibition of the Siberian population. Undoubtedly, it is sites, like the Local Republican Museum of impossible not to agree with it. However, if we Regional Studies, N.G. Domozhakov National take into account the ethno-cultural situation Library, Khakass State University, Abakan that was in the country in the 1990s, when there exhibition hall «Gearki», Urban Art Galleries was an awareness of the need to preserve and of Minusinsk, , Shushenskoye Art develop the culture of indigenous smaller peoples Gallery and other facilities. Besides, in 2000 not only in Siberia, but also in the Far East and at the Artists’ Union (AU) conference the local the North, the appeal of the artists, the Khakass authorities of Abakan approved a program for artists in particular, to the past of their people is holding competitive exhibition called «Golden explicable. Just an appeal to their «roots» was a Brush» that would be open for artists all over definite means to self-identify themselves in the Siberia. Upon the initiative of A.E. Ulyanov, the conditions of living among another dominant chairman of AU, starting from the year 2004 culture. It became a sort of a «saving bridge» for open air festivals for Siberian artists are being small Khakass ethnic group trying to preserve, organized. As a result, a number of exhibitions support and consolidate their national ethnic was held in other Siberian cities. Such active traditions. Therefore, the appeal to the national cultural policy indicates the desire of the Khakass theme becomes a priority trend in the artistic for integration into a wider cultural space and the culture of the ethnic group, in the field of visual wish to engage other representatives of the artistic arts in particular. life into the cultural space of their ethnic group. Within the last two decades the traditional On the background of these events national culture archaic culture of the ethnic group acquired gains the superior value in the life of the ethnos. so much significance that it started to play the It is confirmed by the active interest of Khakass main role in formation of the artistic style of the artists to paint their culture. Its being connected Khakass masters. It is no coincidence that today to the past of the people is especially important. there is a large number of definitions of this G.G. Kotozhekov determines the artists’ appeal modern art trend. Artistic criticism defines it as to the legacy of the past as follows: «mythical», «historical and cultural», «Siberian «In the modern image the original connections neomythologism», «Siberian arheovangard», with the ancient earth, universal roots of the art, «ethnoarchaic», «ethnofuturism», «arheoart», world of the spiritual experience of the people rise «Siberian avant-garde». In respect of the visual again and again. In the works by contemporary arts in Khakassia, «Siberian avant-garde» is the artists the most striking fact is not the play of priority name of this modern trend. According colours and lines, but the skill of the artist «to get to this tendency, the creative work of Khakass used» to the epoch, to see the prototypes of their artists is aimed at the visualization of Khakass heroes, to resurrect their psychological, spiritual mythology, archaeological antiquities and outlook and to go a thousand, two thousand shamanism, its national religion. In accordance years back in their imagination. This striking with this tendency the ethnic theme gets its – 1114 – Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art further development in the works of the following 3. Systematization of paintings Khakass artists: M.A. Burnakov (1933-1977), and graphic works by Khakass artists V.F. Kapelko (1937-2000), A.V. Domozhakov from the point of view of expressibility (1955-1998), V.M. Novoselov (1924-2006), G.N. of nationally significant values Sagalakov (born 1955), R.I. Subrakov (born of the Khakass ethnos’ archaic – material 1941), A.L. Ulturgashev (born 1955) and V.N. and spiritual culture Kyzlasov (born 1965) and others. More detailed The further research of specificity of the research of specific ethnic themes visualization ethnic theme visualization in the works by in the paintings by Khakass artists working in the Khakass artists is connected to the analysis of «Siberian avant-garde» mainstream is set forth the works of art. The most important point for the later under systematization of the works of art. analysis is not the time of creation of the work In that way, the 1990-2000s were the of art, but the visual way the master appealed golden era of the artistic life in Khakassia. It to while creating the work. That is an art form can be interpreted as a response to the social and which is a «tool (or set of tools) through which cultural situation which took place in the country artistic content of the work «is formed»2. at that time. As a result of the fast assimilation Having studied the evolution of the appeal process the ethnos’ ideals were being levelled of Khakass artists to the ethnic theme, we can and neglected. It promoted the awareness of the conclude that archaic character of their work plays need to maintain ethnic and cultural values, and, the major role in work of art. The artist Grigory therefore, the search of the way to revive the Gurkin, a representative of indigenous peoples ethnic traditions. Therefore in that period there of Siberia, Altaian from the family Choros, was were lots of trends in the artistic culture not only one of the first professional artists working in of Khakass people, but also of other smaller this trend. Then the same line was carried on by peoples of Russia. However, all these tendencies the artist Nikolay Yakovlevich Tretyakov from reflect the essence of one thing – an appeal to the Omsk. In his opinion, the appeal to visualization archaic past that carries itself the «purity», that of archaic forms is the basis of art. He wrote: is not absorbed into any «foreign» culture. The «... primary art, like life, is the foundation» most priority tendency in the Khakass art is «the (Matochkin, 2009, p.9). The archaism is one of Siberian avant-garde», which supposes an appeal the principles of the ethnic theme imaging in the to legacy of the past (archaeological antiquities, works of art by Khakass artists too. mythology and religion). So, the ethnic issue is In the works of art by Khakass authors the the main theme of the works of Khakass artists archaic element is expressed by the visualization in the end of the XX and the beginning of the material and spiritual culture of Khakass ethnos. XXI centuries. And that is a means of self- It is achieved by the representation of a certain identification of the ethnos. An archaic material number of values. that reflects both material and spiritual traditions The visualization of the religious and of the indigenous population becomes valuable mythological outlook of the Khakasses is the for the artists. By systematizing and analyzing first most important value for the ethnos. the way Khakass artists visualize the ethnic The basis of artistic creativity for many theme in the works it becomes possible to retrace Khakass artists who visualized the religious and the specific character of the artistic means of mythological outlook of Khakasses is the findings expressing these traditions. of archaeological excavations. One of such objects – 1115 – The visualization of the religious and mythological outlook of the Khakasses is the first most important value for the ethnos. The basis of artistic creativity for many Khakass artists who visualized the religious and mythological outlook of Khakasses is the findings of archaeological excavations. One of such objects is megalithic architecture which is the main character of pictorial canvases by Khakass artists. For example, there are works by V.F. Kapelko «Uybatsky Chaa-tas» (1983), V.M. Novoselov «The steppe of » (1994), G.N. Sagalakov «Tepsey» (2002) and F.E. Pronskikh «Tashtyp» (2001).

The visualization of the religious and mythological outlook of the Khakasses is the first most important value for the ethnos. The basis of artistic creativity for many Khakass artists who visualized the religious and mythological outlook of Khakasses is the findings of archaeological excavations. One of such objects is megalithic architecture which is the main character of pictorial canvases by Khakass artists. For example, there are works by V.F. Kapelko «Uybatsky Chaa-tas» (1983), V.M. Novoselov «The steppe of   Askiz» (1994), G.N. Sagalakov «Tepsey» (2002) and F.E. Pronskikh «Tashtyp» Fig. 1 «The steppes of Askis», 1994 by V.M. Novoselov (2001). Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art 

  Fig. 2 «Tepsey», 2002 by G.N. Sagalakov  Fig. 2 «Tepsey», 2002 by G.N. Sagalakov Fig. 1 «The steppes of Askis», 1994 by Fig. 1 «The steppes of Askis»,V.M. 1994 Novoselov by V.M. Novoselov

 sacred rocks «Bengo hai». It means «The eternal rock» («The monument is left at the century») is megalithic architecture which is the main (Kyzlasov and Leontiev, 1988, p.65). There was character of pictorial canvases by Khakass artists. faith in reverence and worship to the natural stone For example, there are works by V.F. Kapelko phenomenon as the original form of the national «Uybatsky Chaa-tas» (1983), V.M. Novoselov world outlook of the Khakass. «The steppe of Askiz» (1994), G.N. Sagalakov In addition to the reverence of the sacred «Tepsey» (2002) and F.E. Pronskikh «Tashtyp» rocks covered with petroglyphs, in the XIX (2001). century and prerevolutionary period there was It may be an image of mountains or some a widespread cult of the life-giving nature (sky, certain types of megalithic architecture like sun, moon, water, sacred trees and animals). The menhirs, single vertical stones, (V.F. Kapelko  representation of the artistic space of the painting «Uybatsky Chaa-tas», V.M. Novoselov «The is an important component of expressing the Fig. 2 «Tepsey», 2002 by G.N.steppe Sagalakov of Askiz») or cromlechs, stone slabs religious outlook of the Khakass. Landscape was placed in a circle ( V.M. Novoselov «The steppe the leading genre throughout the development of of Askiz», F.E. Pronskikh «Tepsey»). The visual arts in Khakassia. So an artistic space of representation of the mountains and megalithic the paintings by Khakass artists is presented by architecture accentuates the significance of the landscape depicting some parts of the Khakass Khakass religious world outlook, namely the Republic, mostly the oldest settlements, like such cult of the sacred rock (menhir / slabe) which big Askiz and Tashtyp in particular. It played an important role in the life of the ethnic is the idea of «small homeland» and «one’s own group. Almost all the public prayers were called statehood» of Khakass ethnos which is expressed “tayyf” (the victim) and were accomplished by the visualization of the Khakass surroundings on mountain tops or, in any other way, were (Grosheva, 2010). The theme of nature is connected with rocks. Most of them were represented in the works of virtually every artist. accompanied by sacrifices of sheep or horses and There are works by V.K. Ananyin (1942-2005), shamanistic rituals. According to L.R. Kyzlasov L.R. Baranowski (born 1938), V.P. Butanaev and N.V. Leontiev, the Khakass researchers of (1929-2003), M.A. Burnakov (1942-2005), the petroglyphs, medieval Khakasses called the V.A. Valkova (1949-2007), K.G. Mamyshev – 1116 – Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art

  Fig. 3 «Tashtyp», 2001 by F.E. Pronskikh Fig. 3 «Tashtyp», 2001 by F.E. Pronskikh

The(1941), artists G.V. Nikonenko also use (1930), the V.M. motives Novoselov of thepersonification rock drawings of the foundSun Deity in according Tagar to and the Okunev(1924-2006), culture, runic F.E. inscriptions Pronskikh (1927-2007), and sham worldanic outlook rituals of asKhakasses. a thematic The cult basis.of the white For example,G.N. there Sagalakov are (1955),the following G.S. Khlebnikov character (1922-s foundhorse or on solar the horse rock occupied carvings an important and stone place 1993), L.D. Chernobaev, A.I. Chekhlov and in religious conception of cattle-breeders. The sculpturesothers. in the canvases by Khakass painters:purpose ancient of initiation gods of (e.g.the «yzyh» the Sunis to askGod), the the sacred Thehorses artists – «yzyhi», also use the a white motives she-wo of the lf Gods– «oh for puur»,prosperity deers. and health These of the characterslivestock. are alsorock typical drawings characters found in Tagar of Khakass and Okunev mythology. A deer They is another are mostrepresented frequent character in the works culture, by A.V. runic Domozhakov inscriptions and shamanic «The sacred rituals deer»of the rock (1991) carvings. and It becomes A.L. one Ulturgashev of the main «Yzyh»as (the a thematic sacred basis. horse) For example, (1999), there «The are face the ofcharacters the Ol ofd theGod» paintings (2000), by Khakass «The artists. Turkic It following characters found on the rock carvings was conceived as a sacral and sacred animal by world. andThe stone ancient sculptures God in ofthe Khakasses» canvases by Khakass (2001). Khakasses just like by many other ethnic groups. Sopainters: long ancientas the godscult (e.g.of the the Sunsacred God), rock the coveredIt was revered by ancient as the most drawings valuable hunting had great prey. importancesacred forhorses Khakass – «yzyhi», ethnos, a white theshe-wolf pictur – «ohes borrowedHowever, the from deer thesecult had petroglyphs not only hunting carry and the cultpuur», meaning. deers. TheseIt is no characters coincidence are also typicalthat the breeding animals importance revered in bythe thelife ofKhakass the Khakass. are the characterscharacters of of the Khakass pictures. mythology. For example, They are thereDue is to an the image annual changeof «Yzyha» of the antlers, which the is represented in the works by A.V. Domozhakov deer became a symbol of renewal and rebirth. the personification«The sacred deer» of (1991)the Sunand A.L.Deity Ulturgashev accord ingIn to that the way, world it symbolized outlook fertility of Khakasses. of human The cult«Yzyh» of the (the white sacred horse)horse (1999), or solar «The facehorse of the occupied and nature an important in general. Thereforeplace in thereligious appeal conceptionOld God» of cattle-breeders.(2000), «The Turkic world. The Thepur ancientpose of ofinitiation the Khakass of artists the «yzyh» to the image is to of ask a sacred the Gods forGod prosperity of Khakasses» and (2001). health of the livestock.animal like deer has a symbolic meaning for the A deerSo long is asanother the cult ofmost the sacred frequent rock covered char acterKhakass of the ethnos. rock It iscarvings. no mere chance It becomes that the by ancient drawings had great importance for works «А horse-deer» (1990) and «The sacred one of Khakassthe main ethnos, characters the pictures of the borrowed paintings from bydeer» Khakass (1991) byartists. A.V. Domozhakov It was conceived were created as a sacralthese and petroglyphs sacred animal carry the by cult Khakasses meaning. It isjust duringlike by the many period whenother the ethnic Khakass groups. Republic It was reveredno coincidence as the most that the valuable animals revered hunting by theprey. declared However, its independence. the deer cult It can had be considerednot only huntingKhakass and breeding are the characters importance of the pictures. in the For lif e as of the the beginning Khakass. of the Khakass Due to national the annualculture changeexample, of the there antlers, is an image the of deer «Yzyha» became which is the a symbolrenaissance. of renewal and rebirth. In that way, it symbolized fertility of human and– natu 1117re – in general. Therefore the appeal of the Khakass artists to the image of a sacred animal like deer has a symbolic meaning for the Khakass ethnos. It is no mere chance that the works «Ⱥ horse- deer» (1990) and «The sacred deer» (1991) by A.V. Domozhakov were created during the period when the Khakass Republic declared its independence. It can be considered as the beginning of the Khakass national culture renaissance. Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art during the period when the Khakass Republic declared its independence. It can be considered as the beginning of the Khakass nationalThe culture hero Alyp renaissance. pictured in militant state is one of the main characters of the themed works imaging the Khakass epic. The character can be represented with horrent arms, holding a sword or galloping on horseback with a spear in his hand. It presents a struggle in which the hero is the main participant. In addition, a hero demonstrating his courage for the sake of his people can be a character too. In particular, there are some series of xylography illustrations by V.A. Todykov to Fig. 4 «А horse-deer», 1990 by A.V. Domozhakov the book by storyteller – hygeia – S.P. Kadysheva Fig. 4 «Ⱥ horse-deer», 1990 by A.V. Domozhakov «Oh Chibek Aryg». These graphic works depict the Khakass girl, Ah Chibek Aryg, who was in The plots borrowed fromThe Khakass plots borrowed heroic from legends Khakass and heroic also athe direct forefront appeal of the ofstruggle of her people to expel the artists to the Fig. national 4 «Ⱥlegends horse-deer», religion and also– 1990 shamanism a direct by A.V. appeal isDomozhakov of of the great artists importance the enemies forfrom the country. The military theme to the national religion – shamanism is of great is also represented in the works by P.I. Sarychev, expression of the religious and mythological world outlook of the Khakass. importance for the expression of the religious and particularly in the painting called «The Khakass The mythological Theworldmythological plots outlook borrowed world of outlook the Khakassfrom of the Khakass Khakass. is mainly heroic representedwarriors» legends (1958), by and theand also painting a direct by G.N. appeal Sagalakov of graphic works illustratingthe artists ancient The to the mythological Khakass national heroic world religion outlook legends – of shamanism. theFirst «The of all, ancient is there of Turks» great are (2006). importance for the series of works byexpression R.I. SubrakovKhakass of the is mainly «Kokreligious represented Han», and «Khan myt by thehological Mergen», graphic world «HubalThe outlook main Aryg», feature of the of graphicKhakass. works is that «Khakass myths and The legends»,works mythological illustrating etc. ancientand world Khakass graphic outlook heroic works legends of the. by Khakassthe V.A. line, which Todykov is mainlyis the principal represented artistic technique, by the First of all, there are series of works by R.I. contributes to actualizing the national identity «Aydolay», «Oh graphic Chibek Aryg», works «Altynillustrating Taichi», ancient «Hara Khakass Hushun», heroic «Altyn-Aryg» legends. First of all, there are and «Ay Huuchyn». Subrakov «Kok Han», «Khan Mergen», «Hubal of the character that belongs to the Turkic ethnic series ofAryg», works «Khakass by R.I. myths Subrakov and legends», «Kok etc. and Han», group. «Khan For this reason, Mergen», a warrior «Hubal is endowed Aryg», with

«Khakassgraphic myths works by and V.A. legends»,Todykov «Aydolay», etc. «Ohand description graphic of works a national by hero V.A. who Todykovfought for «Aydolay»,Chibek «OhAryg», Chibek «Altyn Taichi», Aryg», «Hara «Altyn Hushun», Ta ichi»,the sake «Hara of his people. Hushun», So the warrior «Altyn-Aryg» embodies and «Ay«Altyn-Aryg» Huuchyn». and «Ay Huuchyn». the national spirit of the ethos. As an ideal

Fig. 5 «Khakass myths and legends», 1994 by R.I. Subrakov

Fig. 5 «Khakass myths and legends», 1994 by R.I. Subrakov Fig. 5 «Khakass myths and legends», 1994 by R.I.– 1118Subrakov –

Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art

surroundings, the spirits («The tesi», word for word «foundation», «essence») without which shamanism is impossible. Among the selected works there are «The spirit of the black sun» (1990), Fig. 6 «Oh Chibek Aryg», 1994 by V.A. Todykov «The shaman's tambourine» (1990), «The secret relations of spirits» (1991), «The Fig. 6 «Oh Chibek Aryg», 1994 by V.A. Todykov shaman» (1991), A.A. Topoev's «The seeing off the shaman» (1954, 1984), (1984)

representative of theby ethnic A.V. group, Domozhakov, he has the «TheV.N. Kyzlasovdance of and the «The shaman» expulsion (2006) of the by holy V.N. Kyzlasov and Thecourage hero and Alyp bravery pictured«The defending expulsion in his militant people of thefrom state holy spirit» isspirit» one (1999) (1999)of by the A.L. bymain Ulturgashev. A.L. characters Ulturgashev. of the themed worksforeign influence. imaging This the idea KhakassThe can spirits be correlated epic. can  beThe represented characterThe spirits can as can be z oomorphicrepresented be represented as zoomorphic and anthropomorphic. with They horrent arms,with the holding current stateaare sword ofpresented the or Khakass galloping in the people form on andof horseback animals,anthropomorphic. birds, with Theyinsects, a spear are presented snakes, in his invortex, hand. the fog, etc. It is an It presentsthat a isstruggle under the in pressurearmy which that of the Russian is hero invisible culture. is the forform main humans, of animals,participant. but birds, it is insects,In the addition, snakes,basis of vortex, a shamanichero power, the The works depicting the fight scene of Khakass fog, etc. It is an army that is invisible for humans, activities of the shaman. The shaman is painted with his tambourinewhichsets him demonstratingheroes are his intended courage to influence for thethe viewer, sake each of hisbut it people is the basis can of shamanic be a characterpower, the activities too. In the rhythm of the entry into the state of shamanistic ritual. particular,representative there are ofsome Khakass series ethnic of xylography group. The illustrations by V.A. Todykov to the book by objectivestoryteller of each – of hygeia these works – S.P.is to increase Kadysheva the «Oh Chibek Aryg». These graphic works depicthope and the faith Khakass in the ability girl, of self-preservationAh Chibek Aryg, who was in the forefront of the of the national and ethnic values. struggle of herA large people group ofto works expel by Khakassthe enem artistsies is from the country. The military theme is also representedassociated within thethe visualizationworks by of P.I. the shamanSarychev, particularly in the painting called «The Khakassand his activities warriors» as well (1958),as with the image and of pa hisinting by G.N. Sagalakov «The ancient Turks» (2006).surroundings, the spirits («The tesi», word for word «foundation», «essence») without which Theshamanism main featureis impossible. of graphic works is that the line, which is the principal artistic technique,Among thecontributes selected works to there actualizi are «Theng the national identity of the character that belongsspirit to of thethe black Turkic sun» ethnic (1990), «Thegroup. shaman’s For this reason, a warrior is endowed with descriptiontambourine» of a national (1990), «Thehero secretwho relationsfought offo r the sake of his people. So the warrior spirits» (1991), «The shaman» (1991) by A.V. embodiesDomozhakov, the national «The spirit seeing of off the the ethos. shaman» As an ideal representative of the ethnic group, he(1954, has 1984),the courage «The dance and of the bravery shaman» de(2006)fending his people from foreign influence. This ideaby canV.N. Kyzlasov be correlated and «The expulsionwith the of the current holy Fig. state 7 «The of the shaman’s Khakass tambourine», people 1990 that by is A.V. Domozhakov under thespirit» pressure (1999) by of A.L. Fig. Russian Ulturgashev.7 «The shaman's culture. (2006) tambourine», Thby e works 1990 depicting by A.V. Domozhakov the fight scene of – 1119 – Khakass heroes are intendedThe to appeal influen of thece paintersthe viewer, to the each subject representative of national religion, of shamanism, Khakass ethnic group. Theindicates objective the importance of each of thethese religion works in isthe to world increase outlook the ofhope the Khakass ethnos. and faith in the ability ofIt self-preserva is the nationaltion religion of the national which serv andes ethnic as one values. of the factors of the self- A large group identification of works of by the Khakass ethnos at theartists present is stage associated of its development. with the visualization of the shamanThus, and his one activities of the ways as well of visualizi as withng the the imagearchaic of material his and spiritual traditions is to appeal to the religious and mythological world outlook of the Khakass. This theme is expressed in the pictorial and graphic works by Khakass artists by the use of the following images: - stone monuments (mountains, megalithic architecture); - some villages of Khakassia, so-called «small country», «their own proper state»; Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art

of the shaman. The shaman is painted with his as a hero possessing some moral courage. It is tambourine which sets him the rhythm of the the renaissance and renewal of such ideological entry into the state of shamanistic ritual. positions of the ethnos as the belief in the sacred The appeal of the painters to the subject meaning of animals, spirits, ancient deities and of of national religion, shamanism, indicates the course the belief in the shaman power. importance- the- the ancestors ancestors of the religion of ofthe inthe Khakass, the Khakass, world outlook militant militant Turks; Turks;The value of self-awareness as a of- thethe- theKhakass plots plots ofethnos. ofKhakass Khakass It is the heroic national heroic legends; religion legends; representative of Khakass ethnic group is the which- the- the serves characters characters as one offrom thefrom factorsKhaka Khaka ofss the ssmythology self-mythologysecond and andno shamanism. less shamanism. important ethical value visualized identificationTheThe appeal appeal of the to ethnos to the the at archthe arch presentaicaic characterstage character of by of means of Khakass Khakassof the ethnic ethnos ethnos theme. in This in its concept its various various is manifestationsmanifestationsits development. is isintended intended to torevive revive the the national nationallargely ideals expressed ideals such throughsuch as as self-affirmationthe self-affirmation appeal of artists to of of Thus, one of the ways of visualizing the the portrait genre. Portrait like no other genre is thethe Khakass Khakass ethnos ethnos representative representative as asa heroa hero possessing possessing some some moral moral courage. courage. It Itis is archaic – material and spiritual traditions is to intended to accentuate the value and significance thethe renaissanceappeal renaissance to the and religious and re newalre andnewal mythological of ofsuch such ideological worldideological of a person.positions positions of ofthe the ethnos ethnos as asthe the belief belief in inthe theoutlook sacred sacred of meaningthe meaning Khakass. of This ofanimals, animals,theme is spirits,expressed spirits, ancient ancientThe deities Khakassdeities and artistsand of of coursepaint course both the single the belief beliefand ain in thethe shamanin shaman the pictorial power. power. and graphic works by Khakass group portraits. The representatives of this genre artistsTheThe by value the value use of of of self-awarenessthe self-awareness following images: as asa repa representativeareresentative pictorial portrait of ofKhakass works Khakass by A.Z. ethnic ethnicAsochakova, group group is is the the second – second stone no monuments no less less important (mountains, important ethicalmegalithic ethical va valueV.P.lue visualized Butanaev, visualized by by M.A. by means Burnakov means of of (1933-1977), the the ethnic ethnic architecture); the artist from Askiz. Among the works by theme.theme. This– This some concept concept villages is is oflargely largely Khakassia, expressed expressed so-called th roughthM.A.rough the Burnakov the appeal appeal the of following ofartists artists portraitsto tothe the portrait can portrait be genre.genre. Portrait Portrait«small like country», like no no other «their other owngenre genre proper is is intended mentioned: intended to «The to accentuate accentuate picture of shepherd» the the value value (1975), and and significancesignificancestate»; of ofa person.a person. «The Khakass old man» (1977), «The picture TheThe– the Khakass ancestorsKhakass of artists artiststhe Khakass, paint paint militant both both si ofngle siKhakass».ngle and and And a also a group groupthere are portraits. works portraits. by A.A. The The representativesrepresentativesTurks; of ofthis this genre genre are are pictor pictorialial portrait portraitTopoev, works «Theworks pictureby by A.Z. A.Z. of Asochakova, shepherd» Asochakova, (1975) V.P. by V.P. – the plots of Khakass heroic legends; G.S. Khlebnikova (1922-1993), «The song of Butanaev,Butanaev, by by M.A. M.A. Burnakov Burnakov (1933-1 (1933-1977),977), the the artist artist from from Askiz. Askiz. Among Among the the – the characters from Khakass mythology Khakassia» (1987), «Khakass costumes» (2003) worksworks by by M.A.and M.A. shamanism. Burnakov Burnakov the the following following portr portrbyaits N.Y.aits canKobyltsova can be be mentioned: (1958)mentioned: and others. «The «The picture picture of ofshepherd» shepherd»The appeal(1975), (1975), to the«The «The archaic Khakass Khakass character old old ofman» man» (1977),The (1977), representatives «The «The picture of picture Khakass of ethnic ofKhakass». Khakass». group, AndAnd Khakassalso also there there ethnos are inare works its works various by manifestationsby A.A. A.A. Topoev, Topoev, is both«The «The Khakass picture picture women of of andshepherd» shepherd» Khakass men, (1975) (1975) are the by by G.S.G.S. intended Khlebnikova Khlebnikova to revive the (1922-1993), national (1922-1993), ideals such «The as «The self- s ong scharactersong of of Khakassia» of Khakassia» the portrait (1987),images (1987), in most «Khakass «Khakass cases. costumes»costumes»affirmation (2003) (2003) of the by Khakassby N.Y. N.Y. ethnosKobyltsova Kobyltsova representative (1958) (1958) There and and are others. noothers. attributes indicating any particular

 Fig. 8, 9 «The picture of shepherd», 1975 and «The picture of Khakass» by M.A. Burnakov Fig.Fig. 8, 98, «The 9 «The picture picture of ofshepherd», shepherd», 1975 1975 and and «T «The hepicture picture of ofKhakass» Khakass» by byM.A. M.A. Burnakov Burnakov – 1120 –

Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art

Fig. 10 «The song of Khakassia», 1987 by N.Y. Kobyltsova Fig. 10 «The song of Khakassia», 1987 by N.Y. Kobyltsova

person.The It isrepresentatives the representative of of Khakass Khakass ethnicof the group, Khakass both to the Khakass cult of the women sacred rock and Khakassethnic group men, who are is sothe important. characters Therefore, of the the por thattrait exists images in the in religious most cases. world outlookThere ofare the no attributesexternal distinctive indicating features any of particularthe character persare on.ethnos. It is the representative of Khakass emphasized. Among these, there are the narrow Thus, there are no any attributes that would ethnic group who is so important. Therefore, the external distinctive features of the shape of the eyes, the epicanthus, black hair, indicate the person depicted in the paintings. characterprominent are cheekbones, emphasized. diamond Amo / ovalng shape these, of thereSo, itare is the possible narrow to conclude shape thatof the the eyes, portraits the epicanthus,the face. In addition,black hair, there prominent are some attributes cheekbones, by Khakass diamond artists / oval are shape intended of to the accentuate face. In addition,that indicate there the belonging are some to the attributesKhakass ethnos. that indicatethe value of the the belongingself-awareness to of thethe people Khakass as ethnos.A Khakass A woman Khakass is always woman painted is wearing always the painrepresentativested wearing of the the Khakass national ethnic dress group. and The a headdress,national dress as anda rule, a headdress, it is a patterned as a rule, it keis rchiefa significance tied around of this her idea head. is supported Khakass by manartistic is usuallypatterned depicted kerchief tied either around with her head. a horse Khakass whose means, cult namely took the an specific important composition place in of the the religiousman is usually ideas depicted of cattle-breeders, either with a horse whose or pl ayingart space. chathane. The character It is is the always most presented common in cult took an important place in the religious the foreground. His or her figure occupies a large national instrument without which it is impossible to do «hay», so, without it the ideas of cattle-breeders, or playing chathane. It plane of the canvas. So the figure of the character mostis the most important common andnational leading instrument genre without of is Khakass dominant folklore,regarding the so-called artistic space «alyptyh of the nymaha»,which it is wouldimpossible not to exist. do «hay», The so, art without space whpicture.ere the character is represented has a greatit the importance most important for andhis identification. leading genre of In mostThe cases, world there of the is ethnos the background life is the third of rockyKhakass landscape folklore, so-called and megalithic «alyptyh nymaha», architectur ethicale, or value menhirs. concretizing Representation the archaic – material of one characterwould not or exist. a group The artof characters space where in the th e and natural spiritual artistic traditions space of Khakass and the ethnos. image of somecharacter ancient is represented religious has monu a greatments importance emphasize theThe complicity everyday life of is athe powerful Khakass factor to forthe cultfor ofhis theidentification. sacred rock In thatmost cases,exists there in theis the religious the ethnos world identification. outlook Itof is therepresented ethnos. by such background of rocky landscape and megalithic kind of art as still life. Many Khakass artists Thus, there are no any attributes that would indicate the person depicted in architecture, or menhirs. Representation of one worked in this genre, but the ethnic issue is mostly thecharacter paintings. or a group So, itof ischaracters possible in tothe concludenatural presented that the by portraits still lives byby AgrafenaKhakass Zakharovna artists are intendedartistic space to and accentuate the image the of some value ancient of thAsachakova.e self-awareness She is an artist of the from people Khakassia as representativesreligious monuments of emphasize the Khakass the complicity ethnic group.(born 1939). The We significance can mention suchof this paintings idea as is supported by artistic means, namely the– 1121 specific – composition of the art space. The character is always presented in the foreground. His or her figure occupies a large plane of theplane canvas. of the So canvas. the figure So theof the figure character of the ischaracter dominant is regardingdominant regardingthe artistic the artistic space of thespace picture. of the picture. The worldThe of world the ethnos of the life ethnos is the life third is ethicalthe third value ethical concretizing value concretizing the the archaic materialarchaic and material spiritua andl traditions spiritual oftraditions Khakass of ethnos. Khakass ethnos. The everydayThe everydaylife is a powerful life is a factorpowerful for factor the ethnos for the identification. ethnos identification. It is It is representedrepresented by such kind by suchof art kind as stillof art life. as Manystill life. Khakass Many artistsKhakass worked artists in worked this in this genre, butgenre, the ethnic but the issue ethnic is mostly issue is presented mostly presented by still lives by still by lives Agrafena by Agrafena ZakharovnaZakharovna Asachakova. Asachakova. She is an She artis ist from an artis Khakassiat from Khakassia (born 1939). (born We 1939). can We can mention suchmention paintings such aspaintings «Still lifeas «Stillwith anlife old with pitcher» an old (1 pitcher»978), «Still (1978), life «Stillwith life with ayran» (1980),ayran» «Still (1980), life «Stillwith alife jug» with (1988) a jug», «Still (1988) life, «Stillwith alife kettle» with (1993)a kettle» and (1993) and others.Natalia N.others. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art

  Fig. 11,Fig. 12 «Still 11, 12life Fig. «Stillwith 11, a lifejug», 12 with «Still1988 aand lifejug», «Still with 1988 life a withjug», and a «Still kettle», 1988 life and 1993 with «Still by A.Z. a life kettle», Asachakova with 1993 a kettle», by A.Z. 1993 by A.Z. AsachakovaAsachakova

The objectsThe of objectsKhakass of household Khakass household become the become characters the charactersof the art spaceof the ofart space of «Still life with an old pitcher» (1978), «Still life In the 2000s the archaic tendency is one of her still lives.her still There lives. are There bronze are and bronze iron pots, and iron trays, pots, wooden trays, spoons, wooden cups spoons, and cups and with ayran» (1980), «Still life with a jug» (1988), the priority trends in the visual art of Khakassia. bowls, leatherbowls, flasks, leather mittens, flasks, pouches, mittens, pouches,fur coats fur and coats fabrics and decorated fabrics decorated with with «Still life with a kettle» (1993) and others. However, the archaic form undergoes some national ornament,national ornament, and tobacc ando pipes. tobacc Theo pipes. tablecloth The tableclothwith national with embroidery national embroidery The objects of Khakass household become modification to symbolizing some artistic images. covering thecovering table is the an tableindispensa is an indispensable attributeble of attribute all her stillof all lives. her still lives. the characters of the art space of her still lives. The art space of such painting is now filled with ThereIn are this bronze case,In and forthis ironthe case, reason pots, for trays, the of thereason wooden specifi of thecitymore specifi of symbols the citygenre, rather of thethe than genre,art specific space the of archaicart still space forms of ofstill lifespoons, has thecupslife purpose andhas bowls, the to purpose presentleather flasks, toto presentthe viewmittens, toer the somemegalithic view certainer some architecture, objects certain of for objectsthe example, everyday of theor pictures everyday lifepouches, of Khakass furlife coatsof ethnos. Khakass and fabricsIt ethnos.is the decorated image It is theof with theimage thingsof animals,of thewhich things etc. are The whicheveryday work byare Vitaly foreveryday daily Nikolaevich for daily lifenational of each ornament,life Khakass. of each and ItKhakass. tobacco enables It pipes. the enables ar tist The theto Kyzlasov represent artist to represents representthe nationally the the future nationally significant evolution significant of the ethnictablecloth ideals ethnicwith by national meansideals embroidery byof themeans still coveringof life the genre. still the life Theethnic genre. still theme life The offersin still the lifethe works offersviewer by Khakassthe to viewersee artists. to see somethingtable is ansomething indispensable familiar to familiar attribute him, the toof all him, reflec her still thetion reflec ofAmong histion culture,his of pictorial his by culture, and means graphic by of means the works of we the «language»lives. «language» most simple most and simple accessible and accessiblefor the canviewers. for mention the It viewers. affirms «Altyn Itthe Aryg»affirms value (2004), ofthe the value «Three of the In this case, for the reason of the specificity dimensions» (2005), «The eternity» (2005), «The of the genre, the art space of still life has the dance of shaman» (2006), «The ancient world» purpose to present to the viewer some certain (2007). His appeal to the symbols signs the objects of the everyday life of Khakass ethnos. indicatives of the further tendency of development It is the image of the things which are everyday in Khakass visual art. The artists’ continuing to for daily life of each Khakass. It enables the artist turn to national topics only using other artistic to represent the nationally significant ethnic means is aimed at deeper comprehension of the ideals by means of the still life genre. The still processes occurring inside the Khakass ethnic life offers the viewer to see something familiar to group and society as a whole. him, the reflection of his culture, by means of the Thus, the classification of the works by «language» most simple and accessible for the Khakass masters from the point of view of artistic viewers. It affirms the value of the usual things forms’ expressing of the archaic – material and and turns the people to the value of the things that spiritual traditions of Khakass ethnos enables surround them and that can serve as one of the us to identify the following significant national factors for ethnic identification. ideas of the ethnic group. There are the following – 1122 – Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art values: the value of Khakasses’ religious and creativity of local artists is aimed at rendering mythological world outlook, the value of self- Khakass mythology, archaeological antiquities awareness as a representative of Khakass ethnic and shamanism, the national religion. group, and the value of the world of the ethnos’ 3. In the works by Khakass artists the life. archaic – material and spiritual traditions of the ethnos are specified by the expression of a 4. Conclusion certain number of values. They are expressed The present research is devoted to the study through the visual potentialities of the paintings of the specificity of the visualization of the ethnic and graphic works. The analysis of the works by theme in the works by Khakass artists. The study Khakass artists enabled us to systematize the is based on the research of the ethnic theme productions according to the expressibility of the throughout the history of art in Khakassia. As ethical values. a result of the study, it is possible to make the 4. In the works by Khakass artists three following conclusions. blocks that correspond to the expression of the 1. There is a tendency of the Khakass artists ethnic values can be marked out. They are: to appeal to the ethnic theme throughout the a) the religious and mythological world development of visual arts in Khakassia. The outlook of the Khakass as the value expressed most interest to the visualization of national in the paintings and graphic works by Khakass motives falls on the end of the XX –the beginning artists through the following images: of the XXI centuries when the period of active – stone monuments (mountains, megalithic self-determination of the ethnic group in the architecture); system of polycultures was on. – some settlements of Khakassia – «small 2. The archaic character of Khakass ethnos country», «their own proper state»; is the most priority tenor to visualize the ethnic – the ancestors of the Khakass ancestors, traditions. At the turn of the XX-XXI centuries militant Turks; this tendency was formed into a modern trend – the stories from Khakass heroic legends; in the visual arts of Khakassia called «Siberian – the characters from Khakass mythology avant-garde». According to it, the artistic and shamanism.

The ethnic values of archaic – material and spiritual culture and the artistic means of their visualization in the works by Khakass artists

Art tendency SIBERIAN AVANT-GARDE Ethnic The value values of self-awareness The world The religious and mythological world outlook as a representative of the of the Khakass expressed by the use of the images: of Khakass ethnos’ life ethnic group Artistic appeal to portrait appeal to means of the genre still life ethnic values visualization stone monuments some villages Khakassiaof (landscapes) the ancestors theof Khakass the stories from Khakass heroic legends characters Khakassof mythology and shamanism

– 1123 – Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art

b) The value of self-awareness as a The results of the study can be summarized representative of Khakass ethnic group is in the following table. expressed by means of portrait genre. 5. The paintings representing the modification c) The world of the ethnos’ life is represented of archaic tendency can compose an independent by such genre as still life. block. Mostly, there are works created in the The ethnic values and artistic means of 1990s – 2000s. In these works the art space is their visualizing identified in the course of the filled rather by symbols than specific archaic analysis are intended to accentuate the most forms of the ethnos. The trend of deviation from important factors of ethnic self-identification realistic image has a certain ethnocultural content of the Khakasses living in a multicultural associated with the modern processes taking place society. in the society and it demands a separate study.

1 G.G. Kotozhekov, Culture of the peoples of the Sayan-Altai plateau (Abakan, 1992), p. 45. 2 Philosophical dictionary, ed. by А.А. Ivina (Moscow: Gardariki, 2004), 1072.

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N.P.Koptzeva and K. V. Resnikova, (2009) “Selection of methodological principles for actual research on culture”, Humanities and social sciences, 2 (4), 491-506. N.P. Koptzeva, (2010) “Cultural and anthropological problem of social engineering (methodological problem in the modern applied cultural studies)”, Journal of the Siberian Federal University. Series: Humanities, 3 (1), 22-34. N.P. Koptzeva, (2010) “Materials of the first session of educational, scientific and methodological seminar “Theory and practice of applied culture studies” on the basis of Art history and theory and culture studies department, Institute of humanities, Siberian federal university, Krasnoyarsk. June 2nd, 2009”, Journal of the Siberian Federal University. Series: Humanities, 3 (2), 194-232. N.P. Koptzeva, N.N. Pimenova, K. V. Reznikova, (2010) “Protection and development of the indigenous people living in circumpolar territories: cultural and anthropological analysis”, Journal of the Siberian Federal University. Series: Humanities, 3 (5), 649-666. G.G. Korol, (1990) Decorative arts of medieval Khakases as a historical source. M. In Russian. L.R. Kyzlasov, Y.A. Shibaev, (1959) Clothing of Khakasses. Stalingrad. In Russian. L.R. Kyzlasov, N.V. Leontiev, (1988) Folk paintings of Khakases. M: Science. In Russian. A.S. Kyzlasov, V.N. Tuguzhekova, (1997) Writers and artists of Khakassia. Abakan: Khakass Publishing House. In Russian. E.P. Matochkin, (2009) “Archaeology, ancient heritage and arheoart of Siberia”, Humanities in Siberia, 3, 7-10. In Russian. T.B. Mitlyanskaya, (1983) To rural teacher of folk crafts in Siberia. Moscow. In Russian. K.M. Patachakov, (1982) Essays on the material culture of Khakasses. Abakan. In Russian. E.Y. Pavlov, (2007) “Ethnic theme in contemporary art and crafts of Western Siberia”, Humanities in Siberia, 3, 74-77. In Russian. E. R. Schneider, (1930) Art nationalities of Siberia. Leningrad, 59, 61, 65, 66. In Russian. Y. I. Sunchugashev, (1979) Ancient metallurgy of Khakassia. Novosibirsk. In Russian.

Визуализация этнической темы в живописных и графических произведениях искусства хакасских мастеров

Н.Н. Неволько Сибирский федеральный университет Россия 660041, Красноярск, пр. Свободный, 79

Статья посвящена рассмотрению специфики визуализации этнической темы в творчестве хакасских графиков и живописцев. Исследуя тенденцию обращения художников к этнической теме, автор охватывает всю историю развития изобразительного искусства в Хакасии с 1920-х по 2000-е годы. Раскрывается специфика современного направления хакасского изобразительного искусства «Сибирский авангард», его связь с визуализацией этнической темы в творчестве художников. Обнаружив в основе художественного творчества хакасских художников тенденцию обращения к архаическим формам культуры этноса, автор предлагает

– 1125 – Natalia N. Nevolko. The Visualization of Ethnic Theme in the Khakass Artists’ Paintings and Graphic Works of Art

систематизацию произведений искусства с позиции национально значимых ценностей архаико-материальной и духовной культуры хакасского этноса, выраженных в живописных и графических работах. Автором выделено три наиболее значимые ценности хакасского этноса (религиозно-мифологическая картина мира хакасов, принадлежность к хакасской этнической группе, мир вещей хакасского народного быта), позволяющие систематизировать творения хакасских мастеров. Внутри каждого блока представлен ряд репрезентативных живописных и графических работ. Большое внимание при анализе уделяется изобразительным возможностям произведений искусства, их художественной форме выражения архаико- материальных и духовных традиций аборигенного населения. Основой для интерпретации содержания произведений искусства послужили наскальные рисунки древних хакасов, определявшие мировоззрение этноса. Это позволило исследователю выявить исконные идеалы хакасов, могущие служить определенным фактором самоидентификации этноса в системе поликультур. Ключевые слова: архаико-материальная и духовная культура хакасов, хакасское изобразительное искусство, Сибирский авангард, хакасский этнос, художники Хакасии, этнические ценности. Работа выполнена при финансовой поддержке федеральной целевой программы “Научные и научно-педагогические кадры инновационной России на 2009-2013 гг.”