The National Visual Art in the Process of Formation and Preservation of the Ethnic Identity of Indigenous Peoples (By the Example of Khakass Visual Art)

Journal of Siberian Federal University. Humanities & Social Sciences 8 (2012 5) 1179-1198 ~ ~ ~

УДК 304.444

The National Visual Art in the Process of Formation and Preservation of the Ethnic Identity of Indigenous Peoples (by the Example of Khakass Visual Art)

Natalia P. Koptseva and Natalia N. Nevolko* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041 Russia 1

Received 4.11.2011, received in revised form 11.11.2011, accepted 16.07.2012 The article is devoted to the various research positions with respect to the understanding of the culture system. The place of culture of the ethnic groups in the modern pluralistic society is determined. The authors disclose the uniqueness of the culture of indigenous peoples of the North, Siberia and the Far East through the study of the Khakass visual art. Most of the focus is on the specific visualization of the ethnic theme in the works of Khakass graphic artists and painters. Researching the tendency of artists’ appealing to the ethnic theme, the authors cover the entire history of the Khakass art development from 1920s to 2000s. The article reveals the specific character of the so-called “Siberian avant-garde”, the contemporary school of Khakass visual art, and its connection with visualization of the ethnic theme in 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 authors suggest a classification of the art works based on the nationally significant values of the Khakass ethnic group, the archaic-material and spiritual culture expressed in the paintings and graphic works. The authors distinguish three most important values of the Khakass (the Khakass’ religious and mythological world outlook, the value of self-awareness as a representative of the 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 paintings and graphic works. Much attention is paid to the analysis of the visual potentials of art works, the artistic form of expressing archaic-material and spiritual traditions of the native population. The cave drawing 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 researchers to identify the original ideals of the Khakass that could serve as a specific factor in ethnic self-identification in the multicultural system. Keywords: pluralistic society, components of culture, archaic-material and spiritual culture of the Khakass, visual art of Khakassia, Siberian avant-garde, Khakass ethnos, Khakass artists, ethnic values.

* Corresponding author E-mail address: [email protected] 1 © Siberian Federal University. All rights reserved – 1179 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

1. Theoretical analysis Ukrainians, Belarusians and representatives of of the culture system of the ethnos other nations of the European part of Russia. Nowadays researchers studying ethnos mark However, researchers use some different out some types of ethnos’ kernel which are ethno terms to call the peoples who lived here until differentiating. There are territory, character, the 16th century, long before the arrival of the culture, thinking, psychic setup, mentality and peoples who lived earlier in the European part of self – consciousness. Russia. There are “aborigines”, “native peoples”, Some researchers understand culture “autochthonous peoples”, “indigenous peoples”. as a range of such categories as the type of We can single out two typical positions that management, religion, language, traditions, are in the center of the modern cultural studies. customs, art and perception of the world. They The first position: some cultures are the mean that culture is an ethno differentiating subject of the study. They are considered as aspect in case of the unique combination of its “independent, consistent and stable”. Also they separate components. have fixed geographical location. What is more, The others follow a selective approach. They the processes of globalization are not typical compare components of cultures of different for such cultures. If a change is fixed inside of ethnos. In this case an isolated element can not these cultures, it is associated with the process identify the ethnos. of interaction between the individuals within this The majority of researchers agree that culture, and not as a result of contact between neuropsychological, emotional characteristics cultures. such as character, temperament, behavior and The second position: each ethnic group has state of mind really distinguish ethnos from each its own culture, so it is impossible to say “minority other. culture”. At present there are no monocultural With such approach, it is difficult to correlate societies. Different cultural groups live together the “average” (“general”) indicators according to in one society. In today’s world societies in which the above-mentioned characteristics of this or there would be one religion, one language, one that ethnos with specific features of the person. culture, a unique identity characterizing the entire Most researchers strongly deny the factor of population, have almost disappeared. Modern the territory as cementing ethnic group together. society is a pluralistic society. A number of researchers (V.I. Kozlov, We choose the second position that is G.V. Shelepov) define self-consciousness as characteristic of John Berry and his colleagues. a striking identification factor. Moreover, Thus, modern indigenous people do not interact the core of ethnos is precisely transpersonal only with one ethno-cultural group (monocultural self-consciousness even when private self- society), but a pluralistic society which consists consciousness may have zero degree of identity. of a set of cultural groups. The territory of Siberia and the Far East is There are two points of view regarding a about two-thirds of the territory of Russia. Siberia pluralistic society. occupies 40% of Asia. What is more, a fifth of the The first point of view: there is a “melting population in our country lives in Siberia. Most pot”, only dominant society, and a society of the population is Russian. They had developed “mainstream” on the side of which there are the territories of Ural, Siberia and the Far East minority groups. The fate of these minorities from the end of the 16th century. These are also is twofold: they can dissolve in the society – 1180 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

“mainstream” or remain marginalized, rejected Assimilation which has become a natural by the majority of this society. process for the multi-ethnic regions of Russia, The second point view was given by as a result, redirects consciousness of the ethnos John Berry and his colleagues who named it representatives to other cultural ideals that multiculturalism. There is a colorful palette of are, though not their “native”, still valuable in ethnic and cultural groups that keep their sense of the environment of a different ethnic group. cultural uniqueness and occupy their own place Awareness of the processes occurring within in the social structure which is characterized by the ethnic group generates anxiety among the universal (conventional) rules such as economic, representatives of minor peoples. In its turn, the political, legal agreements that regulate life anxiety boosts the need to search the traditions with different ethnic and cultural groups. Thus, that would revive the ethnic self-identification multiculturalism is characterized by preservation of the people and the ethnic culture in general. of cultural uniqueness of all ethnic and cultural Therefore, the research of the artistic culture groups and participation of all groups in a large of a small ethnic group enables us to reveal the pluralistic society. values that are relevant for the given ethnos and The cultural uniqueness of indigenous that serve as a specific factor in the identification peoples of the North, Siberia and the Far East is of ethnic group members, as long as the artistic embodied in their art culture, including visual culture is the unique sphere of human life where art which concentrates in itself the most revered, the original and native ideals of the people are sacred ideals the ethnic identity of the indigenous preserved. The work of art is the one of the main peoples is based on. expression forms of the national culture which is understood in this study as a means of fixing 2. The artistic modeling the archaic-material and spiritual traditions of of the ethnic identity the people. by means of visual art The object of this research is the artistic In the last twenty years (1990-2010s) the culture of the Khakass ethnic group, which is smaller indigenous peoples of Russia (Dolgans, small national community of Siberia and the Nenets, Selkups, Khakasses, Chulyms, Enets, titular ethnos of Khakassia. Evenks, Yakuts and others) experience powerful The subject of the study is pictorial and assimilation. In most cases they are forced to graphic works of art created by Khakass artists accept and assimilate with the dominant culture throughout the development of visual art in the of the population resident in the area where Khakass Republic. they live. As a result, the significance of their The researchers became interested in national ideals is levelled within the ethnic studying the artistic culture of the Khakass in the group although they still exist in-crowd. In the beginning of the 20th century. At this time the first worst case some forms of the traditional culture works devoted to various aspects of the applied of the ethnic group are lost as unclaimed by art and the earliest forms of artistic culture of representatives of the nation in the modern life the Khakass were published. This sphere of the conditions. That happened with the national artistic culture of the ethnos was a basic trade in religion of the Khakass, shamanism, which had the people’s life and therefore it has gone through lost its original meaning and is not perceived the way of formation and development before as religion by the representatives of the nation. painting and sculpture. – 1181 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

Among the authors who studied the A.A. Tovoev, R.I. Subrakov, G.N. Sagalakov, decorative and applied arts of the Khakass in G.S. Krasnov and A.E. Ulyanov are analyzed the 1930-1990s it is worth naming the following: (Kidiekova, 1999). Abrosimova A.A., Aloeva N.G., Ivanov S.V., In 2002 I.K. Kidiekova defended her thesis Kaplan N.I., Kidiekova I.K., Korole G.G., “Folk art in the traditional culture of Khakassia” Kyzlasov L.R., Mitlyanskaya T.B., Shibaeva Y.A., (Kidiekova, 2002) where she explores the main Patachakov K.M., Sunchugashev Y. I., Schneider types of folk art in the material and spiritual culture E.R. and others (Abrosimova et al.). of the Khakass. According to the researcher, it is Until the 1970s the Khakass art was important to understand the ethnic history of the considered by researchers along with the art people, to find its place in the ethnic and cultural of Siberia as a whole. No separate publications community and to identify the ethnic world devoted to the art of Khakassia were developed outlook universals of the people. until this time. Perhaps it can be explained with As the accumulated material on the art of the fact that the Khakass art was still in its Khakassia needs systemizing in respect to some infancy and the material for the study has not theoretic basis, the researcher M.P. Chebodaeva been accumulated yet. Therefore, the first works in her thesis “Formation and development of devoted to the research of the Khakass art are visual arts in Khakassia: 1920 – 2000s” (2004) only a few articles included in the ethnographic (Chebodaeva, 2004) examines the history of or encyclopedia publications. These are articles formation and development of visual arts in by S.V. Ivanov and S.M. Chervonnaya that Khakassia from the Paleolithic epoch to the considered the problem of studying sculpture in beginning of the 21st century. The author first the framework of the Khakass art, like works of proposes a scheme of periodization of the such sculptors as G.A. Atknina, V.F. Kidiekova, history of art in the Republic according to which I.N. Karachakova along with the works by the the Khakass art passed through three stages: leading artists of the 1960s like A.F. Kalinin, formation (1920-1950s), development (1960- M.A. Burnakov and V.A. Todykov (Ivanov, 1980s) and contemporary art (1990 – 2000s). The 1961). work is accompanied by extensive illustrations The first researches devoted to the of works of art that are valuable for studying the Khakass art appeared in the 1970s. So, in 1972 problem of visualization of the ethnic themes in I.K. Kidiekova in her article “Art in Khakassia” the works of Khakass artists. (Kidiekova, 1972) first considered the problem In the 19th – 20th centuries, as a result of of the formation and development of visual numerous archaeological and ethnographic arts in Khakassia and disclosed it through expeditions, a lot of factual materials valuable the review works of such individual artists as for the analysis of works of art of the Khakass G.A. Atknin, M.A. Burnakov, D.P. Cherepanov, artists were published. So, cooperative work A.F. Kalinin, I.N. Karachakova, V.M. Novoselov, “Folk drawings of the Khakass” (Kyzlasov, V.A. Todykov, V. Protopopov. In 1999 researchers 1988) by L.R. Kyzlasov and N.V. Leontiev referred to the study of the Khakass graphic arts. is the systematization of the Khakass folk In the introduction to the album “Graphic works pictures found in the mountains of Oglahty on of Khakassia” by I.K. Kidiekova the origins of the Yenisei River and other points of Khakassia the Khakass graphics are briefly described, the Autonomous Region. The authors describe the works of the graphic artists like V.A. Todykov, drawings (anthropomorphic images and images – 1182 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation… of animals), reveal the plot of the drawings and features. The consideration of arheoart in its their semantics. development is based on review of the works by Biography of the artists living in Khakassia some individual Siberian artists (in particular, and the works of the artists belonging to the the works by V.I. Surikov as “the forerunner of Khakass ethnic group are represented in the work the Siberian arheoart”, the works by G.I. Gurkin, “Writers and artists of Khakassia” (Kyzlasov, N. Y. Tretyakov, V.F. Kapelko, I. I. Ortonulova, 1997) by A.C. Kyzlasov and V.N. Tuguzhekova. M.P. Chevalkova, S.P. Lazarev, V.N. Kyzlasov, There are few researches covering the etc.). The review of the works by Siberian artists analysis of the ethnic theme in the works of the includes the descriptions of individual paintings, Khakass artists. Mostly, these works are written by mainly the storyline, which the author relates contemporary researchers who study the Siberian to the legacy of the past as its direct reflection. artists’ appeal to the national themes within the According to the researcher, the appeal to context of modern ethnic processes. In particular, arheoart is “striving through the art of antiquity a study of ethnic themes in contemporary art once again to contact with the maternal warmth of Siberian artists is presented in the works by of the Earth, with the myths that gave rise to E.Y. Pavlov and E.P. Matochkin. the natural being” (Matochkin, 2009, p.10). In In the article “Ethnic theme in the addition, the artists aspire to comprehend the contemporary art and folk crafts” (Pavlov, cultural space of Siberia through the legacy of the 2007) E.Y. Pavlov notes the growing interest of past and arheoart becomes one of the means of its the contemporary artists in Western Siberia for attainment. In this case the task of the artist is to ancient cultural traditions. As the basis of their create a new spiritual space of modernity after artistic work the authors use mythological motifs having looked into the past. and national traditions of their people along Thus, the visual art of the Khakass Republic with ethnographic, archaeological and historical is of particular interest for the researchers. The materials. The author examines the current state of prerequisites of the national school origin, the work Siberian art within the so-called “Ethnofuturism” of the leading masters, their genre preferences, tendency in art, which originated in the end of the the work techniques and traditions taken up by 1980s. According to the author, this trend is the the Khakass school are being researched. The one that most discovers the essence of modern art. contemporary scholars consider the national It determines the place of ethnos and its culture theme in the works of the Khakass masters in the modern world by the use of the archaic along with the painter’s work overview. Though, forms. Nevertheless, the author does not attempt no holistic study devoted to the specificity of to establish any relation of this concept with the the ethnic themes visualization in the works of content of the works of art. Khakass masters has been performed. The specificity of “arheoart” as a special The purpose of this study is to identify tendency in the visual arts in Siberia is important national landmarks of the Khakass considered in the article by E.P. Matochkin called ethnos through the research of the artistic “Archaeology, ancient heritage and arheoart means of visualization of the ethnic themes in of Siberia” (Matochkin, 2009). The author the paintings and graphic works by the Khakass makes an attempt to detect the prerequisites of masters. the origin of one of the most modern trends in To achieve this goal, it is necessary to Siberian art and also marks out its distinctive complete the following tasks: – 1183 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

1. research the trend of the Khakass painters’ Some of these works are P.S. Afanasyev’s and graphic artists’ appeal to visualization an illustrations for “The book to read” by ethnic themes; K.S. Todyshev (1928), G.A. Atknin’s illustrations 2. systematize the Khakass masters’ for “Mal-Khalari” by E.F. Ivanov (1935), as well works of art from the position of values that as R.S. Ananyin’s illustrations for “How the land are expressed by means of visualization of the changed into silver” (1958). ethnic themes. Thus, in the 1920-1940s the visual art of the Khakass ethnos had mainly applied nature. The 2.1. Ethnic theme in the history of the leading role belonged to book graphics, which Khakass visual art development became the base for the artists’ appeal to the The study of the trend of the Khakass art ethnic theme and the realistic Khakass art in to appeal to visualization of the ethnic theme is general. It is impossible to carry out a sufficient necessary for subsequent ordering of the works of research of the specificity of the ethnic theme art in order to express the concepts of values for visualization in the works created in the 1920- the ethnic group. 1940s. The Khakass visual art has gone through a The second period of the Khakass visual long way of formation and development. And all art development and, therefore, the tendency of throughout its development, the artists’ appeal to the artists’ appeal to the ethnic theme covers the the ethnic themes can be observed. 1950-1980s. According to the tendency of the Khakass At this time the national school was formed. artists to appeal to the ethnic theme, the first It was encouraged by a number of cultural phase of the development of the national visual events. Firstly, it is necessary to mention regular art in Khakassia falls on the 1920-1940s. This participation of Abakan artists in territorial is the initial period when the development of the exhibitions held in the 1940s. Among these Khakass language entailed the establishment of participants there were A.M. Novoselov, writing in 1924. At this time there was a need to P.P. Sarychev, K.T. Soldatov, I.I. Ryaskin, develop visual arts. From 1924 textbooks, books R.K. Ruyga, D. P. Cherepanov and others. Besides, and papers started to be published. This entailed in 1953 the Abakan branch of the Krasnoyarsk the development of book graphics. In the 1930s Territory cooperative society “Artist” was local authors took part in the design of the first opened. By this time it included more than 20 books along with the artists from Novosibirsk, members. In addition, in the 1950s easel painting Altai and Moscow. At this time, language book technique appeared and occupied the leading graphics became the leading art in Khakassia. It position in the artistic culture of the Khakass. At was a way to convey elementary Khakass literacy this time the main genres emerged. Among these by means of illustrations accessible and clear to genres we can mention small landscape, topical the reader. Mostly it was expressed by appealing of painting, still life and portrait. In fact, it created the graphic artists to the visualization of the heroes the base for the further development of the work that have ethnic look and specific attributes. For of the Khakass artists. example, women were usually portrayed wearing At the time the first pictorial pictures a national costume and a headdress. Khakass men visualizing the ethnic motives were created, for were depicted with national instrument – chathan example, “Khakass girl reading a book” (1952) and other attributes. by Aleksandr Mikhailovich Novoselov, “Khakass – 1184 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation… warriors” (1958) by Pavel Ivanovich Sarychev and manifested in the opening of various exhibition works by Andrey Topoev. In the paintings of the sites, like the Local Republican Museum of 1950s A.A. Topoev visualized the ethnic theme Regional Studies, N.G. Domozhakov National by depicting some of the Khakass celebrations Library, Khakass State University, Abakan (“Wedding in ulus”, 1957, “Carnival”, 1958) and exhibition hall “Zharki”, Urban Art Galleries the motives of national legends (“Hygeia’s song”, of Minusinsk, Chernogorsk, Shushenskoye Art 1958, “Bais’ singer”, 1958). In the 1970-1980s the Gallery and other facilities. Besides, in 2000 ethnic theme in the works by A.A. Topoev was at the Artists’ Union (AU) conference the local expressed by means of some episodes from the authorities of Abakan approved a programme for Khakass history. In particular, these are episodes holding competitive exhibitions called “Golden of the Civil and the Great Patriotic Wars (“Gaidar Brush” that would be open for artists all over is in Khakassia”, 1976) and collective and political Siberia. Upon the initiative of A.E. Ulyanov, the repressions (“Seeing off the shaman”, 1980, “Les chairman of AU, starting from the year 2004 outcasts”, 1980). open air festivals for Siberian artists are being Subsequently, the ethnic theme in the organized. As a result, a number of exhibitions works by Khakass masters began to occupy the was held in other Siberian cities. Such active leading position. Almost every genre of visual cultural policy indicates the desire of the Khakass art could contain some national motifs, no for integration into a wider cultural space and matter whether it was a portrait, for example, the wish to engage other representatives of works by M.A. Burnakov (1933-1977) or a still the artistic life into the cultural space of their life like works by A. Z. Asochakova (born ethnic group. On the background of these events 1939). national culture gains the superior value in the Vladimir Aleksandrovich Todykov’s life of the ethnos. It is confirmed by the active creations are no less significant for the formation interest of the Khakass artists to paint their of the national school in Khakassia. According culture. Its connection with the past of the to the researchers, he had performed great merit people is especially important. G.G. Kotozhekov for the development of the national art style. determines the artists’ appeal to the legacy of His principal creations are illustrations for the the past as follows: Khakass heroic legends, like “Aydolay” (1963), “In modern visual art the original “Oh Chibek Aryg” (1968), “Khan Mirgen” (1969), connections with the ancient earth, universal “Altyn Taichi” (1973), “Khara Khushun” (1977), roots of the art, world of the spiritual experience “Altyn – Aryg” (1987) and “Khay Khuuchyn” of the people rise again and again. In the works (1991). by contemporary artists the most striking fact Thus, in the 1950-1980s the national school is not the play of colors and lines, but the skill was formed. The easel painting became the of the artist “to get used” to the epoch, to see leading genre that approved the national theme as the prototypes of their heroes, to resurrect a priority field of the artistic creative work. their psychological, spiritual outlook and to The third stage of the visual arts development go a thousand, two thousand years back in in Khakassia falls on the modern 1990-2000s. their imagination. This striking phenomenon Among the conditions that caused the rise of of peculiar vision of “the world view” is an visual art in Khakassia are vast cultural and expression of deep cultural memory of the educational activities in the Republic. It is Siberian peoples”1. – 1185 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

The author notes that the contemporary Khakass artists: M.A. Burnakov (1933-1977), art appeals to expressing the cultural memory V.F. Kapelko (1937 – 2000), A.V. Domozhakov of the Siberian population. Undoubtedly, it is (1955 – 1998), V.M. Novoselov (1924-2006), impossible to disagree with it. However, if we G.N. Sagalakov (born 1955), R.I. Subrakov take into account the ethno-cultural situation (born 1941), A.L. Ulturgashev (born 1955) that was in the country in the 1990s, when and V.N. Kyzlasov (born 1965) and others. there was an awareness of the need to preserve More detailed research of specific ethnic and develop the culture of indigenous minor themes visualization in the paintings by the peoples not only in Siberia, but also in the Far Khakass artists working in the “Siberian avant- East and the North, the appeal of the artists, garde” mainstream is set forth later under the Khakass artists in particular, to the past systematization of the works of art. of their people is explicable. Just an appeal Therefore, the 1990 – 2000s were the to their “roots” was a definite means to self- golden era of the artistic life in Khakassia. It identify themselves in the conditions of living can be interpreted as a response to the socio among another dominant culture. It became and cultural situation which took place in the a sort of a “saving bridge” for small Khakass country at that time. As a result of the fast ethnic group trying to preserve, support and assimilation process the ethnos’ ideals were consolidate their national ethnic traditions. being levelled and neglected. It promoted the Therefore, the appeal to the national theme awareness of the need to maintain ethnic and becomes a priority trend in the artistic culture cultural values, and, therefore, the search of the of the ethnic group, in the field of visual arts way to revive the ethnic traditions. Therefore, in particular. in that period there were lots of trends in the Within the last two decades the traditional artistic culture not only of Khakass people, but archaic culture of the ethnic group acquired also other minor peoples of Russia. However, so much significance that it started to play the all these tendencies reflect the essence of one main role in formation of the artistic style of the thing – an appeal to the archaic past that carries Khakass masters. It is no coincidence that today in itself the “purity”, that is not absorbed there is a large number of definitions of this into any “foreign” culture. The most priority modern art trend. Artistic criticism defines it as tendency in the Khakass art is “Siberian avant- “mythical”, “historical and cultural”, “Siberian garde”, which supposes an appeal to legacy of neomifologizm”, “Siberian arheovangard”, the past (archaeological antiquities, mythology, “ethnoarchaic”, “ethnofuturism”, “arheorat”, and religion). Thus, the ethnic issue is the main “Siberian avant-garde” (Vysotsky, 2009). theme of the works of the Khakass artists in In respect of the visual arts in Khakassia, the end of the 20th and the beginning of the “Siberian avant-garde” is the priority name of 21st centuries. And that is the means of self- this modern trend. According to this tendency, identification of the ethnos. An archaic material the creative work of the Khakass artists is aimed and spiritual traditions of the indigenous at the visualization of the Khakass mythology, population becomes valuable for the artists. By archaeological antiquities and shamanism, systematizing and analysing the ethnic theme its national religion. In accordance with this in the art works it becomes possible to retrace tendency, the ethnic theme gets its further the specific character of the artistic means development in the works of the following expressing these traditions. – 1186 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

2.2. Systematization of the paintings archaism is one of the principles of the ethnic and graphic works by the Khakass theme imaging in the works of art by the Khakass artists from the point of view artists as well. of impressibility of nationally significant In the works of art by the Khakass authors the values of the Khakass ethnos’ archaic character is expressed by the visualization archaic-material and spiritual culture material and spiritual culture of the Khakass The further research of specificity of the ethnos. It is achieved by the representation of a ethnic theme visualization in the works by the certain number of values. Khakass artists is connected with the analysis of The visualization of the religious and the works of art. The most important point for the mythological outlook of the Khakass is the first analysis is not the time of creation of the work most important value for the ethnos. of art, but the visual way the masters appealed The basis of artistic creativity for many to while creating the work. That is an art form Khakass artists who visualized the religious which is a “tool” (or set of tools) through which and mythological outlook of the Khakass is the artistic content of the work “is formed”2. findings of archaeological excavations. One of Having studied the evolution of the appeal such objects is a megalithic architecture which of the Khakass artists to the ethnic theme, is the main character of pictorial canvases by we can conclude that the archaic character of the Khakass artists. For example, there are their work plays the major role in works of art. works by V.F. Kapelko “Uybatsky Chaa-tas” The artist Grigory Gurkin, a representative of (1983), V.M. Novoselov “The steppe of Askiz” indigenous peoples of Siberia, Altaian from the (1994), G.N. Sagalakov “Tepsey” (2002) and family Choros, was one of the first professional F.E. Pronskikh “Tashtyp” (2001). artists working in this trend. Then the same line It may be an image of mountains or some was carried on by the artist Nikolay Yakovlevich types of megalithic architecture like menhirs, excavations.Tretyakov Onefrom Omsk. of such In his obj opinion,ects isthe aappeal megalithic single architverticalecture stones (V.F.which Kapelko is the “Uybatsky main characterto visualization of pictorial of archaiccanvases forms by isthe the Khak basisass Chaa-tas”,artists. For V.M. example, Novoselov there “The are steppeworks of of art. He wrote: “... primary art, like life, – is Askiz”) or cromlechs, stone slabs placed in a by V.F. Kapelko “Uybatsky Chaa-tas” (1983), V.M. Novoselov “The steppe of the foundation” (Chebodaeva, 2004, p. 9). The circle (V.M. Novoselov “The steppe of Askiz”, Askiz” (1994), G.N. Sagalakov “Tepsey” (2002) and F.E. Pronskikh “Tashtyp” (2001).

Fig. 1 “Uybatsky Chaa-tas”, 1983 by V.F. Kapelko Fig. 1 “Uybatsky Chaa-tas”,– 1187 1983 – by V.F. Kapelko

It may be an image of mountains or some types of megalithic architecture like menhirs, single vertical stones (V.F. Kapelko “Uybatsky Chaa-tas”, V.M. Novoselov “The steppe of Askiz”) or cromlechs, stone slabs placed in a circle ( V.M. Novoselov “The steppe of Askiz”, F.E. Pronskikh “Tepsey”). The representation of the mountains and megalithic architecture accentuates the significance of the Khakass religious world outlook, namely the cult of the sacred rock (menhir / slab) which played an important role in the life of the ethnic group. Almost all the public prayers were called “tayyf” (the victim) and were accomplished on mountain tops or, in any other case, were connected with rocks. Most of them were accompanied by sacrifices of sheep or horses and shamanistic rituals. According to L.R. Kyzlasov and N.V. Leontiev, the Khakass researchers of the petroglyphs, medieval Khakass called the sacred rocks “Bengo hai”. It means “The eternal rock” (“The monument is left at the century”) [9, p.65]. There was faith in reverence and worship to the nature stone phenomenon as the original form of the national world outlook of the Khakass. In addition to the reverence of the sacred rocks covered with petroglyphs, in the 19th century and prerevolutionary period there was a widespread cult of the life- giving nature (sky, sun, moon, water, sacred trees and animals). The representation of the artistic space of the painting is an important component of expressing the religious outlook of the Khakass. Landscape was the leading genre throughout the development of visual arts in Khakassia. So an artistic space of the paintings by the Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

F.E. Pronskikh “Tepsey”). The representation V.A. Valkova (1949-2007), K.G. Mamyshev of the mountains and megalithic architecture (1941), G.V. Nikonenko (1930), V.M. Novoselov accentuates the significance of the Khakass (1924-2006), F.E. Pronskikh (1927-2007), religious world outlook, namely the cult of the G.N. Sagalakov (1955), G.S. Khlebnikov (1922- sacred rock (menhir / slab) which played an 1993), L.D. Chernobaev, A.I. Chekhlov and important role in the life of the ethnic group. others. Almost all the public prayers were called “tayyf” The artists also use the motifs of the rock (the victim) and were accomplished on mountain drawing found in Tagar and Okunev culture, runic tops or, in any other case, were connected with inscriptions and shamanic rituals as a thematic rocks. Most of them were accompanied by basis. For example, there are the following sacrifices of sheep or horses and shamanistic characters found on the rock carvings and stone rituals. According to L.R. Kyzlasov and sculptures in the canvases by Khakass painters: N.V. Leontiev, the Khakass researchers of the ancient gods (e.g. the Sun God), the sacred petroglyphs, medieval Khakass called the sacred horses – “yzykh”, a white she-wolf – “oh puur”, rocks “Bengo hai”. It means “The eternal rock” deer. These characters are also typical characters (“The monument is left at the century”) (Kyzlasov, of the Khakass mythology. They are represented 1988, p. 65). There was faith in reverence and in the works by A.V. Domozhakov “The sacred worship to the nature stone phenomenon as the deer” (1991) and A.L. Ulturgashev “Yzykh” (the original form of the national world outlook of the sacred horse) (1999), “The face of the Old God” Khakass. (2000), “The Turkic world. The ancient God of In addition to the reverence of the sacred the Khakass” (2001). rocks covered with petroglyphs, in the 19th So long as the cult of the sacred rock covered century and prerevolutionary period there was by ancient drawings had great importance for a widespread cult of the life-giving nature (sky, Khakass ethnos, the pictures borrowed from sun, moon, water, sacred trees and animals). The these petroglyphs carry the cult meaning. It is representation of the artistic space of the painting no coincidence that the animals revered by the is an important component of expressing the Khakass are the characters of the pictures. For religious outlook of the Khakass. Landscape was example, there is an image of “Yzykh» which is the leading genre throughout the development of the personification of the Sun Deity according to visual arts in Khakassia. So an artistic space of the world outlook of the Khakass. The cult of the the paintings by the Khakass artists is presented white horse or solar horse occupied an important by landscape depicting some parts of the place in religious conception of cattle-breeders. Khakass Republic, mostly the oldest settlements The purpose of initiation of the “yzykh” is to like such big villages as Askiz and Tashtyp. ask the Gods for prosperity and health of the It is the idea of “small homeland” and “one’s livestock. own statehood” of the Khakass ethnos which is A deer is another most frequent character expressed by the visualization of the Khakass of the rock carvings. It becomes one of the surroundings (Grosheva, 2010). The theme of main characters of the paintings by the Khakass nature is represented in the works of almost every artists. It was conceived as a sacral and sacred artist. There are works by V.K. Ananyin (1942- animal by the Khakass just like by many other 2005), L.R. Baranowski (1938), V.P. Butanaev ethnic groups. It was revered as the most valuable (1929-2003), M.A. Burnakov (1942-2005), hunting prey. However, the deer cult had not only – 1188 – KhakassKhakass artists artists is is presented presented by by landscape landscape depictingdepicting some some parts parts of of the the Khakass Khakass Republic,Republic, mostly mostly the the oldest oldest settlements settlements likelike such such big big villages villages as as Askiz Askiz and and Tashtyp.Tashtyp. It It is is the the idea idea of of “small “small homela homeland”nd” and and “one’s “one’s own own statehood” statehood” of of the the KhakassKhakass ethnos ethnos which which is is expressed expressed by by thethe visualization visualization of of the the Khakass Khakass surroundingssurroundings [4]. [4]. The The theme theme of of nature nature is is represented represented in in the the wo worksrks of of almost almost every every artist.artist. There There are are works works by by V.K. V.K. Ananyi Ananyinn (1942-2005), (1942-2005), L.R. L.R. Baranowski Baranowski (1938), (1938), V.P.V.P. Butanaev Butanaev (1929-2003), (1929-2003), M.A. M.A. Burna Burnakovkov (1942-2005), (1942-2005), V.A V.A. . Valkova Valkova (1949- (1949- 2007),2007), K.G. K.G. Mamyshev Mamyshev (1941), (1941), G.V. G.V. Nikone Nikonenkonko (1930), (1930), V.M. V.M. Novoselov Novoselov (1924- (1924- 2006),2006), F.E. F.E. Pronskikh Pronskikh (1927-2007), (1927-2007), G.N.G.N. Sagalakov Sagalakov (1955), (1955), G.S. G.S. Khlebnikov Khlebnikov (1922-1993),(1922-1993), L.D. L.D. Chernobaev, Chernobaev, A.I. A.I. Chekhlov Chekhlov and and others. others. TheThe artists artists also also use use the the motifs motifs of of th the e rock rock drawing drawing found found in in Tagar Tagar and and OkunevOkunev culture, culture, runic runic inscriptions inscriptions and and sham shamanicanic rituals rituals as as a a thematic thematic basis. basis. For For example,example, there there are are the the following following character characters sfound found on on the the rock rock carvings carvings and and stone stone sculpturessculptures in in the the canvases canvases by by Khakass Khakass pa painters:inters: ancient ancient gods gods (e.g. (e.g. the the Sun Sun God), God), thethe sacred sacred horses horses – – “yzykh”, “yzykh”, a a white white she-wolf she-wolf – – “oh “oh puur”, puur”, deer. deer. These These characters characters areare also also typical typical characters characters of of the the Khakass Khakass mythology. mythology. Th Theyey are are represented represented in in the the worksworks by by A.V. A.V. Domozhakov Domozhakov “The “The sacred sacred deer”deer” (1991) (1991) and and A.L. A.L. Ulturgashev Ulturgashev “Yzykh”“Yzykh” (the (the sacred sacred horse) horse) (1 (1999),999), “The “The face face of of the the Ol Oldd God” God” (2000), (2000), “The “The Turkic Turkic world. The ancient God of the Khakass” (2001). world.Natalia The P. Koptseva ancient and GodNatalia ofN. Nevolko.the Khakass” The National (2001). Visual Art in the Process of Formation and Preservation…

Fig. 2, 3 “The face of the Old God”, 2000 and “The Turkic world. The ancient God of the Khakass”», 2001 by A.L.UlturgashevFig.Fig. 2, 2, 3 3 “The “The face face of of the the Old Old God”, God”, 2000 2000 and and “The “The Turkic Turkic world. world. The The ancient ancient God God of of the the Khakass”»,Khakass”», 2001 2001 by by A.L.Ulturgashev A.L.Ulturgashev hunting and breeding importance in the life of R.I. Subrakov “Kok Khan”, «Khan Mergen», the Khakass. Due to the annual change of the “Khubal Aryg”, “Khakass myths and legends”, antlers, the deer became a symbol of renewal etc. and by V.A. Todykov “Aydolay”, “Ah Chibek and rebirth. In that way, it symbolized fertility of Aryg”, “Altyn Taichi”, “Khara Khushun”, the human and nature in general. Therefore, the “Altyn – Aryg” and “Ay Khuuchyn”. appeal of the Khakass artists to the image of a The hero Alyp pictured in the militant sacred animal like deer has a symbolic meaning state is one of the main characters of the themed for the Khakass ethnos. It is no mere chance that works imaging the Khakass epic. The character the works “А horse-deer” (1990) and “The sacred can be represented with horrent arms, holding deer” (1991) by A.V. Domozhakov were created a sword or galloping on horseback with a spear during the period when the Khakass Republic in his hand. It presents a struggle in which the declared its independence. It can be considered hero is the main participant. In addition, a hero as the beginning of the Khakass national culture demonstrating his courage for the sake of his renaissance. people can be a character as well. In particular, The plots borrowed from the Khakass heroic there are some series of xylograph illustrations legends and also a direct appeal of the artists to by V.A. Todykov to the book by storyteller – the national religion – shamanism – is of great hygeia S.P. Kadysheva “Ah Chibek Aryg”. importance for the expression of the religious and These graphic works depict the Khakass girl, mythological world outlook of the Khakass. Ah Chibek Aryg, who was in the forefront of The mythological world outlook of the the struggle of her people to expel the enemies Khakass is mainly represented by the graphic from their country. The military theme is also works illustrating ancient Khakass heroic represented in the works by P.I. Sarychev, legends. First of all, there are series of works by particularly in the painting called “The Khakass – 1189 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

Fig. 4, 5, 6 Series of illustrations “Khakass myths and legends”, 1995 by R.I. Subrakov Fig. 4, 5, 6 Series of illustrations “Khakass myths and legends”, 1995 by R.I. Subrakov Fig. 4, 5, 6 Series of illustrations “Khakass myths and legends”, 1995 by R.I. Subrakov

Fig. The4, 5, hero6 Series Alyp of illustpicturedrations in “Khakassthe militant myths state and is legends”, one of the 1995 main by R.I.characters Subrakov of The hero Alyp pictured in the militant state is one of the main characters of the themed works imaging the Khakass epic. The character can be represented with the themed works imaging the Khakass epic. The character can be represented with warriors”horrentThe arms, (1958),hero holding Alyp and painting pictured a sword by G.N. inor thegalloping Sagalakov militant on sthorsebackculture.ate is one The with of works thea spear main depicting in charactershis hand. the fight of scene horrent arms, holding a sword or galloping on horseback with a spear in his hand. the“TheIt themedpresents ancient works a Turks”struggle imaging (2006). in which the Khakassthe hero isepic the. Themainof the character participant. Khakass can hero In be addition, are represented intended a hero to with influence It presents a struggle in which the hero is the main participant. In addition, a hero horrentdemonstratingThe arms, main holding featurehis courage ofa swordgraphic for theor works gallopingsake is of that his on peoplethe horseback viewer, can be each witha ch representativearacter a spear as in well. hisof theInhand. Khakass demonstrating his courage for the sake of his people can be a character as well. In It theparticular,presents line, which a there struggle is the are principal some in which series artistic the of technique,xylographhero is the illustrations ethnicmain participant. group. by TheV.A. objective InTodykov addition, of to each thea hero of these particular, there are some series of xylograph illustrations by V.A. Todykov to the demonstratingcontributesbook by storyteller to hisactualizing courage - hygeia the for nationalS.P. the Kadyshesake identity of vahis “Okh peopleworks Chibek is can to increasebe Aryg”. a ch aracter theThese hope graphicas and well. faith In in the book by storyteller - hygeia S.P. Kadysheva “Okh Chibek Aryg”. These graphic particular,ofworks the character depict there the that are Khakass belongs some seriestogirl, the OkhTurkic of xylographChibek ethnic Aryg, illustrationsability who of was self-preservation inby the V.A. forefront Todykov of theof the nationalto the and works depict the Khakass girl, Okh Chibek Aryg, who was in the forefront of the bookgroup.struggle by Forstoryteller of thisher people reason, - hygeia to a expel warrior S.P. the is Kadyshe enem endowedies fromva ethnic“Okh their values. Chibekcountry. Aryg”.The military These theme graphic struggle of her people to expel the enemies from their country. The military theme workswithis also descriptiondepict represented the ofKhakass ain national the works girl, hero Okhby who P.I. Chibek fought Sarychev, Aryg, particularly Awho large was group in in theof the works painting forefront by the called Khakass of the artists is also represented in the works by P.I. Sarychev, particularly in the painting called strugglefor“The the Khakass sakeof her of his people warriors” people. to Therefore, expel (1958), the the and enem warrior paintingies from is by associated their G.N. country. Sagalakov with the The visualization “The military ancient of theme the shaman “The Khakass warriors” (1958), and painting by G.N. Sagalakov “The ancient embodiesTurks” (2006). the national spirit of the ethnos. As and his activities as well as with the image of his is alsoTurks” represented (2006). in the works by P.I. Sarychev, particularly in the painting called an ideal representative of the ethnic group, surroundings, the spirits (“The tesi”, the word “The Khakass warriors” (1958), and painting by G.N. Sagalakov “The ancient Turks”he has (2006). the courage and bravery defending his meaning “foundation”, “essence”) without which people from foreign influence. This idea can be shamanism is impossible. correlated with the current state of the Khakass Among the selected works there are “The people being under the pressure of Russian spirit of the black sun” (1990), “The shaman’s – 1190 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

Fig. 7, 8 Series of xylograph illustrations by V.A. Todykov to the book by storyteller – hygeia S.P. Kadysheva Fig. 7,“Ah 8Fig. Series Chibek 7, 8 ofAryg”,Series xylograph 1994 of xylograph illustrations illustrations by V.A. by Todykov V.A. Todykov to the book to the by book storyteller by storyteller - hygeia - hygeia S.P. KadyshevaS.P. Kadysheva “Okh Chibek “Okh ChibekAryg”, Aryg”,1994 1994

Thetambourine” mainThe featuremain (1990), feature of “The graphi secretof graphic works relationsc works is thatin the is thepictorial that line, the and which line,graphic which isworks the by is principal the the Khakass principal artisticartisticof technique, spirits” technique, (1991), contributes “The contributes shaman” to actualizi (1991)to actualizi ng by theartistsng national theby the national use identity of the identityfollowing of the images: ofcharacter the character A.V. Domozhakov, “Seeing off the shaman” (1954, - stone monuments (mountains, megalithic that belongsthat belongs to the toTurkic the Turkic ethnic ethnicgroup. group. For this Fo reason,r this reason, a warrior a warrior is endowed is endowed with with 1984) by A.A. Topoev, “The dance of the shaman” architecture); description of a national hero who fought for the sake of his people. Therefore, the description(2006) by V.N. of Kyzlasov a national and “The hero expulsion who fought of for- thesome sake villages of his of people. Khakassia, Therefore, so-called the warriorwarriorthe embodies holy spirit” embodies the(1999) national bythe A.L. national Ulturgashev. spirit ofspirit the ofethos. the ethos.As“small an Asideal country”, an representativeideal “their representative own state”; of the of the ethnic ethnic group,The group, spirits he has can he be the represented has courage the courage as andzoomorphic br andavery br avery defending- the defending ancestors his people of his the people from Khakass, foreign from militant foreign influence.influence.and anthropomorphic.This idea This can idea Theybe can correlated are be presented correlated wi inth the the wi thcurrent theTurks; current state of state the ofKhakass the Khakass people people being beingunderform of underthe animals, pressure the birds, pressure of insects, Russian of snakes, Russian culture vortex, culture. The works. -The the worksplotsdepicting of thedepicting Khakass the fight heroicthe scene fight legends; ofscene of fog, etc. It is an army that is invisible for humans, - the characters from the Khakass the Khakassthe Khakass hero are hero intended are intended to influen to influence the ceviewer, the viewer, each re eachpresentative representative of the of the Khakassbut ethnicit is the basis group. of shamanic The objective power, the activitiesof each of thesemythology works is and to shamanism. increase the hope Khakassof the shaman. ethnic The group. shaman The is painted objective with his of eachThe of appealthese toworks the archaic is to characterincrease of the the hope and faith in the ability of self-preservation of the national and ethnic values. andtambourine faith inthat the set abilityhim the ofrhythm self-preserva of the entry tionKhakass of the ethnos national in its and various ethnic manifestations values. is Ainto largethe Astate large group of shamanistic group of works ritual. of works by the by Khaka theintended Khakass artists toss revive artists is the associated national is associated ideals with such as the withself- the visualizationvisualizationThe of appeal the of of shaman thethe painters shaman and to his the and activities subject his activitiesaffirmation as well as of as wellthe with Khakass as the with ethnos image the representative image of his of his surroundings,surroundings,of national the religion, spirits the shamanism, spirits(“The (“Thetesi”, indicates thtesi”,e theword theas meaning word a hero meaning possessing “foundation”, some“fou ndation”, moral “essence”) courage. “essence”) It is importance of the religious in the world outlook the renaissance and renewal of such ideological withoutwithout which whichshamanism shamanism is impossible. is impossible. Amongof the Khakass the ethnos. selected It is worksthe national there religion, are “Thepositions spirit of the of ethnos the black as the belief sun” in (1990), the sacred which servesAmong as one the of selected the factors works of the self-there meaning are “The of animal, spirit spirits, of the ancient black deities sun” and (1990),of “The shaman's tambourine” (1990), “The secret relations of spirits” (1991), “The “Theidentification shaman's of the tambourine” ethnos at the present (1990), stage “Theof course secr theet beliefrelations in the shamanof spir power.its” (1991), “The shaman”shaman”its development.(1991) (1991) by A.V. by Domozhakov,A.V. Domozhakov, “Seeing “S offeeingThe the valueoff shaman” the of shaman” self-awareness(1954, (1954, 1984) as 1984)by a by A.A. Topoev,A.A.Thus, Topoev, “The one of dance“The the ways dance of of the visualizing of sham the an” thesham (2006)representativean” (2006) by V.N. of by Khakass Kyzlasov V.N. ethnic Kyzlasov and group “The andis the “The expulsionexpulsionarchaic of –the material ofholy the spirit” and holy spiritual spirit” (1999) traditions (1999) A.L. isUlturgashev. A.L. to secondUlturgashev. no less important ethical value visualized appeal to the religious and mythological world by means of the ethnic theme. This concept is outlook of the Khakass. This theme is expressed largely expressed through the appeal of artists to – 1191 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

Fig. 9 “The dance of the shaman”, 2006 by V.N. Kyzlasov Fig. 9 “The dance of the shaman”, 2006 by V.N. Kyzlasov

The spirits can be represented as zoomorphic and anthropomorphic. They the portrait genre. Portrait like no other genre is are the narrow shape of the eyes, the epicanthus, are presented in the form of animals, birds, insects, snakes, vortex, fog, etc. It is an intended to focus on the value and significance black hair, prominent cheekbones, diamond / army that is invisible for humans, but it is the basis of shamanic power, the of a person. oval shape of the face. Moreover, there are some activities of the shaman. The shaman is painted with his tambourine that set him The Khakass artists paint both single and attributes that indicate belonging to the Khakass the rhythm of the entry into the state of shamanistic ritual. group portraits. The representatives of this genre ethnos. The Khakass woman is always painted The appeal of the painters to the subject of national religion, shamanism, are pictorial portrait works by A.Z. Asochakova, wearing the national dress and a headdress, as indicates the importance of the religious in the world outlook of the Khakass V.P. Butanaev, by M.A. Burnakov (1933-1977), a rule, it is a patterned kerchief tied around her ethnos. It is the national religion, which serves as one of the factors of the self- the artist from Askiz. Among the works by head. identification of the ethnos at the present stage of its development. M.A. Burnakov the following portraits can be The Khakass man is usually depicted Thus, one of the ways of visualizing the archaic - material and spiritual mentioned: “The picture of a shepherd” (1975), either with a horse whose cult took an important traditions is to appeal to the religious and mythological world outlook of the “The Khakass old man” (1977), “The picture place in the religious ideas of cattle-breeders, or Khakass. This theme is expressed in the pictorial and graphic works by the of the Khakass”. And also there are works by playing chathane. It is the most common national Khakass artists by the use of the following images: A.A. Topoev, “The picture of a shepherd” (1975) instrument without which it is impossible to -stone monuments (mountains, megalithic architecture); by G.S. Khlebnikova (1922-1993), “The song of do “hay”, so, without it the most important and -some villages of Khakassia, so-called “small country”, “their own state”; Khakassia” (1987), “Khakass costumes” (2003) leading genre of the Khakass folklore, so – -the ancestors of the Khakass, militant Turks; by N.Y. Kobyltsova (1958) and others. called “alyptyh nymakha”- would not exist. -the plots of the Khakass heroic legends; The representatives of the Khakass ethnic The art space where the character is represented -the characters from the Khakass mythology and shamanism. group, both Khakass women and Khakass men, has a great importance for his identification. In The appeal to the archaic character of the Khakass ethnos in its various are the characters of the portrait images in most cases, there is the background of rocky manifestations is intended to revive the national ideals such as self-affirmation of most cases. There are no attributes indicating landscape and megalithic architecture, menhirs. the Khakass ethnos representative as a hero possessing some moral courage. It is any particular person. It is the representative of Representation of one character or a group of the Khakass ethnic group who is so important. characters in the natural artistic space and the Therefore, the external distinctive features of the image of some ancient religious monuments character are emphasized. Among these there emphasize the complicity of the Khakass to the – 1192 – the renaissancethe renaissance and re andnewal renewal of such of suchideological ideological positions positions of the of ethnos the ethnos as the as belief the belief in thein sacred the sacred meaning meaning of animal, of animal, spirits, spirits, ancient ancient deities deities and ofand course of course the belief the belief in in the shamanthe shaman power. power. The valueThe value of self-awareness of self-awareness as a repas aresentative representative of Khakass of Khakass ethnic ethnic group group is theis second the second no less no important less important ethical ethical value va visualizedlue visualized by means by means of the of ethnic the ethnic theme.theme. This conceptThis concept is largely is largely expressed expressed through through the appeal the appeal of artists of artists to the to portrait the portrait genre.genre. Portrait Portrait like like no other no other genre genre is intended is intended to focus to focus on theon value the value and and significancesignificance of a person. of a person. The The Khakass Khakass artists artists paint paint both bothsingle single and and group group portraits. portraits. The The representativesrepresentatives of this of genre this genre are pictor are pictorial portraitial portrait works works by A.Z. by A.Z.Asochakova, Asochakova, V.P. V.P. Butanaev,Butanaev, by M.A. by M.A. Burnakov Burnakov (1933-1 (1933-1977),977), the artist the artist from from Askiz. Askiz. Among Among the the worksworks by M.A. by M.A. Burnakov Burnakov the following the following portra portraits canits be can mentioned: be mentioned: “The “Thepicture picture of of a shepherd”a shepherd” (1975), (1975), “The “TheKhakass Khakass old man” old man” (1977), (1977), “The “Thepicture picture of the of Khakass”. the Khakass”. And alsoAnd therealso thereare works are works by A.A. by A.A.Topoev, Topoev, “The “Thepicture picture of a shepherd”of a shepherd” (1975) (1975) by by G.S. G.S. Khlebnikova Khlebnikova (1922-1993), (1922-1993), “The “The song song of Khakassia” of Khakassia” (1987), (1987), “Khakass “Khakass costumes”costumes” (2003) (2003) by N.Y. by N.Y.Kobyltsova Kobyltsova (1958) (1958) and others. and others.

Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

Fig. 10, 11 “The picture of a shepherd” and “The picture of the Khakass”, 1975 by M.A. Burnakov Fig. 10,Fig. 11 10, “The 11 picture“The picture of a shepherd” of a shepherd” and “The and picture“The picture of the ofKhakass”, the Khakass”, 1975 by1975 M.A. by M.A. BurnakovBurnakov

The representativesThe representatives of the of Khakass the Khakass ethnic ethnic group, group, both bothKhakass Khakass women women and and KhakassKhakass men, men,are the are characters the characters of the of por thetrait por imagestrait images in most in mostcases. cases. There There are no are no attributesattributes indicating indicating any particularany particular person person. It is. theIt is representative the representative of the of Khakass the Khakass ethnicethnic group group who iswho so isimportant. so important. Therefore, Therefore, the external the external distinctive distinctive features features of the of the charactercharacter are emphasized. are emphasized. Among Among these these there thereare the are narrow the narrow shape shape of the of eyes, the eyes,the the epicanthus,epicanthus, black black hair, hair,prominent prominent cheekbone cheekbones, diamonds, diamond / oval / ovalshape shape of the of face. the face. Moreover,Moreover, there thereare some are some attributes attributes that indicatethat indicate belonging belonging to the to Khakass the Khakass ethnos. ethnos. The KhakassThe Khakass woman woman is always is always painted painted wear ingwear theing national the national dress dress and a and headdress, a headdress, as a rule,as a rule,it is a it patterned is a patterned kerchief kerchief tied around tied around her head. her head.

Fig. 12 “The song of Khakassia”, 1987 by N.Y. Kobyltsova Fig. 12 “The song of Khakassia”, 1987 by N.Y. Kobyltsova

cult of theThe sacred Khakass rock manthat exists is usually in the depictedreligious either Thewith world a horse of whose the ethnos cult lifetook is an the third importantworld outlook place of the in ethnos. the religious ideas of cattle-breeders,ethical value or specifying playing chathane. the archaic It – is material the mostThus, commonthere are no national attributes instrument that indicate without the and which spiritual it is traditions impossible of Khakass to do “hay”, ethnos. so,person without depicted it thein the most paintings. important So, it isand possible leading genreThe of everyday the Khakass life is folklore, a powerful so factor– for calledto conclude “alyptyh that thenymakha”- portraits bywould the Khakassnot exis t. Thethe ethnos art space identification. where the It ischaracter represented is by such representedartists are intended has a greatto focus importance on the value for of his the id entification.kind of art In as most still life.cases, Many there Khakass is the artists backgroundself-awareness of of the rocky people as landscape representatives and worked megalithic in this genre, architecture, but the ethnic menhirs. issue is mostly Representationof the Khakass ethnic of one group. characte The significancer or a group ofof characterspresented by in Agrafena the natural Zakharovna artistic space Asachakova. andthis ideathe imageis supported of some by artistic ancient means, religious namely monuments She is an emphasize artist from Khakassiathe complicity (born 1939).of We the specificKhakass compositionto the cult of of the the sacred art space. rock The that canexists mention in the such religious paintings world as “Still outlook life with an ofcharacter the ethnos. is always presented in the foreground. old pitcher” (1978), “Still life with ayran” (1980), His or Thus, her figure there occupies are no a attributeslarge plane that of the indicate“Still life the with person a jug” depicted (1988), “Still in life the with a paintings.canvas. Thus, So, theit is figurepossible of to the conclude character th at is thekettle” portraits (1993) by and the others. Khakass artists are intendeddominant regarding to focus the on artistic the value space of of the th e self-awarenessThe objects of the the Khakass people household as representativespicture. of the Khakass ethnic group.become The thesignificance characters of of the this art idea space is of her supported by artistic means, namely the specific composition of the art space. The – 1193 – character is always presented in the foreground. His or her figure occupies a large plane of the canvas. Thus, the figure of the character is dominant regarding the artistic space of the picture. The world of the ethnos life is the third ethical value specifying the archaic - material and spiritual traditions of Khakass ethnos. The everyday life is a powerful factor for the ethnos identification. It is represented by such kind of art as still life. Many Khakass artists worked in this genre, but the ethnic issue is mostly presented by Agrafena Zakharovna Asachakova. She is an artist from Khakassia (born 1939). We can mention such paintings as “Still life with an old pitcher” (1978), “Still life with ayran” (1980),

“Still lifeNatalia with P. aKoptseva jug” and(1988), Natalia N. “Still Nevolko. life The Nationalwith a Visual kettle” Art in the(1993) Process andof Formation others. and Preservation…

Fig. 13 “Still life with an old pitcher”, 1978 by A. Z. Asachakova Fig. 13 “Still life with an old pitcher”, 1978 by A. Z. Asachakova

still lives. There are bronze and iron pots, trays, However, the archaic form undergoes some woodenThe objects spoons, of cups the and Khakass bowls, leather household flasks, bmodificationecome the tocharacters symbolizing ofsome the artistic art spaceimages. mittens, pouches, fur coats and fabrics decorated The art space of such painting is now filled with of her still lives. There are bronze and iron pots, trays, wooden spoons, cups and with national ornament, and tobacco pipes. The more symbols rather than specific archaic forms of bowls,tablecloth leather with flasks, national mittens, embroidery pouches,covering the furmegalithic coats andarchitecture, fabrics for example, decorated or pictures with nationaltable ornament, is an indispensable and tobaccattributeo of pipes.all her still- The tableclothof animals, etc. with national embroidery coveringlives. the table is an indispensable attribute of allThe her work still-lives. by Vitaly Nikolaevich Kyzlasov In thisIn this case, case, forfor thethe reason reason of the of specificity the speci ficityrepresents of thethe future genre, evolution the ofart the space ethnic themeof a still lifeof the has genre, the the purpose art space toof a presentstill life has to the th e in viewer the works some by the certain Khakass objectsartists. Among of the his purpose to present to the viewer some certain pictorial and graphic works we can mention everyday life of the Khakass ethnos. It is the image of the things, which are objects of the everyday life of the Khakass “Altyn Aryg” (2004), “Three dimensions” (2005), everydayethnos. for It daily is the imagelife of of each the things, Khakass. which It“The enables eternity” the (2005), artist “The to dance represent of the shaman” the nationallyare everyday significant for daily ethnic life of ideals each byKhakass. mean s (2006), of the “The still ancient life world”genre. (2007). The Hisstill appeal life offers Itthe enables viewer the artistto see to somethingrepresent the familiarnationally to tohim, the symbolsthe reflection and signs of indicates his culture, the further by meanssignificant of the “language” ethnic ideals most by meanssimple of theand still ac cessibletendency forof development the viewers. in the It Khakass affirms visual the value life of genre. the usual The still things life offers and the turnsviewer theto see people art. The to artists’ the value continuous of the turning things to national that something familiar to him, the reflection of his topics only using other artistic means is aimed at surround them and that can serve as one of the factors for ethnic identification. culture, by means of the “language” most simple deeper comprehension of the processes occurring andIn the accessible 2000s for the the archaic viewers. tendency It affirms is the oneinside of thethe Khakass priority ethnic tren groupds in and the society visual as a art of value Khakassia. of the usual However, things and turns the the archai peoplec to form whole. undergoes some modification to symbolizingthe value some of the artisticthings that images. surround The them art and space ofThus, such the painting classification is now of the filled works withby the more that symbols can serve rather as one than of the specific factors for archaic ethnic formsKhakass of masters megalithic from the point architecture, of view of artistic for example,identification. or pictures of animals, etc. forms’ expression of the Khakass ethnos enables In the 2000s the archaic tendency is one of us to identify the following significant national

the priority trends in the visual art of Khakassia. ideas of the ethnic group: the value of Khakasses’ – 1194 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

Fig. 14, 15 “The eternity”, 2005 and “The ancient world”, 2007 by V. N. Kyzlasov Fig.Fig. 14, 14, 15 15“The “The eternity”, eternity”, 2005 2005 and and“The “The ancient ancient world”, world”, 2007 2007by V. byN. V.Kyzlasov N. Kyzlasov

The work by Vitaly Nikolaevich Kyzlasov represents the future evolution of religious andThe mythological work by Vitaly world outlook,Nikolaevich the Kyzlasovtrend of the represents visual arts the of future Khakassia evolution called of the ethnic theme in the works by the Khakass artists. Among his pictorial and valuethe of self-awareness ethnic theme as ina representative the works of by the the “Siberian Khakass avant-garde”. artists. Among Herewith, his pictorial the artistic and graphic works we can mention “Altyn Aryg” (2004), “Three dimensions” (2005), Khakassgraphic ethnic works group, we and canthe value mention of the “Altynworld Arcreativityyg” (2004), of local “Three artists isdimensions” aimed at rendering (2005), “The eternity” (2005), “The dance of the shaman” (2006), “The ancient world” of the“The ethnos’ eternity” life. (2005), “The dance of Khakass the shaman” mythology, (2006), archaeological “The ancient antiquities world” (2007). His appeal to the symbols and signs indicates the further tendency of (2007). His appeal to the symbols andand signs shamanism, indicates the national the further religion. tendency of development in the Khakass visual art. The artists’ continuous turning to national development3. Conclusionin the Khakass visual art. The3. artists’ In the workscontinuous by the Khakassturning artiststo national the topics only using other artistic means is aimed at deeper comprehension of the topicsThe present only research using is other devoted artistic to the study means archaic is aimed – material at deeper and spiritual comprehension traditions of ofthe the processes occurring inside the Khakass ethnic group and society as a whole. of theprocesses specificity occurring of visualization inside the of the Khakass ethnic etethnoshnic are group specified and societyby the expression as a whole. of a certain Thus, the classification of the works by the Khakass masters from the point theme in theThus, works the by classificationthe Khakass artists. of theThe worksnumber by ofthe values. Khakass They aremasters expressed from through the point studyof view is based of onartistic the research forms’ of theexpressi ethnicon theme of thethe Khakass visual potential ethnos ofenables the paintings us to identifyand graphic of view of artistic forms’ expression of the Khakass ethnos enables us to identify throughoutthe following the history significant of art in Khakassia. national ideas As works. of the The ethnicanalysis group:of the works the by value the Khakass of the following significant national ideas of the ethnic group: the value of a Khakasses’ result of the study,religious it is and possible mythological to make the wo rldartists outlook, enabled the us valuto systematizee of self-awareness the productions Khakasses’ religious and mythological world outlook, the value of self-awareness followingas a representative conclusions. of the Khakass ethnic graccordingoup, and tothe the value expressibility of the world of theof the ethical ethnos’as1. Therea representative life. is a tendency ofof the the Khakass Khakass artists ethnic values. group, and the value of the world of the to appealethnos’ to life. the ethnic theme throughout the 4. Three blocks that correspond to the development of visual arts in Khakassia. 3. TheConclusion expression of the ethnic values can be marked out most interest to the visualization of national 3. inConclusion the Khakass artists’ works. There are: motifs fallsThe on the present end of the research 20th – the is beginning devoted to a) the the study religious of and the mythological specificity worldof ofvisualization the 21st centuriesThe of present when the ethnicthe period research theme of active in is the self- devoted worksoutlook by to the of thethe Khakass Khakass study artists. as of the the valueThe specificity expressedstudy is in of determinationbasedvisualization on theof the researchof ethnic the ethnicgroup of thein theme the ethnic system in the them theworkse paintings throughout by the and Khakass graphic the history works artists. by of the The art Khakass study in is ofKhakassia. polyculturesbased on was As the on. a research result of of the the study, ethnic it artists themis possible throughe throughout the to following make the images: the history following of art in conclusions.Khakassia.2. The archaic As character a result of the of Khakass the study, it - isstone possible monuments to (mountains, make the megalithic following ethnos is the most priority tenor to visualize the architecture); conclusions. ethnic traditions. At the turn of the 20th – 21st - some settlements of Khakassia – “small centuries this tendency was formed into a modern country”, “their own state”; – 1195 – Natalia P. Koptseva and Natalia N. Nevolko. The National Visual Art in the Process of Formation and Preservation…

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

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

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

1 Kotozhekov G.G. Culture of the peoples of the Sayan-Altai plateau. – Abakan, 1992. – P.45. 2 Philosophical dictionary / editor А.А. Ivina. – Gardariki, 2004. – 1072 p.

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Национальное изобразительное искусство в процессе формирования и сохранения этнической идентичности коренных малочисленных народов (на примере хакасского изобразительного искусства)

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

Статья посвящена рассмотрению различных исследовательских позиций относительно понимания такого феномена, как культура. Определяется место культуры этнических групп в современном плюралистическом обществе. Уникальность культуры коренных малочисленных народов Севера, Сибири и Дальнего Востока раскрывается посредством обращения к исследованию хакасского изобразительного искусства. Главное внимание при этом сосредоточено на специфике визуализации этнической темы в живописных и графических произведениях искусства хакасских мастеров. Исследуя тенденцию обращения художников к этнической теме, авторы охватывают 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, авторы предлагают систематизацию произведений искусства с позиции национально-значимых ценностей архаико-материальной и духовной культуры хакасского этноса, выраженных в живописных и графических работах. Ключевые слова: плюралистическое общество, компоненты культуры, архаико-материальная и духовная культура хакасов, хакасское изобразительное искусство, Сибирский авангард, хакасский этнос, художники Хакасии, этнические ценности.