Tendencies in Women's Painting in Kazakhstan in the Context of Self-Identification

Dilyara Safargaliyevna Sharipova ,Svetlana Zhumasultanovna Kobzhanova ,Raikhan Abdeshevna Yergaliyeva ,A.t Yespenova

doi:10.20896/saci.v6i2.361

Abstract

This paper examines the phenomenon of women's pictorial art in Kazakhstan of the XX century. The analysis of the works by many authors (Maria Lizogub, Zeinep Tusipova, Almagul Ikhanova, Anzhelika Akilbekova) allows researchers to describe the specific nature of Kazakh women's painting. Analysing the personality of artists, their creative path, the authors reveal the style of the works and its importance for the development of particular art areas. Female artists overcame the barriers of social inequality declaring themselves as the leading representatives in the art and culture of Kazakhstan. At the same time, making an accent on the woman's substantial spiritual potential, they comprehended her as a keeper of hearth and home and the patriarchal way of life. This duality consists in the identification processes when the representation of female interacted with ethnic and cultural self-determination.

Highlights

In comparison with the other regions of Central Asia, the active and numerous presence of female artists at different stages of development of the fine arts in Kazakhstan urgently requires scientific research and comprehension
With the example of Maria Lizogub, it was demonstrated that female artists overcame the barriers of social inequality declaring themselves as the leading representatives in the art and culture of Kazakhstan
At the same time, making an accent on the woman’s huge spiritual potential, they comprehended her as the keeper of hearth and home and the patriarchal way of life

Summary

Introduction

In comparison with the other regions of Central Asia, the active and numerous presence of female artists at different stages of development of the fine arts in Kazakhstan urgently requires scientific research and comprehension. This paper reviews the women's pictorial art in Kazakhstan in the aspect of gender studies. Joan Scott writes about four aspects of gendered relationships in the society through which one can conduct a full historical analysis: first, culturally-available symbols that define the mental background of human activity; second, normative concepts based on symbolic meanings that are expressed in religious, educational and political doctrines; third, social institutions (from family-related to the state ones), and fourth, gender subjective identity Subjective gender identity, in our view, defines the female painting. Irina Savkina writes: “[t]he most interesting thing in women’s literature is that only there and nowhere else the image of a woman, a feminine beginning, has been seen, thought out and created by a woman herself” (Savkina, 1997, p. 359)

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