FINE ARTS: KAZAKHSTAN AND MONGOLIA AT THE END OF THE 20TH AND BEGINNING OF THE 21ST CENTURIES

Abstract

This article provides a comprehensive analysis of the development, stylistic directions, and artistic features of fine arts in Kazakhstan and Mongolia at the end of the 20th and the beginning of the 21st centuries. The two countries share common historical and cultural roots, nomadic lifestyles, and traditional worldviews, which are vividly reflected in their contemporary art. The late 20th century marked the decline of Soviet ideology and the rise of a new era of national spiritual revival. During this period, Kazakh and Mongolian artists sought to integrate tradition with innovation.

In Kazakhstan, the A. Kasteyev art school and modern movements in painting, graphics, and sculpture gave rise to new forms of artistic expression. Artists such as K. Telzhanov, G. Ismailova, and E. Sidorkin revitalized the national spirit while incorporating elements of modernism and expressionism. In the early 21st century, a new generation of artists elevated fine arts through installations, performances, digital, and ecological art forms.

A similar trend was observed in Mongolia: artists seeking to break free from socialist realism began merging national mythology and Buddhist symbolism with contemporary aesthetics. The works of B. Amgalan, Ts. Tsolmon, and P. Enkhjargal exemplify the intersection of national identity and global cultural processes.

The article identifies common tendencies in both countries’ art, including the preservation of national identity, cultural dialogue in the context of globalization, and the harmony between tradition and technology. Furthermore, the social and spiritual functions of contemporary fine arts are analyzed, and potential directions for future development are discussed.