Kamazhai Konobaeva: Ethnic style as a return to roots
Today, Kazakh ethnic style is increasingly transcending the confines of museums or folklore. It is becoming part of contemporary visual culture, appearing in interiors, clothing, design, architecture, and everyday objects. This interest stems not only from a fashion for national motifs, but also from a deeper process—a desire to rethink one's own roots, symbolic language, and spiritual continuity.For Astana-based artist Kamazhai Konobaeva, ethnic style has become more than just an artistic movement, but a way to reconnect with an inner source of inspiration. Her work grew from childhood memories, family memories, respect for folk crafts, and a desire to convey Kazakh identity through a contemporary artistic language.Her works feature shanyrak, dombra, tumars, national jewelry, ornaments, and images of childhood, family, and home. These symbols are especially relatable to those who live far from Kazakhstan but strive to maintain a connection to the culture and pass it on to their children. Kamazhai Konobaeva spoke with Qazaq Culture about her creative path, the meaning of ethnic style, the language of Kazakh ornamentation, and the future of national art.— Kamazhai Kairovna, how did you begin your artistic journey? What inspired you to pursue creativity?— I grew up in a family of journalists, where words, thought, and the ability to see the world more deeply were always valued. There were no professional artists in my family, but a passion for creativity was within me from childhood.My grandmothers had a special influence on me. They were true craftswomen—they weaved carpets, sewed, and crafted other traditional crafts. They poured their soul into every piece. I believe this is where my love of beauty, handicrafts, and painting originated.For the Kazakh people, applied art has always been more than just an ornament to everyday life. It was a spiritual code, a form of memory and continuity between generations. In the works of folk artisans, I see not just objects, but living embodiments of the history, culture, and inner world of our people.– Would it be fair to say that art has become more than just a hobby for you, but a way of life?– Now I understand that drawing has always been a part of me. In elementary school, I almost never put down a brush; in middle school, I designed school wall newspapers, participated in competitions, painted walls for holidays, and created New Year's decorations.But it so happened that I didn't attend art school, didn't graduate from specialized colleges or courses. Deep down, I dreamed of becoming a designer, but I trained as a translator and worked in an office for many years. It was an ordinary life with a familiar routine.2022 was a turning point for me. At some point, I began asking myself more often: what do I really want, what is my path? Then I wanted to pick up a brush and paint and paint a wall in my own home. I think it was from that moment that my true creative journey began.The feedback from my loved ones became a great inspiration for me. People said, "How wonderful!" and "We didn't know you had such talent." These words were incredibly supportive. For the first time, I felt I could bring joy to people through art. At first, it was just something I did for the soul, with no intention of becoming a professional artist. But over time, I realized that it was in my art that I found the sincere response I had previously lacked.— How did the ethnic style develop in your work?— At first, I painted murals, then gradually moved to canvases. I began painting large-format interior paintings, experimenting with modern techniques—textured paste, gold leaf, epoxy resin. Later, these techniques helped me develop my own signature ethnic style.Over time, I noticed a growing interest in paintings in ethnic styles. People wanted to see elements of our culture in their works: shanyrak, swallows, ornaments, tumars, and women's jewelry. They often asked for themes of family, motherhood, childhood, and home. Thus, gradually, national values began to emerge more and more in my paintings.For me, this wasn't an artificial choice. The ethnic style came naturally – through memory, through childhood images, through respect for culture. Children playing asyk, grandmothers' bauyrsaks, the warmth of home – all of this comes to life on canvas and resonates with viewers.– Your works are in demand not only in Kazakhstan but also abroad. Why do you think ethnic motifs are especially important for Kazakhstanis living abroad?– Such works are indeed often commissioned by our compatriots living abroad. I've sent original paintings to the USA and Russia. Images related to national life and culture are especially popular: dombra, kumys, shanyrak, tumar, and ornaments. I think that for people living far from their homeland, such paintings become more than just interior decoration. They are a connection to home, to childhood, to memories. Many yearn for their native lands and want to preserve their culture in a different environment.It's especially important that they strive to pass on these values to their children. Children are growing up in a different cultural atmosphere, and parents want them to have a living connection with Kazakhstan. Through painting, through symbolism, through imagery, we can convey the warmth of our childhood and respect for national traditions.– Today, ethnic style is becoming noticeable not only in painting but also in design, fashion, and interiors. How do you assess this interest?– I believe this is a very important process. Today, ethnic style is truly manifesting itself in a wide variety of areas – from interiors and exteriors to clothing, architecture, textiles, and even tableware. This could be called a return to national roots.Of course, there is sometimes criticism. Some believe that the use of ornamentation is too superficial or decorative. But I believe that any interest eventually leads to quality. At first, a person may perceive only the external form, but then they begin to explore meaning, history, and symbolism.Through ethnic style, we rediscover our culture. For example, every pattern on traditional clothing is more than just decoration. It contains wishes, images, and specific meanings. The "qazmoyyn" pattern, often found on Uzatu outfits, symbolizes a wish for a happy and prosperous life in a new family.I myself am very interested in exploring these meanings. In Kazakh culture, no detail was accidental. Color also has its own language. For example, red symbolized not only wealth and abundance, but also youth and beauty. Therefore, festive outfits for girls and women were often decorated with red elements.– What symbols appear most frequently in your original paintings?– Symbols associated with home, protection, family, and memory often appear in my works. These are shanyrak, tumar, dombra, women's jewelry, national ornaments, swallows, and images of children.It's important to me that a symbol isn't just a decorative element. It should convey a mood, a meaning, an inner warmth. For example, shanyrak isn't just an architectural element of a yurt, but also an image of home, family, and unity. Tumar is associated with protection and blessing. Dombra is the voice of the people, the music of memory, the connection between generations.Scenes from childhood are also close to my heart. They have a special sincerity. When someone sees a familiar image in a painting—a game of asyk, a dastarkhan, a bauyrsak, a grandmother's house—personal memories immediately awaken. This is what makes ethnic art come alive.—Why do you think it's important for modern people to return to national symbols?—We live in a very fast-paced world, with a wealth of information, diverse cultural influences, and visual images. In such an environment, it's especially important for people to understand who they are, where they come from, and the values behind their culture. Ethnic style helps not only decorate a space but also bring national memory back into everyday life. When a pattern appears in an interior, clothing, or painting, it reminds a person of their roots. But the main thing is to understand its meaning, not just use it as a beautiful form.I think this kind of conscious attitude is growing in society now. People are starting to ask: what does this pattern mean, why was this color used, what is the meaning behind this or that image? This is a very good sign. It means interest in culture is deepening.– What place, in your opinion, can Kazakh ethnic art occupy on the global stage?– I am confident that Kazakh art has great potential. Today, our culture is experiencing an important stage of revival. Many young artists, illustrators, designers, and craftsmen are emerging who are seeking a new language to express their national identity.In the future, strong, world-class names may emerge from this environment. It could be a jewelry brand, a fashion house, an art school, an animation studio, or a major creative project that will be recognizable beyond Kazakhstan's borders.I like to think that one day there will be a "Kazakh Walt Disney" – a person or team who can tell our stories to the world through art, animation, design, and visual culture. But it all starts with simple things – paper, pencil, a desire to create, and a love for one's roots.– What is most important to you in creativity today?– For me, the most important thing is sincerity. A painting shouldn't just be beautiful, but alive. It should convey the artist's soul, their approach to the subject, their inner search.I continue to learn, studying symbolism, traditions, the language of ornamentation and color. The deeper you delve into the culture, the more clearly you understand how rich it is. It contains so many meanings that a single creative journey may not be enough to fully uncover them.I believe that interest in ethnic styles will only grow. But I want it to develop not superficially, but consciously. Then our national art will not only be able to maintain a connection with the past but also open up new horizons in the modern world.
