Balkarian professional fine arts

Abstract

Until the 1920s, the artistic culture of the Balkars had developed naturally and endogenously. The absence of the fine arts was understood in terms of Islam. Actually, the reasons for this phenomenon are much more deeply rooted and are connected with the specifics of the artistic philosophy of the Balkars. Brought up on other traditions and artistic values, this particular ethnic group were neither psychologically nor aesthetically prepared for any new perceptions or unusual forms of creativity. Fine arts were not connected with their cultural requirements but had been spread by the Soviets in days of the Cultural Revolution1) (1920-1930s) and later. New forms of art clashed with the centuries-old way of life of the mountaineers and therefore the abrupt withdrawal pains of centuries of traditions could not be overcome in just a short space of time. Meanwhile, this task was considered by the Bolsheviks* 2) to be extremely impor­ tant as, in their opinion, art should serve the political and ideological goals of the state leaders. However, despite all efforts made by the authorities to familiarize the locals with the fine arts, they reacted conservatively and for several decades remained alien to it. So, the realization of this plan extended over four long decades. It is quite natural that the creation of works of art is impossible without a professional staff of artists. So, at the same time there was the problem of their education. The government of Kabardino-Balkaria tried to solve it during the 20s; however, the indigenous people remained indifferent to this undertak­