Folklore heroes in the works of Tuvan stone carvers

Abstract

This article explores the portrayal of folklore heroes in the works of Tuvan stone carvers during the latter half of the 20th century. It examines the works of renowned masters such as A. Tumat, A. Khovalyg, Kh. Dongak, A. Oidup, and E. Bayindy as examples. The main objective of this study is to analyse and interpret the depictions of folk tales and heroic epics in small sculptures, showcasing the diversity and richness of Tuvan folklore. Despite its significance, Tuvan small plastic art, particularly its portrayal of folklore heroes, has not been extensively studied. This article raises important questions about the relationship between the artist’s intention and the literary character, as well as the significance of folklore motifs in contemporary art. The novelty of this research lies in its comprehensive analysis of the images of Tuvan folklore heroes, which have not been previously subjected to such in-depth art historical examination. It not only explores artistic techniques and stylistic features, but also delves into the individual interpretations of characters by stone carvers, which vary based on their personal perspectives and artistic approaches. The study reveals that fairy-tale figures like Oskys-ool and Demir-Maadyr continue to inspire contemporary Tuvan stone carvers. Moreover, each work inspired by folklore takes on a unique interpretation, reflecting the individual artistic style. The article also highlights the artistic expressiveness of small sculptures, which utilize traditional techniques to convey the dynamism and emotional depth of folklore narratives. By incorporating folklore characters, Tuvan stone carvers find innovative ways to convey cultural heritage, blending past traditions with contemporary artistic approaches. This research significantly expands our understanding of the role of folklore in Tuvan fine art, emphasizing its importance as a source of inspiration for artists. It not only contributes to a deeper understanding of Tuvan art but also raises questions about its place and role in the contemporary artistic context.