Abstract

The article explores the philosophical nature of visual representation in Kazakh
f
ine art, analyzing its ontological, semiotic, and hermeneutic structures. The study argues that
a work of art is not merely an aesthetic object, but a visual text that reflects the worldview,
historical memory, and cultural archetypes of a nation. Through the works of Moldakhmet
Kenbaev, Salikhitdin Aitbayev, Bekseit Tülkiev, Yerbolat Tolepbayev, and Bakhyt Bapishev,
the article examines the ontology of space and time in Kazakh painting, archetypal imagery,
symbolic codes, and the artistic expression of national identity. It also considers the role of
painting as a medium bridging tradition and modernity. Based on analysis of selected works
from the collection of the A. Kasteyev State Museum of Arts, the study presents fine art as
a philosophical form of national experience and reflection. The methodology combines
phenomenological, semiotic, hermeneutic, and comparative approaches to trace the evolution
of Kazakh artistic consciousness and modern visual thinking. The research demonstrates the
capacity of visual art to shape philosophical discourse and to revitalize collective memory
through visual means. This study is aimed at uncovering the deep ontological and cultural
semantic structure of Kazakh fine art.
Keywords: Kazakh fine art, philosophy, ontology, еpistemology, archetype, semiotics,
collective memory, space and time, symbolism.