Siberian Federal University

Issue

Journal of Siberian Federal University. Humanities & Social Sciences. 2026 19 (7)

Authors

Kistova, Anastasia V.; Sitnikova, Alexandra A.; Yuferova, Sofia I.

Contact information

Kistova, Anastasia V. : Siberian Federal University (Krasnoyarsk, Russian Federation); Krasnoyarsk Art Museum named after V. Surikov (Krasnoyarsk, Russian Federation); ; Sitnikova, Alexandra A.: Siberian Federal University (Krasnoyarsk, Russian Federation); Museum centre “Ploshchad Mira” (Krasnoyarsk, Russian Federation); ; Yuferova, Sofia I. : Siberian Federal University (Krasnoyarsk, Russian Federation)

Keywords

ethnoarchaic; neoarchaic; Siberian art; Dashi Namdakov; “Clairvoyance”

Abstract

This article examines ethnoarchaism as a movement in Siberian artistic culture through an analysis of Dashi Namdakov’s “Clairvoyance” sculpture series (2021–2025). It provides a working definition of the term “ethnoarchaism” as a movement in the visual arts characterized by an appeal to images that were once formed in the culture of a particular ethnic group, as well as artistic reflection on them. It also identifies the difference between this term and related terms such as “Siberian neoarchaism” and “archeoart.” Two works from Dashi Namdakov’s “Clairvoyance” series are examined as representatives of ethnoarchaism in Siberian art: “Clairvoyance 8 – Darkhan” (2021) and “Horse’s Head – Light” (2021). These works demonstrate two different approaches by the contemporary artist to reflecting on ethnoarchaic motifs and traditions

Pages

1464–1475

EDN

COIBJC

Paper at repository of SibFU

https://elib.sfu-kras.ru/handle/2311/159266

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0).