Even Durdy Bayramov’s name tells a story. Two languages, and indeed two cultures, mingle and intertwine: the Turkmen word for a celebration, ‘bayram’, is Slavified by the addition of the Russian suffix ‘ov’. This complex question of identity is central to the Turkmen artist’s work. Born in 1938 in the Turkmen Soviet Socialist Republic, Bayramov was orphaned at a young age and through his childhood endured the poverty and hardship of the post-war era. In adulthood, Bayramov would turn to art as a medium through which to capture the resilience he saw amongst his fellow countrymen. Education at Ashgabat’s Shota Rustaveli Turkmen Art College and later at the Surikov Art Institute in Moscow enabled him to rub shoulders with the foremost artists of the USSR, benefiting from the tuition of masters such as Gennadiy Brusentsov and Dmitry Michalsky. Over the course of a career lasting almost 50 years Bayramov became one of Central Asia’s most influential artists – culminating in 1991 with his recognition as ‘People’s Artist of Turkmenistan’, a high honour reserved for only the most revered artists. Best known for his landscapes and portraiture, which combine Western traditions of Impressionism with Turkmen artistic traditions, one often overlooked aspect of Bayramov’s creative portfolio is his photography, in part due to the fact this work was not publicly exhibited until after Bayramov’s death in 2014. As a core aspect of Bayramov’s creative process, however, his photography offers a distinctive insight into the cultural consciousness of not only Bayramov himself, but also that of the people of Turkmenistan.
In some regards, Bayramov’s photography is similar to his work in portraiture, as both concern themselves primarily with questions of identity. Bayramov incorporates all facets of Turkmen culture and interests himself in the minutiae of daily life, finding beauty in the mundane everyday of his people. Also important to both his portraiture and photography are ideas of community and commonality, often conveyed through depictions of groups and crowds, although even when individuals appear alone their connection to a broader community is made clear through cultural markers such as clothing and textiles. Where Bayramov’s photography diverges from his portraiture is in their approach to these subjects. His painted portraits became iconic for their highly symbolic style, honouring and elevating their subjects as embodiments of national identity. Through these portraits, Bayramov sought to transmit the importance of Turkmen cultural traditions and defend them in the face of Soviet modernisation. His photography, by contrast, is more documentary in style: subjects are depicted in unpolished honesty, foregoing symbolism in favour of a candid acknowledgement of the realities of Turkmen culture. These photographs – unposed, unedited and broadly unpolished – offer up moments of human vulnerability which speak to a deep sense of patriotism and national pride. They serve as something of an ethnographic record, committing themselves to truth as opposed to idealism, and depicting this truth as just as worthy of recording.
A leitmotif of Bayramov’s photographic portfolio is the theme of age and generationality – exploring how identity, heritage, and cultural meaning are shaped by intergenerational ties. Bayramov’s photography does not shy away from age as a subject matter but rather is drawn to it, challenging societal conceptions of age as a negative process. He envisions Turkmenistan’s people as just as an important part of the nation’s cultural heritage as their material traditions and therefore conceives of their aging not as a sign of weakness, but rather of resilience and strength. Much of Bayramov’s photography engages with the aesthetics of aging, proudly displaying gray or whitening hair, as well as furrows, wrinkles and contours. This textural focus is ubiquitous in Bayramov’s photography. His camera fascinates itself with textiles: the graceful flow of women’s long dresses (koynek) and head scarves (yaglyk); the rugged thickness of ubiquitous sheep-wool hats (telpek); the intricate patterns of traditional felt rugs (keche). Mostly shot in black and white, these textural details have a grainy rawness to them that remains firmly grounded in realism. Alongside these depictions of age, however, Bayramov elevates images of youth and childhood – he documents generational ties, showcasing the continuity and survival of communities through the joy of shared cultural traditions. To this end, Bayramov’s photography weaves a tapestry of Turkmen cultural pride which bonds generations to those preceding them across history.
Bayramov’s work has gained international recognition, despite his more introspective approach, focusing mainly on the unique national character of Turkmenistan. During his life, Bayramov travelled widely to exhibit his work including to Canada, the United States, Germany, Hungary, as well as across the former nations of the USSR. Indeed, a dedicated foundation hosts a museum in the artist’s former house in Toronto, Canada, which aims to ‘celebrate Durdy Bayramov’s life and legacy through inspirational educational programs’. Although his photographs have only recently been made available to the public, they’ve inspired a similar reaction – perhaps because although both focus specifically on Turkmen culture, they evoke universal themes with an international resonance. The ideas of community, labour and tradition upon which Bayramov’s photography lean so heavily have a universal application, evoking a nostalgic sentiment amongst audiences which transcends national boundaries. Bayramov’s work has acted as a form of soft diplomacy, lifting the curtain to Western Audiences as to one of Central Asia’s lesser-known cultures.
Despite the universality of the themes explored in Bayramov’s photography, and the apparent lack of an overt political judgement upon the contemporary governments of the USSR and Turkmenistan, his work’s political dimension should not be ignored. His commitment to the protection of cultural traditions arguably represents a stand against tendencies towards cultural and political consolidation. Bayramov rejects the uniform and the bureaucratic and instead enshrines the esoteric and the eccentric. His camera’s acknowledgement of the imperfect nature of life, indeed, might be seen as a criticism of dogmatic ideology in general. In the context of the postwar social and political zeitgeist, Bayramov’s photography pushes back against modern social atomisation and envisions a world of tight-knit communities connected by their intergenerational bonds. That being said, his belief in the potential good of individuals suggests a sense of broader global community – amplifying moments of joy and companionship which resonate universally. All in all, Bayramov’s photography emphasises the ties between individuals, within communities in Turkmenistan, and across the world.
Photography
MIT Rotch Library. (2017). Through the Eyes of Durdy Bayramov: Turkmen Village Life, 1960s – 80s [Photography Exhibition]. Archnet. https://www.archnet.org/collections/1362
Sources
Bayramova, K., Pontsoien, R., & Balayeva, J. (2015). Durdy Bayramov’s Photographs as Visual Documents of Cultural History. In Through the Eyes of Durdy Bayramov: Turkmen village life, 1960s – 80s. Durdy Bayramov Art Foundation.
Bayramov Paints East to West & West to East [Interview with Durdy Bayramov] [Youtube Video]. (2012). https://www.youtube.com/watch?v=hlX5L9ddZPc
Durdy Bayramov Foundation. (n.d.). Biography and Inspiration. https://durdybayramov.org/biography-and-inspiration/
Taylor, P. M., Balayeva, J., Bayramova, K., & Pontsoien, R. (2017). Durdy Bayramov: Life, Art and Legacy. Bayramov Publishing House.
Turkish Society of Canada. (2015). Durdy Bayramov Art Foundation [Interview with Keyik Bayramov, daughter of Durdy Bayramov]. https://turkishcanada.org/durdy-bayramov-arts-foundation/
Cover image by Joe Walford.