The article explores cultural artifacts from the National Museum of Kazakhstan that reflect the history and cultural code of the Turkic peoples, with a focus on medieval Kazakhstan. Presented in an immersive exhibition, these artifacts illustrate how advanced digital technologies have become a leading method in museum practice,
showcasing national achievements in a global context. In the digital era, museums play a strategic role in enhancing national identity and
recognition, acting as active agents of cultural exchange.
The aim of the article is to convey the historical and civilizational origins of the Turkic peoples’ statehood, as well as the continuity and uniqueness of their cultural code, through their material culture. It also seeks to present to the European public the centuries-old history and
rich cultural heritage of Kazakhstan, with a focus on historical facts relating to Kazakh statehood and its distinctive culture.
The scientific concept of the exhibition is based on a thematic and chronological approach, covering the most significant stages of Kazakhstan’s history – from the Bronze Age, the Scythians and Huns, and the Turkic Khaganates to the Golden Horde and the Kazakh Khanate. Each stage is represented by emblematic items from the
National Museum’s collection, including: the Saka “Golden Man” headdress from the Issyk kurgan; the anthropomorphic figure of the Tobol Thinker (3rd-2nd centuries BCE); male and female stone statues of the 8th–13th centuries characteristic of the Eurasian Steppe; lamps from the Mausoleum of Khoja Ahmed Yasawi dating to the Timurid
era; and the chapan of Kazybek bi (Kazakh judge) – a traditional outer garment typical of Turkic peoples well into the modern period. These archaeological finds, monumental artifacts, ethnographic materials, archival documents, and
photo-video resources collectively convey the customs, traditions, mentality, and cultural
code of the steppe civilization. The selection highlights both their historical value and the
potential of immersive formats to promote international collaboration. For comparison,
the authors reference immersive exhibitions at the Louvre, the Guimet Museum, and the
Hermitage, which showcase the effectiveness of digital and multimedia technologies. The
National Museum’s immersive project serves as a notable example of cultural cooperation
between France and Kazakhstan
