Sculptural Portrait.
The art of portraiture in Kyrgyz plastic art of the 1960s to 1980s, its noticeable evolution towards the complexity of the plastic image of a person, is associated with a new level of social development of the individual in our country, the growth of national self-awareness, and attention to the individual.
In the field of portraiture, masters of the older generation continued to work, creating a number of remarkable images of their contemporaries. Among them is the portrait "Twice Hero of Socialist Labor I. Kochkorbaev" (1960, wood) by O. Manuilova, which presents a strong, vividly characteristic image of a Kyrgyz worker, a veteran of the Great Patriotic War. The "Portrait of the Hero of Socialist Labor Temirova" (1960, marble) by N. Lodyagin is distinguished by the deep realistic revelation of character and the psychological world of a person, characteristic of this master, along with the culture of plastic form. The unique perception of the model, humanity, and originality of plastic thinking are marked in the portrait works of G. Burlin in wood "Mother Heroine" (1960), "Brigadier" (1960), and "Portrait of an Elderly Kyrgyz in a Tebeetei" (1970). Among the best works of Kyrgyz portrait plastic art of the 1950s is the marble "Portrait of Z. Kainazarova" by V. A. Puzyrevsky.
In the portraiture of T. Sadykov, Z. Khabibulin, V. Shestopal, and other sculptors, a tendency towards the complexity and individualization of the image of a person has emerged. In the best portrait images, Kyrgyz plastic art rises to express a philosophical concept of personality. Here, there are also examples of serious generalizations of the human image, conveying through plastic means the reflections of sculptors not only on the character and fate of an individual but also on the fate of an entire nation.
