Belek Koshoev mastered the technique of etching with great finesse. His etchings "Catching a Horse" (1970), "Mountains" (1974), "Yurt by the River" (1974) are characterized by an elegant linear rhythm, sharpness, and precision in conveying the movements of form, with a subtle stylization reminiscent of medieval graphics of the peoples of the Far East. Their main virtue is the imagery that reveals the artist's love for folk life and cultural traditions.
In recent years, Y. Salomakhin has been actively mastering etching and lithography techniques ("Night Khiva," autolithography, 1982; "In the Evening," 1984; etching, soft varnish) and V. Bigday ("Old Man on a Donkey," 1983, etching; "Restoration Work," 1984, etching, aquatint). L. Rozhkova ("Portrait of the Poetess Mayramkan Abylkasymova," 1982, etching).
In easel printmaking, masters of Kyrgyz poster art have participated over the years, including V. Zhukov ("A. Temirova," etching, 1970), F. Zubakhin (series of linocuts "Builders"), A. Turumbekov (series "Cruel Past," 1984, linocut; series "Three Songs about Lenin," 1984, grass, zinc), book artists I. Bulba ("Bridge," 1960, autolithography; "At the Front," 1966, linocut; "The Rain Has Passed," 1971, linocut), V. Maximov ("Karaagach Trees in Late Autumn," 1979, etching).
Many graphic artists are attracted to the miniature form of graphics — ex-libris. In this field, masters such as L. Ilyina (ex-libris for T. Usubaliev, N. Matveev, L. Sheiman, D. Oreshkin, V. Desyatnikov, and others), T. Gertsen (ex-libris for Ch. Aitmatov, D. Ignatieva, M. Akhunbaev, K. Moldobasanov, S. Tokombaeva, and others), V. Maximov (ex-libris for M. Sabirov and others), and many other artists working in printmaking techniques have long been successfully active.
Talented newcomers in printmaking materials include young graphic artists T. Kurmanov (cycle "Years," 1983, etching), A. Momunaliev (series "Memories. Uzgen," 1983, etching, aquatint), Y. Shygaev (series "On the Land of Our Fathers," 1984, colored linocut), Z. Zhakypov ("Boys from the Village of Echki-Bashi," 1981, colored linocut), K. Zhalalov ("Landscape with Construction," 1984, linocut; "Kara-Ungur Valley," 1984, linocut), which allows for hope of a new qualitative rise in print graphics in Kyrgyzstan.
