Primarily as a watercolorist, the graphic artist M. Omorkulov has developed, who, like A. Mikhalev, is close to the traditional, airy-transparent manner of painting. Working almost exclusively from nature, Omorkulov travels extensively throughout the republic. His works reflect the rhythm of modern life in Kyrgyzstan with its agriculture, new constructions, and most importantly — the people. Omorkulov is one of the few watercolorists in Kyrgyzstan who shows a persistent interest in the watercolor portrait. His successes in this genre were noted back in the 1960s: “Omorkulov is primarily interested in the uniqueness of each human personality... Noteworthy in this regard is his series of portraits created during his time at the shock Komsomol construction site of the Uch-Kurgan Hydroelectric Power Station (1962)... The portraits of the builders are valuable both for their artistic qualities and strict documentary accuracy. This is a whole narrative about working people.”3 The interest in the working person runs through all of Omorkulov's watercolor creativity. In such works as “Installer - Climber V. Buievich” (1962, fig. 203), “Portrait of the Condenser Worker Kurbanov Makhamat” (1973), and the series of portraits “Leaders of Agriculture” (1977), as well as the piece “Dairymaid” (1980), the images of specific individuals are endowed with unique features, detailed and depicted in characteristic life situations. Omorkulov has painted hundreds of landscape and genre landscapes, showing the changing face of Kyrgyz land (“View of the Uch-Kurgan Hydroelectric Power Station,” 1962; “Soviet Square,” 1963; “Evening,” 1971; “Ak-Shirak Pass,” 1971; “Mine in the Mountains,” 1974; “Valley in the Highlands,” 1979; series “Head Cascade of the Toktogul Hydroelectric Power Station,” 1984, and many others). Reality is depicted in them attentively, in detail, and accurately. They sensitively convey the natural environment of Kyrgyzstan with its clear skies and sunshine.
