The creative program of Nurdamir Kongurbayev is clearly manifested in his studies. In terms of their solutions, they do not differ from compositions made in the studio without a model. In the studies, the artist actively and consciously transforms the real forms of nature into the given forms of artistic language. For him, the combination of objects to create a new, aesthetically meaningful reality is more important than the motives or objects themselves. The artist uses a given palette, the texture of the brushstroke, often complexly organized by color not on the palette, but directly on the pictorial surface. He has rejected deep perspective, both linear and atmospheric. The space of the depicted nature has a chamber, enclosed character, constructed by the plasticity of objects and their harmonious subordination in color and texture of strokes to the unifying background.
Kongurbayev mainly works on contemporary themes, creating portraits, landscapes, and thematic paintings. His landscape "Morning in Rybachye" (1972), painted in a blue-gray palette, is particularly striking.
In a light sketchy manner, he recreates the state of an uncomfortable, chilly dawn, the low, wind-torn sky, the architecture of the old Rybachye with its squat houses featuring elaborate flat facades, and the leaning wooden posts. Everything is recognizable not only by the specific motif but also by the accurately conveyed feeling.
The paintings "Family" (1974), "By the Apple Tree," and "Portrait of the Leader Ismailov" (1975) are dedicated to rural workers, while "Builders" (1978) and "Holiday at the Construction Site" (1983) focus on the working class. Unlike Asrankulov, the artist avoids showing the labor process itself, preferring to depict collective farmers and workers in static poses, achieving the necessary artistic tension purely through pictorial means.
The static nature of the imagery is also characteristic of his compositions on historical-revolutionary themes, such as "Y. M. Logvinenko with Family" (1984) and "Delegation of Kyrgyzstan in Moscow in 1926" (1984). In these paintings, based on documentary photographic material, the artist achieves a state of solemn uplift through the means of pictorial plasticity, alongside the portrait resemblance of historical figures.
Kongurbayev also works in the portrait genre, achieving a high degree of artistic generalization in works like "Boy with a Boat" (1977) and "Memory of Kadzhisay" (1982).
