An original master of landscape is Naryn Turpanov. Unlike most artists, he immediately found his theme and style. While artists of his generation began to move away from nature, aestheticizing formal techniques, Turpanov presented landscapes in which the objectivity of the world resonated with particular pathos. His unexpected perspective on familiar scenes of nature, along with a naive-childlike impartiality towards nature, led the artist to a paradoxical result at first glance. The detailed elaboration of natural forms and a bird's-eye view of the landscape provide a unique spatial sensation of nature in its elemental pristine state. In each work, the artist creates an image of a mountainous country, skillfully and keenly tracing the slightest folds in the mountains, uniting the sky and mountains in terms of plasticity and color into a powerful interconnected existence. Turpanov possesses an emotional perception of nature, sometimes reaching a peculiar pantheism. Still life in Kyrgyz painting has not developed as much as landscape and genre composition, although many painters have tried their hand at it with varying degrees of success.
A delicate master of still life is perhaps only Dilfiroz Alexandrovna Ignatieva, whose work has been influenced by E.A. Maleina.
D. Ignatieva works in landscape, portrait, and everyday genres; however, her unique talent is most vividly expressed in still life. She has never been fascinated by experimentation in the realm of artistic form. She paints fresh, vividly, with great compositional skill and a sense of color. Her still lifes are traditional—fruits, vegetables, flowers; nevertheless, in each work, there is a sense of individual vision, warmed by a personal relationship to the subject of depiction, the ability to reveal the beauty of diverse natural forms and their capacity to create a new aesthetic quality in unexpected combinations (“Autumn Still Life,” 1970, “Plums and Yellow Apples,” 1984; “Field Flowers,” 1985; “Approaching Spring,” 1985). Ignatieva's landscape and portrait works are lyrical, intimate in mood, and finely organized in color.
In recent years, Toktogul Kasymov (“Chess Players,” 1974, “Boy with Firewood,” 1975), Ryskul Amanov (“Silk Producers,” 1976), Jildyz Moldakhmatov (“Approaching the Storm,” 1978), Ularbek Bektashev (“Woman with a Teapot,” 1980), Taaley Zabidinov (“Two with the Kurp-Sai Hydroelectric Station,” 1980), Arstanbek Islanov (“Landscape of Osh,” 1980), Rifkat Bukharametov (“Soldier's Routine,” 1983), Adylbek Bayterekov (“Decree on Land,” 1984), Danakan Adashkanova (“Grandson,” 1984), Zuura Sharshkeeva (“Portrait of a Girl,” 1984), Dinara Tsyrendorzhneva (“Portrait of R. Musabaeva,” 1984), Maken Dooletbaev (“In the Field,” 1985), and others have made interesting statements about themselves.
Painting
