Joоmart Kadraliev also resorts to the language of allegory, but his allegories have a more elaborate, narrative form of expression. For example, in the painting "Today. A Day Among Days" (1984), two seated giant figures are depicted, frozen like stone statues against the backdrop of an immense earthly landscape. The meaning of the painting is revealed in the interpretation of the global landscape and the cosmic scale of the figures.
In many of his works, Kadraliev resorts to depicting a peculiar confrontation between man and nature, the connection of which is equivalent in terms of interaction and impact on the viewer's imagination.
This equivalence of forces often leads the artist to a deliberate distortion of real scales. For instance, he likens Cholponbai Tuleberdiev ("Memory," 1983) to a huge flying bird against a background of land where Russian and Kyrgyz landscapes can be discerned, as if viewed from cosmic heights. A painter by education, Kadraliev clearly gravitates towards monumental painting both in the nature of his imaginative thinking and in the form of embodying ideas.
The tasks of imaginative generalization were such that any individualization of the subject seemed a concession to photographic realism or an avoidance of literary qualities, which was also encouraged by the criticism of those years. The main focus was on formal techniques, reduced to simple and quite accessible rules. Artists primarily abandoned perspective, both linear and aerial, in favor of preserving the flatness of the canvas, solving space mainly through the plasticity of the depicted object.
They rejected any action, any plein air quality, striving for a neutral state and preferring the static nature of generalized forms and their clear rhythmicity.
Well aware of the expressive possibilities of monumental painting techniques (frescoes, mosaics, and sgraffito), they skillfully apply a combination of various technical methods for processing the material surface in stationary painting, using them as means of artistic expressiveness (the character of line and stroke, special priming of the canvas, use of canvas texture, etc.).
In this regard, they took into account the experience of abstract artists who made significant discoveries in the field of perception psychology of "pure form," independent of any figurativeness.
Monumentalist artists most fully expressed their individuality in easel creativity, where they could embody their understanding of art in a broad aspect of interests, which they avoided in monumental creativity, working "brigade-style" and creating works that were largely impersonal and standard, close in their figurative solutions to decorative works of a temporary nature.
Bakasev, Butorin, Voronin, and Kamensky relied on the work of Soviet artists from the 20s and 30s. Among the artists of the republic from the preceding period, V. Obraztsov was close to them with his subtle painterliness, the conventionality of interpreting the landscape environment and human figures without relying on studies. Obraztsov's painterly-coloristic system is a peculiar echo of experiencing color combinations that exist in nature and are used by him as symbols of certain feelings and even complex experiences. All means of figurative expressiveness used by Obraztsov and his followers have an abstract-aesthetic character, harmoniously balanced by the figurativeness of generalized themes and plots.
In this regard, works such as "Poppy Growers" (1968) and "Singing Mountains" (1972) by S. Bakasev, "Uch-Kurgan" (1969) by A. Voronin, "Oodarysh" (1970) by A. Kamensky, "Archaeologists" (1977) and "Masquerade of Children" were created.