Tursunbek Koichiev addressed the revolutionary theme in a monumental and generalized manner in his triptych "Women of Kyrgyzstan. The 1920s" (1968). The left part of the triptych, titled "First Letters," depicts two young women and a child in national attire. One of the women holds a pencil and a notebook, symbolizing the pursuit of education. The central part, "At the Meeting," features a short-haired woman in a leather jacket, a revolutionary soldier, and a woman in an elechek standing by a table covered with red cloth. In the background is the light silhouette of a yurt. The right part, named "The Bride" by the artist, shows a soldier in a budenovka and his young bride. The triptych is painted in a strict brown-red palette, enlivened by spots of white. The figures are presented in static tension. The drawing is precise, and the colors are local.
In a similar manner, the portrait "My Father" (1969) is executed, candidly painted from a photograph from the war years. Despite the narrative and visual significance of these works, they sharply differ from Koichiev's other canvases in the nature of the painting style. The artist has a poetic disposition, loving and understanding nature, and he mainly paints in soft pastel tones, finely sensing the musicality of lines and color relationships.
Jambul Dzhumabayeva's works are also contrasting. His early paintings "News" (1969) and "Awakening" (1969) are influenced by miniature painting with its clear silhouettes, conventional landscape environments, and localized color solutions. However, unlike miniatures, the images of people are individually characteristic, keenly observed in life, and skillfully conveyed.
The painting "Awakening" is also distinguished by the subtle psychology of its characters. In both paintings, the leading visual role is played by the drawing — precise and sharp.
In the 1970s, Dzhumabayeva sharply changed his painting style.
In "Portrait of My Wife" (1973), he still uses silhouette for figurative characterization, but in a different way. The profile of the young woman depicted is elegant and tender. The psychological state is conveyed through the thoughtful expression of her olive-colored face, a somewhat tense pose, and the black color of her hair and dress, beautifully combined with a deep green background. In this work, the artist's coloristic talent is vividly manifested. Using only three colors here, he found an impeccable tonal harmony, which gave the characteristic image classically clear features.
The most typical works for Dzhumabayeva's creativity in the 1970s and 1980s are "Girls by the Lake" (1973), "On the Way to Study" (1974), "Spring" (1975), "Boy with a Hoopoe" (1976), and all subsequent works. In these works, he abandoned clear silhouettes and localized colors, creating a color-painting fantasy free from real lighting and the overall state of nature, easily modeling lyrical images.
Having abandoned the study material (in the traditional sense) for his paintings in favor of pure composition based on creative imagination, the artist still places great importance on nature pencil sketches, which is why even his most statuary representations of people are filled with a lively sense of internal movement.