Mosaic of Satyr Aitiev The mosaic by Satyr Aitiev on the laboratory building of the Kyrgyz State University is imbued with the metaphorical nature of its image-plastic language and exceptional richness of pictorial form. The artist brought into this monumental form the experience of his easel painting, characterized by its coloristic and textural refinement, as well as the allegorical content. The central composition, "Path of Enlightenment," occupies a large area of the protruding
Mosaic Masters. In the 1980s, Momunbek Akmatkulov began working in the field of monumental painting. He created a mosaic made of smalt (1980) that blends into the environment on the building of the Republican Sports Profile Boarding School and a mosaic on the facade of the administrative building of the Orto-Tokoy Reservoir Management (1983), as well as stained glass that decorates the interiors of the "Ocean" café (1984) and the building of the State Security Committee of the Kyrgyz
Clarity of the creative task presentation. As an active multifaceted monumental artist, Jyldyz Moldakhmatov asserts himself, having graduated in 1972 from the Moscow Higher Artistic and Industrial School (formerly Stroganov School). The mural he created in the interior of the Kyrgyz State Circus building (1978) speaks of a clear understanding of the creative task, emotionality, and the artist's coloristic gift, as well as an understanding of architectural genre and style. The mural,
The Versatility of Alexei Nikolaevich Kamensky. Alexei Nikolaevich Kamensky has developed into a unique master of monumental painting, participating in the creation of several significant architectural and artistic ensembles as a monumental artist with a broad professional culture, a sense of color, rhythm, and spatial harmony. He has also made a vibrant mark in easel painting, decorative sculpture, and ceramics. In his early mosaic "Song" (1965) in the concert hall of the Frunze
The Independence of Artistic Thinking of Yevgeny Stepanovich Herdyuk. Yevgeny Stepanovich Herdyuk has his own creative identity in the field of monumental painting. He arrived in Kyrgyzstan in the 1960s, taught at the Frunze Art College for more than ten years, worked for several years as deputy director, and then as director, nurturing dozens of artists who now contribute to the development of the art of environmental design. He most often creates multi-figure compositions in various
New Trends in Herzen's Creativity While S. Bakashev represents the decorative direction of Kyrgyz painting, Teodor Teodorovich Herzen is distinguished by a narrative type of figurative-plastic thinking. He works in a strictly realistic manner, infusing his images with specific life content. A landmark work of monumental painting in Kyrgyzstan in the 1960s was T. Herzen's monumental fresco "Rest" (1967) in the foyer of the Ilyich State Farm club in the Kemin district. Here,
Painter and easel artist S. Bakashev with a heightened sense of plasticity Sabitjan Bakashev possesses a vividly decorative vision of pictorial form, typically linking the search for artistic expressiveness with the spatial interaction of painting and architecture. Like other monumentalists, he participated in group projects (alongside A. Voronin, A. Kamensky, Z. Khabibulin, I. Chokoev, and others), for example, in the artistic design of the "Kyrgyzstan" cinema in Moscow, the circus
Diversity of Monumental Painting and Decorative Plastic Arts. In the 1960s, the traditional narrative line in monumental painting continued to develop, maintaining the principles of figurative thinking and compositional-plastic construction established in the ceiling paintings of the Kyrgyz State Opera and Ballet Theater, created in the 1950s. This direction is represented by the smalt mosaic-stele by A. Mikhalev titled "Meeting of Guests" (1963), installed at the entrance to the
Harmoniously solved tasks by a team of painters. In the first half of the 1960s, the team in Frunze created decorative compositions in the technique of sgraffito in the interiors of the cafes "Son-Kul" and "Yunost", the "Ala-Too" hotel, and reliefs made of foam concrete in the foyer of the "Oktyabr" cinema, which drew public attention to the tasks of artistic organization of the environment and the issues of new synthesis of plastic arts with
Creative Team on a Breakthrough to Kyrgyzstan The period under consideration is a time of intense development in Kyrgyzstan of all forms of monumental art, including monumental painting, which is an essential component of new architectural and artistic ensembles, fulfilling social functions defined by Lenin's plan for monumental propaganda. It embodies the content of the multifaceted Soviet reality, labor, spiritual and moral issues, and the fundamental ideas of socialist society.
Opening of the Sculpture Park in Frunze. The opening of new opportunities for sculptors in the republic in the field of monumental-decorative plastic art is facilitated by the practice of holding sculpture symposiums. In 1984, an inter-republican plein air sculpture event took place in Frunze. The stone works (limestone), created by sculptors representing various plastic schools of the country, as well as sculptures donated to the republic from the funds of the Ministry of Culture and the
The Beginning of the Development of the Tombstone Genre. In the last decade, the development of the traditional memorial-decorative genre of tombstones in the art of sculpture has begun in Kyrgyzstan. For several years, sculptor 3. Khabibulin worked on the tombstone of the brilliant Kyrgyz ballerina B. Beishenaliev, who left this world too soon. The sculptor took his task very seriously and decided to create a figure for the first time in the memorial plastic of Kyrgyzstan, relating it to the
Design Solutions for Public Areas A creative success of Khabibulina in the field of monumental-decorative plastic is the decorative composition-fountain in the resort city of Cholpon-Ata (1982, copper, architect K. Abdrakov). The crowning structure of the fountain, a decoratively interpreted figure of a woman seemingly frozen in the rhythm of dance, is plastic, exquisitely graceful, and brings a note of emotionality to the environment. It complements and aesthetically enriches the
Complex of sculptural works at the Kirov Reservoir in the Talas region. A significant milestone in the development of monumental art in the republic was the large complex of sculptural works at the Kirov Reservoir in the Talas region (1975—1983), created by a group of artists (V. Shestopal, T. Gertsen, V. Dimov). A thematic bas-relief has been created on the retaining wall of the dam — an elaborate multi-figure narrative about the life of the workers of Kyrgyzstan. The composition of the
Largest Ensemble of Monumental-Decorative Sculpture The largest work of ensemble monumental-decorative sculpture in the republic is the sculptural and architectural complex "Manas" (1982, sculptor T. Sadykov, architect A. Pechenkina), embodied in stone and forged copper. This extensive spatial composition adjoins the simultaneously erected building of the Kyrgyz State Philharmonic, decorated with stained glass on the theme of national ornamentation. It organizes one of the central
Kyrgyz Monumental-Decorative Genre. In the process of fulfilling the socio-aesthetic functions of Soviet monumental art in the life of a developed socialist society, its genre-stylistic explorations are increasingly unfolding. Alongside the creation of monuments that carry relevant propaganda-artistic content and serve as the most effective force in monumental propaganda, diverse branches of monumental-decorative plastic are developing, enhancing their urban planning and spatial-forming roles.
Monument of national significance. T. Sadykov has completed the work on the monument to F. E. Dzerzhinsky for the city of Frunze. The half-figure of the "Knight of the Revolution" seems to emerge from the dynamic form of flames — a symbol of that socially charged time. The emotionally and broadly carved granite likeness of Dzerzhinsky captivates with its willful steadfastness and the beauty of high human feelings. Here, the sculptor once again demonstrated his love for working with
Bronze Monument In the late 1970s, a competition was held in the republic to create a monument to K. I. Skryabin, Hero of Socialist Labor, member of three all-Union academies (Academy of Sciences of the USSR, VASKHNIIL, Academy of Medical Sciences of the USSR), honorary member of the Academy of Sciences of the Kyrgyz and Uzbek SSR, and a full and honorary member of the academies of Bulgaria, Czechoslovakia, Poland, the GDR, Yugoslavia, France, and scientific societies in the USA, the UK,
Images of an Epic Scale. In the 1970s, T. Sadykov created a granite monument—a bust of the twice Hero of Socialist Labor Z. Kainazarova (architect V. Kurbatov), which was installed on one of the most beautiful streets of the capital—Dzerzhinsky Avenue—while this famous Kyrgyz sugar beet grower was still alive. She provided the country with record harvests and raised six orphans from the war. In this simple and strong woman from the people, the sculptor saw a bright and integral nature. In the
Portrait Monument of Toktogul. In the 1970s and 1980s, the portrait monument developed more multifacetedly in various sculptural materials. Monuments were created for revolutionaries, public figures, labor heroes, scientists, and writers, in whose images the main features of our era, its ideological and creative pathos, are concentrated. The issue of erecting a monument to Toktogul in Frunze was raised again. As a result of a republican competition, the authors of the monument became G.
Three-part sculptural composition of the monument. A new step in the monumental art of the republic in the development of the theme was the sculptural and architectural complex of the Victory monument in Frunze, built for the 40th anniversary of the victory of the Soviet people over fascist Germany (sculptors T. Sadykov, M. Anikushin, architects V. Lyzenko, V. Bukhaev, with the participation of architects E. Hertel, Z. Shambetov, A. Novolelinskiy, and others). The monument serves as the
No one is forgotten... An original structure is the memorial complex in honor of the Hero of the Soviet Union Cholponbay Tuleberdiev in his homeland in the village of Chimbkent, Talas region, created by sculptor Z. Khabibulin and architect D. Yrysqulov (1982), awarded the Silver Medal named after A. M. Grekov. The complex unites into a single whole the monument to Ch. Tuleberdiev, the building of the memorial museum dedicated to the memory of fallen fellow villagers, and steles with figurative
Monumental Form of Commemorating the Fallen Heroes. An important place in the monumental sculpture of Kyrgyzstan in the 70s and 80s is occupied by memorial monuments that develop the theme of remembering the fallen and the heroism of the people's feat during the Great Patriotic War, the theme of the victory of the Soviet people over fascism. During these years, in the republic, as in all Soviet art, the monumental form of commemorating the fallen heroes is established —
Monument "To the Fighters of the Revolution" The greatest achievement of Kyrgyz monumental art in the 1970s was the widely recognized monument "To the Fighters of the Revolution" (1978, bronze, granite), created by sculptor T. Sadykov (architect G. Kutateladze). In terms of significance and emotional intensity of its ideological and artistic content, the monument was classified among the outstanding achievements of Soviet monumental art. For its creation, T. Sadykov was
Monumentalists of the New Generation in Kyrgyzstan In the 1970s, with the arrival of sculptors and monumentalists of a new generation in Kyrgyz art, monumental sculpture began to develop more intensively. Expanding its ideological and thematic range and sphere of influence, it was enriched with large-scale works. The rising level of monumental propaganda in the republic is especially noticeable in the capital. The appearance of works of national significance was marked in the first half of the
Multi-figure monuments in monumental sculpture. In the 1960s, the development of multi-figure monuments in monumental plastic art began. In 1963, V. A. Puzirevsky (with the participation of G. Tupoy) created a two-figure monumental composition — a monument to the heroes of the Komsomol of the Civil and Great Patriotic Wars on the Young Guard Avenue in Frunze. In the rhythm of a marching step, a Russian Red Army soldier from the 1920s and a soldier of the Great Patriotic War — a son of the
Monuments to the heroes of the revolution. One of the successful plastic embodiments of the heroic image of a fighter for the establishment of Soviet power is the bust of the hero of the Civil War, a worker-revolutionary, chairman of the district-city committee of the RCP(b) in Kyrgyzstan, who led the fight against the Belyovodsk uprising in 1918, A. Ivanitsin, sculpted by N. I. Lodyagin. The bronze bust, resting on a round granite pedestal, is installed on Dzerzhinsky Avenue. Created in the
The monument to Toktogul Satylganov— the greatest representative of Kyrgyz culture. In the 1960s, the issue of creating a monument to Toktogul Satylganov — the greatest representative of Kyrgyz culture during a pivotal era, whose work is inextricably linked to national folklore and became the starting point for Kyrgyz professional literature — continued to concern the sculptors of the republic. The image of Toktogul, a talented poet and musician, a singer of the revolution, a man who did not
Sculptural Monuments. Togolok Moldo In the monumental sculpture of Kyrgyzstan, which began to be created en masse in the 1960s, the form of the portrait monument develops in its early stages, commemorating the memory of outstanding figures of national history and culture. In 1965, in Frunze, the oldest sculptor of Kyrgyzstan, O. Manuilova, created a bust monument to the national poet, one of the founders of Kyrgyz Soviet literature, Togolok Moldo, which was installed in one of the central
Monumental forms of art in Kyrgyzstan during the 1960s to 1980s emerged at the forefront of artistic life and actively participated in the formation of a harmonious personality of the era of developed socialism, addressing the pressing issue of environmental aestheticization. With the increasing pace of scientific and technological progress during this period, all types of ideological and educational work among the masses were mobilized, and a significant place was allocated to monumental
A. Solovyev works exclusively in medals, having grown over a decade into an experienced medal artist with serious thematic interests and an individual plastic language. From his early works of a narrative, sometimes illustrative nature, and from experiments with form influenced by modern, often contradictory searches in the field of small plastic forms, he has arrived at a strict style. His more recent medals, which are typically traditionally rounded and small in size, are substantive,
The small form of the medal today, alongside psychological depth and strictness of form, is also characterized by features of monumentalism, poster-like sharpness of thought, and bright decorativeness. All these tendencies, with their positive and negative aspects, are to some extent inherent in the developing medal art of Kyrgyzstan. Going beyond the realm of commemorative and anniversary medals, Kyrgyz medal artists widely explore a variety of themes, employing modern techniques, plastic
Medal Art. In the 1970s, medal art began to develop in Kyrgyzstan. The first enthusiasts in this field, Vyacheslav Viktorovich Kopotev and Anatoly Nikolaevich Solovyov, graduated from the Frunze Art School and mastered the laws and expressive means of this specific type of small plastic art over several years. The growing interest in medal art began in foreign and Soviet art as early as the 1960s, and in the 1970s and 1980s, this traditional branch of chamber sculpture, having received
Masters of Stationary Sculpture A sign of maturity in sculpture in Kyrgyzstan is the intense development of sculptural composition. In this genre, the figurative and compositional-plastic tasks have significantly complicated, marking a transition to a new level of artistic generalization of life phenomena, the construction of sculptural form, and mastery of traditional and modern materials. In this sphere, the talents of sculptors have been revealed quite fully and uniquely. A significant
In the 1960s, in Kyrgyzstan, as in other republics of the country, a new stage in the development of sculpture and monumental art began, which continues to this day. This period marks the flourishing of the work of the first national sculptor T. Sadykov, who trained under the outstanding Soviet sculptors S. T. Konenkov and E. F. Belashova, as well as sculptors Z. Khabibulin, A. Mukhtudinov, V. Shestopal, and D. Kheidze, who graduated from the country's art universities. During these
