Preface
It is important to consider the novelties and peculiarities of the development of Kazakh fine arts of the XXI century in comparison with its achievements in the previous centuries. If we want to appreciate the high rise of Kazakh fine arts, we all need, first of all, to cognize art deeply and comprehensively, to analyze and record it constantly.
The painting of A. Baktygereev brought together the spiritual world of man, the lively movement of feelings, the depth of psychology, and the beautiful traditions of realistic depiction. We tried to look at the poetic portrait of the artist through the prism of his works. The meaning of an artistic work is its content. In Ali's works we see not only logical sense, not only plot and theme, but also artistic image, which includes the content form of the work, its style, plot and reaches the author himself, his worldview. Mastery of the artist in depicting Kazakh life is manifested in his ability to truly convey the whole complex range of feelings and experiences of a person in the work, in the ability to convey his idea in generalized artistic images so that the main tendency of our general development could be seen behind the depicted picture. Ali possessed a sufficient amount of culture, knowledge and skill. That is why their works are so interesting and meaningful. Their thoughts they want to convey to the viewer are profound because the viewer makes them think about the phenomena they depict. Ali has been true to his talent and his nature in his life and work.
Zhanarbek Beristen, Professor, PhD in Philosophy Winner of the International Art Prize “Turan”
The “independent” generation – golden generation
When we weigh the past and present of Kazakh visual arts, we can proudly say that its status and level hold a place in global art. It is insufficient to view the history of art written up to now as true history; it is still a legacy that needs to be reconsidered and cherished from the height of modern times. Kazakhstan's independence has provided an opportunity to restore its former necessary legacy. Therefore, it is necessary to reassess art in a new light. Art, as a spiritual reality, is often evaluated and assessed through styles, and this will continue to always be the case. The progress and depth of art are measured by these criteria. This is not mere 'bragging' but a complex creative process that has undergone an evolution of artistic development.
There is a clear need to analyze the evolution of professional artists' growth and maturity, which corresponds with the pace of our art's development. Today's Kazakh art can stand shoulder to shoulder with its global counterparts, distinguished by its unique characteristics and stylistic richness. This issue has not been addressed until now and should be considered as a new subject of discussion in the future.
To fully understand contemporary Kazakh visual arts, it is essential to delve into the past lives and art through the lens of the talented individuals from different generations. Every artist defines their uniqueness within their creative world, harmonizing with their inherent nature. Meanwhile, society collectively shapes its worldview and aesthetics. An aesthetic judgment is a conclusion formed based on the generalization and understanding of a person's evolving objective and relationship with the world and themselves.
If we reflect back on our history, the initial steps towards mastering the branches of Kazakh visual arts began in the 1920s and 1930s. During these years, the first steps were taken to establish art studios in particular cities of Kazakhstan. Exhibitions were held by both local artists and international artists who showed interest in the culture and nature of the country.
Between 1930s and 1940s, the development of visual arts in Kazakhstan gained its momentum, leading to the creation of an organizational foundation that facilitated the further creative development of professional visual arts. Notable figures such as Ä. Qasteev, Ä. Ismayilov, N. Krutilnikov, B. Sarsenbayev, and the brothers Qulakhmet and Qozhakhmet Qozhyqovs helped enrich the Kazakh visual arts scene and its stock. Later, Kazakhstan's visual arts were further enhanced by the contributions of K. Baranov, E. Govorova, L. Leontyev, V. Antoshchenko-Olenev, Y. Mingazitdinov, and Sh. Kenzhebayev, who began laying the foundations of schools. In a form of art new to Kazakhs, Qasteev's work was characterized by an accurate expression of national worldview and spirit. The method of visual art that is characterized by oil painting on canvas was fairly new to Kazakh nation. The stylistic choice of detailed and concrete depiction of objects or “realism” in other words, was the backbone for initial destinations and conceptions.
During the 1950s and 1960s, a new wave of professional Kazakh artists brought fresh energy to the visual arts in Kazakhstan. These artists, who experienced the turmoil of socialism and the hardships of the Great Civil War during their youth, included figures such as K. Teljanov, K. Nauryzbayev, S. Mambeev, M. Kenbayev, K. Shayakhmetov, A. Ghalymbayeva, G. Ismayilova, S. Romanov, N. Nurmukhambetov, N. Gaev, B. Pak, Ü. Äzhiev, E. Sidorchin, A. Shkolny, A. Stepanov, Zh. Shardenov, M. Lizogub, O. Kujelenko, B. Tulekov, B. Ormash, A. Cherkassky, Ä. Khaydarov, and others.
From the 1950s to the 1960s, the issuance of "National School" became a highly significant topic among architects, influencing painting as well. The search for a "National Image of the city" reflected the pressing need for a distinctive form of national architecture. National architecture, in turn, became a factor that influenced national painting. Sabyr Mambeev, the then-chairman of the Union of Artists of Kazakhstan, aptly remarked in “Tvorchestvo” magazine that the period known as "Matured Socialism" in the 1970s was marked by a strong adherence to old traditions, knowledge, and the path of ornamental art.
Artists of that era crafted their own national aesthetic and expanded the historical horizons of its development. During this period, the triumph of national artistic thought was realized through a harmonious and comprehensive analysis of regional traditions, with national schools of visual arts being fully established in Central Asia. In the new generation of art, there were significant changes in the formal structure of painting. Perceptions of visible reality shifted, not only on an emotional and psychological basis but also in a stylistic aspect, finding expression in the formal structure and reaching the peak of emotional expression and depth of thought. Traditional values and signs, the archetypes of national consciousness, and the unique characteristics of reality perception had a profound impact on how the works of each generation of artists were represented. Furthermore, they created a picture of the world that was aligned with the national understanding and worldview. These national schools raised theoretical issues in art history that sought to define their place in international culture and the role of individual creative figures within it.
The 1960s and 1970s marked the formation of the national school in Kazakh visual arts. Sabyr Mambeev played a crucial role in supporting young artists during this period as the leader of the Union of Artists.
During this time, despite being limited to themes depicting socialist realism within a certain framework, the creative works of artists that defined national identity were complemented by successful strides in literature and visual arts.
In the 1960s and 1970s, artists such as S. Aytbayev, I. Isabayev, Sh. Sariev, T. Togysbayev, Ä. Zhusipov, Ä. Sydykhanov, Ä. Smagulov, M. Qisamedinov, N. Nurmukhambetov, A. Rakhmanov, and B. Tabiev introduced a new tone and fresh wave to Kazakh visual arts. This generation became one of the brightest groups in Kazakh visual arts. The artists who emerged in the 1980s and 1990s included T. Dosmagambetov, O. Prokopeva, E. Sergebayev, B. Äbishov, K. Mullashev, K. Duisenbayev, M. Amanzholov, M. Qalymov, D. Aliev, R. Akhmetov, O. Nurzhumayev, E. Tolepbayev, B. Tulkiyev, A. Aqanayev, V. Rakhmanov, K. Tynybekov, K. Ospanov, B. Zäuirbekova, V. Tverdokhlebov, K. Bekenev, R. Mamabekova, Kh. Braliyev, P. Shorokhov, O. Mamakova, K. Esirkeev, A. Duzeikhanov, Zh. Kairanbaev, A. and S. Bapanovs, Q. Kakimov, B. Myrzakhmetov, Zh. Aralbay, B. Tabyl, T. Ordabekov, Q. Kametov, Q. Zakirov, G. Qarazhasov, B. Äbishov, D. Tulekov, Sh. Töles, S. Ilyayev, M. Qasymbekov, N. Bube, Z. Tüsipova, S. Anarbekov, M. Seysov, A. Beysembinov, A. Nakysbekov, A. Gubashov, A. Ospanov, S. Älzhanov, N. Beysembinova, Q. Akhmetzhanov, R. Yusupov, A. Akhatbakiev, A. Baqtigaliyev, Ä. Khayruina, Q. Khayruin, T. Mukhutov, S. Gumarov, B. Talqanbaev, Zh. Äbdraman, A. Kenenbaev, among others. This generation, a continuation of the artists of the 60s, lacked their own distinct creative concepts and witnessed a decline during the independence period, failing to take up the mantle of ideological leadership.
From 1980 to 1991, after the 1986 uprising that shook the stagnation period of the Soviet era, Ä. Sydykhanov's "Pictorial Mark" exhibition was held in 1988. This exhibition holds great significance in the history of Kazakh visual arts. At that time, the political situation was very complex. This was the period when G. Kolbin, who served as the First Secretary of the Central Committee of the Communist Party of Kazakhstan (1986-1989), had to consider the views of the Kazakh people. During this time, Özbäkali Zhänibekov, who served as Deputy Minister of Culture (1977-1988) and Minister of Culture (1987-1988), made significant contributions to the spiritual sphere. A notable event was the return of the famous Taiqazan (the Great Cauldron) to Turkestan on September 18, 1989. Ö. Zhänibekov's tenure as Secretary of the Central Committee of the Communist Party of Kazakhstan (1988-1991) led to a significant revival in spiritual spheres. For the first time, the “Nauryz” was celebrated, and the heritage of Alash Orda leaders was brought back into the spiritual domain. The return of history sparked inspiration in the minds of young people and instilled hope in their hearts.
At that very time, there was a struggle among the students of the Almaty State Theater and Art Institute to rehabilitate the Decembrists. From 1988 to 1993, there was a period of calm and transition in the visual arts.
After five years of survival, the first group “Kokserek” was formed in 1993, which began the era of Kazakhstan's independence and marked the beginning of the classical maturity of Kazakh visual arts. The "Kokserek" group aimed to introduce a variety of styles and bring the art of Kazakhstan closer to global trends, an event that became a significant milestone in the history of Central Asia. Initially founded by the famous artists of the Decembrists Kanat Ibragimov, Bakhtiyar Tauirbekov, and Yerbol Meldebekov, the group took a strong stance against colonial ideas. Kanat Ibragimov defined the spiritual direction of the group, while Bakhtiyar Tauirbekov organized its art management. The “Kokserek” group's exhibitions attracted many young artists who were actively involved regardless of their worldview. They were the first to organize the “Kokserek” gallery, which also provided momentum for the development of galleries. The activity of young people from the Almaty State Theater of Fine Arts Institute increased sharply during that period. The youth of Almaty also created the "Green Triangle" group, but it quickly dissolved after being caught with drugs. At that time, there was a significant upheaval in the art scene of Almaty. In 1995, at an international exhibition in Tashkent, the “Kokserek” group presented its conceptual art, which was a novelty for Central Asia. The main feature of this period was the wide diversity of stylistic phenomena.
The spirit of Kazakh visual arts during this time was strongly characterized by optimism and the desire to heal the wounds inflicted by Soviet colonial policies and the damage they caused to the country. The innovative ideas of the “Kokserek” group marked the beginning of the visual arts of independent Kazakhstan. Among young people, there was a strong belief in Kazakhstan as a land of great opportunities. We were all ecstatic. By the end of the 20th century, the Kazakh art process witnessed the emergence of self-awareness that was rooted not only in historical heritage but also in the global artistic experience.
The issues that artists aimed to address involved reflecting the national mentality in a manner linked to the long-standing traditions of Kazakh craftsmanship and ceremony, while also contributing to the formation of a unique national school in professional visual arts.
In 1995, the "Soros-Kazakhstan" Foundation—a non-governmental charitable organization established by the Open Society Institute (OSI) in 1995 with the goal of promoting open society values in Kazakhstan—began operating. This foundation actively promoted postmodernist styles, spending considerable funds on their development. Both artists and art critics were involved in this process, though the form of this novelty did not bring any significant change and struggled to resonate with Kazakh spirituality. The new form failed to introduce substantial innovations, merely attempting to influence the consciousness of art lovers.
The generation that formed during the independence era primarily consisted of those born in the 1960s and 1970s. This generation brought new life to Kazakh art with their vitality and innovative spirit. During this period, based on the philosophy of new styles, national revival ideas emerged. Thanks to the energy and efforts of young artists, new opportunities arose for actively introducing visual images into life, contributing to changes in art forms. Various methods of implementing ideas and visual images became widespread.
The demand for realism revived. From 1995 onwards, realism re-emerged as the leading direction. The achievements of realism from the Soviet era, as well as stylistic accomplishments from around the world, were absorbed. The demand for historical ethnographic truth increased sharply as people sought to complement the past of the Kazakh people with real historical contexts. This conclusion ripened naturally without any ideology. The pursuit of historical realism revealed many aspects of the search for new possibilities for national expressiveness. A consistent aspiration to develop new democratic artistic consciousness concerning the history of the nation from the aesthetics perspective.
The greatest achievement of this period was the unique energy of expressiveness, rooted in the natural essence of the artistic form.
Kazakh visual arts, which has come to be known as the "Golden Generation," can be divided into three decades to create a unique panorama of development. Each artist in these waves of Kazakh visual arts has contributed different artistic merits and innovations.
One of the first wave of the “Independent Golden Generation”, which began in 1993, included artists like Kanat Ibragimov, Bakhtiyar Täuirbekov, Bakhyt Bapishov, Ghalym Madanov, Erbol Meldebekov, Qazaqbay Äzhibek, Dosbol Qasymov, Sembigali Smagulov, Aqtoty Kölke, Tolegen Süleymenov, Alpysbay Qazgulov, Shamil Guliev, Tainov Serik, Meyirzhan Nurghozhin, Tileuzhanov Talgat, Marat Bekeyev, Aybar Taziev, Andrey Noda, Arystan Shalabaev, Moldaqul Narymbetov, Vitaliy Simakov, Said Atabekov, and Rustem Khalfin.
Sculptors and monumentalists included Ädilet Zhumabay, Nartov Asqar, Nurlan Dalbay, Bolat Qusainov, Suranshiev Qairat, Rakhmadiyev Edige, Bakhitbek Mukhamedzhanov, Murat Mansurov, Asqar Esenbaev, Asqar Esdauliyev, Ghaziz Eshkenov, Toktar Ermekov, Eduard Kazaryan, and Ghalym Rysbek.
Masters of decorative arts included Raushan Bazarbayeva, Serik Rysbek, Aman Mukazhanov, Bashirov Serzhan, and Estay Dauabay.
In the wave that joined in the 2000s, artists like Aibek Begalin, Bolat Turgumbay, Vadim Sidorchin, Qabdrahman Otarbay, Bakhitnur Burdesbekov, Kanat Shukirbekov, Hashim Qurbanov, Nurlan Kilibayev, Guljamal Tögenova, Malik Qaidarov, Äset Zhakypbek, Manat Qaspak, Säbit Qurmanbek, Elena Teo, Abduaqat Muratbay, Zulqarnay Qojamqulov, Qurmangazy Aqashov, Quat Asqar, Vladimir Shege, Guljanat Qabizhanova, and Botakoz Aqanayeva joined.
Sculptors and monumentalists included Amanat Nazarqul, Zhamkhan Aydar, Daniyar Qaliev, Kanat Nurbatyrov, and Ishanov Serikzhan.
Graphic artists included Manat Amanbaev, Bazhirov Nurlan, Eraly Ospanov, Qonyr Mukhamedi, and Qwandyk Madrov.
In the wave that joined in the 2010s, artists like Äli Baktygereev, Kanatbek Chagiev, Ädil Bayandin, Gulshat Madibieva, Vyacheslav Lyüi-Ko, Töleugazy Baigaliev, Nurbek Zhardemov, Quralay Amanzholova, Nurbazar Qozhin, Zhambyl Natbaev, Nurlan Äbishov, Nurtay Zhardemov, Bolat Mukhamediev, Bekzhan Zhumbayev, and Kamila Zhappalova became part of the long list that constitutes the "Golden Generation" of independent Kazakh visual arts. They are currently in their prime and remain an uncharted generation. The unprecedented number of energetic young people, with their spirit of freedom, has become a truly high-spirited new Golden Generation in history. Their explorations have considered the numerous possibilities of spiritual renewal. The artistic pursuits of the entire world have taken root in Kazakh soil with a different kind of vitality.
The art of this period is largely characterized by a high level of professionalism, while preserving the traditions established in earlier periods, and is distinguished by the multifaceted nature of its stylistic and artistic language. The applied arts, in particular, saw significant development.
The spiritual and artistic period in Kazakhstan from 1993 to 2024, with its remarkable concentration of talent, can rightfully be called the era of the "Golden Generation." Despite the lack of a state ideology, the rapid development of Kazakh visual arts as the most prominent indicator of national consciousness was a unique social phenomenon and a marvelous occurrence.
The visual arts, which began to seek new directions in 1993, should be recognized as the visual arts of independent Kazakhstan. Each artist's exploration, inspired by their cultural roots and ethnic heritage, has risen from ethnographic and poetic levels to reach new philosophical heights. It can be said that national tendencies dominate the main directions of visual arts in independent Kazakhstan. The emergence of new figures in the art scene, who have ventured into the realm of global art and presented their high artistic creations, is a pressing topic of analysis today. During the independence period, literature, architecture, and music all saw stagnation and crisis, but visual arts continued to advance.
Ali Baktygereev belongs to the group of 2010, the third wave of artists. Today, our contemporary, a talented artist from the “Golden Generation” - Ali Baktygereev, who during his short life managed to leave behind immortal creativity, passed away. However, now his Eternal Life continues in the ranks of the living Kazakh spirituality.
THE HISTORY OF GENERATIONS – THE HISTORY OF INDIVIDUALS
From the heights of today's independence, the visual arts of the past 30 years increasingly captivate and draw interest as time passes. Nowadays, the primary objective of art studies should be to delve into the personalities and creative works of each figure who forms part of the "Golden Generation" of talents.
This analysis is specifically focused on the works of one such figure—a prominent educator and creative artist, Äli Baktigereev, who was a standout among Kazakh visual artists.
Talent is always born from the pure intentions, desires, and spirit of the nation. This is why we say, “The fate of talent is the fate of the nation.” It is these talents who guide the nation through difficult times, capturing those challenges on canvas. Äli's life story follows the challenging paths often taken by those with great talent. During his lifetime, young people and contemporaries respectfully called him Äleken. When we analyze the qualities and creative stature of Äli, a representative of the "Golden Generation," who rose to prominence during the independence period, we must ask why his standing and creative pedestal were so high among the many talented figures of that time.
Äli Baktigereev was born on April 15, 1962, in the village of Qulandy in the Aral district of Kyzylorda Region, as the sixth child in his family. All seven children of the family attended the eight-year school in Qulandy. From a young age, Äli was passionate about art, and the villagers called him a sculptor. His hometown left a deep imprint on his later creative work. Due to health issues, he graduated a year late from school. His working life began as a visual decorator at Bozoy Secondary School in Shalkar district, Aktobe Region. In 1985, he was admitted to the Almaty Art College named after N.V. Gogol. This institution was the only place where talents from all over the country gathered, and many famous Kazakh artists were educated there. Äli stood out in the community for his broad humanities knowledge and could speak eloquently on topics of literature, religion, and politics. When the December 1986 events took place, Äli was among those who defended the youth and was beaten. However, he never boasted about his involvement in the December events. In 1989, he entered the Almaty State Theater and Fine Arts Institute to study monumental painting. The period of independence was very difficult. Many students left their studies due to the need to make a living. Even during those hard times, Äli did not abandon his studies.
As borders opened and various scientific ideas began to flow into the country, myself, Äli, along with Serik Tainov and many other students, attended the lectures of Professor Asylan Zhaksylykov, Doctor of Philology, and writer at Al-Farabi Kazakh National University. Asylan's lectures on meditation, yoga, Sufism, Buddhism, and other esoteric knowledge profoundly impacted our worldview. As Cicero said, “The foundation of friendship is the complete harmony of will, taste, and opinion,” and during that time, we began to come together as a group.
Äli's thesis defense remains a memorable event. In 1994, Äli successfully defended his diploma in monumental painting titled "Abai: Through the Eyes of My People" with distinction.
The idea of the composition was fully realized in the artwork. The images are highly convincing and realistic. The depiction of Abai's image, complemented by ethnographic elements, harmoniously integrates life and vitality. Every corner of the painting is filled with national dramatic images, creating a cohesive and powerful overall scene. The audience is compelled to perceive the environment in which Abai lived, along with their emotions and thoughts. The idea's compositional vitality demonstrates the high quality of the painting. Äli prepared meticulously for this work, creating numerous sketches. His philosophical nature was closely aligned with that of the great graphic artist Isatay Isabayev, who deeply felt and beautifully expressed Kazakh folklore in his graphics. By studying the greats of the past, Äli emphasized the power of thematic art in conveying the essence of an artistic image. The clarity and realism of the narrative drama, combined with the depth of psychological characterization, revealed the richness of the artistic image.
This is the result of immense effort in combination with deep talent. The state commission gave it the highest praise, with some even suggesting, “Such work deserves a state award.” With the permission and agreement of Äli's family, this diploma work could be realized in any suitable building. However, only time will tell.
After graduating, despite his immense talent, no one invited Äli to teach at the institute. Those suffering from the ingrained infectious disease of judging people by their geography or biography rather than their talent did not welcome him. Äli, who despised sycophancy, did not beg or plead with anyone. Instead, he took up a teaching position at the Almaty Visual Art College named after N.V. Gogol, where he was warmly received. However, he did not rush into creative work, spending a long time fulfilling commissioned work. He used a 10-square-meter area in the college as his studio and did many commissions for the director as a form of payment for using the space. All of this merely wasted his time. He dreamed of having his own studio all his life but, unfortunately, never realized that dream.
From 2007 onwards, Äli began his creative pursuits. One remarkable trait of Äli was that he never missed an exhibition. He always kept an eye on new developments, critically analyzing and evaluating every exhibition. He collected every issue of the famous opposition newspaper "Dat" and had a complete collection of journals about world artists.
Äli's contributions as a teacher are also immense. His work as a mentor was extensive. Concerned about the future of Kazakh art, he paid special attention to guiding and nurturing young artists. The fruits of his labor are evident today, as many young artists who are now well-known proudly consider themselves Äli's students. His legacy as a teacher continues through the many students whose wings he helped strengthen. I cannot forget how many of his students expressed their condolences to me when Äli passed away. Äli had immense respect among his students, and his conversations were filled with deep humor. He was also excellent at singing.
There are many stories about Äli. Some referred to him as Asan Kaigy (a legendary wise man), as he often spoke like a venerable sage. Regardless of the intent behind these words, the important thing was that he was always concerned about the future of art.
Most people do not give much importance to Äli's creative work. Although he began his creative pursuits later in life, it is now time to acknowledge that the name Äli Baktigereev has opened a new chapter in Kazakh visual arts.
Therefore, the creative legacy of Ä. Baktigereev must be analyzed, objectively evaluated, and critically assessed in line with art studies' comprehensive and objective principles. Over the last twenty years, the group known as the "Golden Generation" in Kazakh visual arts has gained a remarkable talent, Äli Baktigereev.
"He introduced the audience to historical and life situations while working with multi-figure compositions. The combination of mystical imagery with realistic elements brings his painting closer to the methods characteristic of profound art. He possesses a refined sense of artistic ethics and a deep, subtle understanding of compositional laws. His works evoke a high poetic mood that makes one think deeply, with an ethno-folkloric symphonic resonance. In his works, mythology and folkloric motifs are not merely a “background” but become the very essence of the composition. His romantic explorations have created a phenomenon of mythological folklorism in art." This was the first artistic analysis of his work.
Working in the romantic style, Ä. Baktigereev skillfully combined professional craftsmanship, compositional freedom of perception, and the harmony of colors with internal rhythm and melodic beauty, deeply integrating them with his thematic concerns. His unique artistic language has further enriched the value of his artworks. This, in turn, has contributed not only to Kazakhstan's visual arts but also to the broader culture of the Kazakh people. His works are full of symbolic meaning and are multi-faceted. Their outward appearance is distinguished by the complexity and subtlety of their plots. However, the inner content is rich with deep philosophical meaning that touches upon the eternal issues of human existence and captivates the soul of the discerning viewer.
When discussing the artist's work, one cannot overlook the distinctiveness of his artistic language. Before starting any work, Ä. Baktigereev fully dedicated himself to accurately conveying his ideas and searched diligently for the right approach. As a result, he constantly distanced himself from rigid conventions that limit expression and sought to create new, meaningful works from an original perspective that conveyed his inner world. Ä. Baktigereev's creativity is marked by its distinct identity. He approached his work with great rigor and precision, yet he did not create solely for himself but for sensitive and attentive audiences.
PAINTING
The artist's body of work includes outstanding pieces that have been added to the golden collection of Kazakh visual arts. We often admire global masterpieces, but sometimes fail to ask ourselves how these pieces became part of the golden heritage. To achieve such recognition, it requires diligent and prolonged effort. Artistic growth is difficult and slow, and the higher the ideal vision, the more challenging it is to attain. All great artists worked hard to define their styles. The most important thing for an artist is their vision. "Every artist must revisit their nation's history and express it through visual art."
Ali, who poured his talent, time, and energy into this wonderfully crafted piece, will leave no viewer indifferent. The visual representation and its emotional impact are astonishing. Moreover, its intellectual significance is profound. The artist has depicted the mysterious secrets of the human phenomenon, created from 'body, soul, and spirit.' He has likened the world where our ancestors and Tengri (the Sky God) lived to a mystical realm. The three works are filled with ethno-information that leads the viewer toward the horizon of mythical and folkloric understanding, uniting them in a single flow. The folkloric theme of death, a complex topic that few dare to address, is presented here. However, instead of focusing on tragedy, the work emphasizes epic power, effectively conveying the history and worldview of the people.
Major Works: Funeral. 150x250 cm. 2019. Yellow Sound. 80x100 cm. 2017. Melody. 144.5x145 cm. 2015 These are some of Ali's most remarkable works that have entered the golden collection of Kazakh art. Each of these pieces took two years to complete, undergoing numerous sketches and explorations. His works possess a mystical intuition and an endless thought process. The creative journey behind these pieces reflects a deep exploration of cosmic and eternal themes, including the relationship between the soul and body, and life and death.
"Funeral" (2019)
The piece “Funeral”, created in 2019 with a size of 150x250 cm, is born from deep philosophical thought and is one of Ali's finest works. During his lifetime, we often spoke of how this piece came from a brilliant idea.
In the background, the red mystical sky, tombstones shaped like 'syntas' (ritual stones), various shamanic symbols, and cosmic mysteries with sun-like figures emphasize the theme, adding to its enigmatic content. In the center, a leader sits cross-legged, and next to him, a lifeless warrior lies still, immediately catching the viewer's attention. The most striking aspect of the painting is the ethnographic clothing, each designed with exceptional artistic solutions, showcasing rich folklore. You see the ancient horned Saka horse, a warrior wearing a ram-horned helmet, horned headgear, and various types of saukele (traditional headdresses). The two warriors in the foreground lowering a spear with flags are adorned in particularly impressive headgear.
The artist seems to have wanted to depict the ritual or traditional religious ceremony through this scene. However, it's not just about these figures; the artist has skillfully crafted the balance of the composition, ensuring the harmony of colors. The history of many remarkable works confirms that for a painting to achieve unity, the optical and narrative centers must align, which is one of the fundamental principles of art composition. Although the scene is overloaded with figures on the sides, the central characters still hold the viewer's attention. The poetic melody in this composition is highly inventive. In this way, Ali has achieved unity. Wherever the artist worked, he did not depict random fragments of life but conveyed a broad, holistic view of reality. In the process of choosing a central character, the role of creative imagination was of paramount importance. He combined the astonishing real world with the mystical, transforming individual elements into a unified artistic image. He accepted the relationship between body, soul, and spirit as a single concept, providing a deep understanding of our ancestors' spiritual nature and their philosophy of life.
"Yellow Sound" (2017)
"Yellow Sound" created in 2017, measuring 80x100 cm, resonates with the themes of the "Funeral" painting.
The power of this thematic painting lies in the content of its artistic imagery. Since it's called "Yellow Sound," the viewer immediately focuses on the musical theme. The figure of a kobyz (Kazakh national instrument) player wearing a tymak (traditional Kazakh hat) is the first to catch the eye. The kobyz is a highly sacred instrument, even more so than the dombra. Historically, it was considered a spiritual instrument connected to Tengri (the Sky God) and was often used in many rituals. Both Christianity and Islam labeled the bowed instrument as the devil's tool, concealing its connection to Tengri. In this painting, a deceased warrior is depicted. His future fate is to live eternally with Tengri. The kobyz player is performing a lament as he sends off the warrior's soul, which is depicted as a bird. Beside the mourning young widow is a young girl playing a syrnai (a traditional Kazakh wind instrument). The painting is designed to convey a mystical, meditative musical atmosphere. The syntas (ritual stones) merging with the blue sky, and the white-clad figures resembling angels from the higher realms, add a mystical dimension to the scene. The mournful camel and the powerful bull also enhance the painting's expression. The artistic image, shaped by a deep study of life's phenomena, emerges as a fantastical representation of reality. To evoke reflection, the artist incorporates strong ethno-mystical images, allowing the audience to freely engage with the artwork's ideas and artistic qualities.
Overall, the painting's strength and content are built on a solid composition. This composition contains elements that both captivate and stir the imagination, compelling the viewer to emotionally engage with the depicted scene. The work evokes deep psychological concerns, expressing the emotions and thoughts that form the core of the artistic image. The clarity of the dramatic narrative, the authenticity of actions, the psychological depth of the characters, the natural arrangement of figures, the clarity of the spatial structure, the richness of color and material density, the balance of masses, movement, and rhythm—all of these elements, handled masterfully by Ali, create the necessary expressiveness. This is not a hastily crafted work but rather a result of an internal storm, ripened thoughts, and a bittersweet sorrow that burns within. The painting's emotional force is so powerful that the unveiled images are utterly convincing, causing the viewer to feel the depicted emotions deeply.
"Melody" (2015), 144.5x145 cm.
In the process of creating a work, each artist has their own distinctive features. In this piece, the introspection and sensitivity to self-awareness are portrayed in a new way. The deeper the artist understands what they bring to the world, the more unique, interesting, and unparalleled the result becomes. The idea of the work, as in most cases, comes from extensive knowledge and life experiences, where one image leads to another, resulting in a philosophical reflection. This painting immediately transports the viewer to the era of the Altai Sakas. In the center, a Saka king, adorned in a golden mask and having dismounted from a horned royal horse, is depicted sitting cross-legged. The characters in this work are dressed magnificently. Ali was deeply concerned with the issues of life and death. Being well-versed in folklore and mythology, Ali immediately turns to the kobyz (a traditional Kazakh instrument connected to Tengri). The kobyz player, linked to Tengri, is also present in this work. His trance-like, laid-back posture is highly impactful. In this piece, the kobyz player is the main mourner, playing a lament and guiding the soul to Tengri in the afterlife. A young widow is seen removing the warrior's battle shield mask, looking mournful. The distant hills blend with the blue, cloudy sky. In the background, some tombstones are depicted further away, while others are shown closer. The painting encourages reflection on the passage of life from the material world to the eternal and the glorious warrior history. The depiction of ancestral spirits and the relationship with the afterlife brings the viewer back to ancient times. You are astonished by the artist's devotion to his understanding of the world. The symbolism connected to Tengri, signs, concepts, traditional understandings, and the rich design of the costumes are reevaluated, creating a sense of unity in the images.
Village Life, “Auyl”
1. Diptych 1: "At the Hearth" (2017) 114x114 cm 2. Diptych 2: "At the Table" (2017) 114x114 cm This diptych by Ali is among his best works. The village holds a unique significance for Kazakhs—it is the cradle of national spirit and the true embodiment of Kazakh identity. The village represents a rich wellspring of customs, traditions, worldview, and language. The scent of sagebrush, the smoke from the village hearth, the soil, rocks, the scorching heat of the steppe, the evening breeze, and the village elders are all symbols of Kazakh existence. Therefore, it is natural that the artist chose this theme, which was so close to his heart.
The development of the village theme in art is driven by a deep understanding of even a small part of life, memories, careful observation of the surroundings, and visual recollection. In a typical situation, the artist creates events and characters. The work "At the Hearth" is dedicated to village women. It is a simple depiction of rural life, with young women chatting around the hearth. The smoke from the hearth symbolizes peace and prosperity. For those who grew up in a village, this exotic scene is very familiar. The artist expresses something universal in a convincing and emotional way. People familiar with village life will recognize the authenticity of this scene, based on nature's reality. The village, for those who understand it, is a world full of beauty and special qualities. The artist never tires of admiring the beauty and authenticity of life on Earth. Thus, his artwork masterfully brings to life this marvelous world in all its beauty using the highest qualities of visual art—lightness, weight, density, clarity, richness of colors, and harmony.
The second piece, titled "At the Table" (the second diptych), depicts village elders and wise men sitting around a table, drinking shubat (fermented camel milk) and talking. In the background, a girl is shown carrying a bucket, having milked a camel. In the far background, a child is seen on the roof of a small house. The artist does not depict his feelings or perceptions, but rather conveys his ideas about the world. It could be interpreted as nostalgia for childhood, as the artist translates emotions and memories directly into a visual form. This is already a generalization of certain facts, yet the power of this generalization lies not in abstract thought but in the imagination and artistic representation, which reflect a person's relationship with these facts. Memory helps to fill in the missing details and bring separate experiences together into a unified image. The generalized depictions of familiar rural events are something that everyone who grew up in a village can relate to. This reflects Ali's remarkable ability to think artistically. His life experience is expressed emotionally, with a deep understanding of what he has seen and learned, and he uses this understanding to create vivid images.
Each image evokes in the viewer a series of thoughts, reflections, and conceptual insights. Ali's deep reflection on the phenomenon of the village is one of the most important works in the development of Kazakh visual art.
STILL LIFE
Still life is one of the artist's favorite genres, one he never tired of and constantly revisited with a fresh perspective. In general, the still life genre is often the first step in every artist's creative journey. All of Ali's still lifes follow classical norms. Though they are often detailed and methodically executed, they always capture attention and curiosity. This is because they adhere to the principles that stem from our aesthetic experience of seeing and perceiving the world. Often, Ali would gather items he used in the learning process and create compositions from them, always maintaining the harmony of colors. Of course, this represents a return to a foundational learning process.
Ali's still lifes reflect his restless dedication to art, his dissatisfaction with complacency, and his deep respect for hard work.
HISTORICAL SCENES
Ali Baktygereev's realistic works follow general themes. These are not chosen or selective directions, but rather a reflection of his deep understanding of the historical essence of his people. Among his works, those that stand out for their meaning and craftsmanship are the depictions of the sacred Kazakh steppe, showing mountains and rivers in the wide pastures. His art often features not only national landscapes but also real scenes from those eras, connected with the vast natural world.
In his paintings, maintaining perspective, Ali beautifully portrays the phenomena of nature, capturing the uniqueness of the weather and integrating Kazakh identity with the vast expanse of the steppe. Maintaining balance, he clearly depicts the foreground with grasslands, showing continuity. Baktygereev not only shows certain aspects of reality and people's relationship to them, but also provides emotional and logical evaluations of these scenes. His depiction of these periods showcases his high level of professionalism, preserving the traditions of past works, while demonstrating the multi-dimensional nature of his style and artistic language.
His exploration of the nation's mentality, spiritual philosophy, and understanding of national folklore deepens in his works. His efforts to convey the ideas of his compositions through various techniques are clearly visible. His themes aim to communicate to the individual, evoke the joy of life, and highlight the simple existence of life in the steppe, with careful attention to compositional solutions that emphasize the meaning of the subject. He captures the essence of the Kazakh migration, with all its nuances and melodies, painting with vivid colors. From the distant horizon, a caravan stretches toward the viewer, adding a sense of dynamic movement and grandeur to the composition. The clear blue sky and golden horizon of the steppe add a subtle tone to the overall color palette of the piece.
His works are full of internal energy, enthusiasm, and dedication. Ali's paintings showcase classical examples of landscape painting, adhering to the objective laws of nature. Using yellow-brown, dark tones, and shadow falling from the west, he depicts the evening time. In his works, concepts like height, breadth, and space are presented symbolically through mountains and the steppe. In every case, the choice of horizon line serves to fully express the artistic image. This is one of the fundamental rules and principles of spatial construction in realistic paintings.
Portraits
In the works of artists, the portrait genre holds a central place. The portrait is one of the most complex forms of art. A portrait primarily requires extensive knowledge of facial structure and human anatomy. The most commonly depicted portraits include commissioned portraits, ceremonial and official portraits, compositional and decorative portraits, and stylized or conventional portraits. Portrait types themselves include decorative, group, family, and genre paintings, among others.
In this field, portraits imbued with nobility and vigorous spirit have created a cohesive gallery of images. Many of his works feature precisely captured and vivid portraits with burning eyes. The artist's portraits offer a captivating gallery of diverse characters. When examining the works of great artists, we observe that before starting a portrait, they meticulously study the nature they are going to depict.
Any error in proportions or resemblance in a portrait can ruin what is called a portrait. Above all, a portrait must be similar; otherwise, it becomes a general image of a person. No matter how beautiful and artistically executed, if a portrait does not resemble the person, it loses its significance as a document of that individual. The deep personal content of a portrait, and its unique value, is always associated with resemblance, as the portrayed individuals occupy certain positions in life.
The artist's approach to portraits is a complex phenomenon. However, its artistic value can be preserved even without resemblance, though in such cases, it becomes a general artistic work rather than a documentary portrait. The image of “Abulkhair Khan” is uniquely sculpted. The Khan's image is very impactful to viewers because it combines beautiful painting, colors, and resemblance. The successful image is achieved by accurately conveying both the inner content and the plastic characteristics of the image. The spectrum of colors vividly reflects the person's facial features. The portrayal of character and traits are two important factors that define the essence of portrait art. The Khan appears vigorous, stern, and cold. The distinctive features of the portrait are revealed through the academic precision of proportions. The master did not only focus on these themes but also integrated and connected them with historical genres in his work while revealing the truth of nature.
The sense of proportion and decorative propriety is well represented in this work. The portrait of the famous Khan captures his willpower and a moment of tension accurately. The composition's success and the effect of various rich colors elevate the grandeur of the artwork.
Graphics
In graphic art, portraiture is one of the most challenging forms of depiction. Portraits primarily require a serious study of the image. The accuracy of a drawing is essential; creating a portrait without good drawing skills is a fundamental mistake. Even the artist's attitude toward their model is a determining factor in the final outcome of the portrait. In general graphic art, free dynamic harmonies of strokes play a central role in portrait work.
Ali's strength in presenting realistic forms and his imaginative sharpness distinguish his style. His passion for artistically representing each person's inner world is evident. In Kazakh graphic history, there are few artists like Ali, who drew freely with strokes. His pencil-drawn portraits are masterpieces. The elements of improvisation in realistic style portraits are remarkable, and the artist's skillful technique is immediately noticeable.
"Qulaqu" and "Bulikshi" are psychological portraits. The most important aspect is the person's inner world, which appears angry. The turbulent composition of the image elevates the portrait's essence. Due to their high artistic quality, these images hold a place among the best works in Kazakh visual art.
SKETCHES
Even though a sketch is not the final version of the future artwork but just a preliminary outline, it is still the result of thorough effort. The culture of making sketches is not well-researched in our art studies. Some of Ali's sketches are as refined as completed works. It is unfortunate that many of Ali's detailed sketches from his student years remained unfinished. In a sketch, the artist strives to show either the entire composition or certain parts and main characters of the envisioned work. True art never just copies reality; it requires understanding and interpreting a large volume of material beyond mere replication. Genuine artworks are valuable not for their factual depiction but for their reflections, thoughts, and ideological statements that enrich the audience.
The artist's ability to evoke necessary expression in their model, and not just a mechanical or passive approach, can stimulate the artist's creativity and skill. The more daring the movement, the stronger the image becomes.
Working with the human figure's forms is essential for working on all other aspects of form. Working on the complex organism of a large artwork requires a refined formal culture from the author. This is reflected in the overall composition. Unlike free sketches, a perfect form allows for a holistic focus on many aspects. A sketch is limited to capturing a moment, and such sketches restrict the viewer's perception. Similarly, the sketch's compositional form can only provoke limited interest and hope. Trust in a future complete artwork can be based on sketches, but the fullness of impact and creative will of the viewer comes from the final form that encompasses all the artist's emotions and thoughts.
Conclusion
Art is an eternal force, enduring through all times and eras. It reflects the face of each era, serving as a mirror of the times. Joy and sorrow, virtue and tragedy, comfort and regret—all find expression in art. Through art, these experiences are preserved, passed down from generation to generation, and become part of history. Today, national art is evolving and developing in various forms. To understand the visual arts of independent Kazakhstan, I believed it was essential to comprehensively analyze the generations of each period. Analyzing the complex development of the independence period and contemplating what may lie ahead is a pressing need of the present day. The issues of "tradition, individuality, and innovation" are of particular importance in the formation of the Central Asian phenomenon of professional painting. In the works of contemporary artists, the pursuit of transformation inherent to national identity, the striving for mutual agreement, and the unity of all elements—a return to the traditional idea of the world's inherent harmony—has been revitalized at a new level. The issue of self-definition within the school, in expanding the scope of understanding the national world, is a key topic today. The process of adapting the foundation of traditional worldview within the national form and technology is underway. Cicero once said, "The praise of a life well-lived is also pleasant." Äli always supported national ideas and welcomed new developments for the nation. He greeted the Turan movement with enthusiasm and supported it until the end of his life. He was a true friend who always supported my ideas, valued my work, entrusted me with future responsibilities, inspired me, and uplifted my thoughts.
Äli was a free thinker, deeply ingrained with the essence of the Kazakh spirit, and a person of unique poetic nature. Each of his works reflected deep knowledge, erudition, and a high level of contemporary artistic culture. Since one of the goals of Turan Romanticism was to analyze artistic truth and seek new directions, our goals were often aligned.
"We need great ideals for the new Turan culture. Our history is deep. Let us embrace a bright future. Let us be responsible and wise before art," we always encouraged artists to join us. The struggle to prove that Turan is a cultural phenomenon continues. Therefore, the path we have chosen is called "Turan Romanticism." To deeply understand and delve into today's art, the path of active Romanticism is the most necessary. Romanticism is a complex and multifaceted phenomenon that, for those who understand it, contributes to the expansion of the artistic domain.
At the beginning of the 20th century, cultural theorist O. Spengler said that a new civilization would be born in the East, in the cradle of Turan. We, the Kazakh nation, chose the path of Romanticism to awaken those spiritual ideals.
In 2018, the "Turan Romanticism" manifesto was published. In 2019, the TURAN-QASAQ artists' consolidation was established. The first members were Q. Shükirbekov, A. Gubashov, R. Bazarbaeva, Q. Otarbay, Ä. Baktigereev, B. Qusainov, E. Daubaev, Ä. Zhakypbek, S. Tainov, Ä. Ibatbekov, and myself. That same year, the first international "Turan Romanticism" exhibition was held, dedicated to Ospan Batyr, who fought for the liberation of East Turkestan.
In 2019, we launched the national art portal TURAHART.KZ. In 2020, an international online exhibition titled "Ulyq Ulys – Golden Horde," dedicated to the 750th anniversary of the Golden Horde, was held. It featured 100 artists from 21 countries across Eurasia. As a result, an album-monograph was published in four languages. Just as our ancestors called out "My son to Urim, my daughter to Krym," we called upon artists to unite across the Eurasian space.
Despite the quarantine, an international online exhibition titled "Turan Romanticism" was organized in honor of the 30th anniversary of our independence. The exhibition paid tribute to the heroes of the Alash Orda at the beginning of the 20th century, as well as the heroes of the December 1986 uprising, who still need to be deeply appreciated through the visual arts. It was also dedicated to the 155th anniversary of the birth of Alikhan Bokeikhan, a key figure in the Alash movement. The exhibition featured 252 artists from 32 countries. A two-volume album-monograph was published in Kazakh, English, and Turkish. The international "Turan Romanticism" exhibition, covering a new era of visual arts, was distinguished by its unique artistic vision and diverse visual representations. In 2024, a three-volume anthology titled "Turan Metastyle" will be published, featuring the works of 35 artists from 29 countries.
Dedicated to art and a key figure in the international Turan consolidation, Äli Baktigereev — a talented artist, representative of the "Golden Generation" of independence, and a classic who opened a new chapter in Kazakh art—will continue to be the subject of specialized research analyzing and disseminating his creative life.
Äli had another aspect that many did not notice: he was deeply connected to mysticism, esotericism, and the mysterious shamanic world. Spirit is the power and essence that Tengri breathes into a person at birth. The soul, on the other hand, is the force meant to carry out life on Earth. We can only attempt to understand Äli's spirit through philosophical reflections. Äli passed away at the peak of his potential, with much more to give to art. As we conclude our work on Äli's spirit, we find ourselves momentarily pausing, reflecting on the passage of time—a river that flows quietly and subtly, barely noticeable to the eye.
What surprised the Turan community was the farewell message Äli wrote on WhatsApp: "My noble Turan people, thank you all! Live long." October 4, 2023, 12:32.
Obviously, we did not understand that Äli was bidding farewell. But we are firm in our belief and respect for the spiritual world.
No one is immortal; every mortal who comes into this world, sooner or later, must pass on. For Kazakhs, passing from life is the beginning of a new life. For Kazakhs, the goal of life is to become a true human being, to refine the soul, elevate it to a higher consciousness, and return to Tengri. Kazakh wisdom emphasizes the importance of remembering and celebrating the good deeds and legacy left behind by those who have fulfilled their duties on Earth, rather than mourning their passing.
To my contemporaries and future generations: Let us be grand, let us be strong! Let us not let the cradle of the Turkic world fall!
ЕСТЕЛІК -ВОСПОМИНАНИЯ -MEMORIES
Ali and I met in 1984 while studying together at the Almaty Art School and the Academy of Arts. In social affairs and any discussions, he always had the ability to clearly express his thoughts. Since then, everyone called Ali a philosopher because he had a deep knowledge of literature and history. This profound knowledge vividly manifested in his works, where national motifs were noticeable. Ali was a true art enthusiast, a citizen who sincerely loved his people.
Bolat Kusainov Sculptor, recipient of the "Parasat" order, laureate of the "Turan" international art prize
I believe that the uniqueness of Ali's paintings, their compositional structure, the harmony of colors, and his individual style are a gift from nature that rarely falls to an artist's lot. Ali's character was like a quietly flowing deep river... His paintings were always profound, meaningful, and amazed every viewer. Professional skill, deep knowledge, and a corresponding calm character are the three foundations of his creativity. Ali left beautiful paintings in the golden fund of Kazakh visual art, and his wonderful works will serve as an example for future generations of young artists, bringing joy, pride, and a sense of gratitude to the viewers.
Kabdrahman Otarbai Painter, writer, laureate of the "Turan" international art prize
We have known Ali's works for a long time. In terms of their themes, content, and artistic quality, they are remarkable. He has his own opinion and style! In them, I see signs of innovation born from his own searches. I would not be mistaken to call him a true warrior and philosopher of art.
Kazakhbai Azhibekuly Honored Artist of Kazakhstan, laureate of the "Turan" international art prize
Ali's small workshop was constantly crowded with people, and the conversation was continuous. There were many readings in literature, art, philosophy, politics and culture, a strong memory, a strong erudition, and therefore critical comments were also convincing. In accordance with his abilities, he devoted himself to contemporary topics, leaving brilliant works related to mythology.
Kylyshbai Tabun Painter
Ali's works resonate with a special mystical melody. When I first saw his graphic and painting works, I was amazed at how Ali brought immortal pieces to the world of graphics. As for painting, it is a separate world that makes the heart dive into the depths. Ali's early works already inspired great hopes. I often visited his studio in Almaty to see his works and talk about creativity. These meetings awakened in me a longing for the creative atmosphere. In this small studio, eternal paintings were born. Although Ali is no longer with us today, I often remember my friend-artist, who was a spiritual mentor for me. Looking at his paintings, I begin to deeply study the compositional solutions and colors. During our student years, Ali was like Mount Khan Tengri to me. Sometimes I didn't understand his thoughts and goals, but now his works have become the pinnacle of visual art. I am proud that I was once close to such people as Ali and discussed philosophical ideas about life and art with them. When Ali walked down the corridor, we recognized him by his steps or song and greeted him with the words, "Oh, Ali is coming." His works show the highest skill, depth, complex images and strokes, portraits created with great emotionality.
Adilgali Bayandin Honored Worker of Culture of Kazakhstan, laureate of the "Turan" international art prize
Any work aimed at the good of the people should be done with a warm heart and sincere intentions. Only then will your inspiration lift you to new heights. This principle was deeply ingrained in Ali's heart. Ali and I are from the same village. We spoke like brothers, without breaking the dialect. In our village, Ali, who had been engaged in sculpture since childhood, was known as a sculptor. His main goal was to improve the future of the Kazakh people. As an artist, Ali was a true professional and a good teacher. Thanks to his talent and dedication, he revived the memory of the people and glorified their virtues. His works reflect the life, mythology, and history of the ancient Turkic people with a magnificent combination of colors. They show that Ali not only loved his people but was also a talented and outstanding artist.
Artur Dabyl Sculptor, friend, and colleague
Ali's manner of speaking, his rich vocabulary, deep knowledge of Kazakh history and literature, especially oral literature, as well as his skills in martial arts, amazed and fascinated. In his art, especially in portrait painting, his mastery of revealing the inner world of a person was outstanding. He skillfully showcased the monumentality and memorable features of each character. Later, his graphic portraits, such as "Abai," "Hulagu," "Kunayev," executed in the techniques of cardboard and charcoal, became a testament to his skill. However, the main direction of his work was multi-compositional thematic compositions. Since his environment was rural, the nature of the steppe, people, legends, music, epics, and history became the main sources of his inspiration. His works "Homeland," "Kazakh Batyr," "Migration," "Heir," "At the Hearth," "At the Table," "Saryn," "Yellow Sound," and "Funeral" can be called examples of this. His landscapes and still lifes, in which the unique techniques of his painting style are visible, hold a special place. Ali Baktygereev was a great talent, with a deep and multifaceted personality, and it seemed that his future work would be even more significant. His premature departure was a great loss for art lovers, his friends and colleagues, students, family, and relatives.
Serik Tainov Honored Worker of Culture of Kazakhstan, laureate of the "Turan" international art prize
Author: Zhanarbek Beristen Editors: Raushan Bazarbayeva, Asylbek Gubashov, Kabdrakhman Otarbay, Serik Taynov. The passage to England:Aybat Tursynali. Transition to Russian: Aida Kasymbaeva, Diana Mukhitkyzy Proofreader: Sholpan Iskalieva. Khudozhnik: Zhambyl Kurmash Designer: Samal Aldabergenova
PAINTING
As research for these three paintings, four other works are well-known. Due to the correct choice of plot type, the basic laws of composition are carefully observed. While maintaining realistic viewing principles, the artist adopted a very close perspective. His compositional instinct is particularly noticeable when working with thematic paintings. All four of these paintings are remembered for their contrast between light and dark and the harmonious combination of three dominant colors: blue, green, and brown. In all four pieces, young women are beautifully dressed. The harmony among these elements is so strong that they capture the viewer's attention, providing aesthetic pleasure. Analyzing the structure of these sketches, we can identify several realistic principles of composition, and most importantly, the objective decorative principles inherent in art.
"Contemplation" is a deeply reflective work, akin to a memoir painted on canvas. The realism of the composition in his genre paintings is striking. The idea and composition of the work often have the nature of a free sketch. However, in the multi-figure, fully realized composition, the idea is clear. The artist manages the composition and process with clarity and expressive imagery. The vitality and completeness of the figures are fully realized.
In the visual perception of the painting, from the overall impression to the detailed understanding of individual characters, and finally the comparison and synthesis of these elements, a harmonious unity is achieved. The central theme is the relationship between man and nature, the love of art, and the endurance required to overcome all difficulties along the way. The painting also explores the cycle of life, human dreams and hopes, the innocence of childhood, the beauty of life on Earth, its tragic moments of destruction, the struggle for survival, the battle between time and eternity, the contrast of life and death, and more.
At the center of the painting is a self-portrait of the artist drawing. Included are scenes from his childhood, such as drinking from the village well, and his time as a student, where a model is depicted. The image of two mothers selling goods on the street during hard times is also a familiar sight to many. The painting features various plastic rhythms and dynamic forms. Each artist is a world unto themselves, and this painting represents a nostalgic summary of Ali's journey. It is a work born from his deep contemplation of the harmony and contradictions of his life's path, revealing his inner restlessness and passion.
The artist's thoughtful examination and reflection elevate this painting to the ranks of his most outstanding works.