Ali Baktygereyev is a painter who was absorbed with different genres: portrait, landscape, still life and especially a story painting dedicated to the Kazakh world, its history and traditions.
Ali studied monumental art, where preference is given to a detailed plot, multi-figure compositions, combination of alternative events (simultaneity), linearity and decorative color. His thesis “Abai through the eyes of my people” met all the requirements of this art form. However, after the collapse of the Soviet country, the frescoes went by the board, since the customer, the state as a government, disappeared. Baktygereyev and his colleagues approached easel painting, which has a slightly different attitude to composition, form, and color. Overall is respect for sketches that help to find an adequate solution to the topic stated. Pencil drawing is the keystone in the art of image, without it one cannot build the figure of a man, a horse and a camel, or even the shape of simple objects – objects for still life. And it must be said: the artist created wonderful pencil portraits of outstanding people, including Abai and Kunayev, as well as images of human types, such as, for example, a rebel and an official.
Ali paints many landscapes on plein air. In addition to enjoying the landscapes gifted by this genre, it refines the color vision, since nature gives an endless variety of colors and shades living in the light-air space. He paints many still lifes – except for enjoying forms, it is also an invaluable experience in building a composition, when objects from a simple cluster of forms are transformed into a kind of community living according to aesthetic laws.
The artist paints many portraits – this is not only a fascination with the variety of faces in which character and soul are visible, but also the awareness that the features of ancestors are visible through modern features, whose faces we know not only from the faces of our grandparents, but also from drawings by foreign artists-travelers of past centuries and photographs of the 19th century. Surprisingly: when some girls put on national clothes – Kazakh beauties of the past centuries appear in front of the artist, and then in front of the viewer. This transformation captures the painter's gaze, and a series of our proud, strong, domineering predecessors appear on the canvases. Men's faces also magnetize the gaze. It finds depth of reflection in them, strength of spirit – the spirit of the batyrs still lives in them. And in order to convey this, the artist builds the volume of the head with vital strokes, collides light and shadow in the face, or surrounds it with the silence of twilight, suggesting immersion in a state of meditation or anxious thoughts.
One of the favorite scenes is the village. There are also simple scenes of everyday life, familiar from childhood: early in the morning and late in the evening, women are busy at the hearth. And compositions seeking to have deep meanings. As it happened in the diptych “Aul”, where in the left part “Near the hearth” nine women of different ages with small children are standing, sitting, lying around one stove. One of them (in the foreground) is breastfeeding a baby. Another one bent over the cauldron to taste the food. And here's a funny detail: a baby is sleeping on her back, tied to her body with a white cloth. The images are inscribed in a sort of triangle with a wide base, and this confirms the stability of this world. The right part of the “Set table” is assigned to men who returned from pastures and settled on the ground around the dastarkhan. Everyone has relaxed poses. They are having a well-deserved rest. In the foreground there is a woman with a baby. She is looking at the viewer. Her sacred duty is to be the hostess of the dastarkhan and pour koumiss, tea, soup into bowls. In both compositions there are accompanying details of the background: a boy on a horse, a girl with a yoke, a camel with a colt, a girl with a small bucket and, of course, a rural adobe house. In this tightly-knit world, everything goes on as usual, without fuss and shifts of the traditional manner of things.
After the collapse of the Soviet state, a sad time of change has come, when everything is unstable and shaky. At such times, a person has a desire to find something reliable, durable, and not subject to corrosion. And for many this was the Kazakh nomadism, which has been preserved in the national memory as something perfect, similar to the ideal shape of a crystal. Many of our artists turned to the heroes of the epic, the heroes of history and the most important thing – the nomadism itself. Ali Baktygereyev also paid tribute to these subjects: batyrs, khans, traditions, ancient and eternal fatherland.
Here are some paintings by the artist, where beautiful past is visualized. In 2000, the work "Ata-zhurt" (Fatherland) was painted. There are few figures here: two mounted horsemen, one dismounted, a bride-girl on a camel and a woman standing next to her. Behind them there is a domed structure and a high sky with golden and crimson clouds. The rider on the white horse has a golden eagle in his hand, the rider on the bay horse has a spear. A hunter and a warrior. They are in the center of the composition. Let's remember this.
In 2010, a large horizontally expanded composition “Nomadism” was created. In the depth, just to the right of the vertical axis, there is a domed structure with a crescent moon on top. On the left is a woman on a camel in kimeshek. On the right are two riders on white and bay horses and a dismounted horseman. There is something new here – a camel appeared between the mosque and the horsemen, with a shanyrak on its back. Next to it there is a white camel with household stuff, which was about to lie down on the ground. The center of this world is now not only a mosque, but also a yurt. In the left part of the composition, riders on horses of different colors are depicted. In the foreground there is batyr with a spear on a black horse, followed by a girl on a bay horse, then there is a girl driving a pair of white horses harnessed to a cart with a white tent, and then a guy with a dombra on a chestnut horse. Warrior, beautiful girls and akyn are a wonderful set of characters. The composition is based on a delicate juxtaposition of rest (far distance) and movement (foreground). There are a lot of details here and there, developing the plot in breadth and depth. Each viewer will undoubtedly see and feel the visual narrative in his/her own way.
In 2012, an even more multi-figured composition “Heir” appeared, with a very rich foreground. In the center there is a camel head, on the back of which are two women with a naked baby. On the left – a woman and a man next to a kulpytas, reminiscent of their ancestors. Flanking the center on the left there are batyrs of different ages, on the right is a fully armed warrior on a black horse and young ones on white and bay horses. And in the background we see something familiar, but with variations. In the center from left to right: a woman on a camel, a mosque, a camel with a shanyrak, a pair of horsemen and a dismounted horseman. There is a vivid connection of different life layers: dynamics of events and silence of concentration.
In 2019, the artist almost returned to the composition of the two thousandth, adding a white camel and a dark one with a shanyrak from the composition of 2010. At the same time, he developed the foreground, placing a shepherd and a camel (on the left), a dervish and a koitas on the right. Migration, rest, wandering and the end of the road. Joy and sadness. This is the eternal life cycle.
These four canvases are exciting not only because they are dedicated to the “golden age” of nomadism, which in the eyes of descendants possesses the unshakable principles of traditional existence, but also how the artist designated this constancy, shades of which are sometimes given by the uncontrollable chaos of life. He introduced repetitive elements into each composition, unlike the others. It is something like the North Star, around which other stars are circling. And it is the North Star – a constant reference point for a person wandering in the vast expanses of the earth. And for Ali Baktygereyev, the Kazakh nomadism has become an unshakable and wonderful landmark in the chaos of modern life.
Bayan Barmankulova, art expert
Spiritual space of Ali Bakhtygerey
In the world where painting becomes a manifestation of the spirit, where art and philosophy meet, Ali Bakhtygerey stands out as a true artist, transcending limits of time and space. It can be safely said that his creativity is a synthesis of wisdom, spiritual power and an endless desire to know the mystical world. Like all great philosophers, he deeply understood art is not a real image of life, only the creator of it.
His works reflect the poetic philosophy of the Kazakh people, including harmony with nature, cultural heritage based on the foundations of ancestral wisdom. He can be called a follower of romanticism, but this is not just romanticism, ethno-romanticism, where the legends, literature and songs of the Kazakh steppe are intertwined. The artist got inspiration from Kazakh history and the entire Turanian world, and his works reflect the meaning of life, cultural uniqueness and enriches with deep thoughts about a person's place in the world.
Ali Aydarkululy Baktygerey was born on April 15, 1962 in the village of Kulandy, Aral district, Kyzylorda region. He was born refined, sensitive to beauty. Due to his relentless search and his high demands, he became a prominent representative of the art school formed in the lower reaches of the Syrdarya. This school is an experience of folk decorative applied art, national color scheme of painting a unique artistic language naturally combined with the principles of technology formed.
At the same time, one of the brightest representatives of the mentioned direction - Salihitdin Aitbaev cannot be mentioned. Aitbayev's main creative goal was to create a national pattern style, and it is clear that his idea became a source of inspiration for Ali Bakhtygerey. It can be seen that Ali boldly used colors that are difficult to combine, and began to experiment with the decorative use of bright colors. His desire to reconcile such contradictions shows his indomitable character. Having the same power of full of energy, gave birth to his creations.
Ali Bakhtygerey received his first professional education in 1984 at N.V.Gogol Almaty art school. While studying, he witnessed the Bloody December incident in 1986, which left an indelible wound in the hearts of our people. With many students he went to the square and sought to protect his freedom and liberty.
This event must have weighed on a sensitive heart and made him grow up early. Ali was a versatile erudite, he saw painting as a “spirit of the land” studied from the point of view of science. His interests extended beyond art to include mythology, literature, yoga, Sufism, and esotericism. During the years of study at the art school, his interest turned to philosophical and mystical currents, which gave a new impetus to his later work. His desire for education and professional growth in academic terms his aspirations led him to the Almaty State Institute of Theater and Art named after T.K. Jurgenov. It was in the period of 1989-1994 that a new milestone in his creativity began. Studying the progression in the artist's work, we noticed that he learned the technique of using warm and cold shades of light and shadow from the impressionists. However, his works are close to post-impressionism, as he intended to imbue his works with a deep and symbolic meaning, and was also interested in symbols. After getting acquainted with the work of the great Armenian artists Martiros Saryan, Minas Avetisyan and Shaimardan Sariev, Ali sought to find his own harmony of colors. Over time, his works began to show continuity with the mentioned masters. Like the "wild" Fauvists of Europe, it is the colors in his creations allowed it to live as an independent element on the canvas. "An artist should paint and live quietly. Fame comes after death. And if he was alive with that fame if he is engaged, then his art becomes a show instead of art" words were the principle followed by Ali. According to him, art is from the horizon of understanding emanating from higher origins, but always a part of us will remain. Ali Bakhtygerey is a cultural icon of Kazakhstan as an artist and teacher and a person with a special place in the historical context. His creativity is closely connected with the modern trends of the national identity and art, so perhaps his works include the current events of the Kazakh people centuries-old traditions have found harmony. Ali Bakhtygerey dedicated a significant part of his life to teaching. As a teacher, he taught his students not only technical skills, but also deep understanding and respect for the rich cultural heritage of Kazakhstan. Since 1994, he taught at the Almaty College of Decorative and Applied Arts named after O.Tansykbaev and remained in this position until the end of his life. For 29 years, Ali taught his students to art he was able to instill love, brought up to respect the cultural roots of his native country. His teaching method is not only academic, but first of all, creativity includes moral and spiritual aspects: "If we do not leave behind us the students who suffer from art, if they do not participate in Kazakh culture on the way of the history tomorrow, why are we teachers? If their success is not the status of the Kazakh people, the status of national art?!" – was said in his attitude. There are many sketches and drawings in the artist's workshop, reading poems, opinions of scholars and thinkers, various notes containing ideas for process improvement we can meet. He carefully wrote his thoughts and dreamed on the development of education recognition of the national aesthetic "Kazakh code" in world level. Among his plans are complex scientific and theoretical was the creation of faculties of art studies, photography and modern art.
Since the beginning of the 2000s, Ali Bakhtygerey has been teaching deeply his career. He was able to continuously combine pedagogical tasks with creative development. While teaching students to draw from nature, he continued to actively create natural works to improve his skills. His works depicting figures and the human body, as well as still lives are exemplary became important works. In each new work, he did not get tired of experimenting with compositional solutions, explored the possibilities of multi-figure forms and created works that inspired his students.
During his visit to the city of Zharkent, Almaty region together with his students created a series of sketches depicting nature, as well as scenes of cities and villages. In these works were reflected bright, well-established color in the depiction of nature. Over time, his compositions became more complex, and during this period, the artist began to work on a painting called "Movement". This became an important stage in his creativity, accompanied his subsequent works for many years and became his 'passport'. In his works starting from "Koshten", Ali successfully adapted genre painting and strengthened its dramaturgy and theatricality through color and light-color games. In this regard, it is important to mention his famous scenes of village life depicting women at the hearth and men at the table. These scenes are from his childhood became a symbol of the images and memories he received. These works show the author's deep understanding of Kazakh life, his desire to convey the spirit and energy of Kazakh culture through his art. In 2014, Ali Bakhtygerey described the essence of human existence as a phenomenon and wrote a picture for research from the point of view. This work called "Life" can be said to be the result of a deep search aimed at looking into the mystery of human nature and understanding the world from the prism of marginal life. In this way, he was accepted as a member of the Union of Artists of the Republic of Kazakhstan, recognizing his special creative ability in the art environment. And in 2015, Kazakhstan Awarded with the "Excellence of Culture of the Republic" badge, Ali Bakhtygerey established his reputation as one of the leading artists of the country. Ali Bakhtygerey had not only mastered color, but also line. Working with graphics, he said: "When you are painting, you should dig and tear away the visible shells and strive to get to the core of the essence", and he believed that the real picture begins with the post-perceptual layers on the surface of the image. In 2018, he created portraits with charcoal on cardboard and demonstrated his skills and abilities in the portrait genre. This series has become a real treasure of Kazakh portrait art. Creating a gallery of prominent figures from Uly Abai to the deep-thinking Konaev, Ali explores not only their outward appearance, but also their inner selves, show invisible forms and hidden depths of the world. He was able to touch the delicate soul of the characters, these works were like a mirror showing their inner world. Ali Bakhtygerey who didn't try to promote his art widely by organizing frequent exhibitions in 2019 with the support of his students, Ali Bakhtygerey held a group exhibition at the Kasteev State Art Museum of the Republic of Kazakhstan. It would be no exaggeration to say that this exhibition called "ALAU" was Baktygerey's first solo exposition. Because most of his works are presented here. And the theme of "Torch" is to show the sacred power of fire as a symbol of the continuity of knowledge and light was chosen for this exhibition, organized by his students, showed their deep respect for their teacher and recognized his important contribution to the development of Kazakh art. In that year, Ali Bakhtygerey was awarded with Turan International Art Award, which once again confirmed his status as a famous master. Searching truth in the world of Myths and Legends Ali Bakhtygerey turned to the history of ancient civilizations and mystical studies. His art is imbued with the spirit of forgotten or resurrected worlds such as Atlantis, Shambhala and Turan. He tried to understand the essence of the myths, considering them not as mere legends, but as deep archetypes of the human soul. During this creative search, in 2015, Ali Bakhtygerey wrote a painting called "Saryn". This work became an important stage in his artistic practice and established him as a representative of the school of Turanian romanticism. The artist has been working on sketches for this topic for a long time, and they are full and multi-layered aimed to create a composition. The name "Saryn" is associated with music, which is unique the painting determines of atmosphere. In this work, Ali Bakhtygerey created images combining historical and decorative elements, incorporating the images of the Scythian period into his imagination. The composition of the painting is enriched with historical and cultural allusions, which gives it depth. Colors based on the Kazakh genotype and their associative perception combine the emotional harmony of the painting with musical motifs. In 2017, he wrote a painting called "Yellow tone". This work corresponds to "Saryn" with its composition and idea. The difference from the previous work is to strengthen the mystical atmosphere through fantastic images such as the bull and the man with the sun from ancient Kazakh mythology. The artist depicts a world created to search for metaphysical issues and the meaning of existence, opening the way to extraneous dimensions. Ali Bakhtygerey as an artist and thinker finds his inspiration in the phenomenon of "Turan". He perceives "Turan" not only in a geographical and historical context, but also as an existential space in which the Kazakh soul acquires form and color. The result of this search is his symbolic-philosophical apotheosis - the painting "Janaza" (requiem). The painting "Janaza" (requiem) is a very important event in the creative career of Ali Bakhtygerey. This is a work inspired by Dante Alighieri's literary work "Mighty Comedy" translated into Kazakh by Mukaghali Makatayev. The artist combined the philosophical and cultural aspects of Turan in this work in a multi-figure composition enriched with mythological and shows folklore images. Its epic power, the work holds the viewer's attention and allows him to return to the center of the composition. Each element connects past and the present, creating a deep philosophical context based on Kazakh cultural traditions, attitudes towards life and death. As a true artist he never sought fame and glory. His soul wanted peace in his workshop, continuous search for his work. He was creative and had been researching at the end of his life. Fate sensed the artist's desire and interrupted his way in the place where his thoughts and images were born. He is like a symbol of an eternal search, holding a brush in his hand, went on a journey among unfinished canvases not arriving... As a veteran of the cultural front, Ali left us not only a gallery of images, but a whole world filled with the spirit of the great plain, its secrets and wisdom. As a true romantic, he turned to myths, ancient legends, archetypes and was able to create a golden bridge between eras and cultures, thereby proving that Kazakh art is eternal. His work shines in the infinite space of spirit and culture. We are sure that it will be an inexhaustible source of inspiration for those who are looking for it.
Painter-Art critic Syrgabaev Sanzhar Bolatkanuly Almaty, 16.08.2024
The morning of October 12, 2023, began with very heavy and sad news... I didn't want to believe it. The shock increased the blood pressure in the vessels.
Our colleague, a teacher at the Almaty College of Decorative and Applied Arts named after O. Tansykbaev, a wonderful artist, portrait painter, a man of great depth Ali Bakhtygereev died suddenly.
A graduate of this college, he was a true patriot, a supporter of the college and the fine arts, and a highly talented, hard-working man. He died in his small workshop at the college, not having time to retire and all the time supporting the college, which all the artists of the country called “Kara Shanyrak”.
When I came to work at this college in 2020, I found him sad, without mood and optimism. He said he was going to leave. However, Aleke, who at first looked with distrust, saw the changes that had begun, changed, his mood improved, he became active, offered good ideas, actively participated in all events together with the youth, and gave very valuable advice. And what an interesting and informative storyteller he was! A very kind, highly cultured person, ready to lend a helping hand to everyone, with a pure soul and a big heart. He was respected, a true patriot of his country, who valued both his students and colleagues, every person. At festive events he surprised me with his wonderful voice and playing the dombra. Together we began to prepare for the 85th anniversary of the famous Almaty Art School named after Gogol (AHU), he gave valuable advice. On his initiative, we began collecting lists of college aksakal-graduates and preparing to honor them as a tribute. He rejoiced at every supported idea like a child.
On that day, many colleagues called me, telling me the sad news. But the first wrote me on WhatsApp at 03:10 at night was the young artist Almas Nurgozhaev, who studied in St. Petersburg: “Aigul Zheksenbaevna.” Apparently, he decided not to wake me up without getting the answer. In the morning, seeing his message, wondering if everything is fine with him, I answered: “How are you? Are you in St. Petersburg?” Then Almas writes in Kazakh: “Aigul apay. Ali agayim ay, kairan agayym ay...” (My older brother Ali, my older brother…my older brother…). My heart skipped a beat and it all started...
A month ago before this, Almas invited Aleke and me to a cafe for tea and shared his plans, received our blessing before leaving. After the meeting, I wrote in the chat: “we forgot to take a photo together for memory”. Almas replied: “We'll take many more photos in the future.” Who knew that this was our last meeting with Aleke. Over tea, I invited Aleke to organize a plein air with local artists in the city of Turkestan as part of an international ethno festival, which I planned to organize soon. I told him: “Visit holy places, relax, get creative inspiration. We will cover all travel expenses.” Almas also persuaded him to go, relax, and get inspiration. He politely refused the trip, saying: “Rakhmet. We are preparing for the 85th anniversary of the college, and I have to help.” This also indicates that he always put public interests and the image of the college higher than his personal interests.
In order to curb corruption and to reduce the downward trend in the quality of education in college, despite the pandemic, we have taken up career guidance work, as well as restoring order in preparatory courses. And I took the work of the admissions committee under my personal control. Our efforts were not in vain. The number of applicants to the college immediately increased, we selected more than 2 times more students on a competitive basis, and the commercial department expanded. This contributed to an increase in the salaries of the staff, an increase in student academic performance, and the solution of many internal problems. At that time, Aleke was happy as a child, mobilizing himself and his students, they worked with each applicant, regardless of time. We've put the preparatory courses in order. At the same time, there have always been more people willing to enroll with Aleke and study with him. He also helped to restore order in the College Fund, as he had been working at this college for so long. He was a legendary man. And it was thanks to such people that the image of the college remained high. And it seemed to me that Aleke was one of the main supporting walls of this educational institution.
This college was the first educational institution in the field of fine arts in Kazakhstan and in Soviet times - one of the strongest educational institutions of art in the Union. It was a great achievement to enter the AHU. Unfortunately, the situation has changed in recent years and even the question of its closure has been raised. We really hope that we have made our modest contribution to improving the situation and the college will regain its former glory and become internationally competitive.
Aleke did a lot for the college, was a beloved and respected teacher, a professional in his field, who brought up many good and talented students, and a public figure. He highly appreciated his teachers, contemporaries, and colleagues. He tried to help everyone, gave good instructions to young teachers, was the soul of the company and always called everyone to unity. Aleke always said: "This is Kenjebai's school, we must take care of him," "This student is of so-and-so, he must also be supported," trying to contribute to the formation of schools in the fine arts. And when we gathered graduates-aksakals for tea, his joy knew no bounds. Aleke always gave only good, important and conceptual advice. He had a strategic mindset.
When I was in the position of director, I received a call from Astana. It was necessary to draw a portrait of the next minister. But I answered: "Ali Baktygereev is a really strong portraitist, but he is very modest, his children have not yet got back on their feet, the salary is not that high, so I ask you to pay for his work." After the conversation, I invited Aleke and asked about the cost of his paintings. And he began to come often and ask me: "Aigul Zheksenbaevna, please agree, whom I did not paint for free for the sake of college, let me draw this portrait, otherwise you may have problems with the Ministry". But when the Ministry called back and I answered him firmly: "I am not tied to this position. Even if I get fired, it's my duty to protect creative people. Let them pay at least half the cost of the portrait, otherwise I will not agree." He didn't have to draw the portrait for free. Aleke was a very strong portrait painter, who painted portraits of about 30 former ministers of education, ministers of culture, deputies and other high-ranking officials on behalf of the college. They trusted only him with this case. These portraits still adorn the walls of the two ministries, personal archives and other places. Despite this, Aleke did not receive any high awards, and he himself was a modest man who was not interested in titles and honors. All for college. But the laurels were given to others. In preparation for the celebration of the 85th anniversary of the college, I planned to apply for high awards for such humble people, professionals in their field who have done a lot for the development of our art. But, unfortunately, I didn't manage to realize all my plans either. It was objectionable to the officials of the old system. But I still regret that I did not have time to reward. If we cannot properly appreciate such professionals during their lifetime who work honestly for their country, for their people, leaving an unforgettable mark behind them, what will happen to our future and how will we educate young people?
Unfortunately, I met Aleke's wife only at his funeral. Lyaziza said: "Aah, are you his director, whom he constantly talked about? I even joked: maybe you fell in love with her? Then Aleke answered: If you get to know her, then you will love her too. She is an amazingly versatile person, a true reformer." His wife said that she knew me in absentia and saw how happy Aleke was about the new changes in college. Oh, if all the artists and people in high positions responsible for this industry, together thought only about the development of creativity, would cheer for it with all their heart, our art would achieve tremendous results. The sincere suffering of students, followers, fellow students, and friends of Aleke at his death was no less than that of his relatives. Those who have communicated with Aleke remember only the good things about him, his broad soul, always ready to help. I still can't believe that we lost such an honest, highly respectable person.
At the last meeting, Aleke said that he plans to focus on creativity and organize next exhibition of his paintings. Although he is not among us, but together with his students, we decided to organize an exhibition of his paintings and his students for the anniversary of his death. Despite the fact that it was not possible to collect all his paintings in a short time, we decided to release a collection of his works with memories of him. Aleke was not only talented, having taken his place in the fine arts of Kazakhstan, he was a great teacher and a wonderful person. It is a pity that he left so early, because he could still give a lot to his students, fine arts, and the country...
Taking this opportunity, I would like to express my deep gratitude to Aleke's students, led by Alisher Zhurgenov, all friends, colleagues and family! This is confirmation that the name of a good, talented person continues in his works, in wonderful students, friends, and his family.
We share the grief of the family and relatives. May the annual meal be accepted.
May his soul rest in peace!
Aigul Zhanserikova, Ph.D., Knight of the Order "Kurmet", art manager Head of the “Aigul Line” LLP President of the Qazaq-Oner National Association
“Any work devoted to the good of the people must be done with a warm heart and a selfless soul. Only then will your inspiration soar and your imagination take wing.” The artist Ali seemed to have engraved these words of the sage Akseleu Seidimbek firmly in his heart. Ali and I come from the same village. We spoke to each other like elder and younger brothers, in our own native dialect, never departing from it. In fact, back in our village Ali, who had been sculpting since he was a little boy, is known as a sculptor. Even if at times, upset by something, Ali was forced to break the law when he had to, he always went forward with a single aim: to serve the interests of the Kazakh people and make their future better. He was a true Kazakh intellectual.
As an artist, Ali was a true master of his craft and a good teacher. His God-given talent, his dreams and aspirations were devoted to reviving the nation’s memory and celebrating the dignity and character of his people. Look at his works: he built the daily life, mythology and history of the ancient people of Turkic roots on the canvas according to the laws of Suprematism, skilfully combining them with the wonderful hues of oil paint. Looking at his works, you can see that Ali was not only a scholar who loved his native land and studied it deeply, but also a gifted, one-of-a-kind master painter.
Comrade-in-arms, friend and younger brother, sculptor Artur Dabyl