To write a picture, to bring it from a sketch to a finished state, is both a science and an art; to show true skill here, long experience is needed.
E. Delacroix
With name artist Akhmat Lutfullin development Bashkir painting throughout the second half of the twentieth century. Studying the work of the artist, it is necessary to focus on his drawings. This material has not been specially considered in the art history literature, and therefore its study remains relevant.
This problem becomes even more acute if we take into account that in the past in the culture of the Islamic world, including among the Bashkirs and Tatars, the appeal to the image, to the drawing - surat was not allowed by Sharia, which caused a relatively late, slow development of pictorial art in artistic culture. , in the art of these peoples.
The famous German researcher and connoisseur of art Max Friedländer writes interestingly and convincingly about the importance of studying drawing in the practice of master painters. Apologizing in advance for the length of the quoted quotation, I find it necessary to reproduce it in full. He writes: “I would like to strongly, from the bottom of my heart, recommend to any purposeful connoisseur of painting to engage in a diligent study of drawing. If you turn from the painting of this or that master to his drawings, then you get the impression that a curtain rises in front of you, the drawing is in some way superior to painting, and for these reasons. Drawing arises relatively quickly, it is the result of some spontaneous action, which did not have to go through a long and difficult path of craft study, which is why it does not always involve the passage of an apprenticeship stage, it is more free from tradition or the conditions of a particular workshop. In many cases, the draftsman is free from any external desires, he is not bound by an order, he is free to give himself up to his mood and whim, he is alone with himself and, as if he is having a leisurely conversation with himself, the drawing gives a much more definite idea of \u200b\u200b how much this or that artist owns the form.
Akhmat Lutfullin of those artists, a huge part of the vast artistic heritage of which, along with paintings, are drawings - graphic works. They have a special value. Sketches from life are material that captures with its artistic authenticity, snatched, in essence, from the flow of everyday life. These impressions of the artist arose spontaneously, suddenly (Akhmat called this with the funny word “out of the West”.
Akhmat Lutfullin. Reading old man. Drawing for the painting "Prayer for rain". 1994.
An expressively grasped silhouette, a correctly noticed detail, a characteristic gesture, the sharpness of authenticity in his drawings are admirable. The author artistically experienced everything worthy of attention, and even analyzed and captured it with a light or, on the contrary, decisive, but always mysterious touch of a pencil or pen on the whiteness of paper. And then, at the hand of a talented master, a miracle begins to appear: a living line is born, rapidly developing, growing, artistically inhabiting the entire space of the sheet. The drawing not only carries information about some object, but this object, through a graphic solution, through expressive plasticity, is filled with artistic and poetic sound. Fragile by nature, a pencil or pen line, as soon as it has arisen, can suddenly break off, disappear. Then arise again, turning into a new quality in the course of work.
A short-term sketch, especially a drawing, is the most intimate, chamber type of creativity. Especially - in portrait sketches, in which the artist's inner conversation with the model can manifest itself. “And this is true, because it reflects the most direct communication of the artist with nature, his perception of reality. But at the same time, a drawing can also contain a great philosophical generalization of life impressions, turning it into a work of pathetic sounding, ”the well-known St. Petersburg art critic N. N. Punin once wrote about the drawing in one of his works.
Lutfullin's sketches include a number of pencil and pen drawings related to his search for a compositional solution for the painting "Bulletin of the Revolution" (1967). The canvas was exhibited only once and remains little known to the modern audience. Separate sketches preserved in the archive testify to the artist's energetic, passionate work on the concept of the conceived canvas. Or sketch sketches for the painting "Three Women" (1969), built on a broad artistic and figurative, philosophical generalization of the ideological concept of the work. Before starting work on canvas, the author conducted an intense search for a plastic embodiment of the concept of the future work in sketches.
Picture, despite its small scale, can carry high ideas of civil, even pathetic sounding. In the work of A. Lutfullin whole groups of such drawings can be distinguished, associated with his work on large genre-historical canvases “A Holiday in the Village”, 1969, “Three Women”, 1969, “Seeing Off to the Front”, 1978, with the paintings “Farewell” and “Waiting”.
If you mentally imagine the drawings related to the above paintings, you can see the huge scale and the foundation on which the author managed to create a wide panorama of folk characters, types, faces. For the first time in the history of art, such a powerful, impressive picture of the life of the Bashkir people was revealed in all the richness of the national color.
Numerous drawings and sketches were made by Akhmat from nature when he wandered with a sketchbook and an album through the villages of the Abzelilovsky district of Bashkiria. Careful study and professional artistic analysis of the collected material give his canvases exceptional authenticity. It is precisely this goal that drawing from life pursues: to capture as accurately as possible all the most characteristic, characteristic of this particular model. While working on the pictorial canvas itself, the author knew the measure and resorted to generalization, which testified to his good artistic taste and talent.
But in working from nature, specifics are also important. He writes down on the same sheet of paper, next to the drawing, the name, surname of the captured person, where, in which village he lives, when the sketch was made. Quite often, some poetic lines, words of folk songs and tunes are briefly inscribed here. By the way, Akhmat had an excellent ear for music, a pleasant timbre of voice, often sang old Bashkir melodies while working, played the mandolin. A fragile, weightless piece of paper keeps traces of his touches, his communications and meetings.
A large group consists of disparate drawings and series of full-scale portrait sketches created by A. Lutfullin in communication with artists, writers, scientists, and actors. In the author's workshop there is a whole chest of them and many more folders and packages. We owe much to his wife and friend, Louise, for the preservation of this huge archive. Her image is recognizable in many drawings and sketches of the artist.
Akhmat Lutfullin. Kuraist Rakhmatulla Bulyakanov. 1978.
If these drawings were carefully, thoughtfully selected and presented together, in a single space of the museum and exhibition hall, how interestingly and fully they would complement each other: painting and drawings.
This is exactly how in the future, when the Republican Museum of Fine Arts finally appears in Ufa, creativity of Akhmat Lutfullin, like creativity of other venerable artists of Bashkortostan , their best not only paintings, but also graphic works should be presented to the viewer in an indissoluble unity, in the context of the integrity of the art created by the master. Only in this way and not otherwise can the viewer be presented with a historically established picture of the development of fine arts in the republic. In the meantime, for almost a century it remains in the storerooms of the Art Museum closed to the viewer. Art should be widely open and accessible to the people.
The scale of the creative heritage of Akhmat Lutfullin is impressive. He convinces that his works occupy a special place in terms of content and significance. Therefore, it is expedient to exhibit and store his works in a separate, independent museum, fully devoted to the work of A. Lutfullin. In Ufa there should be a museum of a member of the Russian Academy of Arts, People's Artist of Russia, honorary member of the Academy of Sciences of the Republic of Belarus Akhmat Lutfullin. So in Yerevan, the Museum of Martiros Saryarn has existed for a long time on the street named after him. In Lithuania, in Kaunas - the Museum of Mikoelas Čiurlionis, to which the "Road of Čiurlionis" leads. In Kazan there is the Baki Urmanche Museum, in Saransk there is the Stepan Erzi Museum, not to mention the Rembrandt and Van Gogh museums in Amsterdam and many memorial art museums in Moscow and St. Petersburg.
The most authoritative researcher in the field of drawing N. N. Punin, one of whose statements was cited above, wrote: “It is customary, due to some strange misunderstanding, to divide works of art into drawings and paintings, for this, in my opinion, there is no reason. Drawing, insofar as it reproduces form, differs from painting only in the degree of intensity, and this line is elusive. Form does not exist without paint and cannot be reproduced without it. Drawing in the accepted sense of the word not only gives white and black paint, but also paint of other colors, which it does not talk about. It is impossible to put any color into any form - each form carries a certain essence of color. From the point of view of the intensity of the influence of this color on the form, other painting is more a drawing than a pencil sketch ”(5).
The stated thesis is directly related to the nature of the creative method of Akhmat Lutfullin. When painting, he paints, and vice versa: when painting, he paints. The drawing, the plastic elaboration of the artistic conception form the constructive basis of the compositions of his pictorial canvases. A strong, talented painter, capable of broad generalizations, of bold stylization in his work on form, he attaches fundamental importance to the quality of the drawing in his work. The painter in it is inseparable from the draftsman. In painting, he is strict, restrained, ascetic, sometimes even a little stingy in color.
TO BE CONTINUED... Modern artists of Bashkiria - Drawing in the work of Akhmat Lutfullin. Part 2.
Almira Yanbukhtina
This artist was recognized as one of the famous Bashkir creators, he is not the only one who tried to convey to his fans through his paintings, not only love for his homeland, but also love for his people.
Many critics claim that his best painting, which conveys all these feelings, is Three Women, which Lutfullin painted in 1969.
In this picture, the artist painted three women dressed in national costumes, as if the artist caught them at the tea ceremony.
The situation in the room where these women are located is not rich, and judging by the food, one can say that peasant women are depicted.
This is evidenced by tea, bread and milk.
We think that this is a small snack.
And now they are getting up and will continue to do their household chores.
It wasn't the costumes of these women that caught my attention, or even the poor dining environment.
It seemed to me that the images themselves were attractive.
In my opinion, they symbolize a generation.
In the foreground, the artist depicted the oldest of the women, very wise and fair.
She is my grandmother.
To her right, most likely her daughter is standing, she has also seen a lot, but she still has a lot to see.
And on the left is the young woman herself, it is she who is the granddaughter of the oldest woman.
she is depicted, in my opinion, innocent, who has not yet seen the difficulties in life.
No wonder the artist painted a flower next to her.
He kind of compares this girl with an unblown flower, sometimes stupid at some points and not even experienced in most life situations.
Outside the window, the artist painted a landscape, young guys ride bicycles and it seems that life has not stopped, it continues to go on, and generations will succeed each other.
Someday this young girl will first become a mother, and then a wise grandmother, with her own life experience.
Description of the presentation on individual slides:
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Lutfullin Akhmat Fatkullovich - Bashkir Soviet painter (1928-2007) Author: Elvina Ueldanova, a student of the 5th grade of the branch of the MBOU secondary school in the village of Ishkulovo, the secondary school of the village of Ravilovo, Abzelilovsky district of the Republic of Belarus Head: Ueldanova N.M. 2018
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Akhmat Fatkullovich Lutfullin was born on February 4, 1928 in the village of Ishkulovo in the Tamyan-Katai canton of the BASSR, now the Abzelilovsky district of the Republic of Bashkortostan, in the family of a lumberjack.
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The years of his youth were connected with the neighboring villages of Askarovo and Abzakovo. Askarovo Abzakovo
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Akhmad's father, Fatkulla, was a literate man, even before the revolution he graduated from a madrasah, he sang lingering Bashkir songs well.
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There were seven children in the family, Akhmat was the eldest son. He began to draw from the fifth grade, when he was instructed to draw up a wall newspaper, and since then he has not parted with art. He had a good natural voice, musicality, played the mandolin. Before the war, Akhmat was even accepted into the orchestra of folk instruments of the Bashkir Philharmonic, spoke on the radio, and was preparing to participate in the Decade of Bashkir Art in Moscow, but the war prevented him.
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In 1943, in difficult wartime, he goes on foot to Magnitogorsk and goes to study at a vocational school as a turner, but the dream of becoming a real artist does not leave him. At the same time he visits the art studio at the Palace of Culture of Metallurgists.
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Akhmat Lutfullin studies a lot. In 1945-1954 he graduated from the Leningrad School of Architecture and Art, the Bashkir Theater and Art School and the State Art Institute of the Lithuanian SSR. Leningrad School of Architecture and Art Bashkir Theater and Art School State Art Institute of the Lithuanian SSR
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During his studies in Ufa, his mentors were the painters Alexander Tyulkin and Boris Laletin. Alexander Tyulkin
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In those years, there were practically no deep traditions of the Bashkir art school, since it was forbidden by Islam to depict people and animals in the drawing. The artist had to go through a difficult path of creative searches in order to understand and express in his works the spirit, atmosphere of life, images of the Bashkir people. It took him years of careful study of the experience of the old masters. With special perseverance, Akhmat studied the portraiture of Hans Memling, a Dutch artist of the 14th century, and the work of the Armenian artist Minas Avetisyan. He was deeply interested in the art of ancient Russian icon painting. All this had to be melted down and connected with their own creative ideas and plans. Hans Memling - Dutch painter of the XIV century Armenian painter Minas Avetisyan
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After completing his studies in Lithuania, the artist returned to his native village and began to work hard. He creates portrait and landscape sketches "Portrait of a Mother", "Still Life with a Picture", "Bashkir Peasant" and others. In 1957, his first solo exhibition took place in Ufa, where Akhmat Lutfullin declared himself to be a serious master working on a national theme. Already in the first works, the artist's desire to convey on canvas the best features of the Bashkir people and the richness of the inner world of his contemporaries is clearly expressed. Gradually, the portrait theme becomes the leading one in the master's work. "Portrait of a Mother"
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The artist actively participates in numerous exhibitions of international, all-Russian and republican significance. In the 60s and 70s, Akhmat Lutfullin created the canvases “Three Women”, “A Holiday in the Village. 1930s "Three Women" 1969 "A holiday in the village. 30s"
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The paintings "Farewell" and "Waiting" entered the golden fund of Soviet fine art.
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Behind his specific characters is the fate of the entire people, the deep foundations of his being. The greatness of Akhmat Lutfullin as an artist lies in the fact that on his canvases he was able to capaciously, and at the same time extremely simply, express a generalized image of the representatives of his people. The bright, sincere, truthful art of Lutfullin conquers, first of all, with its national identity.
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Lutfullin is a truly Bashkir artist not only by birth and nationality, but also by his deep attachment to his native land and his people, by his rare ability to see and feel the originality and beauty of his life, character and traditions.
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In 1977 Akhmat Lutfullin made a creative trip to France. In the same year, a personal exhibition of his works was held in Moscow. Later, the artist makes a creative trip to Vietnam.
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In 1966 Lutfullin A.F. was awarded the honorary title "Honored Artist of the BASSR". For participation in the III republican exhibition "Soviet Russia" in 1967, he was awarded a diploma of the Council of Ministers of the RSFSR. For creative achievements, he was twice awarded a Certificate of Honor from the Supreme Soviet of the RSFSR and the Council of Ministers of the RSFSR, a Certificate of Honor from the Central Committee of the CPSU, the Council of Ministers of the USSR, the All-Union Central Council of Trade Unions and the Central Committee of the Komsomol. He was awarded the honorary titles "Honored Artist of the RSFSR", "People's Artist of the RSFSR" and "People's Artist of the USSR".
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Akhmat Lutfullin is elected a full member of the Academy of Arts of Russia and an honorary member of the Academy of Sciences of Bashkortostan. His personal exhibitions are held with great success in Ufa, Kazan, Magnitogorsk and Moscow. He is a participant of many international, all-Union, all-Russian and regional exhibitions. In 1982, the artist became a laureate of the Republican State Prize named after S. Yulaev, in 2004 - a laureate of the Kim Akhmedyanov Prize.
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In general, the development of Bashkir painting throughout the second half of the 20th century is firmly connected with the name of Akhmat Lutfullin. Possessing self-criticism and exactingness, relying on the best traditions of world art, the artist was able to create his own style of painting, embodying the origins of his philosophical and poetic searches.
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The popularity of Akhmat Lutfullin is obvious: many of the artist's works are stored in the storerooms of the Tretyakov Gallery in Moscow, in the Russian Museum of St. Petersburg, the Bashkir Art Museum named after M. Nesterov, other museums of the country and in private collections.
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Today, the fact of the textbook significance of the Bashkir fine arts in the period of the 60-70s of the twentieth century has become indisputable. The most significant and large-scale in the process of establishing the traditions of the Bashkir school of painting is the work of Akhmat Lutfullin, which fully reflected the main trends in the development of not only regional, but also Soviet art of the sixties of the twentieth century. Having become a real phenomenon of the Bashkir culture of this period, Lutfullin, along with leading Soviet artists, resumed the interrupted connection in the development of the national concept of domestic fine art. Implementing in his work the programmatic idea of the national originality of the Bashkir pictorial form, Lutfullin was guided by the traditions of ancient Russian art, Russian art of the 19th and early 20th centuries. The national-romantic orientation in search of an adequate plastic system also oriented the artist towards the perception of the essential aspects of the Mexican school of monumental painting and Italian neo-realism.
Akhmat Lutfullin throughout his career, solving the problem of the national originality of his works, created the archetypal image of the Bashkir woman.
Indeed, in many of Lutfullin's works, a woman as a mother, as an ancestor and custodian of folk traditions, becomes either the main character or a supporting character, who has a deep semantic meaning in the interpretation of the picture. And numerous portraits of young girls, women and old women, solved in one or another plastic key (impressionism, post-impressionism, expressionism, old Russian reminiscences, etc.) were carried out by Lutfullin in order to reveal their folk and national essence, positive qualities that have a spiritual beginning. The result of his search for this period was the epic canvas-reflection "Three Women". The spiritualization of the national in the image inspired the artist to create his own pictorial style on the basis of modern realistic painting and creative rethinking of the most suitable plastic systems. This style claimed to be an individual beginning, affirming the national worldview, the national features of the thinking of contemporaries.
Let us recall that the early (late 1950s) female portraits painted by Lutfullin, as well as by Nurmukhametov, are picturesquely elegant and festive. The authors take care of the national entourage, interior, costumes, dressing the characters in a juicy romanticized pictorial fabric, revealing a sensual, almost pagan folk element with the help of the Arkhipov-Malyavinsky style (“The Bashkir Girl in the Interior” (1957), “Young Bashkir Woman” (1958) .)). Nevertheless, already at that time, Lutfullin was attracted by the problem of searching for a certain national archetype that could essentially and generally convey the appearance of his people. The image of the mother and "Portrait of an old woman" (1965), the theme "From the past" (1957), male portraits ("Portrait of Safa" (1957), "Portrait of Mukhametsha Burangulov" (1960), "Portrait of a woman" (1965 .)) in the language of the Russian Itinerant school of the late 19th century - early 20th century vividly and emotionally convey the characteristic features of the national temperament that has been formed for centuries. In these portraits, the main advantage is the artist's desire for an increasingly in-depth and comprehensive disclosure of the human personality, its multifaceted psychology. The ethnic type is gradually replaced by a look with generalized, permanent, stable principles that do not depend on momentary moods or any external circumstances. “For me, national traits are not in ethnography. This is the spirit of the people that gave birth to Salavat, overcame everything and preserved itself. In history, milestones change, the people remain, ”says Lutfullin himself.
The philosophical and epic work "Three Women" (1969) was the final result of a long search for Lutfullin, being at the same time the heyday of Bashkir painting of the period of the 60-70s. In reviews after the All-Russian and All-Union exhibitions in Moscow in 1970, they wrote that "the picture is one of the most serious works in all of Soviet art, noting the rare depth, the originality of the embodiment of a great national and universal content."
In this work, a long plastic search was carried out, adequately conveying the artist's national concept of art in expressing the moral ideals of the era. Fitting exactly into the canons of the "severe style", nevertheless, the plasticity of the work reflects the "layeredness" that the artist's personal experiences have nourished. The problem of the development of the pictorial style determines the consideration of the artist's work of this period from the point of view of figurative and plastic analysis of works significant for this process.
Akhmat Lutfullin. Portrait of A. E. Tyulkin. 1970s Canvas. Oil. Dimensions: 66 x 53.5.
The most extensive and dynamic in terms of using the pictorial experience of previous artists is part of the works, mostly portraits, where Lutfullin was interested in purely plastic tasks. Thus, the "painterly-plastic" interest manifested itself in the artist when writing numerous portrait images, which are characterized by a realistic vision, the identification of psychological characteristics, emotionality, and stylistic diversity. And, of course, the comprehension of the plastic laws of various pictorial traditions was accompanied by the identification of the folk and national essence of the characters, their positive qualities that have a spiritual beginning.
The national Bashkir poet Mustai Karim highly appreciated the painting “Three Women”: “If we translate the language of color and colors into a verbal, literary language, we can say that Bashkiria itself is personified in these women. Looking at their faces, one can understand and feel the history, spiritual strength and resilience of their native people. And how much their hands say! The canvas “Three Women” even from the position of today looks solid in figurative-plastic expression, a classic work from the point of view of the traditions of domestic art, in which Lutfullin’s “parsun” style manifested itself.
The “parsunness” of the image determined the sacred relationships between the characters and the objective environment, introducing them into a special atmosphere of national identity. Possessing an impact on an emotional level, the pictorial style elevated the ordinary genre plot of tea drinking into an epic parable about the people. Combining the genre, portrait, landscape into a realistic picture, Lutfullin, nevertheless, managed to bring, again with the help of plastic means, the space of the picture image to a symbolic level.
Thus, in the work of Lutfullin in the 1960s and 70s, an integral conceptual line was formed, aimed at acquiring his own “great pictorial style”, capable of adequately embodying its national identity in painting. It was from his work that Bashkir art realized itself as a local regional school. The first among Bashkir artists to connect "peasant plots" with reflections on the life of the people, Lutfullin embodied in his thematic canvases a whole philosophical line of asserting the eternity of the national spirit, the enduring, unshakable significance of folk life, customs, traditions, which was associated with the introduction of new values into Bashkir painting associated with the processing of artistic techniques of folk art.
The deeply spiritual direction of Lutfullin's art, melting into the image of folk religiosity, coupled with the search for a national plastic form, brings him closer to the "national-romantic" idea of the work of the great Russian artist M.V. Nesterov, continues the traditions of the national national fine arts.
Lilia Akhmetova
Director of the Sterlitamak Art Gallery
art critic
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Conversation Conversation -
Grandmother from the village of Burangulovo -
Portrait of a young girl in a Bashkir dress -
father portrait
father portrait -
father portrait
father portrait -
old oven old oven -
Portrait of an old woman
Portrait of an old woman -
giants giants -
Portrait of a man
Portrait of a man -
Portrait of A. E. Tyulkin
Portrait of A. E. Tyulkin -
Forester's wife
Forester's wife -
Indian Indian -
Mother-heroine Ishmurzina
Mother-heroine Ishmurzina -
Mustafa-agai
Mustafa-agai -
Portrait of G. Kruglov
Portrait of G. Kruglov -
The old woman in blue
The old woman in blue -
Salavat Yulaev
Salavat Yulaev -
Portrait of Khabunisa
Portrait of Khabunisa -
Portrait of a woman in red
Portrait of a woman in red -
Portrait of Shamsikamer from the village of Amangildino -
Portrait of Louise
Portrait of Louise -
Landscape of my village
Landscape of my village -
Landscape of the village Ravilovo
Landscape of the village Ravilovo -
Portrait of R. Bikbaev
Portrait of R. Bikbaev -
Portrait of Anvar Kashapov
Portrait of Anvar Kashapov -
Portrait of Galina Morozova
Portrait of Galina Morozova -
Portrait of Mansura
Portrait of Mansura -
Portrait of Louise
Portrait of Louise -
Portrait of a Bashkir
Portrait of a Bashkir -
Female portrait
Female portrait -
Portrait of Ural Sultanov
Portrait of Ural Sultanov
Akhmat Fatkullovich Lutfullin(Bashk. hmt Ftulla uly Lotfullin, 1928-2007) - Bashkir Soviet painter. People's Artist of the USSR (1989). Active member of the Russian Academy of Arts (1997).
Biography
He was born on February 4, 1928 in the village of Askarovo (now the Abzelilovsky district, Bashkortostan) in the family of a lumberjack. In the villages of Askarovo and Abzakovo he spent his childhood and youth. Later, as a boy, he went on foot to Magnitogorsk and went to study at a vocational school as a turner.
After the war, A. F. Lutfullin studied at the Leningrad Architectural and Art School (1945-1948), the Ufa Theater and Art School (1949-1951), the State Art Institute of the Lithuanian USSR (Vilnius, 1951-1954). Member of the Union of Artists since 1960. Honored Artist of the RSFSR (1978). Honored Artist of the BASSR (1966). Active member of the Russian Academy of Arts (1997).
He was repeatedly elected a member of the board of the Bashkir Union of Artists, chairman and member of the Art Council at the Bashkir workshops of the Art Fund of the RSFSR, a member of the exhibition committee of the zonal exhibition "Ural Socialist", a member of the board of the Union of Artists of the RSFSR, was a member of the audit committee of the Union of Artists of the RSFSR, a member of the exhibition committee of the Union of Artists of the RSFSR.
During the second half of the 20th century, he influenced the development of Bashkir painting.
In the village of Ravilovo, Abzelilovsky district, in the house of the Lutfullin family, which was presented to the artist by fellow countrymen, the “Akhmat Mosque” was opened. Luiza Lutfullina, the painter's wife, said: "Recently, he was ill, the thought was - what to do with this house, it was decided not to give it away or sell it, but to make a mosque, in memory of his father, mother and grandfather." According to the will of the artist himself, he was buried in the village of Abzakovo, Beloretsk district of the Republic of Belarus.
creative heritage
Akhmat Lutfullin is the author of the famous painting “Three Women”, 1969. At the same time, he is the author of portraits and paintings about the history and modern life of the Bashkir people: “Farewell to the Motherland. Salavat "(1990)," Holiday in the village. 1930s” (1969), “Seeing to the Front” (1978), “Farewell” (1970), “Waiting. Year 1941" (1970).
His main works: "Portrait of a mother", c. M., 1956. "Self-portrait", x. M., 1957. "Babay", x. Moscow, 1959. “Portrait of conductor G. Mutalov”, oil on canvas. M., 1959. "Mother-heroine Ishmurzina", x. M., 1959. "Mustafa-agay", x. M., 1960. "The mother of the deceased hero", x. m. 1960. "Girl in black", x. M., 1961. "Family", triptych, x. M., 1962. "On Sabantuy", x. M., 1963. "Portrait of the Bashkir writer Khadia Davletshina", x. M., 1963. "Young worker", x. M., 1963. "Portrait of a collective farmer", x. M., 1967. "Golden Autumn", x. M., 1967. "Portrait of a Bashkir woman", x. M., 1967. "Three women", x. m., 1968-1969. "Expectation. Year 1941", c. m., 1969-1971. "Holiday in the village", 1930, c. m., 1973-1974. "Collective farmer Rajap", c. M., 1974. "Portrait of an old collective farmer", x. M., 1974. "At the window", x. M., 1974. "Portrait of a young woman", x. M., 1974. "Portrait of the doctor I. Kh. Khidiyatov", x. M., 1974. A series of portraits of the leading workers of the collective farm. M. I. Kalinin of the Abzelilovsky district of the BASSR (12 works), oil on canvas. M., 1974. "Sabantuy", x. m., 1974-1977. "Maginur Khasanova", c. M., 1977. "Collective farmer Khairullin", x. M., 1977. "Portrait against the backdrop of collective farm current", x. M., 1977. "Portrait of the people's poet of the BASSR M. Karim", x. m., 1978.
The artist's paintings are in the State Russian Museum, the M. V. Nesterov Art Museum in Ufa, in private collections.
Exhibitions
Participant of international (since 1975), all-Union, all-Russian and republican exhibitions since 1957, zonal - "Socialist Urals". Personal exhibitions were held in Moscow (1963, 1976), Ufa (1978, 1994).
- Republican, Ufa, since 1957 for all, except for the youth in 1972 and 1976.
- Zonal exhibitions "Ural socialist": Sverdlovsk, 1964; Perm, 1967; Chelyabinsk, 1969; Ufa, 1974.
- Ten-day exhibition of works by artists of the BASSR, Moscow, Leningrad, 1969.
- Exhibition of works by artists of the BASSR, dedicated to the 100th anniversary of the birth of V. I. Lenin, Ulyanovsk, 1970.
- Ten-day exhibition of works by BASSR artists in Kara-Kalpakia, Nukus, 1976.
- Exhibition of works by artists of the 3 zones, Moscow, 1971.
- Exhibition of works by artists of the autonomous republics of the RSFSR, Moscow, 1971.
- All-Russian exhibition "Soviet Russia", Moscow, since 1957 for all.
- All-Russian Art Exhibition, Moscow, 1969.
- Exhibition "Artists of Russia on the 30th anniversary of the Victory over Nazi Germany", Volgograd, 1975.
- All-Russian art exhibition "Soviet Russia-5", Moscow, 1975.
- All-Russian art exhibition "Glory to Labor", Moscow, 1976.
- All-Russian art exhibition dedicated to the 60th anniversary of the Great October Revolution, Moscow, 1977.
- All-Union art exhibition dedicated to the VII World Festival of Youth and Students, Moscow, 1957.
- All-Union exhibition of works by artists, Moscow, 1962.
- All-Union Art Exhibition "On Guard for Peace", Moscow, 1975.
- All-Union art exhibition "On the Lenin Way", dedicated to the 60th anniversary of the Great October Revolution, Moscow, 1977.
- Exhibition of works by three artists of the BASSR (A. F. Lutfullina, A. D. Burzyantseva, B. D. Fuzeeva), Moscow, 1963.
- Exhibition of works by artists of the BASSR in the GDR, Halle, 1975.
- International Exhibition "Soviet Art", Poland, 1963.
- International Exhibition "Soviet Art", Mongolian People's Republic, Ulan Bator", 1964.
- International Exhibition "Soviet Art", GDR, Berlin, 1974.
- Personal exhibition of works, Moscow, 1976.
- International Exhibition "Soviet Art", Paris, 1977.
- International "Biennale", Czechoslovakia, Konpotsa, 1977.
- Personal exhibition of works, Ufa, 1978.
