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The Girl's Head. XX c.
The Girl's Head. XX c.

The head of a young girl is slightly tilted to the side; her curvy hair is neatly stacked, framing her face. Large eyes, expressive eyebrows, neat nose and generally right facial features create the image of an oriental beauty. The expression of the girl's face is a bit thoughtful, but it seems that if you call her, she will immediately raise her glance and smile. The sculptor masterfully transferred not only the external features, but also the inner spiritual world of the character. 


 

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Chinara. 1986 yr.
Chinara. 1986 yr.

Head of a young Kazakh girl, hair scraped back and slightly curling, showing neat ears. The eyes are slightly covered, and a wavy forelock hangs over them. A sharp chin is set forward, accentuating the closed tender lips. Meditation is clearly felt, an attempt to internal thinking. The sculptural portrait seems to be the embodiment of harmony, in which the feminine plasticity is combined with the charming angularity of youth.

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Kerbes-Astana. 2000 yr.
Kerbes-Astana. 2000 yr.
In front of us is the image of a young girl walking proudly forward. The girl's hair and clothes are fluttering in the wind. The sculpture symbolizes the young capital of Kazakhstan – Astana. In the laconic images of women, to which ToleshShokan repeatedly refers, there is no "verbosity" of gestures, lines; everything is capacious and concentrated. 

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Fairy Tale. 2013 yr.
Fairy Tale. 2013 yr.
Many works of the author trace the influence of Mongolian art of the X-XIII cc. Basically, these are characteristic images of headdresses, clothes, weapons, strongly elongated masks of Mongoloid faces. In front of us is the image of an elegant and unruffled female rider on a graceful horse in dialogue with the mythical guardian leopard at the base of the sculpture and with some fantastic dragon on the horse's rump. Gold patination emphasizes the fabulous plot. 

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ХХ c. 1985 yr.
ХХ c. 1985 yr.

The astronaut sits on a wooden chair, throwing his foot on his leg, the arms outstretched. The relaxed posture comes into discord with a strained, pained expression on the face of a man with closed eyes. His eyebrows are folded; the corners of his lips are lowered. The suit is made of aluminium, while the face, hands, and bare feet are cast from bronze. 


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Female Torso. 1994 yr.
Female Torso. 1994 yr.

Laconic composition represents a stylized image of female figures with pulled up legs, elegant long torso and small breasts. 



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Neke. 1979 yr.
Neke. 1979 yr.

Two anthropomorphic figures in a complex intertwining. One, with a woman's breast, spreading her thin long legs widely, threw her arms up. Another – thin, plastic is a "bridge" thrown over the shoulders standing, her legs resemble thehorse’s.



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Portrait of M. Auezov. 1963 yr.
Portrait of M. Auezov. 1963 yr.
Bust of the famous Kazakh writer MukhtarAuezov. Portrait of an elderly oriental man with deep bald patches, in a suit and tie. The forehead is strained, between the eyebrows there are vertical folds, the brooding eyes are directed slightly to the side.

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Mother's House. 1983 yr.
Mother's House. 1983 yr.

The intersecting lines and the triangular flat base create the illusion of a fragment of the room with the woman sitting in the corner on her knees. She stretches her hands to a symbolic hearth, which is shown in the form of a flat round bright piece of red smalt.



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Tazy. 2004 yr.
Tazy. 2004 yr.
On a black marble parallelepiped, stretching its front paws and raising its head, there is a dog lying, the breed of Tazy – gorgeous and elegant. On the body of its body there are holes of different shapes and sizes.

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Family with a Bird. 2008 yr.
Family with a Bird. 2008 yr.

Two sitting figures are frontally shown a man and a woman. They are depicted planar and schematically. A man holds a child with a fish in his arms, and a woman, cross-legged, holds a boy on his shoulder. Above the heads of adults there is a bird. 



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In the Theatre Studio. 1945 yr.
In the Theatre Studio. 1945 yr.

The composition is a fragment of a large room with a foot sewing machine with openwork side supports, near which there is just a wooden chair with an inventory number on the back of ГАТОБ 142, which is partially covered with a cabinet (or box). In the depths are indistinctly visible outlines of different objects, on the right above is the opening of the window. The picture is made on a tinted background of cardboard colour, the contours of objects are made with black lines, the glare of light on them is white; the shadows are indicated by black shading. With all the conventionality of the image one can feel the illusory image of space. 




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In the Theatre. 1970 yr.
In the Theatre. 1970 yr.

The fragmentary composition underlined is represented by two young oriental beautiful dressed women with high hairstyles; closer to the viewer on the left is a profile of a girl in dark background with a high hairdo, a handbag on the elbow bend and a fan in her right hand; behind it is a girl in a red dress, in the left hand she is holding theatrical binoculars. Behind the ladies one can see the interior of the theatre with backs of armchairs, with a spectator's bed decorated with ornaments with figures of people. 




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Love. 1967 yr.
Love. 1967 yr.
The composition is strictly centred. In the middle facing the viewer is the Oriental Asian man, whose open palms are facing the woman sitting in front of him with braids decorated with coins. She is lying on her knees with her bare feet to the spectator with her back, bowing respectfully to her master. Their poses are still, the images are frontal. The figures are placed in an empty space, where there is only a horizon line. 

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Teaching. 1967 yr.
Teaching. 1967 yr.
In the middle of the composition, facing the viewer is a kneeling boy, around whom, pulling up their legs, three adult bearded men are sitting in white shirts and skullcaps – two behind the boy, one in front of him on the right side of the sheet, sitting with his back turned to the viewer from behind  his shoulder. On the left is an open notebook, in there are  in the Kazakh language: Zhenis, Sabden, Adilkhan, Malik, etc. 



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Birth of a Son. 1967 yr.
Birth of a Son. 1967 yr.
The composition is a naked woman lying head to the viewer, at the feet of which there are three women sitting. Two on each side in white headscarves in synchronized poses, pulling their left foot to their chests, looking like monumental statues. Between them in the middle is an elderly woman in kimeshek, who raises a newborn baby, as if showing it to her mother and the whole world. The background is neutral, only the horizon line crosses the composition horizontally.




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Twilight (Kyzyl – Kazakhstan Brigade of Balkashinsky District). 1975 yr.
Twilight (Kyzyl – Kazakhstan Brigade of Balkashinsky District). 1975 yr.

A semi-abstract rural landscape, stretched horizontally. Low grey houses, outbuildings, and a tree. A little to the left of the centre is a bleached little house with a gable roof. The forms are conditional and geometric. The entire surface of the watercolour sheet is broken and crushed, which creates the image of cracks and fractures of paper, which is an additional original artistic medium. 

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Bread. 1980 yr.
Bread. 1980 yr.

A large woman is depicted at the table, who kneads the dough - the focus is on her massive hands doing the usual work. On the right side of the woman are the outlines of the stove. The picture is in warm ochres tones, without rigid contours; it is filled with a state of harmony and appeasement. 

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