I am the son of my land. This line, taken out in the title of this article, reflects the true essence of the master's work, who gave his great talent, depth and wisdom of mind, breadth and warmth of the soul to his native Bashkir land, its people. These words can serve as an epigraph to any work of the artist, be it a painting, portrait, landscape. Here, in the Bashkir land, are the life roots of Akhmat Lutfullin, the origins of his philosophical and poetic searches.

Akhmat Fatkullovich Lutfullin- a happy person. Fate endowed him with the rare talent of a thinker, poet, painter and worker, which he managed to embody in his vast, diverse work. He received the highest recognition in our country that an artist can have - the recognition of the leaders of the country, republic and people, his fellow countrymen and numerous spectators. On the eve of 1998, Akhmat Lutfullin, the only Ural artist, was elected a full member of the Russian Academy of Arts. This happiness was woven not easily - in tireless work, in doubts and uncompromising judgments, in the spiritual participation that is given to each hero of his works, their fate.

The artist has created a huge number of works over more than 40 years of creative activity. His famous painting "Seeing Off to the Front" (1978) is in the collection of the Tretyakov Gallery, and "Farewell" (1970) - in the Russian Museum. Many works were sold to museums in the country and private collections. But the exposition of the State Art Museum named after M.V. Nesterov of the Republic of Bashkortostan and the artist's studio gives an exhaustive idea of ​​the fertility, character, integrity of A.F. Lutfullin, because the museum has collected much of the best that he wrote.

With all his creativity, Akhmat Fatkullovich convinces us that there was and is nothing more dear to him, closer than his native land, his native people, the chronicle of whose life appears in his canvases.

The artist finds his hero already in his early works created in the late 50s - early 60s. These are his compatriots - "Safa", "Mustafa-agai", his mother - people who are wise by the experience of years and a difficult life; Bashkir girls with a young blush, charming in their spontaneity. And already in these works, the artist reveals the essence of his creative quest, where the main thing for him is to reveal the spiritual content of a person, the peculiarities of a national character. Therefore, there is so much charm, dignity in his heroes, full of spiritual purity and nobility.

Akhmat Lutfullin. Celebration in the Trans-Urals. Sabantui. 1964. Canvas. Butter. Dimensions: 220 X 300.

In this, Akhmat Lutfullin became a direct follower of the traditions of the first national artist Kasim Saliaskarovich Devletkildeev, but Lutfullin had to live in a different era, have a different worldview in harmony with it, therefore Gazim Shafikov is absolutely right when he wrote about the artist: “Lutfullin does not just inherit - he himself creates tradition ".

The portrait invariably attracts the artist throughout the entire career.... How many of them have been created in painting and graphics! In the active seventies, in the mature eighties, and in the last as well. The heroes of many of his portraits are ordinary people who live and work on the land, they raise children and grandchildren, they had a chance to survive the war and losses. The new era has also formed new features in them - greater self-confidence, inner freedom, but people who have passed the test of suffering and happiness, who have preserved modesty, mental fortitude, and diligence, will remain an eternal value for the artist. How much warmth is put into each portrait, filled with the author's sincere empathy with the life of his hero!

The depth of the artist's philosophical reflections on the value, spirituality of man is filled with portraits of people of creative work, created by him in different years - writer H. Davletshina (1958), conductor G. Mutalov (1959), poets Mustai Karim (1978) and Ravil Bikbaev (1995), composer Kh. Akhmetov (1977) and many others. With all the individuality of the psychological characteristics and external appearance of the heroes, the portraits are united by the author's ability, avoiding idealization, to convey in their images that common principle that characterizes them - the breath of creative, spiritualized thought, the ability to empathize, deep feeling.

Lutfullin's works are not constructed speculatively, he does not strive for their "made-up", reaching a convincing solution with the completeness of the artistic image. Therefore, for example, in the portrait of Mustai Karim, carefully modeling the poet's face and hands, he leaves the background of the portrait almost unrecorded, lined with nervous, restless lines that emphasize the hero's inner tension, his mental uneasiness.

Portrait painting of Akhmat Lutfullin reflects the poetics of his work, focused on the generalized idea of ​​the beauty and strength of the human spirit, aimed at conveying the traits of the national character in the images of the portrayed. This poetics is also embedded in the structure of his works with their laconic precision of details, expressive plasticity of faces and hands. Everything in them is simple and significant, because it comes from knowledge, personal experience.

The poetics of the master is embodied with the greatest force in his genre painting - "Holiday in the Urals" (1964), "Three women" (1969), "Sabantuy" (1977) and other paintings. Their distinctive qualities lie in the fact that the plot is more often used by the artist to create a special atmosphere, states in which the features of his heroes appear more clearly. The essence of his paintings is in the philosophical, poetic orientation of the idea, capable of conveying the moral foundations, the depth of folk characters and destinies.

The most striking embodiment of these principles was the painting "Three Women", which affects us not by its plot, but by that great figurative power that its heroines breathe. In it - three ages, three generations - this is how the artist builds a bridge from the past to the present. Women appear before the viewer in a moment of concentrated meditation. Peering into their faces, figures, we read their fate, thoughts. The laconic composition of the canvas, the verification of every detail, the ascetic severity of the color scheme and the utmost expressiveness of each image take it beyond the framework of a specific plot.

Akhmat Lutfullin's life experience began in the war years. The memory of that harsh time, full of hardships and suffering, is inescapable. She paints the paintings, many of the artist's portraits with dramatic notes, which to one degree or another sound in almost all of his works, and with a special force in such as “Farewell to the Motherland. Salavat "(1990)," Waiting "(1970). And in the last work of the master "Destiny" (1998) - the cry of the soul of the artist, with pain perceiving human tragedies.

But here's another canvas - "White Yurt" (1989), tense, dramatic in a Lutfullin way, where he sees the world in conjunction with the cosmic universe. As if the shadows of years, epochs swirl in the alarming dark sky, the planets rush, and a leisurely life with its traditional plots and rituals takes place on earth. These scenes acquire the meaning of a symbol. Overcoming all adversity and times, a person rises above them with the strength of his spirit, tradition, faith. This is the main thing about which Akhmat Fatkullovich Lutfullin speaks powerfully and beautifully in his art.

It is necessary to note the high pictorial culture of the master. In his works, first of all, there is something that is given from God - a subtle sense of color, as well as something that can be absorbed only with mother's milk - such a color palette in which the colors of his native land come to life. Being always very critical and demanding of himself, Lutfullin was able to develop the natural gift inherent in him, relying on the traditions of the Russian, Bashkir school, the experience of world art, and create his own expressive pictorial style that can embody the spirit of his work.

V. Sorokina

• Conversation Conversation
• Grandmother from the village of Burangulovo
• Portrait of a young girl in a Bashkir outfit
• Father's portrait Father's portrait
• Father's portrait Father's 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 woman Indian woman
• Mother-heroine Ishmurzin Mother-heroine Ishmurzin
• Mustafa-agay Mustafa-agay
• Portrait of G. Kruglov Portrait of G. Kruglov
• Old woman in blue 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
• The landscape of my aul The landscape of my aul
• Ravilovo village landscape Ravilovo village landscape
• 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 woman Portrait of a Bashkir woman
• Female portrait Female portrait
• Portrait of Ural Sultanov Portrait of Ural Sultanov

) I will try to put thematic records about the Bashkir artists taking part in the competition. Of course, let's start with the LEGEND nomination about those who are no longer with us. The first, by right, will be the outstanding Bashkir artist, People's Artist of the USSR, Akhmat Fatkullovich Lutfullin.
I use the material of the BASHINFORM agency

In the summer of 1957, the VI World Festival of Youth and Students was held in Moscow. And on the eve of this event, an exhibition of young artists of the USSR, dedicated to the festival, was opened. It aroused great interest among Muscovites and guests of the capital. Among the works that attracted special attention of visitors was a series of portraits, surprisingly fresh in perception and expressive in color - "Bashkir Girl in the Interior", "Portrait of a Bashkir", "Portrait of a Mother", "Portrait of an Old Man" and others. These works received the highest marks in the guest book. Their essence boiled down to the fact that in the characters captured the artist conveyed to the viewer the diligence, kindness, severity and restraint of the feelings of these people, was able to express the deep roots of the national character of his people. This is how Akhmat Lutfullin, a 29-year-old painter from Ufa, made his debut in front of a mass audience. By this time, he had already found his hero, found a theme that would become the main one over the next 50 years of his intense work - this is the life of his people, the originality, beauty and nobility of the national character in all the diversity of its manifestations. Among the characters in his paintings are workers, residents of his native Abzelilovsky district, representatives of the creative intelligentsia of the republic.

The paintings "Farewell" and "Waiting" were conceived by him as a triptych-poem about the fate of the people in one of the most dramatic periods in the history of our country - during the Great Patriotic War. The artist found expressive means, the language of true monumentality, affirming the greatness of the feelings of his heroes. Large thematic canvases "Feast in the Trans-Urals. Sabantuy", "Feast in the village", "Melodies of the kubyz", "White yurt", "Praying for rain" give an idea of ​​the faith and national traditions of the Bashkir people.

Akhmat Lutfullin's painting "Three Women" has become a classic of Bashkir painting. The composition of this picture is strikingly laconic, strict and solemn, its symbolic and allegorical context is also obvious. Three women are depicted at traditional tea drinking. It seems to be a typical everyday scene. But it is worth looking into the faces of these women, immersed in their thoughts, and we will see representatives of three generations, united naturally and simply, perhaps this is one family, but each of them has its own difficult fate. And behind three concrete living destinies is the fate of the entire people, the deep foundations of life. The poet Yevgeny Yevtushenko stood by this picture for a long time during his visit to Ufa. A person who knows a lot about painting, a friend of many famous masters of the brush of different directions.

“A brilliant artist,” he said in shock, unable to tear himself away from the canvas.

With great love and deep comprehension of the character and personality of the characters, the artist painted portraits of the figures of Bashkir culture - the writer Khadiya Davletshina, the poets Mustai Karim and Ravil Bikbaev, the composer Khusain Akhmetov, the artist Aliya Sitdikova and others.

Akhmat Fatkullovich was the first artist in Bashkortostan to become a corresponding member of the USSR Academy of Arts and a full member of the Russian Academy of Arts. His works are kept in the collections of the largest museums in the country. One of the albums of his painting, the artist entitled "I am the son of my land." He selflessly loved her, his land, and this love of his drove him with a brush, making him an inspired singer of his native land. These days he would have turned 80 years old.

Self-portrait 1959

Girl with a Mandolin 1978


Seeing off to the front 1979

White Horse 1986


Girl - Bashkir 1957


Mother's portrait 1989

The old woman at the window 1974


Father's portrait 1991


On Sabantui 1964


Waiting 1941 (1970)


Farewell 1973


From mowing 1996


Rally at the mosque 1980


Three women 1969


Portrait of a Bashkir woman 1958


A family. People of my kolkhoz 1974


Destiny 1998


Sabantui 1977

Bashkir from Burangulovo 1980


White yurt 1989

international and Russian exhibitions. The best works of the artist are in the Bashkir State Art Museum. MV Nesterov, at the Tretyakov Gallery, the Russian Museum. The talent of the Bashkir artist was most fully manifested in paintings dedicated to his beloved homeland, its people, especially in such complex forms of painting as a triptych and a compositional portrait. These include, first of all, "Family" (1963), "Golden Autumn" (1968), "Three Women" (1969), "Holiday in the village. 30s "(1969)," Waiting. The year 1941 "(1970)," The old woman at the window "(1974) and, of course, the triptych" The family of the collective farmer Rajap "(1974). It should be noted that most of Lutfullin's thematic paintings are devoted to the history of the Bashkir people. In his canvases, history does not live by itself, but closely resembles the present day. “The past never dies,” says the artist, “it continues to live in the present. It is impossible to understand the present without thinking about the history of the Motherland. " A. Lutfullin is one of the few artists whose paintings are filled with inspired love for their homeland - Bashkortostan. They are always distinguished by a bright national identity. He is a truly Bashkir artist.

Bashkir artist Akhmat Fatkullovich Lutfullin wrote one of his most famous works, the symbolic canvas "Three Women" imbued with national colors, in 1969. It is quite possible that the plot of A. Lutfullin's painting was based on his own memories of his childhood spent among ordinary workers of the village of Askarovo.

The central semantic element of the picture is the image of three women of different ages, signifying the great power of the connection between generations. According to Bashkir national traditions, the woman in the picture is presented as a symbol of motherhood and the keeper of the home.

Three representatives of the fair sex have just had a quick bite of some simple peasant food and are going to have a cup of tea before returning to the difficult, tedious work until the evening. From a small, low table covered with a tablecloth with geometric patterns, there is a kind, simple aroma of homemade bread and milk, three neat, fragile-looking cups are waiting for a portion of a fragrant herbal drink.

Women are depicted in almost the same poses, they all sit with their left leg tucked under them, and their right leg wearily bent at the knee. The skin on the hands of the elders looks a little hardened from the harsh conditions of field work. The young girl is dressed in lighter clothes than other women in her family. The absence of a headscarf and a coverlet, somewhat coquettishly thrown over tight long braids, speaks of youth and, possibly, a cheerful and somewhat romantic nature. Her gaze is light and straight, her cheeks bloom with a blush, which cannot be said about the representatives of the older generation. Silent severity and seriousness creeps into their clear, similar silhouettes.

On the hands of a young woman, you can notice simple jewelry, there is a feeling that she wants to hide a dissolving smile in the palm raised to her face so that other women do not notice her girlish mischievous joy.

Behind three resting women, behind two windows, the boundless mountain landscape, beloved by Akhmat Fatkullovich Lutfullin, stretches from childhood. At lunchtime, everything is calm and unhurried, it seems that the world around the three women seems to freeze, enjoying every moment of well-deserved rest.

"Three Women" is far from the only painting by the chairman of the Bashkir Union of Artists, in which the talented painter glorifies the beauty, tenderness and amazing strength of mind of the fair sex. "Portrait of a Mother", "Mother-Heroine Ishmurzin", "Portrait of an Old Collective Farm Woman", "Portrait of a Bashkir Woman", "Maginur Khasanova", "Girl in Black" and many other wonderful, expressive canvases were written by the artist in order to glorify the external and internal beauty of such different and amazing women. Each canvas calls for the protection of those who have been connecting generations for centuries, prolonging the life of a whole family and taking care of everyone in the family, sometimes forgetting about their own well-being in their great love.

Today, the fact of the textbook significance of the Bashkir fine arts of the period of the 60-70s of the twentieth century has become indisputable. The most significant and large-scale in the process of the formation of the traditions of the Bashkir school of painting is the work of Akhmat Lutfullin, which fully reflects 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, renewed the interrupted connection of the development of the national concept of domestic fine art. Embodying 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 neorealism.

Akhmat Lutfullin throughout his career, solving the problem of the national originality of works, created the archetypal image of a Bashkir woman.

Indeed, in many of Lutfullin's works, a woman as a mother, as the ancestor and keeper of folk traditions, becomes either the main heroine or a supporting heroine, who has a deep semantic meaning in the interpretation of the picture. And numerous portraits of young girls, women and old women, made in one or another plastic way (impressionism, post-impressionism, expressionism, ancient Russian reminiscences, etc.) were carried out by Lutfullin in order to reveal their national and national essence, positive qualities that have a spiritual origin. The result of his searches for this period was the epic canvas-meditation "Three Women". The spiritualization of the national in the image prompted the artist, on the basis of modern realistic painting and creative rethinking of the most suitable plastic systems, to create his own pictorial style. This style claimed to be an individual principle, affirming the national world outlook, the national peculiarities of the thinking of contemporaries.

Let us recall that the early (late 1950s) female portraits painted by Lutfullin, as well as Nurmukhametov, are picturesquely elegant and festive. The authors take care of the national entourage, interior, costumes, dressing the characters in a luscious romanticized pictorial fabric, revealing with the help of the Arkhipovsk-Malyavin style a sensual, almost pagan folk element ("Bashkir girl in the interior" (1957), "Young Bashkir woman" (1958) .)). Nevertheless, already at this time, Lutfullin was attracted by the problem of finding 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 Mukhametshi Burangulov" (1960), "Portrait of a Babai" (1965) .)) in the language of the Russian itinerant school of the late nineteenth century - early twentieth century, vividly and emotionally convey the characteristic features of the folk temperament that has formed over the centuries. In these portraits, the main advantage is the artist's desire for an ever more profound and comprehensive disclosure of the human personality, his multifaceted psychology. The ethnic type is gradually replaced by an appearance with generalized revealed constant stable principles that do not depend on the mood of the moment or some external circumstances. “For me, national traits are not in ethnography. This is the spirit of the people, which gave birth to Salavat, conquered everything and preserved itself. Milestones change in history, the people remain, ”says Lutfullin himself.

The philosophical and epic work "Three Women" (1969) was the final result of Lutfullin's long searches, being at the same time the flowering of Bashkir painting of the 60-70s. In reviews after the All-Russian and All-Union exhibitions in Moscow in 1970, they wrote that "the painting is one of the most serious works in all Soviet painting, noting the rare depth, originality of the embodiment of great national and universal content."

In this work, a long plastic search was carried out, adequately conveying the national concept of the artist's art in the expression of the moral ideals of the era. Accurately fitting into the canons of the "severe style", nevertheless, the plasticity of the work reflects the "multi-layeredness" that was saturated by the artist's personal experiences. The problem of the development of the painting style determines the consideration of the artist's work of this period from the point of view of the figurative-plastic analysis of the works that are significant for this process.

Akhmat Lutfullin. Portrait of A. E. Tyulkin. 1970s. Canvas. Butter. Dimensions: 66 X 53.5.

The most extensive and dynamic in terms of using the pictorial experience of previous artists is the part of the works, mainly portraits, where Lutfullin was interested in purely plastic tasks. Thus, the artist's "pictorial-plastic" interest manifested itself in the writing of numerous portrait images, which are characterized by a realistic vision, identification of psychological characteristics, emotionality, and stylistic diversity. And, of course, the comprehension of the plastic laws of various painting traditions was accompanied by the identification of the folk and national essence of the characters, their positive qualities that have a spiritual origin.

The national Bashkir poet Mustai Karim highly appreciated the painting “Three Women”: “If we translate the language of colors and colors into 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 the native people. And how much their hands speak! " The canvas "Three Women" and from the standpoint of today looks solid in figurative and plastic expression, a work classic from the point of view of the traditions of Russian art, in which the Lutfullinsky "Parsun" style manifested itself.

"Parsunism" of the image determined the sacred relationship between the characters and the objective environment, introducing into a special atmosphere of national originality. Having an impact on the emotional level, the pictorial style elevated the ordinary genre plot of tea drinking into an epic parable about the people. Combining 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 the symbolic level.

Thus, in the work of Lutfullin in the 1960s and 70s, an integral conceptual line was formed, aimed at acquiring its own "great painting style", capable of adequately embodying its national originality in painting. It was starting with his work that Bashkir art realized itself as a local regional school. The first among Bashkir artists to connect "peasant stories" with reflections on the life of the people, Lutfullin embodied in his thematic canvases an integral philosophical line of affirming 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 national national fine arts.

Lilia Akhmetova

Director of the Sterlitamak Art Gallery

art critic

• Conversation Conversation
• Grandmother from the village of Burangulovo
• Portrait of a young girl in a Bashkir outfit
• Father's portrait Father's portrait
• Father's portrait Father's 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 woman Indian woman
• Mother-heroine Ishmurzin Mother-heroine Ishmurzin
• Mustafa-agay Mustafa-agay
• Portrait of G. Kruglov Portrait of G. Kruglov
• Old woman in blue 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
• The landscape of my aul The landscape of my aul
• Ravilovo village landscape Ravilovo village landscape
• 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 woman Portrait of a Bashkir woman
• Female portrait Female portrait
• Portrait of Ural Sultanov Portrait of Ural Sultanov