Chingiz Aitmatov biography by dates. Chingiz Aitmatov - biography (briefly)

Aitmatov Chingiz Torekulovich (born 1928), Kyrgyz writer.

Born on December 12, 1928 in the village of Sheker, Talas region, Kirghiz SSR, in the family of a teacher and party worker. His father was repressed in 1937. His grandmother, who lived in a mountain village, had a huge influence on the boy. Here Chingiz spent all the summer months. He listened folk songs and fairy tales, participated in nomadic festivities.

In 1948, Aitmatov graduated from the Veterinary College, and in 1953 from the Agricultural Institute. He worked as a livestock technician for three years. At the same time, his first stories appeared in local newspapers and magazines. literary experiments. In 1956 he entered the Higher literary courses in Moscow. Returning to his homeland, he edited the magazine “Literary Kyrgyzstan” and worked as a correspondent for the newspaper “Pravda” in Kyrgyzstan. In 1958, Novy Mir published the story “Djamila” about the “illegal” love of a married Kyrgyz woman, written from the perspective of a teenager. Already on next year translated it into French famous writer Louis Aragon. Aitmatov gained international fame.

In 1963, for the book “Tales of Mountains and Steppes” (in addition to “Jamili”, it included “The First Teacher”, “Camel’s Eye” and “My Poplar in a Red Scarf”) Aitmatov received the Lenin Prize. Main feature These works are a combination of moral and philosophical issues with the poetics of the traditional East. Folklore and mythological motives play decisive role and in the story “Farewell, Gyulsary!” (1965-1966).

They are especially strong in the story-parable “The White Steamship” (1970): the tragic story of a seven-year-old boy unfolds in parallel with the legend of the Horned Mother Deer - the guardian of the clan, the deified embodiment of kindness. In the story “The Piebald Dog Running by the Edge of the Sea” (1977), the writer moved the action to mythical ancient times on the shores of the Sea of ​​Okhotsk. Imbued with faith in higher power, fishermen sacrifice themselves in a storm to save a child.

Aitmatov’s main theme is fate individual person as a representative of the entire human race - took on a new dimension in the novels “And longer than a century lasts a day" ("Burnaya Stop", 1980) and "The Scaffold" (1986). In the first - description real life Central Asia connects not only with myths, but also with science fiction (we are talking about interplanetary contacts).

In “The Scaffold,” which touches on the most pressing problems of the late 20th century. (destruction of the natural environment, drug addiction), the author turns to the search for God. The inserted biblical scene (a conversation between Jesus and Pilate) caused an avalanche of controversy - the writer was accused of imitating M.A. Bulgakov and “exploiting a high topic.”

However, most readers and critics appreciated the pathos of the work. In 1994, the warning novel “Cassandra’s Brand” was published. His hero is a Russian cosmonaut-researcher. The “probe rays” he discovered made it possible to reveal the reluctance of human embryos to see the light, so as not to participate in the further “mystery of World Evil.”

In the 70-80s. Aitmatov actively participated in the socio-political life of the country: he was the secretary of the Union of Writers of the USSR and the Union of Cinematographers of the USSR, a deputy of the Supreme Soviet of the USSR; after perestroika, he was a member of the Presidential Council and headed the journal Foreign Literature. Since 1990 he has been in diplomatic work.

He died on June 10, 2008 in a hospital in the German city of Nuremberg in the clinic where he was undergoing treatment. He was buried on June 14 in the historical and memorial complex “Ata-Beyit” in the suburbs of Bishkek.

Chingiz Aitmatov was born in 1928 in the valley of the Talas River, in the village of Sheker Kirovsky district Kirghiz SSR. The future writer’s work biography began during the Great Patriotic War. “I can’t believe it myself now,” recalled Chingiz Aitmatov, “at fourteen years old I was already working as the secretary of the council. At the age of fourteen I had to decide issues concerning various sides life of a large village, and even in war time «.
Hero of Socialist Labor (1978), academician of the Academy of Sciences of the Kyrgyz SSR, laureate State Prize(1968, 1977, 1983), Laureate in 1963 Lenin Prize, holder of the Order of Friendship (1998), received from the hands of Boris Nikolaevich Yeltsin, ex- Chief Editor magazine "Foreign Literature". In 1990, he was appointed Ambassador of the USSR to Luxembourg, where he currently resides as Ambassador of the Republic of Kyrgyzstan.
For a long time and persistently he searched for his themes, his heroes, his own style of storytelling. I-found it. His heroes are ordinary Soviet workers who firmly believe in the bright, good principles of life being created with their most active participation. “Bright, human life”, people are pure and honest, open to everything good in the world, reliable in business, lofty in aspirations, direct and frank in relationships with people. In the stories “Jamila” (1958). “My poplar in a red scarf” (1961), “The First Teacher” (1962) the harmony, purity and beauty of their souls and thoughts are symbolized by singing poplars, spring white swans on Lake Issyk-Kul and this blue lake itself in the yellow collar of sandy shores and gray -white necklace of mountain peaks.
With their sincerity and directness, the characters found by the writer seemed to suggest to him the manner of narration - excited, slightly upbeat, intensely confidential and, often, confessional - from the first person, from “I”.
From his very first works, Ch. Aitmatov declared himself a writer who raised complex problems of existence, depicted complex, dramatic situations, in which people find themselves, as said, strong, pure and honest, but faced with no less strong opponents - guardians of old morals and customs (laws of adat), or predators, power-hungry despots, leaden bureaucrats, like Segizbaev in the story “Farewell, Gyulsary!”, with tyrants and scoundrels like Oroe-kul in “The White Steamship.”
In “Jamila” and “The First Teacher” the writer managed to capture and capture bright pieces of life, glowing with joy and beauty, despite the internal drama that permeates them. But these were precisely pieces, episodes of life, which he spoke about sublimely, to use Lenin’s famous word, upliftingly, filled with joy and happiness, just as the artist who sets the tone in “Jamila” and “The First Teacher” is filled with them. (This is how M. Gorky once talked about life in “Tales of Italy”). For this, critics called them romantic, despite their solid realistic basis, as the writer’s talent developed and he deepened into life, which subjugated all the romantic elements.
The writer captures life wider and deeper, trying to penetrate its innermost secrets, without avoiding the most pressing issues generated by the twentieth century. The story, which caused heated controversy, “Mother’s Field” (1965) marked the writer’s transition to the most severe realism, which reached its maturity in the stories “Farewell, Gyulsary!” (1966). "White Steamer" (1970). “Early Cranes” (1975), in the novel “Stormy Stop (And the day lasts longer than a century)” (1980). No longer separate pieces, layers of life, but the whole world begins to be seen in the pictures created by the writer, real world with all its past, present, future, a world not limited even to the Earth. The joys, sorrows, bright and dark possibilities of our planet in its geographical integrity and social fragmentation color the writer’s work in new tones. Aitmatov has strategic thinking and is interested in ideas on a planetary scale. If in your early things, for example, in the story “The First Teacher”, the writer focused primarily on the originality of Kyrgyz love, life, culture and, as they say now, mentality, then in the novels “The Scaffold” and “And the Day Lasts Longer than a Century”, were a resounding success in the late 70s 1980s, he already showed himself as a citizen of the globe.

He raised, as they used to say, global issues. For example, he openly stated that drug addiction is a terrible scourge. He allowed himself to raise it, because no one had been allowed to do this before him. After all, as you know, drug addiction, like sex, did not exist in the USSR.
“Great wisdom gives birth to sorrow,” the ancients said. Chingiz Aitmatov did not escape this either. Starting with the story “Farewell, Gyulsary!”, With all, I would say, the militantly affirming pathos of his work, it amazes with the acute drama of life’s collisions, stunning turns in the destinies of the heroes, sometimes tragic destinies in the most sublime meaning of these words, when death itself serves to elevate a person, to awaken the resources of good hidden in him.
Naturally, the principles of storytelling also become more complex. The author's story is sometimes combined through indirect speech with the hero's confession, often turning into an internal monologue. The hero's internal monologue just as imperceptibly flows into the author's speech. Reality is captured in the unity of its present, its roots and its future. The role of folklore elements is sharply increasing. Following the lyrical songs that often sound in the first stories, the author more and more freely intersperses into the fabric of the works folk legends, reminiscences from “Manas” and other folk epic tales. In the story “The White Steamer” the paintings modern life, like multi-colored carpet patterns, are woven on the canvas of an expanded Kyrgyz legend about the Mother Deer, and they are woven in such a way that it is sometimes difficult to understand where the base is and where the design is. In addition, the revitalization and humanization (anthropomorphism) of nature is so organic that man is perceived as an integral part of it, and in turn, nature is inseparable from man. In the story “Piebald Dog Running by the Edge of the Sea” (1977), in the novel “Stormy Stop”, the artistic palette is also enriched by an unobtrusive subordination to realism (realism of the purest standard) of myth, legends, and “traditions of deep antiquity.” These and others folklore elements always carry a multi-valued meaning, are perceived either as symbols, or as allegories, or as psychological parallels, giving the works multifacetedness and depth, the content - polysemy, and the image stereoscopicity. The writer's work as a whole begins to be perceived as epic tale about the world and man in one of the most majestic eras - a legend created by one of its most active and passionate figures.
Chingiz Aitmatov sees the main justification for the development of mankind lasting millions of years, his centuries-old history, captured in myths and legends, a guarantee of his bright future. Life - human existence - freedom - revolution - the construction of socialism - peace - the future of humanity - these are the steps that form a single and only ladder along which true creator and the master of life, the Man of Humanity, rises “all forward! And higher! " He, main character Chingiz Aitmatov, is personally responsible for everything that was, is and will be, what can happen to people, the Earth, the Universe. He is a man of action and a man of intense thought - he carefully examines his past in order to prevent miscalculation on the hard way, which is being laid out for all of humanity. He looks anxiously into the future. The scale that guides the writer in his approach to modern world, and in the depiction of his hero, comprehending them in all their ambiguity.
A poignant work, truly written with the blood of the heart, the novel “Stormy Stop” gave rise to the most diverse, largely divergent opinions. The discussion around it continues. Some believe that the temporary uncertainty of the “mouth mouth” image can give rise to misunderstandings. Others say that the symbol, called “Parity” in the novel and bearing the entire cosmic line in the work, is composed of contradictory principles and therefore cannot be accepted unconditionally, like the very decision associated with it main problem. In addition, others add, both the legend of the “Mankurts” and the cosmic fresco created purely by journalistic means, are not very organically fused with the main - strictly realistic - part of the narrative.

You can agree or disagree with such opinions, but you cannot help but recognize the main thing: the novel “Stormy Stop”, permeated, according to Mustai Karim’s definition, with “pain and immeasurable optimism, immeasurable faith in man ...”, is unlikely to leave anyone indifferent.
The writer managed to convincingly show the richest spiritual world common man who has his own opinion about the most difficult problems human existence. Through the eyes of its protagonist, our era itself looks at us with its victories and defeats, its sorrows and joys, complex problems and bright hopes.
The new novel is “Cassandra’s Brand,” published in Znamya in 1994. Even more restless, but restless in his own way, “in Aitmatov’s way.” It would seem that people in the vast expanses of the CIS are fighting, the money is in huge quantities they steal, other obscenities act, so write about it. However, Aitmatov is obviously incapable of considering all sorts of details under his feet. His gaze is still fixed on the Earth from top to bottom, covering it entirely.
It is no coincidence that the main character, the monk Philotheus, flies around the Earth in an orbital station: this way, poor thing, you can get a better look at her. Filofey was not always like this, when he was a scientist Andrei Andreevich Kryltsov, specializing in the field of breeding artificial people, “X-rods”, in the wombs, so to speak, of free experimenters, that is, female prisoners. Then, shortly before declaring himself a monk, the scientist found out that not only is this business unrighteous, but also embryos refuse to be born into a world in which evil reigns. This was nature's decision: to protect itself from blood-sucking humanity, let it die out. Why not the Apocalypse in mild form?
Thanks to his ability to concentrate on global ideas, Chingiz Aitmatov is inclined to either initiate or accept Active participation in planetary scale projects. For example, many years ago he and the sociologist of the Institute of Management Problems of the USSR Academy of Sciences Rustem Khairov turned to the then Secretary General Andropov (1983) with a proposal to create a committee for the meeting of the 3rd millennium. Unexpectedly, this proposal was accepted. Gradually, Aitmatov inspired the progressive world community to this cause, organizing the Issyk-Kul Forum in 1986, which brought together UNESCO representatives, futurologists, writers and artists. And we talked about the need to educate a new planetary thinking, thanks to which humanity could avoid a total cataclysm - military, environmental, economic, etc. And when the wheels were spinning with all their might, when it was already possible to start reaping laurels and cutting coupons, Aitmatov humbly handed over the reins of the grandiose show to Marat Gelman.
A survey conducted late last year public opinion showed that Aitmatov is considered the third most popular politician - after President Askar Akaev and Bishkek Mayor Felix Kulov.
In his stories, there is an indispensable character who thinks, thinks, thinks... “I walk in the pre-dawn silence and think, think about everyone” (“The First Teacher”). "I. .. looked at the sky, darkening in the clouds, and thought: “Why is it so clear and difficult life? (“Jamila”). But neither the author nor one of his heroes would want the life of another, simpler, less dramatic fate. This is our life and my destiny, and no matter how difficult and confused it is, it is my only one, like love, and I do not renounce anything in it or in history - like Tanabai from “Farewell, Gyulsary!” Takes full responsibility for past good and evil, without blaming others.
Life is like the Talas River - the soul of the Talas Plain, the ancient bosom of Kyrgyzstan, where Manas walked and Genghis grew up): capricious, mysterious, either a frenzied flood or dry land: “Don’t joke with our river, brother! .. Today the water in it is knee-deep, it flows, it won’t touch anyone, but tomorrow it will make them angry and destroy bridges. She is alive - you need to understand her...” (“Sipaichi”). And the wise man must be a sepoy, a limiter and a connoisseur of the obstinate beloved: the river, nature, history, the human soul.
Aitmatov’s hero is a tamer of elements and meanings, he deals with them: with the primary elements of nature and with the meanings of human existence:
love-passion (“Jamilya”), truth (“Farewell, Gyulsary!”), justice
("Early Cranes"), conscience ("After the Fairy Tale"), sacrifice ("Red Dog") - and even more so "The Scaffold".

(Leader. 27. XI. 86.). But he also takes aim at nature - to understand it: mountains, steppes, waters, the ocean, their call, their suffering from themselves and from man - the groan of the mountains, the ringing of the year, the roar of landslides, the scourge of thunderstorms. Not among everyday nature, but among solemn nature, which sparkles with thunder and lightning, like a pagan goddess in a diadem with Perun, - the action of his stories unfolds: a thunderstorm in “Dzhamila”, winter in “Gyulsary”, Great fog in “Piebald Dog”. And in human destinies, from the fundamental principles of his writing, Aitmatov takes the most pathetic note: “Face to Face” (1958) - a story about a deserter during the war - plot, Russian Soviet literature raised in the 70s (“Live and Remember” by V. Rasputin), or the story “Sipaichy” - about the rivalry between father and son before the general capriciousness
Women are like the Talas River, whose love for them is not to the stomach, but to death, like
Cleopatra or Tamara...
And here is the permanent plot, like a through wound: Father and Son, sung fatherhood, disliked adoption (“Little Soldier”, “Date with the Son”, “Early Cranes”) of the Aitmativske generation - neglect, with parents cut out (by the tragedy of history, the tragedy of war). And it is no coincidence that in the heroes, the characters of Aitmatov, there is a manly age, when a man is a man of his wife, a father of children, an owner and builder with infused strength, a citizen in society and politics, but a child, a youth, a young man, or an old man (mother) who falls The role of a man in the family and in history, in the fate of the country, which is not typical for them, is excessive tension, pathos...
Moreover, in the course of Aitmatov’s work, the zigzags in the amplitude of the hero’s fluctuations in age become increasingly sharper. If in the first stories the hero is a young man (Djamilya, Daniyar, Playas, Duishen), eager for life, love, and self-affirmation in business, then in
the following stories - Baba Tolgonai, old Tanabai, a boy and a grandfather (“After
fairy tales"), the youth ("Early Cranes"), the boy Kirisk and the old Organ ("Red
dog"), Edigei ("Buranny stop"), and the middle one, the main link of the human
age is necessary: ​​the Father glides like a shadow-memory in “Early Cranes”; How
Lohengrin, the Father White Steamship is sailing by; The faceless one repeats Organa's father Emrayin in "Red Psycho". This age does not have its positive part in being - in Aitmatov’s world. And this is scary historical truth: this generation was killed, they lay down as bones. But here there is artistic will: the boy and the old man are interlocutors in a great dialogue of opinion (Ask - We answer), while average age fundamentally monological: he must assert one thing - both in action and in thought. Aitmatov’s hero, until the last fulfillment, wants to retain the right to ask, the Socratic right not to know - in order to understand.
And when monologically acting heroes“Jamil” and “The First Teacher” are given the eye and eye of a teenager (Seit, Altinai), or two poplars as world landmarks, guardians of being and truth, the tree of life - along such coordinates and in such irradiation-illumination, events in people are understood, in stories, in lives.
Thus, the actors of Aitmatov’s drama, its main roles are masks: a child and an old man. It’s as if they were meeting before the curtain and in the proscenium, discussing what was happening on stage with others, full of life, or with themselves (the old one remembers). The youth and the old are the gates of existence, the frame of life outlined by them, and these are the two lights of the stage of life, where the newlyweds man and woman rush about in the bustle of their destinies.
But Chingiz Aitmatov himself is truly a man, an indigenous man in the harness of existence, tirelessly pulling its burden as an adult since the age of 14, when he began working for his homeland, and along it
time for courageous experiments in life, tests of the human soul through fearless knowledge
powerfully works on the training grounds and pastures of his stories and novels. And How
a citizen of the country and the Earth, as a man of the council, persistently raises the most acute and
urgent questions: about conscience, about peace. about the culture of nature." This is how I see him: the hero Manas, he stands unswervingly in spirit, reflects, strikes and turns out cunningly and deftly, overcomes temptations both outside and doubts from within - and sets an example and duty as the first teacher of his people.

And the Kyrgyz people are surprised how much they have had to live through this century, move on and rethink. It was only from the hinges of the sleepy patriarchal state in which he had frozen for millennia that he was plunged into the abyss in the 20th century world history and, without having time to look back, he found himself in socialism. So his man, Chingiz Aitmatov, is still piercing his eyes, and he keeps thinking, thinking, thinking: what happened? what is, what will be? And this is not only the thought of his people, but a representative thought - for all of humanity. Because for the 20th century. typical that
peoples, for a long time standing apart from the main paths of world history,
are included in it, and rapidly, developing rapidly, jump from the ancient stages to the modern ones. It is not for nothing that Aitmatov is translated into many languages: the close destinies and thoughts of his heroes to people from many countries in Asia, Africa, Latin America, and the experience that his Kyrgyz language has accumulated Soviet people: both historical, and spiritual-emotional, mental, and artistic, it turns out to be an instruction for everyone.
But since his people have such a path, equal to two - three thousand years European history, rushed by, then a similar gap must be bridged both in spiritual culture and in the type of writer. And indeed: as a type of writer, Chingiz Aitmatov is not just a resident of the mid-20th century, but also a shaman-exorcist-myth-maker, an akyn-rhapsodist-tale-teller of Homeric benefit, a Renaissance-Shakespearean playwright, an educator and didactician of his people, a romantic with a high-intensity ideal,
realist-moral writer and historiographer (“Farewell, Gyulsary!”) and finally, quite a “modernist”, as his congenial brother in Latin America Gabriel García Márquez, whose book “One Hundred Years of Solitude” is a similar condensed display of eras of world history and the paths, essences and ideas of man... It was said about Homer and Hesiod that they gave the Hellenes gods. Aitmatov performed a similar function of creating images—types and guidelines of behavior—in Kyrgyzstan. In his work a whole cosmogony and mythology has already been realized. Here the Horned Mother Deer wanders, the Big Fog, the White Steamer, the Fish Boy, everywhere there is a camel's eye, the sacred Poplar-oracles (like the oak of Zeus in Dodona), the Early Cranes fly by, the Piebald Dog forever running by the edge of the sea, the pseudo-people shoot at the mother - mankurts... And among this cosmic pershop nature, people, like titans and heroes, carry out their cosmic feats: Duishen, like Perseus, fights with the spirits of the mountains, releasing Andromeda-Altinai; here is Hercules-Tanabai
in the service of Eurystheus-Chora, she slays the Hydra of Winter and cleans the Augean stables of the courtyards; here Paris-Daniyar kidnaps the beautiful Elena-Djamila; here Minos, Aeacus and Rhadamanthus boarded the boat of Charon, crossing Lethe, and carried the youth Kirisk from childhood to another world of courage...
I never tire of emphasizing this side of Aitmatov’s characters and plots, because what is before us true images our contemporaries, - this is already clear before our eyes: Daniyar, and Tolgonai, and Orozkul (and Edigei and Boston. - Presenter. 26. XI. 86). But they mean more than that. What is “our contemporary”? A point in the flow of historical Space-Time. We, of course, love him, as it is typical for anyone to love himself, but self-love is far from enough for this “I” to be interesting, instructive, and loved to other tribes. Here, plausible descriptiveness is not enough. What is needed here is a bold breakthrough from today into the eternal, and Aitmatov every time seems to plunge into eternity and the Absolute and does not return without a catch: he brings an insult to some fish or grabs the pearl of the plot - and then the product of the story produced
on the shore “Topolek”, “Pied Dog” - but in each of them the eternal
energema. No wonder in “Jamila” Lupe Aragon felt a love story,
congenial "Romeo and Juliet".
To date, in creativity and spiritual development Aitmatov discerns three periods. “Tales of Mountains and Steppes” - this is the emblem of that new word with which he entered literature with his early, “youth” works: “Face to Face”, “Djamila”, “Camel Eye”, “My Poplar in a Red Scarf” and “The First Teacher”, for which he received the Lenin Prize in 1963.

His hero here is a young man, in a seething passion who, like a river, breaks through the gorges of the patriarchal clan community and his personal path, which is laid through life.
The second period is formed by the stories “Mother’s Field” and “Farewell, Gyulsary!” The writer here thinks about the history of his people, the events of the revolution, collective farm construction, and war. The hero here is an old man, a mother, who, before his death, confesses his life directly to nature: Tolgonai to the Earth, Tanabai to Gyulsary’s horse.
The third, now ongoing period, began with “The Ambassador of a Fairy Tale (White Steamer).” Here also: “Early Cranes”, “Red Dog Running by the Edge of the Sea”, the play “Climbing Mount Fuji”, written together with Kaltai Mukhamedzhanov. And finally, the novel “Stormy Stop. (And the day lasts longer than a century).” Here the writer comes to the fundamental principles of existence: the individual - before the court of conscience, human society and his activity in history - in the face of the elements of nature. Aitmatov’s artistic thought finds, on the one hand, the rigid rationalistic strength and rigor of high style, and on the other, it means in a child’s primitive myth, fairy tale, parable. And the hero here pushes him apart, brought to the gates of existence: a child and an old man.
Personality and Life, People and History, Conscience and Being - these are the problematic pairs of the three indicated stages of Aitmatov’s ascent to ever deeper essences. Accordingly, the genre of the story, which is constant for the writer, changes internally. At first it is a story - a short story, a dramatic story with a catastrophic event, like a thunderstorm, at the center. Then it is a monologue-memory, an epic about the past, like Shakespeare’s historical chronicle. And finally, the novel is high philosophical tragedy, artistic research the limits of human capabilities.

Life and work of Chingiz Aitmatov

Chingiz Torekulovich Aitmatov is a cult writer of Kyrgyz origin, diplomat, academician, hero of Kyrgyzstan, laureate of numerous USSR awards. He was born in the village of Sheker (Talla region). His parents were well-known activists and statesmen at that time, for which they paid with freedom, and later with their lives. Grandfather stood at the head of the movement for depuration. My father was shot for political reasons.

The beginning of the way

Great Patriotic War became the reason why fourteen-year-old Chingiz was forced to become the secretary of the council in his native village, since all the inhabitants of the village were forced to go to the front. After graduating from the 8th grade, the future academician was enrolled in the Dzhambul Zootechnic School. The student completed his studies brilliantly, received honors, and continued to study at the Agricultural Institute.

Soon Chingiz Aitmatov becomes editor of the newspaper Literary Kyrgystan. In 1963, the writer published his first collection, “Tales of Mountains and Steppes.” The most memorable were the works “Mother’s Field” and “First Teacher”. In his works, Aitmatov talked about the difficult fate of a simple village resident, analyzed and considered with different positions key problems.

"Russian" Kyrgyz

Until 1965, the writer worked only for native language. During this period, he tried his hand at writing Russian-language stories. The first was the work “Farewell, Gyulsary!” The author talks about the conflicts associated with collectivization and the difficult choice of the main character Tanabai. In the near future, many experts will recognize the writer’s Russian-language works as surprisingly “Slavic” and of high quality from the perspective of linguistics.

In 1977, the cult story “The Piebald Dog Running by the Edge of the Sea” was published. The Germans especially liked the work. Later, the story was filmed in both the GDR and Russia. During this period, a kind of cultural and intellectual integration of the writer and activist in European countries began.

A year later, the writer was awarded the title of Hero of Labor. Two years later, Aitmatov published the novel “And the Day Lasts Longer than a Century.” The work was so successful that the academician was awarded the State Prize.

Diplomatic work

1990 - 1994 was a special period in the writer’s life. He works as ambassador to Kyrgyzstan and the Russian Federation in France, Belgium and a number of other European countries.

The world-famous classic was for a long time a deputy of the Supreme Soviet of the USSR, a member of the presidium, and an activist in the field international relations. It was Aitmatov who became the founder of the international program “Issyk-Kul Forum”.

The great classicist and diplomat died in 2008. The last refuge was a hospital in the city of Nuremberg. There the writer underwent another course of therapy. Aitmatov was buried in the suburban area of ​​Bishkek, forming the historical and memorial complex “Ata-Beyit”.

Aitmatov Chingiz Torekulovich born on December 12, 1928 in the village of Sheker, Kara-Buura (Kirovsky) district, Talas region of Kyrgyzstan.

After graduating from eight classes, Chingiz entered the Dzhambul Veterinary College. In 1952, he began publishing stories in the Kyrgyz language in periodicals. In 1953 he graduated from the Kyrgyz Agricultural Institute in Frunze, in 1958 - Higher Literary Courses at the Literary Institute in Moscow. His stories and short stories, translated into Russian, are published in the magazines “October” and “ New world" Returning to Kyrgyzstan, he became editor of the magazine “Literary Kyrgyzstan”, and for five years was his own correspondent for the newspaper “Pravda” in Kyrgyzstan.

In 1963, Aitmatov’s first collection, “Tales of Mountains and Steppes,” was published, for which he received the Lenin Prize. It included the stories “My Poplar in the Red Scarf”, “The First Teacher” and “Mother’s Field”.

Until 1965, Aitmatov wrote in Kyrgyz. The first story he wrote in Russian, “Farewell, Gyulsary!”

Aitmatov’s first novel, “And the Day Lasts Longer than a Century,” was published in 1980.

In 1988-1990 Chingiz Aitmatov is the editor-in-chief of the Foreign Literature magazine.

In 1990-1994. worked as ambassador of the USSR and then Russia in Luxembourg. Until March 2008, he was the Ambassador of Kyrgyzstan to the Benelux countries - Belgium, the Netherlands and Luxembourg.

Hero of Socialist Labor of the USSR (1978) and People's Writer of the Kyrgyz SSR, Hero Kyrgyz Republic (1997).

Awarded two Orders of Lenin, the Order October revolution, two Orders of the Red Banner of Labor, Order of Friendship of Peoples, Manas 1st degree, “Dustlik” (Uzbekistan), highest award Government of Turkey for contribution to the development of culture of Turkic-speaking countries, the Children's Order of the Smile of Poland, the N. Krupskaya Medal, the Tokyo Institute Honorary Medal eastern philosophy"For outstanding contribution to the development of culture and art for the benefit of peace and prosperity on earth."

For literary and social activities awarded: Lenin Prize (1963, collection “Tales of Mountains and Steppes”), USSR State Prize (1968, 1977, 1983, for literary activity), State Prize of the Kirghiz SSR (1976, for literary activity), Lotus Prize, International Prize them. J. Nehru, the Ogonyok magazine prize, the International Prize of the Mediterranean Center for Cultural Initiatives of Italy, the Call to Conscience Prize of the American Religious Ecumenical Foundation, the Bavarian Prize. F. Rückart, Prizes named after. A. Menya, the Ruhaniyat Prize, the Honorary Culture Prize named after. V.Hugo.

Academician of the NAS of the Kyrgyz Republic, academician of the Academy Russian literature, full member of the European Academy of Sciences, Arts and Letters and the World Academy of Sciences and Arts.

Initiator of the international intellectual movement “Issyk-Kul Forum”, trustee of the “ Everlasting memory soldiers", President of the People's Assembly Central Asia. A Gold Medal was established and the International Foundation named after. Ch. Aitmatova. In 1993, the International Public Aitmatov Academy was organized in Bishkek. In the city of El-Azyk (Türkiye), the park was named after Ch. Aitmatov.

In 2008, he was elected as a member of the Board of Directors of BTA Bank JSC (Kazakhstan).

The works of Chingiz Aitmatov have been translated into more than 100 languages, many of the works have been filmed and based on them. dramatic performances and ballets.

Almost all of the work of Chingiz Torekulovich Aitmatov, who has already become a classic in literature, is permeated with mythological, epic motifs; legends and parables are woven into his works. His legends about the mother deer from the story “The White Steamship” and the bird Donenby from the novel “And the Day Lasts Longer than a Century” are well known. Included in the same novel story line, associated with establishing contact with an extraterrestrial civilization, the planet Forest Breast. The action of the famous story “The Piebald Dog Running by the Edge of the Sea” takes place during the Great Fish- women, the ancestors of the human race. And finally, Aitmatov wrote a completely fantastic novel, “Cassandra’s Brand,” about the problem of creating an artificial person.

Chingiz Torekulovich Aitmatov (Kyrgyz. Chyngyz Torokulovich Aitmatov) (December 12, 1928, Sheker village, Kyrgyzstan - June 10, 2008, Nuremberg, Germany) - Kyrgyz Soviet writer, who wrote in Kyrgyz and Russian, people's writer Kirghiz SSR (1974), Hero of Socialist Labor (1978).

His father Torekul Aitmatov was a prominent statesman Kirghiz SSR, but was arrested in 1937 and executed in 1938. Mother, Nagima Khamzievna Abdulvalieva, Tatar by nationality, was an actress in the local theater.

After graduating from eight classes, he entered the Dzhambul Zootechnic School, which he graduated with honors. In 1948, Aitmatov entered the Agricultural Institute in Frunze, from which he graduated in 1953. In 1952, he began publishing stories in the Kyrgyz language in periodicals. After graduation, within three years worked at the Cattle Breeding Research Institute, while continuing to write and publish stories. In 1956 he entered the Higher Literary Courses in Moscow (graduated in 1958). In the year of completion of the course, his story “Face to Face” (translated from Kyrgyz) was published in the magazine “October”. In the same year, his stories were published in the magazine “New World”, and the story “Djamilya” was published, which brought Aitmatov world fame.

In 1990-1994 he worked as ambassador of the USSR and Russia to the Benelux countries. Until March 2008, he was the Ambassador of Kyrgyzstan to France, Belgium, Luxembourg and the Netherlands. Retired since January 6, 1994.

In 2006, he participated in the release of the book “Autograph of the Century.”

Chingiz Aitmatov - world-famous writer, classic of Russian and Kyrgyz literature, laureate the most prestigious awards. His books - “And the day lasts longer than a century...”, “Farewell, Gyulsary!”, “The White Steamship”, “Pied Dog Running by the Edge of the Sea” - have been translated into dozens of languages. These parable novels have become the property of world literature.

The novel "The Scaffold", like many other works of Aitmatov, warns that the Day of Judgment began a long time ago - you just have to force yourself to see it.

Deputy of the Supreme Soviet of the USSR, People's Deputy of the USSR, member of the Presidential Council of the USSR, member of the Central Committee of the Communist Party of Kyrgyzstan, member of the secretariat of the Writers' Union and the Union of Cinematographers, one of the leaders of the Soviet Committee of Solidarity with Asian and African Countries, editor-in-chief of the magazine "Foreign Literature", initiator of the international intellectual movement "Issyk-Kul Forum".