\documentclass[11pt,twoside]{article}\makeatletter

\IfFileExists{xcolor.sty}%
  {\RequirePackage{xcolor}}%
  {\RequirePackage{color}}
\usepackage{colortbl}
\usepackage{wrapfig}
\usepackage{ifxetex}
\ifxetex
  \usepackage{fontspec}
  \usepackage{xunicode}
  \catcode`⃥=\active \def⃥{\textbackslash}
  \catcode`❴=\active \def❴{\{}
  \catcode`❵=\active \def❵{\}}
  \def\textJapanese{\fontspec{Noto Sans CJK JP}}
  \def\textChinese{\fontspec{Noto Sans CJK SC}}
  \def\textKorean{\fontspec{Noto Sans CJK KR}}
  \setmonofont{DejaVu Sans Mono}
  
\else
  \IfFileExists{utf8x.def}%
   {\usepackage[utf8x]{inputenc}
      \PrerenderUnicode{–}
    }%
   {\usepackage[utf8]{inputenc}}
  \usepackage[english]{babel}
  \usepackage[T1]{fontenc}
  \usepackage{float}
  \usepackage[]{ucs}
  \uc@dclc{8421}{default}{\textbackslash }
  \uc@dclc{10100}{default}{\{}
  \uc@dclc{10101}{default}{\}}
  \uc@dclc{8491}{default}{\AA{}}
  \uc@dclc{8239}{default}{\,}
  \uc@dclc{20154}{default}{ }
  \uc@dclc{10148}{default}{>}
  \def\textschwa{\rotatebox{-90}{e}}
  \def\textJapanese{}
  \def\textChinese{}
  \IfFileExists{tipa.sty}{\usepackage{tipa}}{}
\fi
\def\exampleFont{\ttfamily\small}
\DeclareTextSymbol{\textpi}{OML}{25}
\usepackage{relsize}
\RequirePackage{array}
\def\@testpach{\@chclass
 \ifnum \@lastchclass=6 \@ne \@chnum \@ne \else
  \ifnum \@lastchclass=7 5 \else
   \ifnum \@lastchclass=8 \tw@ \else
    \ifnum \@lastchclass=9 \thr@@
   \else \z@
   \ifnum \@lastchclass = 10 \else
   \edef\@nextchar{\expandafter\string\@nextchar}%
   \@chnum
   \if \@nextchar c\z@ \else
    \if \@nextchar l\@ne \else
     \if \@nextchar r\tw@ \else
   \z@ \@chclass
   \if\@nextchar |\@ne \else
    \if \@nextchar !6 \else
     \if \@nextchar @7 \else
      \if \@nextchar (8 \else
       \if \@nextchar )9 \else
  10
  \@chnum
  \if \@nextchar m\thr@@\else
   \if \@nextchar p4 \else
    \if \@nextchar b5 \else
   \z@ \@chclass \z@ \@preamerr \z@ \fi \fi \fi \fi
   \fi \fi  \fi  \fi  \fi  \fi  \fi \fi \fi \fi \fi \fi}
\gdef\arraybackslash{\let\\=\@arraycr}
\def\@textsubscript#1{{\m@th\ensuremath{_{\mbox{\fontsize\sf@size\z@#1}}}}}
\def\Panel#1#2#3#4{\multicolumn{#3}{){\columncolor{#2}}#4}{#1}}
\def\abbr{}
\def\corr{}
\def\expan{}
\def\gap{}
\def\orig{}
\def\reg{}
\def\ref{}
\def\sic{}
\def\persName{}\def\name{}
\def\placeName{}
\def\orgName{}
\def\textcal#1{{\fontspec{Lucida Calligraphy}#1}}
\def\textgothic#1{{\fontspec{Lucida Blackletter}#1}}
\def\textlarge#1{{\large #1}}
\def\textoverbar#1{\ensuremath{\overline{#1}}}
\def\textquoted#1{‘#1’}
\def\textsmall#1{{\small #1}}
\def\textsubscript#1{\@textsubscript{\selectfont#1}}
\def\textxi{\ensuremath{\xi}}
\def\titlem{\itshape}
\newenvironment{biblfree}{}{\ifvmode\par\fi }
\newenvironment{bibl}{}{}
\newenvironment{byline}{\vskip6pt\itshape\fontsize{16pt}{18pt}\selectfont}{\par }
\newenvironment{citbibl}{}{\ifvmode\par\fi }
\newenvironment{docAuthor}{\ifvmode\vskip4pt\fontsize{16pt}{18pt}\selectfont\fi\itshape}{\ifvmode\par\fi }
\newenvironment{docDate}{}{\ifvmode\par\fi }
\newenvironment{docImprint}{\vskip 6pt}{\ifvmode\par\fi }
\newenvironment{docTitle}{\vskip6pt\bfseries\fontsize{22pt}{25pt}\selectfont}{\par }
\newenvironment{msHead}{\vskip 6pt}{\par}
\newenvironment{msItem}{\vskip 6pt}{\par}
\newenvironment{rubric}{}{}
\newenvironment{titlePart}{}{\par }

\newcolumntype{L}[1]{){\raggedright\arraybackslash}p{#1}}
\newcolumntype{C}[1]{){\centering\arraybackslash}p{#1}}
\newcolumntype{R}[1]{){\raggedleft\arraybackslash}p{#1}}
\newcolumntype{P}[1]{){\arraybackslash}p{#1}}
\newcolumntype{B}[1]{){\arraybackslash}b{#1}}
\newcolumntype{M}[1]{){\arraybackslash}m{#1}}
\definecolor{label}{gray}{0.75}
\def\unusedattribute#1{\sout{\textcolor{label}{#1}}}
\DeclareRobustCommand*{\xref}{\hyper@normalise\xref@}
\def\xref@#1#2{\hyper@linkurl{#2}{#1}}
\begingroup
\catcode`\_=\active
\gdef_#1{\ensuremath{\sb{\mathrm{#1}}}}
\endgroup
\mathcode`\_=\string"8000
\catcode`\_=12\relax

\usepackage[a4paper,twoside,lmargin=1in,rmargin=1in,tmargin=1in,bmargin=1in,marginparwidth=0.75in]{geometry}
\usepackage{framed}

\definecolor{shadecolor}{gray}{0.95}
\usepackage{longtable}
\usepackage[normalem]{ulem}
\usepackage{fancyvrb}
\usepackage{fancyhdr}
\usepackage{graphicx}
\usepackage{marginnote}

\renewcommand{\@cite}[1]{#1}


\renewcommand*{\marginfont}{\itshape\footnotesize}

\def\Gin@extensions{.pdf,.png,.jpg,.mps,.tif}

  \pagestyle{fancy}

\usepackage[pdftitle={The Kazakh Scientist of the 19 th Century Chokan Valikhanov is a Founder Graphic Art of Kazakhstan},
 pdfauthor={}]{hyperref}
\hyperbaseurl{}

	 \paperwidth210mm
	 \paperheight297mm
              
\def\@pnumwidth{1.55em}
\def\@tocrmarg {2.55em}
\def\@dotsep{4.5}
\setcounter{tocdepth}{3}
\clubpenalty=8000
\emergencystretch 3em
\hbadness=4000
\hyphenpenalty=400
\pretolerance=750
\tolerance=2000
\vbadness=4000
\widowpenalty=10000

\renewcommand\section{\@startsection {section}{1}{\z@}%
     {-1.75ex \@plus -0.5ex \@minus -.2ex}%
     {0.5ex \@plus .2ex}%
     {\reset@font\Large\bfseries}}
\renewcommand\subsection{\@startsection{subsection}{2}{\z@}%
     {-1.75ex\@plus -0.5ex \@minus- .2ex}%
     {0.5ex \@plus .2ex}%
     {\reset@font\Large}}
\renewcommand\subsubsection{\@startsection{subsubsection}{3}{\z@}%
     {-1.5ex\@plus -0.35ex \@minus -.2ex}%
     {0.5ex \@plus .2ex}%
     {\reset@font\large}}
\renewcommand\paragraph{\@startsection{paragraph}{4}{\z@}%
     {-1ex \@plus-0.35ex \@minus -0.2ex}%
     {0.5ex \@plus .2ex}%
     {\reset@font\normalsize}}
\renewcommand\subparagraph{\@startsection{subparagraph}{5}{\parindent}%
     {1.5ex \@plus1ex \@minus .2ex}%
     {-1em}%
     {\reset@font\normalsize\bfseries}}


\def\l@section#1#2{\addpenalty{\@secpenalty} \addvspace{1.0em plus 1pt}
 \@tempdima 1.5em \begingroup
 \parindent \z@ \rightskip \@pnumwidth 
 \parfillskip -\@pnumwidth 
 \bfseries \leavevmode #1\hfil \hbox to\@pnumwidth{\hss #2}\par
 \endgroup}
\def\l@subsection{\@dottedtocline{2}{1.5em}{2.3em}}
\def\l@subsubsection{\@dottedtocline{3}{3.8em}{3.2em}}
\def\l@paragraph{\@dottedtocline{4}{7.0em}{4.1em}}
\def\l@subparagraph{\@dottedtocline{5}{10em}{5em}}
\@ifundefined{c@section}{\newcounter{section}}{}
\@ifundefined{c@chapter}{\newcounter{chapter}}{}
\newif\if@mainmatter 
\@mainmattertrue
\def\chaptername{Chapter}
\def\frontmatter{%
  \pagenumbering{roman}
  \def\thechapter{\@roman\c@chapter}
  \def\theHchapter{\roman{chapter}}
  \def\thesection{\@roman\c@section}
  \def\theHsection{\roman{section}}
  \def\@chapapp{}%
}
\def\mainmatter{%
  \cleardoublepage
  \def\thechapter{\@arabic\c@chapter}
  \setcounter{chapter}{0}
  \setcounter{section}{0}
  \pagenumbering{arabic}
  \setcounter{secnumdepth}{6}
  \def\@chapapp{\chaptername}%
  \def\theHchapter{\arabic{chapter}}
  \def\thesection{\@arabic\c@section}
  \def\theHsection{\arabic{section}}
}
\def\backmatter{%
  \cleardoublepage
  \setcounter{chapter}{0}
  \setcounter{section}{0}
  \setcounter{secnumdepth}{2}
  \def\@chapapp{\appendixname}%
  \def\thechapter{\@Alph\c@chapter}
  \def\theHchapter{\Alph{chapter}}
  \appendix
}
\newenvironment{bibitemlist}[1]{%
   \list{\@biblabel{\@arabic\c@enumiv}}%
       {\settowidth\labelwidth{\@biblabel{#1}}%
        \leftmargin\labelwidth
        \advance\leftmargin\labelsep
        \@openbib@code
        \usecounter{enumiv}%
        \let\p@enumiv\@empty
        \renewcommand\theenumiv{\@arabic\c@enumiv}%
	}%
  \sloppy
  \clubpenalty4000
  \@clubpenalty \clubpenalty
  \widowpenalty4000%
  \sfcode`\.\@m}%
  {\def\@noitemerr
    {\@latex@warning{Empty `bibitemlist' environment}}%
    \endlist}

\def\tableofcontents{\section*{\contentsname}\@starttoc{toc}}
\parskip0pt
\parindent1em
\def\Panel#1#2#3#4{\multicolumn{#3}{){\columncolor{#2}}#4}{#1}}
\newenvironment{reflist}{%
  \begin{raggedright}\begin{list}{}
  {%
   \setlength{\topsep}{0pt}%
   \setlength{\rightmargin}{0.25in}%
   \setlength{\itemsep}{0pt}%
   \setlength{\itemindent}{0pt}%
   \setlength{\parskip}{0pt}%
   \setlength{\parsep}{2pt}%
   \def\makelabel##1{\itshape ##1}}%
  }
  {\end{list}\end{raggedright}}
\newenvironment{sansreflist}{%
  \begin{raggedright}\begin{list}{}
  {%
   \setlength{\topsep}{0pt}%
   \setlength{\rightmargin}{0.25in}%
   \setlength{\itemindent}{0pt}%
   \setlength{\parskip}{0pt}%
   \setlength{\itemsep}{0pt}%
   \setlength{\parsep}{2pt}%
   \def\makelabel##1{\upshape ##1}}%
  }
  {\end{list}\end{raggedright}}
\newenvironment{specHead}[2]%
 {\vspace{20pt}\hrule\vspace{10pt}%
  \phantomsection\label{#1}\markright{#2}%

  \pdfbookmark[2]{#2}{#1}%
  \hspace{-0.75in}{\bfseries\fontsize{16pt}{18pt}\selectfont#2}%
  }{}
      \def\TheFullDate{2016-01-15 (revised: 15 January 2016)}
\def\TheID{\makeatother }
\def\TheDate{2016-01-15}
\title{The Kazakh Scientist of the 19 th Century Chokan Valikhanov is a Founder Graphic Art of Kazakhstan}
\author{}\makeatletter 
\makeatletter
\newcommand*{\cleartoleftpage}{%
  \clearpage
    \if@twoside
    \ifodd\c@page
      \hbox{}\newpage
      \if@twocolumn
        \hbox{}\newpage
      \fi
    \fi
  \fi
}
\makeatother
\makeatletter
\thispagestyle{empty}
\markright{\@title}\markboth{\@title}{\@author}
\renewcommand\small{\@setfontsize\small{9pt}{11pt}\abovedisplayskip 8.5\p@ plus3\p@ minus4\p@
\belowdisplayskip \abovedisplayskip
\abovedisplayshortskip \z@ plus2\p@
\belowdisplayshortskip 4\p@ plus2\p@ minus2\p@
\def\@listi{\leftmargin\leftmargini
               \topsep 2\p@ plus1\p@ minus1\p@
               \parsep 2\p@ plus\p@ minus\p@
               \itemsep 1pt}
}
\makeatother
\fvset{frame=single,numberblanklines=false,xleftmargin=5mm,xrightmargin=5mm}
\fancyhf{} 
\setlength{\headheight}{14pt}
\fancyhead[LE]{\bfseries\leftmark} 
\fancyhead[RO]{\bfseries\rightmark} 
\fancyfoot[RO]{}
\fancyfoot[CO]{\thepage}
\fancyfoot[LO]{\TheID}
\fancyfoot[LE]{}
\fancyfoot[CE]{\thepage}
\fancyfoot[RE]{\TheID}
\hypersetup{citebordercolor=0.75 0.75 0.75,linkbordercolor=0.75 0.75 0.75,urlbordercolor=0.75 0.75 0.75,bookmarksnumbered=true}
\fancypagestyle{plain}{\fancyhead{}\renewcommand{\headrulewidth}{0pt}}

\date{}
\usepackage{authblk}

\providecommand{\keywords}[1]
{
\footnotesize
  \textbf{\textit{Index terms---}} #1
}

\usepackage{graphicx,xcolor}
\definecolor{GJBlue}{HTML}{273B81}
\definecolor{GJLightBlue}{HTML}{0A9DD9}
\definecolor{GJMediumGrey}{HTML}{6D6E70}
\definecolor{GJLightGrey}{HTML}{929497} 

\renewenvironment{abstract}{%
   \setlength{\parindent}{0pt}\raggedright
   \textcolor{GJMediumGrey}{\rule{\textwidth}{2pt}}
   \vskip16pt
   \textcolor{GJBlue}{\large\bfseries\abstractname\space}
}{%   
   \vskip8pt
   \textcolor{GJMediumGrey}{\rule{\textwidth}{2pt}}
   \vskip16pt
}

\usepackage[absolute,overlay]{textpos}

\makeatother 
      \usepackage{lineno}
      \linenumbers
      
\begin{document}

             \author[1]{Kamak  Abdikarim}

             \affil[1]{  Kazakh state pedagogical university for ladies}

\renewcommand\Authands{ and }

\date{\small \em Received: 14 December 2015 Accepted: 2 January 2016 Published: 15 January 2016}

\maketitle


\begin{abstract}
        


The contents of article are devoted to studying of art heritage in the field of arts of the Kazakh scientist of Chokan Valikhanov - a bright phenomenon in the scientific sphere of Russia and Europe in ??? of an eyelid. In work,  on the basis of studying scientific, literary links about art creativity and the brief "excursion" -  analysis of drawings from a position of art criticism are proved a role and importance of studying, preservation its heritage for enrichment of  history of arts of Kazakhstan and in use  of spiritual education of the younger generation.

\end{abstract}


\keywords{scientist, art heritage, fine arts, portraits, importance studying, arts of Kazakhstan.}

\begin{textblock*}{18cm}(1cm,1cm) % {block width} (coords) 
\textcolor{GJBlue}{\LARGE Global Journals \LaTeX\ JournalKaleidoscope\texttrademark}
\end{textblock*}

\begin{textblock*}{18cm}(1.4cm,1.5cm) % {block width} (coords) 
\textcolor{GJBlue}{\footnotesize \\ Artificial Intelligence formulated this projection for compatibility purposes from the original article published at Global Journals. However, this technology is currently in beta. \emph{Therefore, kindly ignore odd layouts, missed formulae, text, tables, or figures.}}
\end{textblock*}


\let\tabcellsep& 	 	 		 
\section[{TheKazakhScientistofthe19thCenturyChokanValikhanovisaFounderGraphicArtofKazakhstan}]{TheKazakhScientistofthe19thCenturyChokanValikhanovisaFounderGraphicArtofKazakhstan}\par
Strictly as per the compliance and regulations of:\par
and Europe in of an eyelid. In work, on the basis of studying scientific, literary links about art ??? Introduction he inexhaustible source of history of the national genius -its spiritual value. In millennial world history, the Kazakh earth gave to the world great philosophers and thinkers (Al-Farabi, Korkut-baba, Ahmed Yassaui, Zh. Balasaguni, Asan-kaygy, etc.), poets educators (Bukhar-zhyrau, Makhambet Utemisov, Abay Kunanbayev, Ibray Altynsarin, etc.), national composers (Kurmangazy Sagirbayev, Akan-seri, Birzhan-sal, Dina Nurpeisova and etc.) and incalculable number of masters of national craft and artists of arts and crafts. Spiritual and cultural and art material values which created by them became a rich heritage and means for formation of moral and ethical, spiritual and esthetic shape of the subsequent generations of the Kazakh people.\par
Among the galaxy of greatest people of Kazakhstan, takes place the name of Chokan Valikhanov (1835-1865) -the scientific orientalist, the traveller, the geographer, a linguist, the botanist, the ethnographer, the artist and at the age of 21 he had elected the full member of Imperial Russian geographical society (1857). To his scientific activity devoted a lot of articles, scientific notes, memories of his friends, historical and biographic stories, novels. Scientific heritage in the field of history, ethnography, folklore studies, psychology, etc. became object of research European, Russian scientists (S. Semenov-Tyanshansky, G. N. Potanin, N. Yadrintsev, S. Kapustin, etc.). Also for modern readers it is known books about Ch. Valikhanov: S. Markov's "Iduschie k verschinam Author: Dr., Professor, Kazakh State Pedagogical University for Ladies, Kazakhstan, Almaty. e-mail: Kamak-47@mail.ru (Going to tops) \hyperref[b0]{[1]}; S. Mukanov's novel of "Promelknushaya zvezda", historical chronicle of P. Kosenko of "Skreschenye sudev [Crossing of destinies]" \hyperref[b1]{[2]}; I. Strelkova's book "Valikhanov" (the Lives of Remarkable People series) \hyperref[b2]{[3]}. Collection of works of Ch. Valikhanova in 5 volumes published by the Academician A.  {\ref Margulan in 1961} {\ref Margulan in -1972 [4] [4]} and the scientific book in the Kazakh language of S. Makhtarula "Chokan and art (section "Artist")"  {\ref [5, p.147-179]}.\par
In the sphere of great scientific achievements the worthy place is taken also by graphic creativity of Chokan Valikhanov. His graphic heritage is made by more than 150 drawings, water color works, and sketches. Unfortunately they are still in archives of Russia. We admire only the printing copy of his graphic heritage. 
\section[{II.}]{II.} 
\section[{Research Objective}]{Research Objective}\par
The Analyse art heritage of the Kazakh scientist of the XIX century of Ch. Valikhanova in the field of graphic arts, in the sphere achievement of various sciences to show, first, as founder of the graphic arts of Kazakhstan, its role and a place in the history of arts and art criticism Kazakhstan; secondly, to prove about importance of research of creativity of Ch. Valikhanova in preservation, propagandes, also in use its art heritage in enrichment of spiritual culture of Kazakhstan. 
\section[{III.}]{III.} 
\section[{The Main Chapter}]{The Main Chapter}\par
Graf. 2 : Territories Ch. Valikhanov conducted geographical researches. Kyrgyzia, mountains Alatau and Tian Shan Before entering to Omsk Military school of Russia, constant perception lyrics of the poet songbooks, compositions of musicians-composers (kuyshy), instructive and educational poetics of improvisators-zhyrshi, skillful works of master handicraftsmen and jewelers -for teenage Chokan became spiritual and esthetic school. Chokan Valikhanov, during his study and after the termination of Military school, being in civil service at the governor general Gasfort, with a great interest studies national traditions, ideological thoughts of steppe philosophy, literary and musical folklore, folk art and craft art -as a source of knowledge of spiritual, material culture of the native land \hyperref[b2]{[3]}. He perfectly knew English, German, French, Arab, Russian, Kyrgyz, Uigur languages and studied ancient-Chagatay writings. These abilities gave the chance to him comparing to analyze spiritual and material, cultural values of the people, with east and West European culture \hyperref[b4]{[5,} {\ref 45]}. Chokan Valikhanov with his reaserch tried to seek rebuff to followers who claimed that Kazakhs wild nomads, they brought nothing in world art culture.\par
One more side of the scientist Chokan Valikhanov -a graphic creation. In due time, the Russian science recognized young Ch. Valikhanov as outstanding scientist, and his graphic creativity also was highly appreciated from the intellectuals and scientists.\par
In the first half of XIX century, in childhood Ch.Valikhanova, in the Russian fine art work artists who are highly the talented, with the professional and academic education as -A. Ivanov, O. Kiprensky, K. Bryullov, V. Tropinin and many others whose creativity was the admiration for all Russia and Europa. In averages 1850-60, speed takes realistic many others whose art and there began the first steps the critical realism. One of representatives of this direction, agemate and colleague of Ch. Valikhanov -P. Fedotov, the carries out work between military and regimental service and art, reaching humanistic pathos in art. Other remarkable artist V. Perov showing in a descriptive critical genre "about vile to the Russian life", "an existential grief of people" who became the strongest blow for the authorities of haves. Banished by T. Shevchenko at peak of creativity, creates works in shackles \hyperref[b7]{[8,} {\ref 14]} .\par
Addiction to drawing Chokan influenced surrounding his father's environment -Genghis Valikhanov. It is in order to study art-crafts of folk artists organized many ethnographic expeditions to the native land. A. Margulan writes: "... this (drawing), he studied by artists and surveyors who lived in Valikhanov. ... The rate often stops the scientists and officers who possess excellent drawing skills. And they also stimulated Chokan passion for fine arts " \hyperref[b4]{[5]}. Later, other sons of Genghis Valikhanov Zhakip and Maky and also did the art of artistic craft.\par
In the first thematic figures 12 year old Chokan, executed by a water color of "Zhatak" (Kazakh-poor living in the cabin due to the lack of funds on the summer pasture grazing grounds, gr. The big place in Graphic works of Chokan Valikhanov occupies portrait drawings. But they are not ethnographic sketches or materials executed during the travelling time on the Kazakh, Kyrgyz earth and Kashgaria. In portrait works: "Hankozha Valikhanov's Portrait" (gr. 5), "Portrait judge of Sartaya"; "The Kyrgyz from Ala Tau" (gr.6), "Portrait Mamyrkhan Rustemovathe sultan the of Eldest Horde" (gr. 6), "The son Shamratov's portrait from a sort Sarybagysh" (gr.8), "The Kazakh's portrait" (gr. 9), "Manap from a sort Bug -Borambay" (gr. 10), "A portrait of the Senior sultan" (gr.11), "The Kyrgyz portrait", "A portrait Tezek round", "A portrait of the young Kazakh" (and a lot of other things) with an accuracy displaying identity of character of the personality, national difference and a social status of a type in society, the artist Chokan opens before us real figurative idea of the time. 
\section[{Graf. 5 : Hankozha Valikhanov's Portrait}]{Graf. 5 : Hankozha Valikhanov's Portrait}\par
Graf. 6 : The Kyrgyz from Ala Tau. Graf. 7 : Portrait Mamyrkhan Pencil. 1862\par
The Colored pencil. 1856 Rustemova -the sultan the of Eldest Horde. 1856\par
These portraits, is with confidence possible to consider as full-fledged individually figurative, realistic the works of the graphic arts. At attentive studying of art portraits, sketches, Ch. Valikhanova, it is possible to see anthropological typicalness, ethnic features and national traites of people of East Asia -Kazakhs, Kyrgyz, Kalmyks, Chinese, Uyghurs. The scientific encyclopaedist, the art critic, the academician A. The Kazakh Scientist of the 19th Century Chokan Valikhanov is a Founder Graphic Art of Kazakhstan social contradictions is traced realistically. The art heritage Chokana is made by more than 150 drawings, sketches and paintings.\par
"Akshomshy", is represented lives of simple Kazakhs. Despite for his child age, in these works can be traced realistic approach to others, his critical relation to public, Graf. 8 : The son Shamratov's Graf. 9 : Kazakh's portrait.\par
Graf. 10 : Manap from a sort Bugportrait a of tribe sarybagysh Pencil. 1856 Borambay. Pencil. 1856 Pencil Subject and idea of drawings of Ch. Valikhanov ("Akshomshy", "Zhatak", "A meeting of officials in the village of Syrymbet"*, etc.) are devoted on vital values, household problems of the people. He seeks to transfer the social and psychological characteristic of people, that its drawings gains the ideological and art importance. The internal content of work of Chokan "The meeting of officials in the village of Syrymbet" coincides with T.G. Shevchenko's work "The state fist" in which it is reflected social and national inequality in the Kazakh steppe in the nineteenth century, and the maintenance of the drawing "Dzhatak" (gr.3) with ideas of work of the Russian artists of V. Repin "Barge haulers on Volga" and V. Perova -the founder of critical realism in the Russian painting \hyperref[b5]{[6]}. A. Margulan investigating art quality graphic and creative Chokan Valikhanov's heritage and comparing them with works of the Russian scientiststravelers, artists, and also with art character of the fine arts of Kazakhstan at the year of 20-30 of the XX century, gives an assessment that Chokan Valikhanov is -the founder of the Kazakh fine arts \hyperref[b3]{[4,} {\ref [138]} {\ref [139]} {\ref [140]} {\ref [141]} {\ref [142]}. 
\section[{Graf. 11 : A portrait of the Senior sultan. Pencil 1864}]{Graf. 11 : A portrait of the Senior sultan. Pencil 1864}\par
Graf. 12 : Self-portrait, sketch\par
The typical image of personalities, truthfulness of an image in Chokan's drawings, is also told about life of society, about historical and social conditions of that period. If in "Self-portrait" he wanted to inform us those feelings which visited him at those moments, about inside part and meaning of his life, and in a portrait "The son Shamratov's portrait a of tribe sarybagysh", he tried to represent an image of the young man, who has sincere desire and sensual aspiration and confidence to the future.\par
One of picturesque works of Chokana, executed by water color paint, in year 1856, during a scientific expedition in kirghiz country "A outlook on Terskey Alatau from Sata's peak of on kungey Alatau" (gr. 4), the on height of 3268 meters in mountains. About art quality of this work are stated in the 5th tome "Meeting the composition Ch. Valikhanov" A. Margulan and in the book "Chokan and Art" of S. Mukhtaruly, in the section "Artist", devoted to graphic creativity: "Chokan perfectly uses the rhythm of space and volume, light and shadow work: shrouded in the haze of the Issyk-Kul and snowy, icy peaks Teriskey Alatau in the vast space. The internal dynamics of the works full of romance.." \hyperref[b5]{[6,} {\ref [147]} {\ref [148]} {\ref [149]} {\ref [150]} {\ref [151]}. Many of the drawings and sketches which collected during the travelling time across Kazakhstan, Kyrgyzstan, Kashgaria and also during military campaigns, will add graphic heritages of Ch. Valikhanov. They traced a keen interest in the surrounding domestic detail, the pursuit of even a small sketch to create expressive live episode from the life of ordinary people, with a real bind genre scene with a poetic way of native wildlife.\par
Gr. 13 : House in a Touranga. Pencil\par
Gr. 14 : Sketch (G.N.Potanin) Gr. 15 : Drawing with petroglyphic the image Analyzing his portrait work, graphic drawings, sketches, you can see and understand that Chokan mastered sufficient knowledge about the method and the plastic image of language and method of creating an image in the drawing, as a professional artist. The proof is in the works: "The settlement in the Ili River," "Stop the unit near the shore of Issyk-Kul", "Fishing detachment near the river Tyub"; ethnographic sketches: "Uighur woman", "Hats and hair braiding description in Uighur women of East Turkestan" "Horse riding and horse care"; the landscape-themed pictures: "Manor Aiganym in Syrymbet," "House in a Touranga" (gr. 13), etc. 
\section[{a) Deduction}]{a) Deduction}\par
However, against the background of scientific papers in various fields of science, figurative artistic heritage of Ch.Valikhanov, art republic have not been studied enough flesh to the '70 of the twentieth century. For a long time in the works of art, the beginning of the formation of professional fine arts of Kazakhstan, specifically indicated 20-30 years of the twentieth century, linking the phenomenon, with the arrival in Kazakhstan some intellectuals and artists -N.Hludova, A.Cherkasskogo, N.Krutilnikova also relying on the creativity of the first national artists \hyperref[b10]{[10,} {\ref 29]}. Graphic and pictorial drawings Chokan Valikhanov considered against the background of the professional Russian artists of the nineteenth century, as the ethnographic drawings to his research or sketches to travel notes, concluding that in the Kazakh steppe, where he lived Ch.Valihanov, there were no representatives of professional artists. It returns to the memory of Russian art activities that they carefully researched and covered in the pages of newspapers, magazines, through popular science films, graphic abilities of the poet Alexander Pushkin, also of artistic creativity Lermontovcontemporaries Ch. Valihanova.\par
Another reason, in the release of the fine arts of Kazakhstan gives a brief description of Chokan's works with multiple drawings \hyperref[b10]{[10]}. There weren't produced a special, printing high-quality reproduction of graphic drawings, revealing the nature of his talent in the field of fine arts. Therefore, many lovers of fine art limited perception of drawings published in the abovementioned authors. Another reason is that the artists working color palette, plastic, symbolic direction, it is possible to understand their vision of Ch.Valikhanov's work. 
\section[{IV.}]{IV.} 
\section[{Conclusion}]{Conclusion}\par
In his twenty years Chokan Valikhanov became a traveler, a scientist in the field of geography, botany, ethnography, linguistics, also the first representative of the Kazakh art. It is possible to note that the graphic heritage of Chokan Valikhanov for the judge of art and the homeland researching sources of spiritual culture, is an important source studying also as its scientific achievement. We find in his portraits the typical images, ethnic, anthropological and typicality and social status of the individual facial features, thematic drawings and sketches of the real figurative representation understanding of the beingness of the peoples of the nineteenth century and the works of art Chokan Valikhanov is fully-realistic work of art.\par
Since the beginning of independence of Kazakhstan the Law on culture is adopted \hyperref[b11]{[11]}, the The Kazakh Scientist of the 19th Century Chokan Valikhanov is a Founder Graphic Art of Kazakhstan state alpine landscape, the composite system of the special state program "Cultural heritage" \hyperref[b12]{[12]}, is developed work on studying, research of spiritual and material, cultural values of people, and also return of some values of culture which is in the different countries of East Asia, Europe, Russia is accelerated. And our short statement for art and creative life of the scientist will make a contribution to studying of spiritual and esthetic culture of Kazakhstan in the field of art.\begin{figure}[htbp]
\noindent\textbf{}\includegraphics[]{image-2.png}
\caption{\label{fig_0}}\end{figure}
 \begin{figure}[htbp]
\noindent\textbf{}\includegraphics[]{image-3.png}
\caption{\label{fig_1}}\end{figure}
 \begin{figure}[htbp]
\noindent\textbf{}\includegraphics[]{image-4.png}
\caption{\label{fig_2}}\end{figure}
 		 		\backmatter  			  				\begin{bibitemlist}{1}
\bibitem[ Zakon o culture Kazakhstana (Law on culture of Kazakhstan) ()]{b11}\label{b11} 	 		\textit{},  	 	 		\textit{Zakon o culture Kazakhstana (Law on culture of Kazakhstan)}  		2000.  	 
\bibitem[Nurmukhammedov and Kazakhstana ()]{b10}\label{b10} 	 		\textit{Art of Kazakhstan). -Moskva: Iskusstvo},  		 			N Iskusstvo Nurmukhammedov 		,  		 			Kazakhstana 		.  		1970.  	 	 (in Russian) 
\bibitem[Konseptsya ()]{b13}\label{b13} 	 		‘Etnokultura" (Konseption’.  		 			R K Konseptsya 		.  	 	 		\textit{Etnokultura R. K}  		2000.  	 
\bibitem[Markov ()]{b0}\label{b0} 	 		\textit{Iduschie k verschinam. Istorikobiograficheski povect (Going to tops. Historical biographic story). -Almaty},  		 			S Markov 		.  		1971. 371.  	 	 (in the Kazakh language) 
\bibitem[Kosenko and Skreschenye ()]{b1}\label{b1} 	 		\textit{Istoricheskaya hronika (Crossing of destinies. Historical chronicle). -Almaty: Zhazushy},  		 			P Kosenko 		,  		 			Skreschenye 		.  		1985. 400.  	 	 (in Russian) 
\bibitem[Programma ()]{b12}\label{b12} 	 		\textit{Madeni mura},  		 			R K Programma 		.  		2003.  	 	 (Cultural heritage program) 
\bibitem[Materials of scientific conference devoted to the 80th anniversary of the Union of artists of the Republic of Kazakhstan (24 ()]{b9}\label{b9} 	 		\textit{Materials of scientific conference devoted to the 80th anniversary of the Union of artists of the Republic of Kazakhstan (24},  		2013. 2013. Almaty. p. .  	 	 (in the Kazakh language) 
\bibitem[Mukhtaruly et al. ()]{b5}\label{b5} 	 		\textit{Nauchnaya publikatsia (Shokan and art. Scientific publilftion) -Almaty: Oner},  		 			S Mukhtaruly 		,  		 			Shokan 		,  		 			Oner 		.  		1985. p. .  	 	 (in the Kazakh language) 
\bibitem[Kamak]{b8}\label{b8} 	 		\textit{Shokan Ualikhanov -kazak beineleu onerynyn basty okyly (Ch. Valikhanov -the chief representative of the fine arts of Kazakhstan)},  		 			A Kamak 		.  		 	 
\bibitem[Kamak]{b6}\label{b6} 	 		\textit{Shokan Ualikhanov -kazak beineleu onerynyn negyzyn kalaushy (Ch. Valikhanov -the founder of the Kazakh fine arts) //Path of to science. Republican scientific magazine},  		 			A Kamak 		.  		 2010. -P. 8-12..  		 	 	 (in the Kazakh language) 
\bibitem[Kamak ()]{b7}\label{b7} 	 		\textit{Shokan Ualikhanovtyn kazak beineleu onery tarikhynda alatyn orny (Ch. Valikhanov's place in the history of arts of Kazakhstan (To the 175th anniversary of the birth).//The higher school of Kazakhstan},  		 			A Kamak 		.  		2011.  	 	 (Page 13-17. (in the Kazakh language) 
\bibitem[Ch ()]{b3}\label{b3} 	 		‘Sobranie sochinenyi. V 5 tomakh. Tom 5 (Collected works in 5 volumes’.  		 			Valikhanov Ch 		.  	 	 		\textit{Academya Nauk Kaz SSR}  		1972. 5.  	 	 (in Russian) 
\bibitem[Margulan et al. ()]{b4}\label{b4} 	 		\textit{V knige: Chokan Valikhanov. Izbrannye (Life and activity Ch. Valikhanov's. Essay. In the book: Cf. Valikhanov. selected works). -Almaty: Zhazushy},  		 			A Margulan 		,  		 			Zhizyn I Deyatelnosty Ch 		,  		 			Valikhanova 		,  		 			Ocherk 		.  		1980. p. .  	 	 (in the Kazakh language) 
\bibitem[Strelkova et al. ()]{b2}\label{b2} 	 		\textit{Zhizyn zamechatelnykh lyudei" ( Valikhanov. Series "The lives of remarkable people). -Moscow},  		 			I Strelkova 		,  		 			Valikhanov 		,  		 			Seria 		.  		1990. 298.  	 	 (in Russian) 
\end{bibitemlist}
 			 		 	 
\end{document}
