Each of these young authors returned to Yakutia searching for his or her style and theme of expression. An energetic communication with a pulsating interdisciplinary environment consisting of artists' friends, their students, similar young writers, journalists, and architects emerged around them. In 2013, during an interview, People's Artist Afanasy Petrovich Munkhalov, recalled that period as a time of constant creative communication, collective and sometimes spontaneous reviews in the workshops, trips to creative dachas, discussions and searches. He said that many artists in the early 1960s were passionate about collecting folk arts and crafts and were gradually fusing them into their art.
I consider "Sardaana" by Valerian Vasilyev to be one of the fascinating forms of Yakut art in the 1960s. He managed to find the elusive essence of Yakut art and its subtle connection with Nature. Valerian Vasiliev undoubtedly identified a young master-cutter, staring into the delicate outlines of a flower, with himself and his circle. In his work, the master turns to Nature in search of purity of lines, conveying the grace of the sardaana to the ideal proportions of his choroon vials. Valerian, like his colleagues, turned to folk art and the Olonkho, admiring its poetic structure, the richness of subjects and the colourfulness of the images.
The young artists of the 1960s and 70s masterfully balanced between the "severe style" while depicting the harsh Soviet reality and the lyricism of the vast expanse of the olonkho. Sivtsev Ellay saw in the olonkho heroism and folk wisdom, Valerian praised human happiness and peace, while Votyakov filled his works with mystical, dense, exciting energy: his olonkho both frightens and enchants with its magic.
The charisma of the artists of the 1960s and 70s and their obsession with art strongly influenced the late Soviet generation. Many of its representatives were the 1960s' students who entered the world of art under the influence of their worldview. Mikhail Starostin, Nadezhda Fedulova, Olga Skorikova, Georgy Reshetnikov, Ekaterina and Tuyaara Shaposhnikov, Olga Rakhleeva, Natalia Nikolaeva, Marina Khandy, Alexander Khodulov, Marianna Lukina, Sardanaa Ivanova and other authors whose creative careers took off in the 1980s and 90s were sufficiently included in the global artistic context as students, participated in the processes in the West, were guided by them, and also were academically educated.